Live Mic, high fback rejection

[chamelious]

Hi Guys,

Looking at getting a decent mic for our singer, we currently carry SM58's to gigs which are usually equal better than the ones at the venue. Want to upgrade him. Been looking at:

Beta 58a
Audix Om-5
EV 767

All seem to have good things said about them. Any thoughts on these/suggestions for others?

Here is a recorded version of one of our songs: https://www.youtube.com/watch?v=LQb6FMN2YH8

Here is us performing the same song live: https://www.youtube.com/watch?v=Ui1hPi74h-o&feature=related

If you want to see what his vocals are like

 

[mixsit]

I own OM5's which is very tight patterened, and along with that comes the slight downside of being a bit more position sensitive.
Playing with the 767 for now, but for looking for a tone I like, not feedback rejection, so no opine there.

 

[moresound]

Go for the EV767 for feed back rejection and good quality microphone.

Lt. BOB will chime in with more praise for the EV. I bet. He has been playing live for longer than most musician here have been alive!(God said let there be light and he got to throw the switch!) He has seen them all and the 767 is his weapon of mass destruction.

Now you shouldn't be getting feedback from the house speakers. Is the problem with the monitors? For the placement of the monitors are of most importance.
While ringing them out during sound check the stationary mics should have the monitor dead nuts straight on to the back of the mic.
If you have a roving lead singer .... oh well, your screwed just joking there. You just have to make him/her aware of the feedback spots and avoid them.
But with the proper EQing and possibly inserts of a compressor/limiter/gate unit for the vocals you can get your monitors as load (all most) as your house speakers. At that point blood will flow.

A lot of bands travel with their own in ear monitors and mix it them self from the stage (this is a beautiful thing) then no monitors to worry about feed back -but the blood will still flow!! Be real careful.

 

[PhilGood]

Let's assume for a moment there's an "upgrade" to the SM58.

Now let's assume it's stood the test of time and has the reputation and trust of the SM58.

Now, let's also assume it isn't a vintage studio condenser microphone or vintage ribbon mic.

What mic is it?

(trick question)

 

[chamelious]

Thanks for the help so far. The problem isn't us not knowing how to work the stage, its with having to play venue's where the soundman has no idea, and is often just the promoter. Most of the time there isn't even monitors for us. Plus its to do with our singer wanting his own mic

 

[Mr Blues]

I am a big fan of the AKG C 535.

It has a clear open sound and plenty of output so you can keep the gain low and still get a crystal clear warm sound.

Dave

 

[Richard Monroe]

I am a big fan of the AKG C 535.

It has a clear open sound and plenty of output so you can keep the gain low and still get a crystal clear warm sound.

Dave

While I am a huge fan of the C535, if gain-before-feedback was my mission, a handheld condenser would not be my first choice. Also, it wants phantom power, which is not a problem, as long as the board provides it. I prefer it for smaller acoustic gigs, not full-on rock.

One dark horse in this mix is the AKG D3800 tripower, a discontinued supercardioid dynamic. It didn't sell, which is the only reason it was discontinued. It's a great mic, and like all supercardioids, it is a bit position-sensitive. Because it didn't sell, you can find them for about $100 new, in the flight case. It was originally a $325 or-so mic. If you happen to see one for cheap, grab it. It's clear as a bell, and has huge gain-before-feedback.-Richie