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Aug 24 2007, 07:19 AM
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I dont know anything about microphones, but isnt Shure SM58 the mic "everyone" uses?
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Aug 24 2007, 07:42 AM
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QUOTE (Robin @ Aug 24 2007, 02:19 AM)  I dont know anything about microphones, but isnt Shure SM58 the mic "everyone" uses? For live performances SM58 is a great place to start - for studio work look at some of the cheaper capacitor microphones - the Rode NT1-A for example is awesome for the price. DYnamic mics have the worst sound but are very sturdy and work well for live. Capacitor/Condensor mics are more delicate, need a power supply but are used extensively in studios for vocals and micing up instruments. Ribbon mics were popular in thr 40s and 50d but died out. They are now seeing something of a resurgence as new models are on the market. Ribbon mics can withstand huge volumes so are great for drums and micing up loud instruments, but are being used for more mainstream tasks now. -------------------- Check out my Instructor profile
Live long and prosper ... My Stuff: Electric Guitars : Ibanez Jem7v, Line6 Variax 700, Fender Plus Strat with 57/62 Pickups, Line6 Variax 705 Bass Acoustic Guitars : Taylor 816ce, Martin D-15, Line6 Variax Acoustic 300 Nylon Effects : Line6 Helix, Keeley Modded Boss DS1, Keeley Modded Boss BD2, Keeley 4 knob compressor, Keeley OxBlood Amps : Epiphone Valve Jnr & Head, Cockburn A.C.1, Cockburn A.C.2, Blackstar Club 50 Head & 4x12 Cab |
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Aug 24 2007, 08:05 AM
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Shure SM57 and 58 are great dynamic mics and robust enough to gig with for 150 UK you should be able to get one and lots of change (or possibly 2). Don't get a ribbon mic for band practices/gigging- I doubt that 150 UK would be enough anyway for a good one and they are pretty delicate, its easy to damage the ribbon if you're not really careful with it. You can get lots of good condensers in your budget - a Rode NT1A, or similar is worth looking at and should be robust enough if you treat it with some care. Generally condensers need either phantom power (supplied for instance from the mixing desk) or have to have some other power source.
Difference between mic types (a ribbon btw is a particular type of dynamic mic)- tone, frequency range, separation, transcient response, colouring, how robust they are to knocks, bangs and being dropped... Most condensers provide more treble/high frequency detail whilst a dynamic will usually emphasise the mid range and add some presence suitable for vocals and guitar. In an ideal world I'd say get both to cover both these bases but if you can only get one then for gigging get a robust dynamic (SM57/58 or similar). Robust, response for live is more than good enough, cheap, easy to get replacement parts, no need for phantom power. If you can get the other band members to invest in mics - drums need quite a few of varying types  .Don't forget that you'll need a good mic stand, xlr cable and maybe a pop shield and possibly also a shock mount. Cheers, Tony -------------------- Get your music professionally mastered by anl AES registered Mastering Engineer. Contact me for Audio Mastering Services and Advice and visit our website www.miromastering.com
Be friends on facebook with us here. We use professional, mastering grade hardware in our mastering studo. Our hardware includes: Cranesong Avocet II Monitor Controller, Dangerous Music Liasion Insert Hardware Router, ATC SCM Pro Monitors, Lavry Black DA11, Prism Orpheus ADC/DAC, Gyratec Gyraf XIV Parallel Passive Mastering EQ, Great River MAQ 2NV Mastering EQ, Kush Clariphonic Parallel EQ Shelf, Maselec MLA-2 Mastering Compressor, API 2500 Mastering Compressor, Eventide Eclipse Reverb/Echo. |
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Aug 24 2007, 09:52 AM
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Yep,Shure SM58 or SM57
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Aug 24 2007, 09:54 AM
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Hi Chris,
shock mount is like a little mount/cradle that the mic sits in which isolates it from the mic stand. It stops the mic picking up bangs and ringing if the mic stand gets bumped etc. May not be necessary for live applications (particularly if you use a dynamic) but can be very useful for recording particularly with a condenser. Cost of a mount depends on the mic, some include it in the price (Rode NT1A for instance) Pop shield is a screen that is placed in front of/over the mic that prevents certain syllables from 'over cooking' - things like the letter 's' can sound sybliant without. (Listen to people doing the time honoured and very irritating 'one.two, testing' in a sound check and you can hear the need for a pop shiled more often then not  )Cheers, Tony -------------------- Get your music professionally mastered by anl AES registered Mastering Engineer. Contact me for Audio Mastering Services and Advice and visit our website www.miromastering.com
Be friends on facebook with us here. We use professional, mastering grade hardware in our mastering studo. Our hardware includes: Cranesong Avocet II Monitor Controller, Dangerous Music Liasion Insert Hardware Router, ATC SCM Pro Monitors, Lavry Black DA11, Prism Orpheus ADC/DAC, Gyratec Gyraf XIV Parallel Passive Mastering EQ, Great River MAQ 2NV Mastering EQ, Kush Clariphonic Parallel EQ Shelf, Maselec MLA-2 Mastering Compressor, API 2500 Mastering Compressor, Eventide Eclipse Reverb/Echo. |
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Aug 28 2007, 01:35 PM
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QUOTE (Andrew Cockburn @ Aug 24 2007, 02:42 AM) For live performances SM58 is a great place to start... [snip]  Your so silly. For most performing musicians it's also the place to end. This mic is basically the gold standard of performing mics... well this and the Shure Beta 58A.Hardtail -------------------- Beginner's Amp & Guitar Gear Guide My Keeley Blues Driver BD-2 Review My Line6 Flextone II Review Guitars: Martin D-16RGT with B-Band UST & '99 Fender "Big Apple" Hardtail HH Strat Amps: Fender Blues Junior Special Edition & Fender Studio 85 (Simultaneous... yummy) |
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Aug 28 2007, 08:47 PM
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QUOTE (Hardtail @ Aug 28 2007, 08:35 AM) Your so silly. For most performing musicians it's also the place to end. This mic is basically the gold standard of performing mics... well this and the Shure Beta 58A.Hardtail Yes, can't disagree with that
-------------------- Check out my Instructor profile
Live long and prosper ... My Stuff: Electric Guitars : Ibanez Jem7v, Line6 Variax 700, Fender Plus Strat with 57/62 Pickups, Line6 Variax 705 Bass Acoustic Guitars : Taylor 816ce, Martin D-15, Line6 Variax Acoustic 300 Nylon Effects : Line6 Helix, Keeley Modded Boss DS1, Keeley Modded Boss BD2, Keeley 4 knob compressor, Keeley OxBlood Amps : Epiphone Valve Jnr & Head, Cockburn A.C.1, Cockburn A.C.2, Blackstar Club 50 Head & 4x12 Cab |
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Aug 31 2007, 04:05 AM
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QUOTE (Chris @ Aug 30 2007, 10:12 PM) but this SM58 is only about 70 uk pounds on the internet....i always thought a raelly good mic would cost hundreds.... Really good recording mics cost hundreds, however the demands of live perfomance are very different and the recording fraternity has long since settled on a mic that is pretty good and very rugged. This post has been edited by Andrew Cockburn: Aug 31 2007, 04:06 AM -------------------- Check out my Instructor profile
Live long and prosper ... My Stuff: Electric Guitars : Ibanez Jem7v, Line6 Variax 700, Fender Plus Strat with 57/62 Pickups, Line6 Variax 705 Bass Acoustic Guitars : Taylor 816ce, Martin D-15, Line6 Variax Acoustic 300 Nylon Effects : Line6 Helix, Keeley Modded Boss DS1, Keeley Modded Boss BD2, Keeley 4 knob compressor, Keeley OxBlood Amps : Epiphone Valve Jnr & Head, Cockburn A.C.1, Cockburn A.C.2, Blackstar Club 50 Head & 4x12 Cab |
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Aug 31 2007, 01:37 PM
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I don't normally insist anyone do anything I tell them but really, go buy an SM58.
They are the gold standard for performing.Hardtail -------------------- Beginner's Amp & Guitar Gear Guide My Keeley Blues Driver BD-2 Review My Line6 Flextone II Review Guitars: Martin D-16RGT with B-Band UST & '99 Fender "Big Apple" Hardtail HH Strat Amps: Fender Blues Junior Special Edition & Fender Studio 85 (Simultaneous... yummy) |
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