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Microphone Suggestions ? Fallen Out of Favor w/Beta 58


yZe

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I'm singing lead & back up on rock/pop covers through Big & small PA's.

 

I'm a Baritone w/some low tenor stuff & good falsetto

 

I noticed how inferior the Beta 58 was for myself when I sung through a spare audio technica mic the lead vocalist had

 

Any other microphone suggestions ?

 

Don't want to exceed $250-300 - will go $350 for something which is an outstanding/above average value

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http://www.neumann.com/?lang=en&id=current_microphones&cid=kms105_description

 

The KMS 104/104 plus and the KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage.

The KMS series has become the internationally acknowledged standard for first-class stage microphones.

 

The high acoustic resolution and smooth frequency response of the microphones ensure that the musician has optimal control of the stage performance at all times.

 

Especially due to their low self-noise and crosstalk behavior which is free of coloration, the KMS microphones are ideal for use with in-ear monitoring systems.

 

The KMS 104 and the KMS 104 plus have a condenser microphone capsule with a cardioid directional characteristic which provides the best possible suppression of sounds originating from behind the microphone. In contrast, with its supercardioid characteristic the KMS 105 is particularly good at suppressing sounds originating from the entire 180° hemisphere behind the microphone. The KMS 104 plus features, compared to KMS 104, a more extended bass frequency response. In close cooperation with professional musicians, with the aid of extensive practical tests, the KMS 104 plus has been especially optimized for the requirements of female voices in the rock and pop field.

 

The user can thus select the version that is optimally suited to the specific application.

Acoustic features

The studio condenser capsules used in the microphone versions provide the basis for transmitting all the nuances of the human voice. In comparison with other handheld microphones, which operate mostly with dynamic capsules, the KMS series has a particularly high acoustic transparency, a wide frequency range and a fine resolution of transients.

 

In KMS microphones, carefully adjusted acoustic filters and transformerless impedance converters that can handle very high sound pressure levels prevent the microphones from being overloaded even by strong plosive sounds.

 

In spite of excellent pop protection, sibilants and “S” sounds are transmitted with their natural accentuation, as is possible only with condenser microphones. Furthermore, the above-mentioned acoustic filters are designed so that the distinctive directional characteristics of the capsules are preserved even in the bass range. The filters thus ensure a very high level of feedback protection for the KMS 104/104 plus and KMS 105 vocal microphones when they are used with a stage sound system.

Electrical features

Since vocal microphones are typically addressed at close range, for the bass frequency response of the microphones, electronic compensation is used for the proximity effect in the respective capsules.

 

In addition, the microphone has an invariable, built-in high-pass filter with a cutoff frequency of 120 Hz (–3 dB, measured in a free sound field). The dynamic range of the KMS microphones is 132 dB, and the maximum sound pressure level is 150 dB.

 

The low self-noise level of only 18 dB A permits the microphones to be used at high gain levels without the risk of additional noise. Even at large distances, the microphones thus operate with a high signal-to-noise ratio, facilitating the freedom of movement and creativity that are important to the artist.

 

Due to the transformerless output circuit, the microphone signals can be transmitted even through long cables without loss of sound.

Mechanical features

Microphones designed for use on stage require a particularly robust construction. The KMS 104/104 plus and KMS 105 therefore have thick-walled metal housings, which also provide effective protection against handling noise.

 

The microphone headgrilles are made of hardened steel. If required, they can easily be unscrewed to permit cleaning of the interior acoustic filters.

Delivery Range

The KMS 104/104 plus and KMS 105 microphones, with a matching stand clamp, are supplied in an attractive padded nylon bag that is sufficiently durable for touring.

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I'm singing lead & back up on rock/pop covers through Big & small PA's.


I'm a Baritone w/some low tenor stuff & good falsetto


I noticed how inferior the Beta 58 was for myself when I sung through a spare audio technica mic the lead vocalist had


Any other microphone suggestions ?

 

 

What's your budget?

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Thanks, Don't want to exceed $250-300 - will go $350 for something which is an outstanding/above average value

 

 

If this is strictly for live use you'd be most likely better off

without a condenser mic. Due to your mic preamp choice

you may have gigantic issues with gain/feedback.

 

If you are able to check out Craigslist

narrow down your area and see what's on there.

Then you can google the make & model number...

 

Then type in + reviews and see what type of singers bought it.:thu:

 

I go for what the people that are musically proficient get.

 

This: http://homerecording.about.com/od/microphones101/a/mic_types.htm may be useful, but google is the best

answer for any question IMO.

 

 

I wish I could help further but I am an indoor vocalist and

haven't done the live thing yet.

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If this is strictly for live use you'd be most likely better off

without a condenser mic. Due to your mic preamp choice

you may have gigantic issues with gain/feedback...

 

 

I have to disagree with my friend Johnny here--unless he's talking specifically about a large-diaphragm condenser mic. LDCs are not good for live performance for the reason that he mentions (as well as their fragility, which doesn't play well on the road). A small-diaphragm condenser, on the other hand, is in my experience the way to go. I've been using the Beta 87A for quite a while now with excellent results. They go for about $250 new and are worth every penny. You will need phantom power, but these days that's available in just about every mixer.

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For male, live voice it's tought to beat the EV 767A for clarity and gain before feedback. It is also very inexpensive and can be found for less than $100 new! Unreal mic for any price!

 

I recently moved form the EV line to the Senheiser since I use wireless and theirs was superior (to my taste) over the EV wireless (at the prce point). Here is a wired option that is very tough to beat!

 

http://www.americanmusical.com/Item--i-SEN-E945-LIST

 

Good luck!

 

Rod

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  • 7 months later...
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I use a PR35 I'm in a love hate relationship with it right now.

 

 

I think I probably get what's to love, but what's the hate side for you right now? As I noted recently in a thread over at the Live Sound and Production forum, I recently went from an EV767a (which is a terriific dynamic mic) to a Heil PR22 and liked it so much better that I've decided to pickup a PR35 (it should be coming in later this week). I'm curious to hear about others' experiences with the Heil products.

 

Here's a link to the other thread:

 

http://acapella.harmony-central.com/showthread.php?2772997-Recommend-for-me-a-vocal-mic

 

Louis

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