Microphones For Singers
Live Shows: Why Bring Your Own?
By Erik Beyer
Going to live shows is fun, especially some of the more wild bands that get almost out of hand on stage. One of the fun elements to watch is seeing the glistening of spit fly across the microphone as the singer belts into it. Ever stop and wonder if they swap out the microphone before the next band, sterilize it, and just keep rotating them out? Here’s a clue. Heck no!
So, if you are a singer, and you frequent venues anywhere, this one’s for you!
I am going to make recommendations and enlighten some of you on specific microphone products that will keep the sound engineers happy and give you the opportunity to avoid putting your lips up against a microphone that was just spat on for an hour by a guy who just had the greasy bar burger and fries as well as a pitcher of beer all to himself just before going on stage. I may have a personal preference, but I am not here to tell you what to buy, even though you may sense a bit of opinion on some of these mics. I am simply trying to open up your mind to other than typical products. Everyone is different, as is his or her vocal style. Let’s jump right into it.
AKG (www.akg-acoustics.com) makes fantastic microphones and the products that would fall into a list of what could be used at a live show for a vocalist is somewhat short, by my book. The typical model, in the same class as the SM58, is the AKG D880. This is a very well rounded microphone with the intent to be good in presence. The natural design of the microphone element inside allows for a better frequency response and presence right off the stage. For more aggressive vocals try the D770. This one has a tighter pick-up pattern which makes it friendlier in a loud stage environment and forces the vocalist to cut through the mix a little better. If you are a lounge, jazz, or acoustic performer, try the C535. This is a condenser microphone that will give more clarity and natural sounding tones. This vocal microphone is especially good on female vocals; however, it can be a successful microphone on just about any male vocalist, too.
Audio-Technica (www.audiotechnica.com) is another brand to consider. I hadn’t particularly liked their microphones for vocals in the past, with the exception of their newer wireless systems and one of their wireless handheld mics with a studio 1” diaphragm condenser element. It’s a beautiful thing. One model I have used a lot in live sound is the ATM41HE, which essentially is a high priced handheld microphone that can be a challenge to mix at first, but can be dialed in quite nicely. The sound is a little different with a decent high-end frequency boost. This audible quality is good, but in order to get enough volume out of it the singer has to be right on the microphone, then EQ’d out a little. A-T just came out with a new line of microphones called the Artist Elite Series. The price point is definitely higher, but you are going to get a superior sound out of these mics. One of these new mics is a condenser microphone similar to the wireless handheld mentioned before, but this one is wireless, and has the 1” diaphragm element, also. If you can spend the dime, this is a great way to go. There are four models to choose from, the AE3300, AE4100, AE4500, and the AE6100.
Beyerdynamic (www.beyerdynamic.com) is a great company. Unfortunately, I have never used any of these products, but their reputation is worth the research. If you need a solid microphone for a few extra bucks, and to be different, this is a way to go. They have several popular models for vocals, and I would recommend giving them an audition.
Sennheiser (www.sennheiserusa.com) has to be one of my favorite brands for microphones, for just about everything. The simple e835 is the same class and price as the SM-58, but the e835 has been known to take even more of a beating than its competitor, and sounds amazing. Do your homework, because if you are willing to spend a little extra money you can get into the e865, a condenser microphone with a fantastic ability of rejecting feedback, even in a rock show environment where everything is too loud. The qualities of these microphones are very warm, and full of strong presence. I know you will enjoy the sound of these.
Shure (www.shure.com) has been a staple in the live audio industry for several decades. The SM-58 can be seen on stage in front of almost every concert dating back 20-years. In almost all situations you can never go wrong with a Shure SM-58, and for loud bands that need to pierce through the sound in punk, metal, or any other loud style, the SM-57, typically used for instruments, will give you the extra push you need. If you want to take the extra step, the Beta series of these microphones, such as the Beta-58, and the Beta-57, have a sound quality that is noticeably better and has a better feedback rejection and presence than the SM series.
Electrovoice (www.electrovoice.com) has the ND series of microphones. The ND stands for Neodymium, a material used in the element that allows for greater signal sensitivity and a higher gain before feedback. EV calls it N/DYM, as their registered trademark. The two models I will mention are the ND767a and the ND967. The ND767a is a very popular microphone for its piercing presence and strong balance in the mix. The tight pickup pattern on this mic means you have to be right up to it and right in front of it and you will soar through the mix. The handling noise of this mic is amazing. You won’t have to worry about your hands rubbing on this mic and making noise in the PA system. The ND967 is a unique mic and has a sound designed for vocals, even has a low-end cut-off switch. The head of this mic is flat on top which gets you closer to the mic element and brings your voice much closer in the mix. Two very powerful microphones!
Audix (www.audixusa.com) is another standard in live sound, and based out of Wilsonville, Oregon. The Audix line is expanding to great lengths to cover all realms. Three of the more popular mics are the OM3xb, OM5, and OM6. I have seen and used the OM3xb and OM5 for instruments, drums, guitar cabinets, and vocals. You will find that the versatility is complimenting on anything you put it in front of, especially your vocals. The OM6 carries the same qualities but is more designed for vocals. The designs of these mics are identical, so if you see one at a show, take a close look at the model. The letters tend to rub off easily, so don’t be surprised if you see them without any markings on them.
You do need to get on top of these microphones as a singer because standing 4-inches or more from these microphones can cause a loss in audible gain, which in any venue can make things challenging, or almost impossible to get the vocals set right in a mix. Mind you, this tip goes for all of the vocal microphones mentioned. This is also a sign of a smart vocalist.
If you are still undecided, or realize that you are performing in much larger venues and want to venture into wireless microphones, I can educate you on the very wide range of good microphone systems available, as well as brands and models that are continuously dominating the market and performance venues. So, get out to your local music store, bring up a couple of these and try them out. Most of these microphones should come with a soft case of some sort, and a mic clip. This will make is easy for you to throw it in your gig bag and plug it in when you get on stage. Just make sure you tell the soundman first.
If you can’t afford a new microphone, get a couple bucks and go buy a microphone pop-filter that goes over the front of a mic. This will at least keep things sanitary.
Happy microphone hunting!
Have an idea for an article? Erik is taking suggestions for topics that you, the readers, would like to learn more about. It can be anything…but music related would be nice.
Erik Beyer can be reached at erik@revampmusic.com. Erik is an Assistant Buyer for Musician’s Friend, and also runs ReVaMP (www.revampmusic.com), a Southern Oregon live show and entertainment listing resource.
