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A low voice is one of the more difficult things to make intelligable in a live sound situation.

 

You might try a tighter pattern mic (the tighter the pattern the more proximity effect and therefore the more bottom end (as long as he stays right on the mic). I'm thinking some of the Audix OM series might do you well. Some of the other guys here use them a lot. My experiance with them is sparse so I can't remember which particular models I liked.

 

There are other things that help like using a wedge that has a smooth and deep bottom end response (this is a freq bandwidth that usualy gives you the most acoustic trouble though so even with the best equipment, your results may vary). A good set of IEMs might work well. I don't know your situation or budget though.

 

Just some ideas.

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I've been using an AKG D790 because it's voiced similar to a SM58 but with a hotter output and less noise and handling rumble.

 

I just picked up an ElectroVoice RE410. It's a condenser mic, has excellent handling rumble rejection, far less bass proximity effect, I cannot blow out this thing no matter how hard I scream into it, never distorts, much cleaner and more present than a muddy SM58, and sounds great whether I'm growling into it or Rob-Halford-ing it like a banshee.

 

Musician's Friend has some B-Stocks of these guys. It's a normally $199 for only $69.

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gotta damn near deep throat that mic. when i sing i have to back off a little for the notes that i can project better. bass is harder to project vocally, so i try to constantly adjust my distance from the mic according to the note and my ability to project.:idk:

 

I just use a 58, mainly because most sound guys use them, so if i insist on using my own mic for hygenic purposes (hence the deep throat) they don't usually mind. i do sound from time to time, i understand having mis-matched mics can make things (more) difficult. Just my 2 cents.

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I found a Beta 58A works best for me on "that type of voice". Don't be afraid to crank up the lows but keep the HPF on. In your case I don't know if the Beta 58A would be enough different that what your using to see a difference? An OM2 might work also.

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I think I'm gonna try a ATM-710 once i get some money

Might be worth going down to the GC with him and trying a few instead of buying something and "hoping" it works. Are you sure it isn't an eq or mic technique issue? A new mic won't "fix" either of them problems.

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Well, I'm pretty sure it's not an eq or technique problem, not possitive, but our sound guy owns a business that builds PA's for churches and other venues that need a sound system and they also run sound about every weekend for different shows and they've been doing it for 35 years, but we still can't get a good sound on my lead singers vocals....I'm pretty sure it's our mic, I'll have him (our sound guy) bring some different mics to our next practice just to test some stuff our, then go from there

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Yeah I've always found Beta 57's and Beta58s to have a real nice bass response on low vocals. They were the first that came to mind when I saw the title of the thread. Kinda makes me wonder if it's an unrelated problem. Speakers being out of phase is such a common mistake with people who don't know their stuff really well.

You could also try a 421 but they're kinda weird looking as vocal mics and somewhat pricey.

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Beta 57's have a controlled low end response but not so much to choke a baritone. Have the singer make use of the mic's tight pattern and use the proximity effect... that's how country singers get their twang. As samson described, you gotta get in tight with the mic. Don't be afraid to boost the lows on the mixer but make sure you've got your HPF's engaged.

 

Any mic will do the trick, really. Beta 58's and OM7's have a very "tailored" character, meaning a lot of the lows are cut and high mids are boosted for clarity and cut... I use the OM7 a lot and singers love it. Country singers (with deep twangy voices) are making use of the mic's enhanced proximity effect for tight baritones that project. The Audix OM6 has a fairly flat response, as does the ATM-710.

 

I would recommend you save your money, and have your singer figure out how to use the mic. If you're just looking to buy a new mic, the ATM-710, OM6, AE6100, and E845 (E835 is good too but has a wider pattern (less proximity effect)) will all be great choices.

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For our vocals, we have been using Beta57's, but it just isn't giving us the bass respose we want for our lead singer, he has a very low voice, kinda like Leonard Cohen-ish. Any Ideas on a good vocal mic that will have good bass response?

EQ-ing doesn't help? As for mics, I bet an EV N/D767 would be a noticeably better choice.

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I have another band practice today, we'll mess with the eq a little bit more, but we've messed with it for hours and still haven't gotten the sound we want out of it, plus, we're gonna need another mic soon anyways, but I'll mess with the eq while he's singing a bit more today and see If i can get a good sound

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I'm a bari-tenor and have ABed a ton of mics. I agree with the posts supporting the EV RE410 and generally love condenser mics simply because they give you a more complete and true sound to your voice. The RE410 has a very bright sound, which for some people's ear might be too bright. Also, some soundmen in clubs have a hard time eq-ing out the feedback for such a sensitive mic. So I've gone looking for a supercardiod condensor to help out when we have feedback problems. The EV RE510 supercardiod condenser didn't sound like the EV RE410 even though their specs are similar. ABed against the Beta 87a (also supercardioid), it lost.

I own an SM58, and find it aceptable for a dynamic mic, but my favorite dynamic mic is the EV nd767a. It has a very clear/clean sound for a dynamic mic, the midranges are especially clear and present, it has bass proximity effects, and it isn't that expensive. The Audix mics are loved by many, but those that I've tried didn't give me the rich, full sound of the EVs. If you have a monitor with decent power and good soundman to get rid of feedback, I think the EV RE410 is a great choice.

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I'm a bari-tenor and have ABed a ton of mics. I agree with the posts supporting the EV RE410 and generally love condenser mics simply because they give you a more complete and true sound to your voice. The RE410 has a very bright sound, which for some people's ear might be too bright. Also, some soundmen in clubs have a hard time eq-ing out the feedback for such a sensitive mic. So I've gone looking for a supercardiod condensor to help out when we have feedback problems. The EV RE510 supercardiod condenser didn't sound like the EV RE410 even though their specs are similar. ABed against the Beta 87a (also supercardioid), it lost.

I own an SM58, and find it aceptable for a dynamic mic, but my favorite dynamic mic is the EV nd767a. It has a very clear/clean sound for a dynamic mic, the midranges are especially clear and present, it has bass proximity effects, and it isn't that expensive. The Audix mics are loved by many, but those that I've tried didn't give me the rich, full sound of the EVs. If you have a monitor with decent power and good soundman to get rid of feedback, I think the EV RE410 is a great choice.

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Where did you see this? I just looked and the B-stock 410 was $149.

JP

 

 

Nope, they're gone now. I snagged mine a week and a half ago, now their price is back up. Musta realized $70 was WAY too low. After I ordered it, I checked back three days later to see if the price was still that low, and it was. Stuff changes there day to day, you gotta keep on your toes to snag the good deals.

 

But that Senny e815s-c is still $30.

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