fatpauly

http://www.wesdooley.com//images/aea2003/r84home.gif

- Paul Artola
Ellicott City, Maryland

mat

Sennheiser MD421 II
even better for trumpet: Sennheiser MD421 U
The allrounder: Sennheiser MD 421 U-4

http://www.sennheiser.com/sennheiser...ed_stage_brass

In Germany they are sold for approx. 330€

HTH
mat

fatpauly

In recording studios, the MD421, Shure SM57 and Electro-Voice RE-20 are the three standard "sound good on anything" mics. If you want to hear a clip of what an RE-20 sounds like (well, actually its stage version, the PL-20), check out my recording of Matt Page playing my Zeus G horn:

http://www.csee.umbc.edu/~artola/zeus

- Paul Artola
Ellicott City, Maryland

tom turner

This reply is also for Rick.

THE SHURE SM57/SM58/PE50SP FAMILY OF MICROPHONES
1. The SM 58 and SM 57 Shure mics use the same mic element and body. Basically, only the windscreen is different.

The Beta is a more expensive "upgrade" to the 35+ year old SM57/58/PE50SP family of Shure mics and are claimed to be a little better. I frankly wonder though if this is simply a way to give retailers a "new" standard that they can sell. Their prime competitors are all those old 57/58 mics out there sold a generation ago that still work great!

2. The Shure 57/58/PE50SP are all designed to be used in extreme close-mic situations. In other words, the singer's lips are virtually touching the windscreen (usually a 58 or PE50SP) or literally almost in the bass drum (ala SM57 in the studio).

Since mics get real "boomy" in the bass when they are this close, these mics were designed with a bass roll-off curve that results in perfectly accurate response though . . . when mic'ed properly from 1"-3" away from the sound source!

Because of the engineered in weak bass response in order to accomplish it's mission as a close mic-type microphone, the 57/58/PE50SP begins sounding very thin when placed 6" or more away from the sound source . . . and it gets much worse 3' away!!!

WHAT I USE FOR VOCALS . . .
My solution was to simply purchase a couple of extra ATM-11 microphones off e-bay at a reasonable price.

1. I use one for my trumpet at a distance of 4"-6" and it sounds wonderful!

2. I use my second one as my vocal mic . . . at a distance of < one inch! This mic is soooo clear on vocals and gives my voice more richness in a close mic situation vs. using an SM 58 that the band owns . . . plus a great sparkle to the openness on top.

3. My third one goes on gigs with me too . . . as a back up. BTW, I've owned an ATM-11 since about 1980 or so and NEVER, EVER had a single problem. Still . . . I bring backup to everything on gigs: mic cables, mics, horns, amps, etc. . . . for "stuff happens" and ya don't ever get hired again if that "special event" fails.

HOW TO PLAY WITH LOUD ELECTRIC INSTRUMENTS . . .
You'll never, ever get guitarists and such to understand or care about your problem. Psychoaccoustically, guitarists personally "feel" they sound better when their amp is screaming loud!

My solution . . . I bring my own answer to the guitar amp! . . .

My trumpet mic runs, NOT to the house's sound board, but to MY mixer first! I add my OWN effects as I want them . . . and then send the sound to TWO places via different outputs on my mixer:

1. Via a "balanced" mic-level signal from my mixer, the house's sound man receives my trumpet signal as if he had simply plugged his cable directly into my mic . . . but I get to tastefully "sweeten" my sound properly with my Lexicon digital effect processor.

2. My other output goes to MY PERSONAL AMPLIFIER AND PERSONAL MONITOR SPEAKERS . . . which I CONTROL TOO!

My Mackie mixer has "Control Room" outputs that allow me to use the "Headphone/Control Room" volume control to allow me to turn my personal monitors up and down . . . INDEPENDENTLY from the fixed output, mic-level signal the house receives!

Now, when the guitar idiots crank up, I simply turn up my personal monitors louder and I don't have to blow louder anymore to hear myself!

3. One sturdy mic stands, at a distance of a couple of feet on each side of my head, are mounted a pair of great mini-monitors!!! Since I've done this my performance level and endurance has soared . . . thanks to being able to hear again AND not have to overblow all night long.

THE AMP? A monsterous Peavey CS800 with enough power to drive many band's main PA speakers!

AND NOW . . . AS PAUL HARVEY LIKES TO SAY . . . YOU KNOW THE REST OF THE STORY!

Good luck gentlemen, I hope this helps!

Tom