Recommend second microphone

[Two-Spirit]

I'm using a Marshall AS50d, Mackie Profx, Behringer 9 band eq, and SM58 for karaoke and acoustic stuff. I want to get another microphone for duets and I don't want two of the same mics. I'm thinking about getting the Blue Encore 200 with the phantom power.

 

[Wasnex]

I'm using a Marshall AS50d, Mackie Profx, Behringer 9 band eq, and SM58 for karaoke and acoustic stuff. I want to get another microphone for duets and I don't want two of the same mics. I'm thinking about getting the Blue Encore 200 with the phantom power.

If both mics will be used for singing then I would recommend matching mics. The reason is because it is way easier to tune out feedback if the vocal mics match. If you get different mics, each will have a unique frequency response and polar pattern. Because of this each mic will have a tendency to feedback at different frequencies.

 

[AGCurry]

Especially don't get a condenser mic to be used with a dynamic mic.

 

[Jeff Hughes]

Get a Beta 87 condenser. They are a nice option for different voices.

 

[frnjplayer]

Especially don't get a condenser mic to be used with a dynamic mic.

Why not?

 

[AGCurry]

Why not?

In live-music situations, condenser mics are more sensitive and therefore more prone to feedback, without providing significantly better sound. This feedback threshold will limit not only the gain of the condenser mic but that of all other mics being used. Any slight improvement in sound quality will be overshadowed by this factor.

If the need were for, e.g., choir mics, the use case would be different. But we're being asked about mics for individual vocalists, who typically sing a very few inches from the mic.

There are plenty of excellent moving-coil dynamic vocal microphones which perform wonderfully without the hassle of feedback. You won't pay as much and you'll have fewer headaches (earaches?).

 

[Wasnex]

In live-music situations, condenser mics are more sensitive and therefore more prone to feedback, without providing significantly better sound. This feedback threshold will limit not only the gain of the condenser mic but that of all other mics being used. Any slight improvement in sound quality will be overshadowed by this factor.

If the need were for, e.g., choir mics, the use case would be different. But we're being asked about mics for individual vocalists, who typically sing a very few inches from the mic.

There are plenty of excellent moving-coil dynamic vocal microphones which perform wonderfully without the hassle of feedback. You won't pay as much and you'll have fewer headaches (earaches?).

I don't think the type of mic predispositions it to be more or less likely to feed back. Rather feedback is determined by the mic's polar patter and frequency response. Condensers do tend to have extended high frequency response which can pose problems.

I have had really good results with some condensers and bad results with others. Years ago I mixed with some SM86s and was thrilled by how much better they sounded than SM58s. This was probably the most positive experience I have had.

I have also used Beta 87s and been fairly happy with most vocalists. I don't remember if they were A or C. The other audio techs in my organization swapped the Beta 87 heads for Beta 58 heads and felt this provided better isolation from cymbal wash. I don't totally disagree as the I remember the Beta 87 as a pretty bright mic.

The worst experience I ever had with a condenser vocal mic was with the Neumann KMS105. I found these totally unusable on small stages as they picked up excessive bleed from the instruments and monitors. The worst problem was build up in the low mids. Lot's of feedback and I could not dial out the cardboardy sound. To be fair I was mixing on Bose L1s and hand not yet quite learned how to deal with the sound wrapping around the columns. I swapped the KMS105s out for some Audix OM6s and the sound was significantly better. My two divas were heartbroken, but they made the right decision...the Neumanns went back in the box.

 

[AGCurry]

@Wasnex, you're probably correct in saying that some condenser mics don't present a feedback problem, and I have no problem using condensers in the right circumstances. My experience (I had the same issue with the KMS105) has been that mixing condensers with dynamics is more likely to lower the feedback threshold for the whole system. Given the number of really-good dynamic mics, and their lower cost, I choose not to poke the bear.

 

[Pilgrim]

The best advice is to use similar types of mics for compatible sound. For vocals, if you're using the Shure dynamic mics, stick with them. Their sound reproduction will be similar.

For instruments you can use different types of mics, but in a noisy band situation it's most common to use dynamics because they aren't as sensitive as condensers, so you don't pick up unwanted sounds from other sources.

Of course, one could write books about this, and many have been written. Some we research on mics to use for various types of instruments (drums vs. amps vs. voice) would bee a very good idea.

 

[frnjplayer]

In live-music situations, condenser mics are more sensitive and therefore more prone to feedback, without providing significantly better sound. This feedback threshold will limit not only the gain of the condenser mic but that of all other mics being used. Any slight improvement in sound quality will be overshadowed by this factor.

If the need were for, e.g., choir mics, the use case would be different. But we're being asked about mics for individual vocalists, who typically sing a very few inches from the mic.

There are plenty of excellent moving-coil dynamic vocal microphones which perform wonderfully without the hassle of feedback. You won't pay as much and you'll have fewer headaches (earaches?).

In general terms:
condenser mics are more sensitive. You just have to turn the input gain down a bit. In my current band our lead singer uses a small diaphragm tube condenser, I use a ribbon mic, and the guitar player sings into a Sennheiser dynamic. Set the gains properly and there are no feedback issues and no issue matching volumes.
Wasnex hit the main point with bleed.The situation decides if that is a good thing or a bad thing. Cost, sound quality, pickup pattern, form factor. Pick the mic that checks off the most important boxes for you and run with it. The actual operating technology only becomes an issue if the mic needs phantom power and you can't provide it which is rare these days.

 

[basswhisperer]

Not having read all the tech talk above, I'd say go for a SM57 and learn good mic technique. Also some very nice Sennheiser offerings at great prices.