That doesn't really depend on the mic. More of it's placement in realation to any speakers
If your in a studio, you shouldn't be getting any feedback, because you should be using headphones.
Live you need to work on speaker and mic placement
Different handheld mics come with different polar patterns. While most are cardioid, many are hypercardioid or supercardioid. Which one works best in rejecting feedback depends on the location of the mic in relationship to any floor wedges or side-fill monitors.
For instance, if you are standing right in front of a wedge, you would want a cardioid mic, but if the wedges were off to the side, or you were very close to a side-fill, then you would be better of with a hypercardioid pattern.
The other factor is knowing how to use parametric EQ to notch out likely feedback frequencies. I've been on the road with some top live engineers who EQ the wedges to the point where you can lean over and point the mic right at them, and they still won't feed back!
i coming more from the basis of being in rehearsal and when i do play live the sound guy is not likly to be the ultimate pro i.e. small clubs and pubs etc.
any mics in particular that you can suggest?
ive been looking at some of the beyerdynamic mics such as the opus69, opus 89 and tgx60 they seem to have amazing polar charts but i have no idea what they sound like?
I know you said no OM7, but it is a great mic as is the OM5. Not only are they great for feedback rejection, but they cut in a dense mix extremely well. (AKA, you can actually hear the vocals throgh heavy guitars.) I know, not what you wanted to hear.
Beyer M88 works pretty well and sounds very good. Audix VX-10 if you want to spend the $$$.
Yeah I'm an attorney, but everyone needs a day job.
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