Recommend me a GREAT live mic

Discussion of music production, audio, equipment and any related topics, either with or without Ableton Live
Scaper7
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Re: Recommend me a GREAT live mic

Post by Scaper7 » Fri Jul 19, 2013 5:51 pm

try a pair of matched Rode NT5s. Very affordable ... right up there with the better pencil mics I've used. (km104, C451)

102455
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Re: Recommend me a GREAT live mic

Post by 102455 » Fri Jul 19, 2013 6:16 pm

They look very similar to the Oktava MC012/MK012, which can also be bought in matched pairs.

Dragonbreath
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Re: Recommend me a GREAT live mic

Post by Dragonbreath » Fri Jul 19, 2013 7:09 pm

If he is looking to replace a sm58 its not to catch the sound of the room but for someone to sing in it (vocal mic). Hence a condenser will feedback in those circumstances.

I have some experience with recoring acts live in small venues. Having a graphic Eq for the monitors really helps with the feedback and getting a stronger level into the preamp (ie. better sound)

The main reason the sm58 is favored live its because its pre-Eq. So it tends to feedback less and requires less work to sound good for most voices. But it doesnt sound good for everyone, some people sound horrible trought it and since alot frequency are allready cut out its hard to get a good sound out of it. I have used the senheinser e935 as vocal and found them much clearer and more open then a sm58. I find the sm58 to worker for more raw rock vocals were the singer isnt as strong, but with a strong singer will get muffeled by the sm58. The e935 will leave the room for a strong singer to perform in but has a bit more tendency to feedback if you dont have eq on the monitors and will really expose the shitty singing of mediocre singer.

I had suggested the blue live condenser since your were looking for a condenser feel live but it might be oustide your budget. You have to realise you will never get that polished condenser sound in a live situation. The bleed from the room and the reflections and the foldback from the monitor.

Hope this helps

fishmonkey
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Re: Recommend me a GREAT live mic

Post by fishmonkey » Sat Jul 20, 2013 4:08 am

acoustic guitar was mentioned as well, but you are right that in a restaurant the sensitivity of a condenser is likely to be a drawback anyway, both in terms of feedback and picking up all the cruddy sounds of the room --- unless we are talking about really good performers and the patrons all shut up while they are playing.

Punky921
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Re: Recommend me a GREAT live mic

Post by Punky921 » Tue Jul 23, 2013 12:08 pm

Clarification: I'm recording at live band shows in a small space. The band is performing for an audience, and I'm recording off of the sound board. When I use my condensers, I tend to get a lot of feedback. I'm usually micing every instrument / vocalist.

lapieuvre
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Re: Recommend me a GREAT live mic

Post by lapieuvre » Tue Jul 23, 2013 12:38 pm

What you look for is a matched pair of this:

http://www.kelaudio.com/products/hm-1x/

Unfortunately it is discontinued, maybe on ebay...
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Z3NO
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Re: Recommend me a GREAT live mic

Post by Z3NO » Tue Jul 23, 2013 1:25 pm

Punky921 wrote:Clarification: I'm recording at live band shows in a small space. The band is performing for an audience, and I'm recording off of the sound board. When I use my condensers, I tend to get a lot of feedback. I'm usually micing every instrument / vocalist.
Are you recording each channel individually or sending a mix? Is it a dry signal from the direct-out of each channel or are you sending post-eq/post fader? Is there any other processing applied? Compressors, gates, reverbs or delays?
Your problem is caused by bleed from every voc and instr mic picking up the sound from monitors, PA, guitar amps and whatnot and repeating the signal over and over, effectively mudding up the sound. Over a live PA this isn't a huge issue, but a recording done this way will be shite flushed down a toilet and no godforsaken wondermic will get around this problem.
If you're doing a multitrack of dry signals (the best way), you can do some cleaning work in post. Get into the stems and isolate the music parts and remove everything else around them and you should aim at having at least the lead vocalist using an in-ear-monitor. The SM58 works best because of the pick-up pattern being very sensitive at close range and practically null at anything over 1 foot. By all means experiment with other mics, but my money is on the 58. I have spent the last 10 years as a live engineer (recording countless setups) and I'm yet to find a mic that works better in those conditions.

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