|
|
Post by jcoutu1 on May 11, 2017 4:55:13 GMT -6
MBHO MBD 219 SC Dynamic Hypercardioid Handheld Oooooooooooo. This is something I need to check out now. |
|
ericn
Temp
Balance Engineer
Posts: 16,086 
|
Post by ericn on May 11, 2017 6:17:39 GMT -6
MBHO MBD 219 SC Dynamic Hypercardioid Handheld Oooooooooooo. This is something I need to check out now. Hard to find Dale is the only US dealer, always wanted to try MBHO dynamics! |
|
|
|
Post by yotonic on May 11, 2017 9:55:43 GMT -6
My FOH engineer just came off tour with Panic At The Disco and didn't know I had bought a few of these. He was floored. In a live setting the 219 SC just bested everything else we put up against it. I don't know what they are doing but the mic has a uniquely tight sound that seemed to actually compensate for room anomalies while keeping a familiar frequency response curve. It's not cheap but worth it all day. I can't tell you how many times an opner or headliner traveling with their own mic kit will try it and say "wow, give me that".
|
|
|
|
Post by aamicrophones on May 11, 2017 13:53:25 GMT -6
MBHO MBD 219 SC Dynamic Hypercardioid Handheld Oooooooooooo. This is something I need to check out now. COMING SOON!!! The Advanced Audio CM54 live vocal microphone. Here it is being field tested in Portugal. Maria the singer told me the sound guy loved it and preferred it to the Neumann KMS-105.  Here is a picture of the prototype   The head will fit on or CM1084 pencil microphone and has a super-cardiod 22mm capsule. The super-cardiod head grill will be about $95 and the complete CM54V with its class "A" fet transformer coupled 414eb type circuit will sell for $229.00 These are in production as we speak and we expect to have stock by July to introduce them at Summer Namm in Nashville. I will have several vocal samples by the end of the month from the prototype that I have here. Cheers, Dave aamicrophones.com |
|
|
|
Post by yotonic on May 12, 2017 2:09:20 GMT -6
Nice! Good luck with that.
|
|
|
|
Post by iamasound on May 12, 2017 3:08:36 GMT -6
One typically loud, grungy, ganja filled evening back in like '86 in CBGB's while waiting to go on after some other typically loud and grungy rock band, my own trusty personal SM58 (yuk, to me using a house mic is like french kissing a found piece of chewing gum on the bottom of my shoe, IMHO), said microphone inexplicably fell head first into my full mug of beer. I snatched it out, and after flicking it until no more liquid was left to be flung, wiping it off on the leg of my bright orange jumpsuitand, and at conclusion of my raging "fucking shit" monologue, prayed a small prayer to rally any and all hope that it might yet have a spark of life left in it so I wouldn't need to get all down and personal with a CBGB spit sponge. I dried the foam on the inside of the head basket until it no longer felt damp, screwed back the basket and waited until we hit the stage to try it out. It was totally fine and I was able to use it for many years to come. Afterwards it always had a faint ranking odour left over of its adventure, but that was fine by me. A 58 is hard to kill.
|
|
ericn
Temp
Balance Engineer
Posts: 16,086
|
Post by ericn on May 12, 2017 7:00:48 GMT -6
One typically loud, grungy, ganja filled evening back in like '86 in CBGB's while waiting to go on after some other typically loud and grungy rock band, my own trusty personal SM58 (yuk, to me using a house mic is like french kissing a found piece of chewing gum on the bottom of my shoe, IMHO), said microphone inexplicably fell head first into my full mug of beer. I snatched it out, and after flicking it until no more liquid was left to be flung, wiping it off on the leg of my bright orange jumpsuitand, and at conclusion of my raging "fucking shit" monologue, prayed a small prayer to rally any and all hope that it might yet have a spark of life left in it so I wouldn't need to get all down and personal with a CBGB spit sponge. I dried the foam on the inside of the head basket until it no longer felt damp, screwed back the basket and waited until we hit the stage to try it out. It was totally fine and I was able to use it for many years to come. Afterwards it always had a faint ranking odour left over of its adventure, but that was fine by me. A 58 is hard to kill. Might have helped! |
|
|
|
Post by jimwilliams on May 12, 2017 9:16:50 GMT -6
Easy. AKG 535EB. Used those for many years. I found the 105 to be dark and veiled. 535's are excellent for live recordings, always use those. They sound like I used a top dog studio mic when mixed. You can easily hear the difference between those and the Shure dynamics used at the same time. I used 88's and stuff touring with Stevie Wonder, I still prefer the detail of the 535's.
They have some drawbacks, like don't use them for a singing drummer or use them in front of a drum set. They also reveal everything you say on-stage too. Got to watch what you say, they pick up everything!
A friend has a custom version AKG built special for Frank Zappa, it's a flat response without the 'presense peak'. Sounds sort of like a 451 with a pop filter.
|
|
|
|
Post by winetree on May 12, 2017 14:00:58 GMT -6
|
|
|
|
Post by gar381 on May 12, 2017 16:35:43 GMT -6
We used a bunch of different vocal mics for Stage back when I was doing SR on the road back in the 80s. SM58 #1 Favorite SM57 (with wind screen) EV DS35 #2 Favorite EV PL95 Beyer M88 (Great but if you only own 1, stick it in the Kick) AKG 451- CK5 (a little to much hi end but fits some singers) Sen 441 sen 431 Got to try 'em all and see what fits your pipes  Most do wedges well with a good Monitor Eng. Gary |
|
|
|
Post by Guitar on May 12, 2017 19:12:33 GMT -6
Cool thread.
I was using an SM58 in the rehearsal room, it was a little hard to cut through. The Beta 57(58) and the ElectroVoice PL84c seemed to be a lot easier to hear on my voice, among the raucous din. I suppose I'm a baritone that's not that bright. I would also add that I replaced either a Weber or Eminence american style speaker with a Celestion Vintage 30 in my 2x12 and the guitar was speaking a lot more clearly as well.
For me it was about hearing the source better in a sub-optimal room. Maybe in a venue with a professional sound engineer, and PA system, the cards could be stacked differently.
For hand-held vocal recordings at home, I prefer the TAB Funkenwerk T58 transformer in my SM57 windscreen'd mic. Sounds really good. I wonder if that would make a good live mic, too.
The $200-300 handheld dynamic mic option is something I'd really like to explore in the future.
|
|
|
|
Post by c0rtland on May 16, 2017 9:14:43 GMT -6
I like the beyer m88 and the tele m80 if I want brighter.
|
|
|
|
Post by Ward on May 16, 2017 9:55:27 GMT -6
Cool thread. I was using an SM58 in the rehearsal room, it was a little hard to cut through. The Beta 57(58) and the ElectroVoice PL84c seemed to be a lot easier to hear on my voice, among the raucous din. It has been argued that a '58 sounds an awful lot like a U47 . . . including the 'mask' which doesn't translate well into live usage. I find the beta 58 to be a Helluva LOT better but some people claim it is even worse than a regular 58. (I find the beta 58 similar to the Beyer M88 in terms of frequency response) And as c0rtland pointed out, the M80 is brighter if you need that. Which I do. And since you state you're a baritone, you proudly do as well!! Some cut goes a long way. |
|
ericn
Temp
Balance Engineer
Posts: 16,086
|
Post by ericn on May 16, 2017 11:46:03 GMT -6
It's always been more work to match a stage mic for live performance than a studio mic. Stage mic has to work and cover the foibles of live performance where there's no erase for what didn't work!
It's often the reason and the tell that somebody is lip syncing!
|
|
|
|
Post by mulmany on May 16, 2017 21:20:34 GMT -6
Trying to get my Full compass rep to get some demos out to me. So far it's only the M88. My sweet water guy just flat out said no, that's what the return policy is for. Knowing me, I would have a very large CC charge to explain after the 30days!
|
|
|
|
Post by tyford on Jun 2, 2017 10:08:36 GMT -6
|
|
|
|
Post by rowmat on Jun 2, 2017 17:03:28 GMT -6
This isn't too shabby but probably not for death metal singers on crack!   |
|
|
|
Post by fishnmusician on Jun 4, 2017 13:17:52 GMT -6
For dynamic mics a lot of women like Beta57. The guys liked N/D 757 until it hit the floor and died. Went to the Audiv OM series with good luck and less feedback.
|
|
|
|
Post by RealNoob on Feb 4, 2023 16:00:36 GMT -6
Reviving this as I am considering live mics. We currently use Beta 87A's. I have tried KSM9's on live recordings and found them harsh. Twice, I have tested or supported the use of KMS 105's. There is an edge that really affects sibilance badly on certain people.
Tried KSM8's. They are warm and rich, easily adaptable but lack some detail. They are a good fall back.
I have listened dozens of demos now to DPA DP2028, Earthworks SV40V & SR314, Sennheiser e965, Mojave DPM, Beyer M88, Telefunken M80, Audix VX5, Miktek PM9 etc.
So far, the SR40V is what I like most. It seems to have the body of the KSM8 with great top end extension, still avoid the aggressive top of the KMS105 and KSM9.
Most have some kind of push in the mids and either have a great bottom, good mids or nice high end, none seem to have all but for the SR40V. Of course these are isolated tests, not stage tests like mine, listed above.
Any more recent thoughts about these that I have mentioned? I'd likely be able to do well with the e965, KSM8 or PM9. The goal is to make live recording production easier and to improve overall sound.
|
|
ericn
Temp
Balance Engineer
Posts: 16,086
|
Post by ericn on Feb 4, 2023 16:27:02 GMT -6
Reviving this as I am considering live mics. We currently use Beta 87A's. I have tried KSM9's on live recordings and found them harsh. Twice, I have tested or supported the use of KMS 105's. There is an edge that really affects sibilance badly on certain people. Tried KSM8's. They are warm and rich, easily adaptable but lack some detail. They are a good fall back. I have listened dozens of demos now to DPA DP2028, Earthworks SV40V & SR314, Sennheiser e965, Mojave DPM, Beyer M88, Telefunken M80, Audix VX5, Miktek PM9 etc. So far, the SR40V is what I like most. It seems to have the body of the KSM8 with great top end extension, still avoid the aggressive top of the KMS105 and KSM9. Most have some kind of push in the mids and either have a great bottom, good mids or nice high end, none seem to have all but for the SR40V. Of course these are isolated tests, not stage tests like mine, listed above. Any more recent thoughts about these that I have mentioned? I'd likely be able to do well with the e965, KSM8 or PM9. The goal is to make live recording production easier and to improve overall sound. I have 2 Senn ew300 systems with both 835 and 865 heads really like the 865, but I just purchased a cheap 87a and 87 head and an Ambient adapter because nothing matches the feedback control. The KSM dynamics are awesome on the right voice or speech but your right the 9 gets really edgy on most unless you EQ the crap out of it. |
|
|
|
Post by antipodesjosh on Feb 5, 2023 2:41:26 GMT -6
I mix at a church (~500 seat room) that has an e965, several e945s and beta 58s. I find I have to de-ess the Sennheisers on most vocals, especially the e945 – I’ve never got along with that mic. The 965 is a good step up from the dynamic options in terms of clarity. A very rider-friendly choice, and you won’t cry if it rolls off the edge of the stage 🤣.
More local acts are picking up the Austrian Audio OD505 and OC707, I’m keen to take those for a spin as well, but no first-hand experience yet.
|
|
|
|
Post by chessparov on Feb 5, 2023 12:08:49 GMT -6
My faves are the M88TG (if you're not a worry wart like me*)
And the AKG D790 which is similar, but you can get for peanuts.
I do like the Shure 87's and EV 767a too.
Chris
*I get concerned about theft/damage with anything onstage over around $150 replacement.
|
|
|
|
Post by gravesnumber9 on Feb 5, 2023 14:31:50 GMT -6
Great venue here in Austin used EV 510 stage condensers for FOH. Sound guy sold me one when they closed down, I’ve used it ever since.
I also use the 410 and like it.
They take compression well and can be worked close like a dynamic or used with a bit of space in a folky/jazzy set up. Annoyingly I’ve never been able to get them to do any special on non-vocal setups which is frustrating for the price.
I love my vintage m88 but have never taken it out of the studio. Maybe it’s time.
All that said? If I was building a venue… 58 and forget it.
|
|
|
|
Post by ab101 on Feb 5, 2023 17:28:08 GMT -6
Happy with the KMS105s which offer more clarity that the Senn. e935 but not as rugged as the Sennheiser. Even though the 935 is just cardioid, I have not had a problem with it with feedback from the PA or monitors. The 945s are supercardioid and I have not tried them. I would like to know if anyone has compared and can comment on the 935 vs. 945 in live situations.
Many, many moons ago, I really liked the Shure beta 87s.
|
|
|
|
Post by the other mark williams on Feb 5, 2023 21:10:37 GMT -6
I've used a bunch of different things over the past 25 yrs, and had a long touring relationship with the AKG 535. As a singer, I've learned how to make a lot of different mics work for me - you do have to learn their sweet spots and how to best work them. But for me, nothing has compared to a cardioid Earthworks. I have an SR69 and an SR20, which are really the same mic. They don't make the exact model anymore, having replaced it with slightly different models, but seriously, nothing has been able to touch it for naturalness, and I've never had feedback problems with it. Anytime I've needed to get a recording of a live performance, it's sounded great. I cannot say that last part about a bunch of other mics. I can be a very dynamic singer in a live setting, but the Earthworks keeps up. I never hear anyone else talk about it, but it really is special on vocals.
|
|
