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Suggestions for an inexpensive vocal mic
- Thread starter Matthew Bryson
- Start date
- Feb 27, 2005
- 3,218
- 125
- Disclosures
- Full disclosure, I'm a certified Fender technician working in a music store that carries Fender, Yamaha, and Ibanez products among others.
bwsailer79 said:
Actually, I just mixed a gig a few days ago, and one of the vocalists used a Peavey-not sure of the model number-and it sounded horrible. Don't get me wrong, I use and own lots of Peavey gear, but this mike sounded muffled, fed back easily, and didn't cut through even the low-level R&B band on stage.
If you're willing to spend the dough, go for and AKG D880, or an Audix i5. They're both usually on sale somewhere, and don't cost more than $100. They also, IMO, outperform the Shure 57s and 58s. The Shure Betas are alright, but a little more costly. Don't buy the SM57 unless you like to replace windscreens, though. They're plastic, and flimsy.
For *VOCAL* mics, I think the EV N/D267a is the best out there in the SM57-58 price range ($100).
But what the hell do I know, I'm just a bass player.
But what the hell do I know, I'm just a bass player.
Isnt a large membrane mic better suited for vocals than something like the SM57? I dont know where i got this info, but it was on some recording site. They stated a cheap large membrane mic, would be better than a SM57/58? Is this just bull crap or is there some truth to that statement?
mz91 said:
Not necessarily. I have used a behringer B1 mic, and it was very mediocre. I would pick a 57 any day. It depends on the sound you want, anyways. Better is subjective in almost every circumstance
Trevorus said:
Hey trevorus, could you describe the differences you found in the mics. Like, what did they do to your voice... Or why you like the 57 better?
M
I prefer 57s fror a gig vocal mic...#1 they won't shock you on the mouth if some ground is squirrelly. #2 you can cover the cap with your lips to get a little nore out of it (say for something very low in pitch)...& #3 they virtually indestructible unless you're doing a Daltrey act....
mz91 said:
I think it just sounds smoother. Large diaphragm mics are good if you want super clear vocals, a condenser may be a good thing. But if the vocals are going to be recorded loudly, then you run the possiblity of overdriving the mic. I like how a dynamic mic like the 57 will naturally compress when pushed hard.
The SM57 is great as an instrument/amp mic, but all the people in the recording studio industry I've talked to agreed that it's not the ideal mic to use for vocals. I mean, you CAN, but it's not up to snuff with other mics specifically meant for vocals. But if you do want to use the SM57 for vocals, be sure to invest in a good pop filter.
- Feb 27, 2005
- 3,218
- 125
- Disclosures
- Full disclosure, I'm a certified Fender technician working in a music store that carries Fender, Yamaha, and Ibanez products among others.
nysbob said:
Notice "sound" is not described as a selling point here. I sure as $%&^* wouldn't record vocals with one. The only professional that I know of using an SM57 on tour for vocals is Les Claypool, and I've been told it's because he doesn't care much, and they use so many for miking the band it's just easier to haul an extra one for vocals than having a special, dedicated vocal mike.
My suggestion is the AKG D880. It's cheaper than an SM58, and IMO sounds much better, similar to the Beta 58, but warmer on the bottom end.
Personally, I don't like the sound of SM 57s. They are fine utility mics for general instrument use, but not my first choice for vocals. Just because they have been a "standard" for decades doesn't mean that they are the best. There are lots of superior mics available now. IMO, people just recommend what they know, and thats the old standby 57.
Personally, I don't like the sound of SM 57s. They are fine utility mics for general instrument use, but not my first choice for vocals. Just because they have been a "standard" for decades doesn't mean that they are the best. There are lots of superior mics available now. IMO, people just recommend what they know, and thats the old standby 57.
- Feb 27, 2005
- 3,218
- 125
- Disclosures
- Full disclosure, I'm a certified Fender technician working in a music store that carries Fender, Yamaha, and Ibanez products among others.
Notice the trend? Everyone's got something better than a '57 to recommend. Opinions on a replacement differ, but I'm seeing a lot of the same things repeated about an SM57. You should hear what some engineers I work with say about them when there aren't small children or producers about who might hear 
I do like me some 58's, too. I am a big fan of the 58's, as well as the 57's. You can get a PG58 cheaper, and they are very close the the SM series. The only problem is more handling noise.
jabberwock777 said:Notice the trend? Everyone's got something better than a '57 to recommend. Opinions on a replacement differ, but I'm seeing a lot of the same things repeated about an SM57. You should hear what some engineers I work with say about them when there aren't small children or producers about who might hear
There isn't a pro studio out there that doesn't have at least one SM57. They are terrific sax mics, and great snare mics as well.
To address the topic, you might also be interested in the Oktava 219 or 319. It's not a very good mic, but you can do a mod on it that makes it awesome ($500 value). There's an article on how to do the mod in the Recording magazine: Vol. 18 #9 (June 2005). In fact, that whole magazine was a special issue on mics. Check it out!
- Feb 27, 2005
- 3,218
- 125
- Disclosures
- Full disclosure, I'm a certified Fender technician working in a music store that carries Fender, Yamaha, and Ibanez products among others.
geoffkhan said:
That's absolutely true. Digging it out of the mic cab leads to comments such as, "That 57 Shure is a microphone" and "We have a REAL hammer if you need one"
They have a certain utility, and lots of guys use them as a starting point for mic selection because they're so familiar with their characteristics. They are THE sound of snares and guitars from the '70s, live and in the studio, so if someone wants that sound, it's much easier to grab the original than to try and make something more modern or a condensor work.
Live, they're easy to use because, once again, they're so familiar. In festival settings, when someone brings some oddball accoustic instrument out and needs it miked, rather than spend valuable set-break time determining the instrument's accoustic properties, you can shove an SM57 in front of it, and be Shure (heh, heh) that the audience will hear it. This doesn't mean it's the best choice, and I always feel a little dirty doing it. Some musicians seem reaShured (heh, heh) by them, though. It's the familiarity thing again.
I'm slowly trying to replace all the SM57s in my life with i5s, but that covers a lot of ground, so it'll be a while. There'll always be someone insisting that the '57 is the best for them, because they've been using one since the '70s. And occasionally, it really is the best one for the job. I just firmly believe they're over-rated, and too many musicians think they're the best because they see them all the time.
jabberwock777 said:
I don't base my opinion on how often I see people use them. I was just recording some nylon guitar earlier and the results came out fabulous. Got some great noise levels and isolation.
geoffkhan said:
+1
The SM57 is a very decent mic for instruments that thrive in the mid to high frequency range at moderate pressure levels. Its good for everything from guitar cabs to snare drums to brass instruments.
I think if your looking for a microphone in the same price range thats good for vocals specifically the SM58 fits the aplication a little better. Its a top notch stage vocal mic and at least decent for studio work. Probably about as good as any vocal mic your going to find near its price.
The only problem with the 58 for me personally is I don't like it in any other application except vocals. But thats just me.
-Rav
