I would like a few suggestions about live microphones.I play clarinet, soprano and alto.In my country the prices are 50% or more expensive then in the rest of the Europe.I would preffer a wireless one, but i think at the same price i could get a better normal one.I could pay up to 250Eur. or 300$ but note more, because i'm at the beggining of my career ..Thanks for your attention.
cips
Try these:
http://www.music123.com/Samson-Concert-77-Wireless-Wind-Instrument-System-i227220.music
http://www.music123.com/Samson-Airline-77-Wind--Instrument-System-i228682.music
One in your price range, the other slighly higher. If you want to save some bucks, get a Shure SM-58. They're baiscally indestructible.
http://www.music123.com/Samson-Concert-77-Wireless-Wind-Instrument-System-i227220.music
http://www.music123.com/Samson-Airline-77-Wind--Instrument-System-i228682.music
One in your price range, the other slighly higher. If you want to save some bucks, get a Shure SM-58. They're baiscally indestructible.
I echo the SM58 sentiment...only about a hundred bucks US.
Great live...they can take being dropped (though I don't recommend it).
Pretty dang good for recording even (with some proper EQ'ing).
Great live...they can take being dropped (though I don't recommend it).
Pretty dang good for recording even (with some proper EQ'ing).
I use an SM58 nearly all the time, live and recording. I have a Rode NT2 but my current recording area doesn't support a condensor very well (read noisy)
FWIW BEhringer has come out with some SM58 clones that are a bit brighter from all reports I have read, and musicians friend has them for about $20 US yeah 20 bucks.. I think the model number is 8500 (somehow similar to a 58)
FWIW BEhringer has come out with some SM58 clones that are a bit brighter from all reports I have read, and musicians friend has them for about $20 US yeah 20 bucks.. I think the model number is 8500 (somehow similar to a 58)
the guts of the 57 and 58 are identical, the windscreen on the 58 changes the sound slightly. FWIW I have always felt the sax is a highly vocal instrument. and my sound on it is similar to my speaking voice so what usually works for one works for the other (with me)
SD System LCM 89
After the Electro Voice RE 20, Sennheiser E 608 and 421, ATM Roam Elite 1, Shures.... The SD System LCM 89 condensor mic has been the greatest mic for me. Recordings, live no problems. You can always get a Reciever and transmitter later. http://www.sdsystems.com/webshop/E_frame.html?http://www.sdsystems.com/webshop/E_grp_19-1.html
After the Electro Voice RE 20, Sennheiser E 608 and 421, ATM Roam Elite 1, Shures.... The SD System LCM 89 condensor mic has been the greatest mic for me. Recordings, live no problems. You can always get a Reciever and transmitter later. http://www.sdsystems.com/webshop/E_frame.html?http://www.sdsystems.com/webshop/E_grp_19-1.html
I belive the 57 is considered unidirectional (one direction) and the 58 omnidirectional (multiple directions). I think the 57 is best for drums or amps when you want to get a sound from a single soruce. Most people (non sax players) think that sticking a mic in the bell will get the best sound. A 57 placed toward the bell will not pickup the sounds comming out of the entire horn. A 58 will pickup more (sometimes the quitar player if you get too closeDaveP said:
). I use a Samson wireless with an AKG clip-on mic, but I try to keep it mounted high so that it picks up the whole horn.If your going to go this route, get the 58.
For studio recording of gigging?
Impossible to answer your questions unless we have that info. For recording, clip-on mics are uselss because they only pick up sound from the bell -- and that's only a small part of your overall sound. Clip-ons also pick up key noise quite dramatically. I would only recommend them for gigging when you are not recording. In the studio you should go for a condensor mic because most dynamic mics sound tinny (unless you get an RE20 or a Sennheiser MD441). Rode NTK or NT2 are nice sounding large diaphragm condensors. However, I would opt for a small diaphragm consensor like a Josephson or Neumann KM184. Why? Because their smaller diaphragm has a samller mass and is recharged quicker, which means that they respond to sound much faster -- which in turn gives you a more natural sound. If you need a mic for gigging think about the DC System mics which sound stellar. Hower, keep in mind that they are always on and you can't just turn round and test-play a note or play with varying distances to the mic to spice-up your performance.
P.S.: the Shure 57 and 58 models are identical except for the wind screen (which are interchangable, which is fun: you can make a 57 out of a 58 and vica versa in a few seconds). I tried them both and found them horrible. A sax with such as rich tonal spectrum deserves something better
Impossible to answer your questions unless we have that info. For recording, clip-on mics are uselss because they only pick up sound from the bell -- and that's only a small part of your overall sound. Clip-ons also pick up key noise quite dramatically. I would only recommend them for gigging when you are not recording. In the studio you should go for a condensor mic because most dynamic mics sound tinny (unless you get an RE20 or a Sennheiser MD441). Rode NTK or NT2 are nice sounding large diaphragm condensors. However, I would opt for a small diaphragm consensor like a Josephson or Neumann KM184. Why? Because their smaller diaphragm has a samller mass and is recharged quicker, which means that they respond to sound much faster -- which in turn gives you a more natural sound. If you need a mic for gigging think about the DC System mics which sound stellar. Hower, keep in mind that they are always on and you can't just turn round and test-play a note or play with varying distances to the mic to spice-up your performance.
P.S.: the Shure 57 and 58 models are identical except for the wind screen (which are interchangable, which is fun: you can make a 57 out of a 58 and vica versa in a few seconds). I tried them both and found them horrible. A sax with such as rich tonal spectrum deserves something better
Giganova, I have been using an AKG C1000s for my gigs but I am not that impressed with it anymore. Have you compared it with any of the mic's you mentioned above? I'm thinking I might like a dynamic mic better but I'm not really sure.
For drums, maybe!bobisk said:
The mike is rarely used for recordings, though (except for some metal bands and screaming singers, but the mic is never flattering).That's a good point!Clip on makes sound more focus as they move same as your sax movement.
Hey all,
Try before you buy, then buy what you like! Microphone choice is subjective, so there really is no right or wrong. If possible, go to a music store with a good selection of microphones, and play as many as possible.:toothy10:
I've been a sax player for about 20 years and a professional sound tech for about 8 years. I've done mostly live audio, but also some freelance studio work. That being said, here are my thoughts on all the microphones mentioned in this thread with which I have had personal experience.
NT-2: Large diaphragm condenser, mostly transparent response with a little extra warmth. Due to diaphragm size, this mic will not take high SPL (sound pressure level, i.e. loud sounds). Will pick up everything in the room, including breathing key noise, stage noise, etc. May be okay at 24-36 inches in the studio, but in a live environment, forget it!
KM-184: Small/medium diaphragm condenser, full range response, will catch most details, including breath and key noise. Certainly very accurate of the bunch, but that may not be what you want. Also, it may be a little bright.
C-1000: Small diaphragm condenser, good response, low freq. roll off. Comes with pattern adapter to go from cardiod (mildly directional, like an SM58) to supercardiod (more directional). Will take high SPL, I've used it on guitar amps and saxes alike. Warm sound, great live, decent in the studio. For less than $500 USD, this is one of my favorites.
SM57: Dynamic mic, has a bit of a upper mid-range bump in response. Takes high SPL very well, rejects off-axis noise best of those listed here. A good choice for live performance when budget is a consideration.
SM58: Dynamic mic, also has an upper mid-range bump, but SLIGHTLY less so than the SM57. Takes high SPL very well, but picks up a fair amount of off-axis noise. Definitely a vocal mic, definitely NOT an instrument mic, especially for sax.
:argue: SM57 vs. SM58 - Yes they are manufactured with the same transducer element. Yes, you can interchange the windscreens. NO they don't basically sound the same! Besides changing the pickup pattern, the windscreens have significant impact on frequency response and color of tone. Both microphones are industry standards, but please remember that this is mostly because they were affordable and durable about 15-20 years before anyone else made an affordable mic that could take a beating.
Try before you buy, then buy what you like! Microphone choice is subjective, so there really is no right or wrong. If possible, go to a music store with a good selection of microphones, and play as many as possible.:toothy10:
I've been a sax player for about 20 years and a professional sound tech for about 8 years. I've done mostly live audio, but also some freelance studio work. That being said, here are my thoughts on all the microphones mentioned in this thread with which I have had personal experience.
NT-2: Large diaphragm condenser, mostly transparent response with a little extra warmth. Due to diaphragm size, this mic will not take high SPL (sound pressure level, i.e. loud sounds). Will pick up everything in the room, including breathing key noise, stage noise, etc. May be okay at 24-36 inches in the studio, but in a live environment, forget it!
KM-184: Small/medium diaphragm condenser, full range response, will catch most details, including breath and key noise. Certainly very accurate of the bunch, but that may not be what you want. Also, it may be a little bright.
C-1000: Small diaphragm condenser, good response, low freq. roll off. Comes with pattern adapter to go from cardiod (mildly directional, like an SM58) to supercardiod (more directional). Will take high SPL, I've used it on guitar amps and saxes alike. Warm sound, great live, decent in the studio. For less than $500 USD, this is one of my favorites.
SM57: Dynamic mic, has a bit of a upper mid-range bump in response. Takes high SPL very well, rejects off-axis noise best of those listed here. A good choice for live performance when budget is a consideration.
SM58: Dynamic mic, also has an upper mid-range bump, but SLIGHTLY less so than the SM57. Takes high SPL very well, but picks up a fair amount of off-axis noise. Definitely a vocal mic, definitely NOT an instrument mic, especially for sax.
:argue: SM57 vs. SM58 - Yes they are manufactured with the same transducer element. Yes, you can interchange the windscreens. NO they don't basically sound the same! Besides changing the pickup pattern, the windscreens have significant impact on frequency response and color of tone. Both microphones are industry standards, but please remember that this is mostly because they were affordable and durable about 15-20 years before anyone else made an affordable mic that could take a beating.
I've used the SM57 for years, and have not found anything better - in the normal run of the mill bands. Its a robust mic and has never let me down. The sound etc will depend upon the amp/speaker set up. I doubt if anyone could tell much difference when you are playing with a loud band anyway.
If anyone can suggest a better band mic for on the road use I would only be too pleased to try it.
If anyone can suggest a better band mic for on the road use I would only be too pleased to try it.
I agree with the SM57/58 crowd. I bought one to take on gigs after witnessing the destruction of a couple of higher-end mics on road trips... luckily they weren't mine, but still painful to see.
Nobby,
my last post just happened to follow yours. Yours was on topic. But as the thread lengthens, it becomes obvious the original post isn't being read.
I just wanted to make sure cips is getting the information requested, and not a lot of off axis room noise. To reiterate: cips is looking for suggestions for a LIVE mic, for multiple instruments.
To that end. cips, wireless mics are cool, I use an AT 1129 VHF system with either the included lav mic or a cheapie drum mic (it's rock and roll after all) but I only play tenor.
Since it appears you play multiple instruments on a gig, you would need to go with something like the Samson Airline. The transmitter is built into the mic clip so that allows for easy switching between instruments, or you would need multiple systems, which, given the prices would be out of reach given the economics of your situation.
You could probably, as you say, get a better quality, single, wired mic for the price of the wireless system. The other thing about a wireless is you have to worry about the frequency it transmits on, as to not interfere with other wireless units on the job. And, what kind of frequency range it not only picks up at the mic, but what it transmits.
There have been several good choice offered as to wired mics, the SM58, 57, the AKG C1000 if you want to go condensor, I know Ben Ellman (sp?) from the Funk Band Galactic was using a Audix D4 (drum mic), others have used a Sennheiser E604 (drum mic) the 421 which is a very nice mic, but if I owned one I would keep it in the studio. (which has also been used on drum kits, see a trend?)
Another issue is what kind of venues do you play? a shot and a beer joint? don't know if I would take a high priced condensor to that gig to have beer spilled on it, or knocked over by over exuberant dancers. There are a lot of variables, and the best advice, which has been given before, is to try some out and get the one you like the best. But if that is not an option, some of the so-called "industry standard" will do the job.
my last post just happened to follow yours. Yours was on topic. But as the thread lengthens, it becomes obvious the original post isn't being read.
I just wanted to make sure cips is getting the information requested, and not a lot of off axis room noise.
To reiterate: cips is looking for suggestions for a LIVE mic, for multiple instruments.To that end. cips, wireless mics are cool, I use an AT 1129 VHF system with either the included lav mic or a cheapie drum mic (it's rock and roll after all) but I only play tenor.
Since it appears you play multiple instruments on a gig, you would need to go with something like the Samson Airline. The transmitter is built into the mic clip so that allows for easy switching between instruments, or you would need multiple systems, which, given the prices would be out of reach given the economics of your situation.
You could probably, as you say, get a better quality, single, wired mic for the price of the wireless system. The other thing about a wireless is you have to worry about the frequency it transmits on, as to not interfere with other wireless units on the job. And, what kind of frequency range it not only picks up at the mic, but what it transmits.
There have been several good choice offered as to wired mics, the SM58, 57, the AKG C1000 if you want to go condensor, I know Ben Ellman (sp?) from the Funk Band Galactic was using a Audix D4 (drum mic), others have used a Sennheiser E604 (drum mic) the 421 which is a very nice mic, but if I owned one I would keep it in the studio. (which has also been used on drum kits, see a trend?)
Another issue is what kind of venues do you play? a shot and a beer joint? don't know if I would take a high priced condensor to that gig to have beer spilled on it, or knocked over by over exuberant dancers. There are a lot of variables, and the best advice, which has been given before, is to try some out and get the one you like the best. But if that is not an option, some of the so-called "industry standard" will do the job.
Thanks Bill.I will play at weddings..this kind of eveniments..I must say that I care about my sound..I want to make a good impression, because this mean more money..I don't think that I have the posibility to tested....there aren't special stores ..in best case I could order a model.Usually they have the lowest models..and nobody knows if those are original or fakes.The most popular brand is Shure...very few peoples know about Behringer,AKG,Sennheiser..even if, don't know much..only the name..nothing technical.I hope somebody to sent me the mic from Germany.I've decided to a wired one..its better for the begining,although..a wireless one could bring me more tips...Keep in touch.
cips,
before I got my wireless, I walked the crowd anyway, big sound, it carries, and as long as the band isn't too loud... then again, the people you are serenading will hear your natural tone.
before I got my wireless, I walked the crowd anyway, big sound, it carries, and as long as the band isn't too loud... then again, the people you are serenading will hear your natural tone.
Hey cips,cips said:
If you've decided on a wired mic, I would go with the AKG C-1000. :cheers: Most condenser microphones get more detail and accurate representation of your tone. It be sensitive enough to pick up some of the more difficult to amplify sounds, like a Bb clarinet in the lower register. I would not trust most dynamics, including the Shure SM57 or SM58 to do this for you very well.
Ususally, the cons on a condenser are high cost, lower durability than dynamics, and too much sensitivity. These are NOT issues w/ the C-1000. You can pick one up for under $200 USD plus shipping :thumbrig: . Also, this is a very durable mic. (I've dropped them without any damage more than a few times!:twisted: ) Finally, the sensitivity I mentioned above won't be too sensitive. The C-1000 comes with a pattern adapter to make the pickup pattern either cardioid (same as the SM58) or supercardioid (more directional). It has very good off-axis rejection, so it won't pick up every other member of your band.
I hope this is helpful!
thoughts on SM57 & SM58
vi scose poise, I wrote some fairly specific thought on the Shure SM57 & SM58 earlier in this thread. Take a look, and let me know if you have any questions. I spent a few of my recent years as an audio consultant, and would be glad give out free advice (for whatever that's worth )
Derald
vi scose poise, I wrote some fairly specific thought on the Shure SM57 & SM58 earlier in this thread. Take a look, and let me know if you have any questions. I spent a few of my recent years as an audio consultant, and would be glad give out free advice (for whatever that's worth
)Derald
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