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Originally Posted by 2LIP Tom:
I too am in the market for a horn mic, only I don't use the horn mic that much but do need a mic that will work for both trumpet and vocals. I already know that there is not such thing. Right now, I am using an SM57 and find it too directional for vocals, but good for trumpet. The SM58 and Beta 58 are the other mics that I have been thinking about getting. I was told that the Beta 58 would be a bit hotter sound wise, but would add some warmth to my vocals, and if I blow my horn towards it from 2-3 feet away, I will hear myself out of the monitors. Mostly, I need the mic to hear myself on stage, otherwise the audience generally hears me fine without it. All electric instruments are amplified, but not run through the PA. Electric piano, sax, and my vocals/horns are run thru the PA. Let me know if there is a magic mic that would work well for my application. I have to be able to sing and play.
Thanks,
LIP |
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