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Wireless Vocal Mic?


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Another thing to consider is cheap wireless microphones tend not to isolate well.

IME Nady mics isolate as well as an SM58/57 . I've even used a $10 SP1 as a "drunk sing along" mic in front of the mains with no more problems than an SM58. They may not sound "great" but they don't sound "bad" either. Obviously if you are a band looking to go pro you shouldn't be looking at cheap wireless (or anything else). The OP did say they were a "back yard, pool party type band". At that level both the audience and most band members "hear" with their eyes and any wireless mic "looks" better than a wired to them :freak: .

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Just thought I'd update you on this. My singer's brother got him a deal on the Nady. Got the Encore II with 2 mics for $50. Sounds OK in practice. Gig this Friday will tell. I'll keep a wired for him as a backup...just in case ;)

 

Thanks for all the help here.

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Just thought I'd update you on this. My singer's brother got him a deal on the Nady. Got the Encore II with 2 mics for $50. Sounds OK in practice. Gig this Friday will tell. I'll keep a wired for him as a backup...just in case
;)

Thanks for all the help here.

The Encore II with one mic is dual diversity and drops out a WHOLE lot less than the cheesy one-receiver-per-mic version.

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A wireless mic isn't something you choose b/c of sound, but b/c of visual aspects. In my R'n'R band I see my wireless mic as a tool for making the live show better and more fun for everyone. If you are concerned ONLY by the sound, then use a wired mic, or why not lip sync to a CD? :-)

 

BTW, I recommend Tom Jacksons and Alex Boye's Live show DVD's. After spending time with them I stopped being so detail focused on the sound and spending more time working on communicating with the audience. There's a lot of wrong things we do on stage all the time, and as always the devil is in the details.

 

There is also a lot of the tools for making a good Live Show that we seem to overlook, yes smoke and light is nice, but only a part of it. The most important is the human aspect, and reaching people is a good one. It is priceless when you go over to someone and take their hand, look into their eyes and sing to them. A {censored}ty wireless karaoke mic will beat a expensive wired any day, regarding this.

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A wireless mic isn't something you choose b/c of sound, but b/c of visual aspects. In my R'n'R band I see my wireless mic as a tool for making the live show better and more fun for everyone. If you are concerned ONLY by the sound, then use a wired mic, or why not lip sync to a CD? :-)


BTW, I recommend Tom Jacksons and Alex Boye's Live show DVD's. After spending time with them I stopped being so detail focused on the sound and spending more time working on communicating with the audience. There's a lot of wrong things we do on stage all the time, and as always the devil is in the details.


There is also a lot of the tools for making a good Live Show that we seem to overlook, yes smoke and light is nice, but only a part of it. The most important is the human aspect, and reaching people is a good one. It is priceless when you go over to someone and take their hand, look into their eyes and sing to them. A {censored}ty wireless karaoke mic will beat a expensive wired any day, regarding this.

 

 

I don't subscribe to this at all. Being a good performer is certainly important, but if your wireless is dropping out and your show it plagued with other technical issues caused from poor performing gear and inexperienced or ignorant operators, that's inexcusable in my book. The performance part is an art you learn as you gain experience. Purchasing reliable gear that sounds decent really isn't that hard. Getting it to sound better than gear that's 1/4 the price, also not difficult.

 

There are 2 local bands that come to mind where I was impressed with the talent, but couldn't get past how awful the sound was. It made the show unenjoyable and I certainly left both before I would have otherwise because the production was unbearable.

 

Performances are nice, but don't lose site that it's a MUSICAL performance and as such the music production has to be free from blunders and, at minimum, tolerable to the ears. If you can't sing or your microphone only spits out every other word, I really don't want you coming to my table and taking my hand. Hell, as a singer I'd be embarrassed to do that versus singing the song well and keeping the microphone signal intact. The thing is, it's not that hard to do both, you just have to open the pocket book beyond the cheapest thing you can get your hands on.

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I don't subscribe to this at all. Being a good performer is certainly important, but if your wireless is dropping out and your show it plagued with other technical issues caused from poor performing gear and inexperienced or ignorant operators, that's inexcusable in my book. The performance part is an art you learn as you gain experience. Purchasing reliable gear that sounds decent really isn't that hard. Getting it to sound better than gear that's 1/4 the price, also not difficult.


There are 2 local bands that come to mind where I was impressed with the talent, but couldn't get past how awful the sound was. It made the show unenjoyable and I certainly left both before I would have otherwise because the production was unbearable.


Performances are nice, but don't lose site that it's a MUSICAL performance and as such the music production has to be free from blunders and, at minimum, tolerable to the ears. If you can't sing or your microphone only spits out every other word, I really don't want you coming to my table and taking my hand. Hell, as a singer I'd be embarrassed to do that versus singing the song well and keeping the microphone signal intact. The thing is, it's not that hard to do both, you just have to open the pocket book beyond the cheapest thing you can get your hands on.

 

 

Ditto to abzurd but I'll add to that in anticipation of a reply. Yeah, sure you're gonna say that your cheap crappy wireless does NOT drop out which would negate half of the quote above. I'll just say that that is the typical bar band attitude of good enough is "good enough" when it comes to the PA equipment and sound yet the guitarist will have $200-300 of his pedal board alone. It's time the vocalists treat their "instrument" like any other instrument and STRIVE to go for the best sound they can with the best they can afford. A good quality wireless is only around $500 or so. Buck up!

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OK, forget the "{censored}ty karaoke mic", that's just my version of entry level wireless, as in Shure PG or Senn 100 series. :)

 

Performances are nice, but .....Hell, as a singer I'd be embarrassed to do that versus singing the song well and keeping the microphone signal intact. ...

Yes, as a singer..... But most people are not Singers!!! As long as they can hear the vocals clearly and of course no dropouts they are satisfied!!!! :-) They don't need that extra raise in the 2k hz area for refined details. They don't hear the tiny difference in the proximity effect from Shure SM58 or Beta 58 or a Sennheiser equivalent They are just audience looking for a good time and experiencing moments!! You'd be surpriced of how much more important the visual are contrary the audible!!

 

And again: I'm not talking about giving the {censored} about the sound, but choosing the right $300 tool.

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A good quality wireless is only around $500 or so. Buck up!

Agree, I'd say get the best you can afford, and then spend some hours getting it to sound as good as possible. And THEN spend days, weeks and months making a good live show with the tools you got. Personally I have about the same $ on my instrument (mic) as my other band members bass and guitar rig. But if I have to use a 58, I use a extra long cable so I can move around a bit and work the crowd. It's not that complicated.

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Of course, I'm not talking about people using gear that drops out all the time and doesn't work. I'm talking about the fact that for some dollars you can have a OK sounding wireless or a great sounding wired. If that wired mic will limit your stage performance, then I say better have OK sound, cause the audience will never know. Really! I had concerts with cheap gear (But fine sound) where people were responding to our energy, showmanship and stage performance. The whole crowd jumping up and down, singing along and headbanging. Likewise I had the excact same experience with very expensive gear.

 

 

You are absolutely right!!! "OK" sound will do for a headbanging crowd. The audience will never know.

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Our wireless mics were chosen because, to our ears, they performed as well as a wired mics. We do it for convenience and ease of setup. The mics rarely make it off of the stands since we are a three piece and holding a mic means losing an instrument.

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