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Post by brenta on Mar 27, 2024 9:28:59 GMT -6
Has anyone tried an SM7B or RE20 on stage? I remember seeing Josh Groban use an SM7B live on some awards show at some point. I figure the main reason they aren't used more is because they are bigger and block the performer's face. How do they handle feedback?
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Post by wendelgee2 on Mar 27, 2024 11:46:09 GMT -6
Anyone try the Earthworks SR117? For $200 it seems really enticing (although that's 2 x 58's). btw, while I liked the tone of the sE V7 on some vocals, it always seemed like the internal pop filter was lacking (it pops a lot more than say a 58). Found the same with the Blue enCore 100. Sennheiser 835 always worked fine. I almost went that way a while back (tried the AE5400 instead, sigh) but the perfectly ruler flat frequency response scared me off. My KSM8 is pretty ruler flat, with a couple gentle bumps at the top end, and even that reads as dark for a stage mic. I was worried that the SR117 would read even darker. Curious if folks have tried it and my assumption was right/wrong. |
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Post by Shadowk on Mar 27, 2024 16:31:34 GMT -6
Has anyone tried an SM7B or RE20 on stage? I remember seeing Josh Groban use an SM7B live on some awards show at some point. I figure the main reason they aren't used more is because they are bigger and block the performer's face. How do they handle feedback? They 7b's very much like the SM58, great mic's for live work and if something comes loose on stage they make a great hammer too. |
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Post by antipodesjosh on Mar 28, 2024 0:44:24 GMT -6
Has anyone tried an SM7B or RE20 on stage? I remember seeing Josh Groban use an SM7B live on some awards show at some point. I figure the main reason they aren't used more is because they are bigger and block the performer's face. How do they handle feedback? Not my favorite on stage because the larger front assembly means the coil isn’t as close to the singer’s mouth as with a typical dynamic. This usually means more drum bleed, but also the potential for more spill from FOH/mons, which can cause more feedback. |
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Post by bossanova on Mar 28, 2024 7:53:46 GMT -6
Is it fair to say that a lot of this depends on the FOH engineer if you're not running it yourself?
In the past couple years I've seen The Who and The Lemon Twigs, both using 58s on vocals, and in both cases I was appalled at how the engineer was doing seemingly zero correction for the low mid proximity boost, which meant that lower notes were booming and resonating all over the place.
It was particularly heartbreaking in the case of the Lemon Twigs, as they normally sound like angels, but it was distracting as hell to hear the PA go "mmmmmm" every time they get into their lower registers.
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Post by chessparov on Mar 28, 2024 10:22:16 GMT -6
Just imagine if they were singing... Mmmbop (or whatever title those Hanson kids sang).  Chris |
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Post by thehightenor on Mar 28, 2024 10:31:56 GMT -6
Is it fair to say that a lot of this depends on the FOH engineer if you're not running it yourself? In the past couple years I've seen The Who and The Lemon Twigs, both using 58s on vocals, and in both cases I was appalled at how the engineer was doing seemingly zero correction for the low mid proximity boost, which meant that lower notes were booming and resonating all over the place. It was particularly heartbreaking in the case of the Lemon Twigs, as they normally sound like angels, but it was distracting as hell to hear the PA go "mmmmmm" every time they get into their lower registers. You know, I've been round the houses with live vocal mics. Beyer M88, Beta 87 and even some fancy pants expensive hand held condenser mics and I always seem to come back to using my humble 58. I have it perfectly eq'd on my live board and it just cuts through a mix at the perfect frequencies - it seems to have the forward mids in a similar way to the reason I cut vocals in the studio with a 47. Macca has used one for nearly all his career and he's a tenor too. |
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Post by bossanova on Mar 28, 2024 13:08:58 GMT -6
Is it fair to say that a lot of this depends on the FOH engineer if you're not running it yourself? In the past couple years I've seen The Who and The Lemon Twigs, both using 58s on vocals, and in both cases I was appalled at how the engineer was doing seemingly zero correction for the low mid proximity boost, which meant that lower notes were booming and resonating all over the place. It was particularly heartbreaking in the case of the Lemon Twigs, as they normally sound like angels, but it was distracting as hell to hear the PA go "mmmmmm" every time they get into their lower registers. You know, I've been round the houses with live vocal mics. Beyer M88, Beta 87 and even some fancy pants expensive hand held condenser mics and I always seem to come back to using my humble 58. I have it perfectly eq'd on my live board and it just cuts through a mix at the perfect frequencies - it seems to have the forward mids in a similar way to the reason I cut vocals in the studio with a 47. Macca has used one for nearly all his career and he's a tenor too. That’s the thing, I think a 58 can sound great as long as whoever is running the board compensates for the range of the singer and the playback system. And this was at the Moody Center and the secondary ACL venue (remember what it’s called but it’s a smaller stage) in Austin respectively, not some random hole in the wall (some of which have really great sound). I know it can be done because, my own experience aside, I haven’t heard these audio hiccups when seeing acts on the main Moody Theater stage. They take the time to get everything sounding great whenever I’ve heard a show there, taped for TV or not. |
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ericn
Temp
Balance Engineer
Posts: 16,086 
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Post by ericn on Mar 28, 2024 17:03:24 GMT -6
You know, I've been round the houses with live vocal mics. Beyer M88, Beta 87 and even some fancy pants expensive hand held condenser mics and I always seem to come back to using my humble 58. I have it perfectly eq'd on my live board and it just cuts through a mix at the perfect frequencies - it seems to have the forward mids in a similar way to the reason I cut vocals in the studio with a 47. Macca has used one for nearly all his career and he's a tenor too. That’s the thing, I think a 58 can sound great as long as whoever is running the board compensates for the range of the singer and the playback system. And this was at the Moody Center and the secondary ACL venue (remember what it’s called but it’s a smaller stage) in Austin respectively, not some random hole in the wall (some of which have really great sound). I know it can be done because, my own experience aside, I haven’t heard these audio hiccups when seeing acts on the main Moody Theater stage. They take the time to get everything sounding great whenever I’ve heard a show there, taped for TV or not. Well yeah that Avid System 6 and Meyer combo should be able to make 58 work, or show all the warts. Wish The Moody foundation would have spent that kind of $ in their home town! |
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Post by wendelgee2 on Apr 8, 2024 6:20:11 GMT -6
After auditioning the Austrian Audio OD505, Telefunken M80, and Sennheiser E945 last night, I ended up keeping the Sennheiser and the others will be going back.
The specific use case here is baritone in a fairly crowded rock mix, ala Neil Diamond, so enough top end to cut through and a moderate proximity effect to work with were the keys here.
Telefunken M80. This was an instant nope. Reminded me of my KSM8, actually, which I love for other purposes but not for this. Not much proximity, so it felt kind of weak and thin on the quiet parts, but also not enough top end to cut through. This seemed like a very robust, well made, and detailed mic but offered nothing that I was looking for. 6/10 for this purpose.
Austrian Audio OD505. This sounded fantastic. Rich and controlled proximity effect, a lot of gain (obviously, since it's an active dynamic), detailed, enough bite to cut through. I had reservations at my level about a stage mic that requires phantom power. Feels like the sort of thing a weary sound guy would roll his eyes at and say "just use the house mic, dude." It is also a full $100 more than the Senny. 9/10 for this purpose.
Sennheiser E945. Very detailed, a lot of top bite to cut through. Slightly brighter overall than the OD505, much brighter than the M80 (but less bright than the Beta 57a that started this journey). Low notes had a good snappy growl. Perfect proximity effect, where you can lean in for a quiet bit and sound lovely and intimate, then back off to belt. When you back off, it really has a nice reach and consistency. Thins out a bit, but never gets shrill. I could get 18" off this mic and it still sounded great. Try that with an SM58.
Perfect fit for me, 10/10, and the cheapest mic in this crowd.
I think part of what I'm realizing is that I like supercardioid. I find it more natural and predictable to work that pattern for some reason.
Thanks for coming to my TedTalk.
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Post by wendelgee2 on May 6, 2024 14:49:19 GMT -6
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