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Dynamic Mics with best Feedback Rejection, Tightest Pattern.
Old 12th February 2015
  #1
Dynamic Mics with best Feedback Rejection, Tightest Pattern.

Hey Guys. Pretty self explanitory here. Looking to get some more on stage vocal mics. Clarity and Tone and very important to me, but I am also looking to have super tight pickup pattern and great off axis rejection. One of my favorite mics is me Senheiser e945 but it is very sensitive and picks up a bit more stage volume than I'd like. I also like the Samson Q8. As a reference, I pretty much HATE the Shure SM58, i find it to be very dull sounding and it requires too much work to make the vocals sit forward in the mix.

Im looking into either getting a few Sennheiser e835 or Samson Q8. I have heard great things about the Beta 58 but havent really tried it.

Thanks!
Old 12th February 2015
  #2
Here for the gear
 
🎧 5 years
EV767. I have Beta58,Senn945,AudixOM5..... EV767 is the best.
Old 12th February 2015
  #3
Here for the gear
 
🎧 5 years
Telefunken m80. Very good pickup pattern for people who are consistently on the mic. Not the best if they don't have great mic technique.

I'm not a fan of the sennheiser 835, but the 935 is quite a bit better. 835 seems to pick up too much on a small stage. Bigger stages it sounds fine.
Old 12th February 2015
  #4
Lives for gear
 
Ragan's Avatar
 
🎧 10 years
Sennheiser 441
Audix OM5/OM7
EV767
Old 12th February 2015
  #5
Gear Addict
 
🎧 5 years
Not a fan of the sound, but tightest pickup pattern is Audix OM7.
Old 12th February 2015
  #6
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edva's Avatar
 
26 Reviews written
🎧 10 years
Quote:
Originally Posted by COSMAL ➑️
Hey Guys. Pretty self explanitory here. Looking to get some more on stage vocal mics. Clarity and Tone and very important to me, but I am also looking to have super tight pickup pattern and great off axis rejection. One of my favorite mics is me Senheiser e945 but it is very sensitive and picks up a bit more stage volume than I'd like. I also like the Samson Q8. As a reference, I pretty much HATE the Shure SM58, i find it to be very dull sounding and it requires too much work to make the vocals sit forward in the mix.

Im looking into either getting a few Sennheiser e835 or Samson Q8. I have heard great things about the Beta 58 but havent really tried it.

Thanks!
beta 58 has decent rejection, is not expensive, and if you think a regular 58 is too "dull", the beta may be just right for you.
The 835 is a decent sounding mic, but does not have good rejection. I really like the 441 and 431, but neither is a "cut through the mix" type of sound. If you don't like the beta 58, which I'd certainly recommend trying in your case, another good alternative is the Beyer M69, which has good rejection, and cuts through very well. Audio Technica is also worth considering, for example the AE 6100. Good luck.

Last edited by edva; 12th February 2015 at 05:07 PM.. Reason: more
Old 12th February 2015
  #7
Lives for gear
 
🎧 10 years
Find it interesting that you don't like the SM58 but you like the Samson Q8, which is essentially a clone of the SM58. I've used 58's for 35 years and never thought of them as dull, but to each his own.

Audix OM7 will have the best rejection, but you have to be eating the mic to really make it work given its gain structure.
Agree on trying the Beta 58.

I'm biased, but I wouldn't spend money on Samson gear; my experience with their other products (monitors, amps) is that it's cheaply made compared to Shure, Sennheiser, Audix.
Old 12th February 2015
  #8
Gear Addict
 
🎧 10 years
Another encouraging word for the 441 and the Beyer M69.
Old 12th February 2015 | Show parent
  #9
Lives for snowflakes
 
12ax7's Avatar
 
🎧 10 years
[I].
The EV RE15 is a great unsung hero for a stage dynamic.
The really cool thing about it is that not only is the off-axis rejection on it pretty damn good, but also that the frequency response of the off-axis stuff that DOES make it through to the mix is also very smooth and flat (referred to as minimal "off-axis coloration").

This helps you in several ways:
First, it makes it easier to ring out feedback with your EQ.

Secondly, the bleed from other stuff on stage sounds friendlier.

Third, it is much more forgiving to poor mic technique.
...The only problem with them is that some vocalists when hand-holding the mic will often cover up some of the ports that run along the body of the mike, and thereby freckup the pattern.
.

Last edited by 12ax7; 12th February 2015 at 10:36 PM.. Reason: Clarity
Old 12th February 2015
  #10
Gear Addict
 
🎧 5 years
Audix OM7 if you have a decent pre-amp Audix OM5 if not
Old 12th February 2015
  #11
Gear Addict
 
🎧 5 years
EV N/D 967 very effective at such problems.
Old 13th February 2015
  #12
Lives for gear
 
hbphotoav's Avatar
 
🎧 10 years
Although I don't own one, Peter Moshay (audio for Live From Daryl's House) is very pleased with the MikTek PM9 in his "all-in-one-space" vocals for the show. I'll try one when I can afford to pick up another dynamic vocal mic (I'm currently full-up with SM58s, Beta 58s, and Sennheiser 835s/845s and 822s). It might fill your bill. I know I was impressed enough by it (side-by-side with Daryl's KSM9) to enquire further. Both the JOHNNYSWIM and Daruis Rucker shows feature them on vocals.

PM9mic/utm_source=Google | Sweetwater.com

HB
Old 13th February 2015
  #13
Lives for gear
 
🎧 5 years
I like the Audix OM range of microphones. I have an OM2 and an OM3. All Audix OM's have tight pickup patterns and you pick the model to suit your needs. The OM7 is nominally the best for sound rejection yet its designed with very little gain so you need a high end console that can supply a lot of clean gain for it to work with. I find all Audix microphones to be very open and natural.

The EV N/D 967 is another good one although I find its very strong on the middle frequencies.

Anthony
Old 13th February 2015
  #14
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frans's Avatar
 
10 Reviews written
🎧 15 years
Modern mics have often better off-axis rejection than ye olde classics. Audix OM7 is one of the best for that, just don't go further than 1/10 inch off the mic. What exactly is the situation or the problem? As a rule of thumb if somebody has trouble bringing the vocal mic up, I'd also look into the total stage volume, the placement of things on stage. There are technical limits to how loud a stage can be versus the volume the singer has. To try and ignore these limitations works to a certain extent, but if it can be cured by lower stage volumes, another snare that's just half as loud or proper mic technique (not cupping the mic, not pointing it into the monitors, etc.) then that's the way to go. You could try your luck with just one factor (other mic) but turning to all the factors and try to make every one of them 10% more in your favour will work a whole lot better. I'm not trying to talk down on you, I don't know your situation or how much experience you got, okay? In my years behind the board I came across many instances where the singer was just not loud enough for the band and both band and singer didn't want to realize that... which sometimes made it hard to solve the problems. The highlight was a singer that was whispering at most, kneeling before the monitors, complaining about too little monitor volume, while the band had two fullstacks very very loud just 20 feet away. No mic would solve that. He told me to turn up the monitors more..more... until they were feedbacking, then complaining. Duh. Then, as if it solely my fault, more complaining. Had they wanted to solve it, the whole band would have to admit they contribute to the situation, but they wouldn't. Not to suggest you do something like that, but just as a worst case example.
Old 13th February 2015
  #15
Gear Nut
 
🎧 5 years
Would you say in frans case that the band practiced with small amps in a small room then used their megastack deluxe superpower for the large stage show?


I got the volume on 3!
Old 13th February 2015
  #16
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frans's Avatar
 
10 Reviews written
🎧 15 years
That alone doesn't tell enough. My Hiwatt DR103 can on "3" be loud enough the drown out the drums. Even small amps like the THD univalve can, while putting out 5 watts, be quite loud with a single 12". The questions is, how is the balance between the singers volume and the volume of everything else? To put it bluntly, the loudest sound one half inch from the mic wins, whatever that is. A small room is full of reflections and room modes, so it can get ugly fast. Some spots will be good, while another spot 10 inch to the left will be unworkable. It doesn't hurt to have a big and a small set of backline - but the balance of the elements is what makes or breaks the whole thing. Ask yourself-is the singer, while singing, considerably louder than talking? That would be a good start. Is the singer, without mic, at least heard a little while the band plays?
Old 13th February 2015 | Show parent
  #17
Quote:
Originally Posted by nedorama ➑️
Find it interesting that you don't like the SM58 but you like the Samson Q8, which is essentially a clone of the SM58. I've used 58's for 35 years and never thought of them as dull, but to each his own.

Audix OM7 will have the best rejection, but you have to be eating the mic to really make it work given its gain structure.
Agree on trying the Beta 58.

I'm biased, but I wouldn't spend money on Samson gear; my experience with their other products (monitors, amps) is that it's cheaply made compared to Shure, Sennheiser, Audix.


There is actually a HUGE difference between the sm58 and the Samson Q8. sm58 is a standard cardioid moving coil design, whereas the Q8 is supercardioid pickup pattern with a neodymium element. I have A/B tested the two mics pretty extensively as i used to work for Sam Ash (they own Samson), and the differnce is clear as day. Q8 has way more presence and clarity, and does a wayyyy better job with feedback.
Old 13th February 2015
  #18
Lives for gear
 
🎧 10 years
Thanks for the differences. As I said, to each his own and if it works for you better than a 58, great.
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