Decent vocal microphone?

[Robert]

Anyone know of a cheap but decent vocal microphone? I have an SM57, but it's not ideal for talking or singing.

Maybe the good old SM58 is the way to go?

I see Samson R11 gets decent reviews, and it's Dirt Cheap!

$29.95!

I just need something basic for home use.

 

[tunghaichuan]

Robert,

The only difference between the SM-57 and SM-58 is the wind screen. The windscreen on the '58 is bigger and has a better pop filter for vocals. The '58's windscreen also changes the EQ a bit. Maybe you could find a 58's windscreen and swap it for the on on your '57?

tung

Anyone know of a cheap but decent vocal microphone? I have an SM57, but it's not ideal for talking or singing.

Maybe the good old SM58 is the way to go?

I see Samson R11 gets decent reviews, and it's Dirt Cheap!

$29.95!

I just need something basic for home use.

 

[pes_laul]

I have a audix OM-8 (either that or a OM-5) and it works and sounds great,

But a shure SM58 probably would be your best bet

 

[Robert]

Robert,

The only difference between the SM-57 and SM-58 is the wind screen. The windscreen on the '58 is bigger and has a better pop filter for vocals. The '58's windscreen also changes the EQ a bit. Maybe you could find a 58's windscreen and swap it for the on on your '57?

tung

Thanks for the tip, although I'd like a separate mic for this.

I have decided to try the dirt cheap Samson. Put in an order this morning.

 

[Monkus]

These are some of the mics I use for recording:

MAudio Nova
http://www.zzounds.com/item--MDONOVA

Great for vocals, the large diaphragm captures the little nuances well, especially for female vocals. Have put it on amps and cabs as well with great results.

SM58
http://www.zzounds.com/item--SHUSM58

The workhorse of the lot, IMHO, more suited for live performances than recording. All purpose mic, will take abuse and a lot of vocalists perform better with them because they are familiar with the mic and its proximity effect. Search around the rim of the amph's speaker for the sweet spot 1-2 inches away from the grille angled in.

Nady PCM 200
http://www.amazon.com/Nady-PCM-200-Classic-Dynamic-Mic/dp/B0002E5158

great looking mic but beware, boomy proximity effect but can be used to great advantage. I use it for smoky blues and light jazz, mainly for the feel good points. Sing softly to either side 1 inch away and your mojo will whisper, "...sing it again Sam..."

PG58
http://www.zzounds.com/item--SHUPG58

Another great find. Bought this a few years ago because I needed another BU vocal mic. Sweet. Crisp highs and great lows, cardioid pattern actually is precise, which is rare in mics of this price range. Like the SM 58, all purpose mic.

I have a few other mics but these are usually my go to. Gassing for a bluebottle but maybe 2010. Each vocalist is different and I like to try out a few mics to see which gets the best result. I even used an Audix drum mic on a vocalist once because thats what sounded best. Hope this helps.

 

[deeaa]

I use a 57 for my vocals live; gives a more immediate sound and I guess that's why several 'hard' singers like it, such as Cornell etc.

As already stated, the only difference between a 58 and a 57 is the windscreen structure, but those aren't interchangeable, i.e. you can make a 58 pretty much equal to a 57 by removing the screen (for guitar recording etc.) but you can't screw a screen to a 57.

You didn't specify much if you wanted a mic for live singing or recording.

If recording, and you really have a tight budget, I'd suggest you get a nice pop screen instead and record into the 57 a 1/2 - foot away thru the popscreen. You need a pop screen anyway; cheap ones cost a tenner.

If you want a _good_ recorded sound you really need a large-diaphragm condenser mic. A Samson C01 is passable and cheap, and Rode NT-1 and the likes are the next on the ladder.

Basically even a cheap C01 will give a good sound, it's just that on cheaper mics the 'window' for singing into and from what distance is VERY tight i.e. you can't move a fraction of an inch when singing or the sound will change some

OR you could just make a popscreen out of women's stockings and some wire and sing into the 57 PLUS get a cheap small-diaphragm condenser to pick up the vocals also a little from the side, for more top and low end than passives.

A nice condenser mic is always good to have anyway for any recording.

I bet you can find passable mics real cheap. I paid like 35 dollars for an aluminium case which had a QKick samson, a 57 copy of sorts, two small-diaphragm condenser mics wiith holders and windscreens (samson, quite passable) and even a couple of clip-on drum mics (which turned out really bad though).

But anyhow, don't waste money on another, especially cheap passive mic. A 57/58 is about the best there is in that range. Either use the 57 to its full potential or/and get at least a small condenser to go along with it or jump to a large diaphragm one.

But, if it's like you just need a passable screened vocal mic for like karaoke etc, Shure Prologue series are quite OK for instance.

 

[sunvalleylaw]

For decent function, it seems that the SM58 is a good bang for the buck, but I sure like the look of a vintage style mic, and there are some nice ones out there. I think a Sinatra or Elvis style mic classes things up visually and adds to the act. Here are a bunch, and I think one or more are among those that Monkus noted.

http://www.gbaudio.co.uk/data/retromics.htm

 

[Spudman]

Sure Beta 58 is the "bomb proof - cuts through everything" choice.

There are some differences between the regular SM57 and SM58

 

[Robert]

I will probably use the mic to speak into, mostly. I do this for voice-over work to videos and other things. I might also bring it to a gig for doing background vocals.

After listening to some voice-overs I did, I definitely seem to need a good pop filter.

 

[pes_laul]

Sure Beta 58 is the "bomb proof - cuts through everything" choice.

There are some differences between the regular SM57 and SM58

+1 That's What I use in all my recordings when I am in the studio.

Sounds great and really cuts through with out making my voice sharp and cutting to the ears.

Though it is a tad pricey (We got ours used for 50 something bucks so it was a steal)

 

[rylanmartin]

Robert, when you come over I'll show you a bunch of the mics I use. You're mic choice is gonna depend entirely on what function you want it for. For live gigs, I'd definitely say the Shure SM58 or if you can afford a few more $, the Shure Beta 58 is my absolute favourite for under $200. Other than that I like to experiment with cheaper condenser mics for studio use, although a 58 still comes in handy very often.

If you don't want to spend much, You can buy a pair of Behringer pencil mics for about 70 bucks at AXE in E-town. I use those a LOT and they sound GREAT for the price tag (great for vocals and Acoustic guitar). They're in the small group of Behringer products I'll stand by. I have a Samson C03 and LOVE it for vocals, but the CO1 is just as good, just doesn't have as many EQ/Directional options.

Just be aware with condensers you'll need phantom power...

Lastly, you're always welcome to borrow anything I have, buddy!

Cheers,

 

[Robert]

Thanks Rylan! I will need to come over and see you soon.

By the way, my Tascam interface has phantom power, lots of it.

 

[Tibernius]

My suggestion would be one of these:

http://www.zzounds.com/item--AUTATM710

Audio Technica ATM710 Condenser Microphone. Not particularly cheap but definitely worth the money.

Built like a tank, similar size and shape to a Shure SM58, and very accurate. Perfect for recording vocals.

They had one at the college I went to last year, imo the best out of all of the microphones there.

 

[MichaelE]

I will probably use the mic to speak into, mostly. I do this for voice-over work to videos and other things. I might also bring it to a gig for doing background vocals.

After listening to some voice-overs I did, I definitely seem to need a good pop filter.

The EV RE-20 is the standard for voice-over and broadcast work. It's a bit more that you'd like to spend. However, you'd never have to buy another voice-over mic again. It also works very well for background vocals.

There are a few other excellent dynamic mics but they are higher than the RE-20. At the top of the heap is the Sennheiser MD441. $$$, good used is about two thirds of a new one.

 

[Robert]

The EV RE-20 is the standard for voice-over and broadcast work. It's a bit more that you'd like to spend. However, you'd never have to buy another voice-over mic again. It also works very well for background vocals.

There are a few other excellent dynamic mics but they are higher than the RE-20. At the top of the heap is the Sennheiser MD441. $$$, good used is about two thirds of a new one.

Ahh, that ain't cheap!
I guess I'll try the cheapo stuff first... :whatever:

 

[pes_laul]

Thanks Rylan! I will need to come over and see you soon.

By the way, my Tascam interface has phantom power, lots of it.

OKnow what kind of superhero rides a horse and totes a 9 mm?:whatever:

 

[wingsdad]

....There are some differences between the regular SM57 and SM58

Spud's freq response charts from Shure are testimony. No offense, but there's more than a windscreen difference between the 2 mics.

I've had & used both since the late 70's. i've used both for vocals, both for instrument applications. But the 58 is truly and practically more the 'vocals' mic, with a more pronounced 'proximity' effect, the 57 more the instro mic, or moreso, a standard for mic'ing guitar amps. These are fairly widely accepted opinions and judgements, not mine. In a nutshell, a rule of thumb is that if you're 'building a mic locker' (a stable of mics as tools), you need at least one of each. Period. You could make a living with just those 2 dynamic mics to work with and nothing more. They'e versatile when/if you know how to work them and the board you're going through given the sound source to mic.

Vocalist example? Thin voice? Use a 58 and eat it. Husky voice? Use a 57 and back off.

Condensers are more responsive and sensitive, and at that, you need a Large Diaphragm type for vox and a Small Diaphragm model for higher-timbre instros or tighter response.

 

[deeaa]

Spud's freq response charts from Shure are testimony. No offense, but there's more than a windscreen difference between the 2 mics.

I've had & used both since the late 70's. i've used both for vocals, both for instrument applications. But the 58 is truly and practically more the 'vocals' mic, with a more pronounced 'proximity' effect, the 57 more the instro mic, or moreso, a standard for mic'ing guitar amps. These are fairly widely accepted opinions and judgements, not mine. In a nutshell, a rule of thumb is that if you're 'building a mic locker' (a stable of mics as tools), you need at least one of each. Period. You could make a living with just those 2 dynamic mics to work with and nothing more. They'e versatile when/if you know how to work them and the board you're going through given the sound source to mic.

Vocalist example? Thin voice? Use a 58 and eat it. Husky voice? Use a 57 and back off.

Condensers are more responsive and sensitive, and at that, you need a Large Diaphragm type for vox and a Small Diaphragm model for higher-timbre instros or tighter response.

Nobody's saying they sound alike, au contraire - it's just as you say; you know your stuff and I agree 100%.

But still the fact is - just check Shure's own FAQ's - the two have are identical internally, i.e. the mic capsule is excatly the same. Always been that way. But on a 57 it's cast into a plastic frame making them non-interchangeable.

But there's no denying the effect of the windscreen/support build...on a 57 you get like a full inch closer to the capsule than on a 58. A 57 has a tight metal grille that is fixed right over the capsule and that alone makes for a great difference in upper frequencies, especially when breathing right into the mic.

It means that you can _pretty much_ get the same sound from a 58 as a 57 by removing the grille. No, it won't still function the same as the fixed grille on the 57 is still there, but when recording guitars etc. somewhat midrangey, non-air-blowing instruments, I'll wager whatever money that 99% of people can not tell any difference in sound nor there is a difference in frequency charts except in the higher frequencies and ever so slightly. There will be bigger differences between mics of different ages and different degrees of use than 2 new 57/58's.

But, as you say, there are really noticeable real-world differences and both would be good to have in your gear box. Both have their uses and are clearly distinct in behaviour.

 

[Spudman]

Robert

Do you want a dynamic or condenser mic?
If you are mainly going to play with it at home then go condenser but if you want to take it to gigs then go dynamic.

There are some pretty good inexpensive large diaphragm mics you could use at home.

 

[Robert]

Robert

Do you want a dynamic or condenser mic?
If you are mainly going to play with it at home then go condenser but if you want to take it to gigs then go dynamic.

There are some pretty good inexpensive large diaphragm mics you could use at home.

A condenser mic is maybe what I should get for home use - what do you recommend?

I will still get a cheap Samson dynamic mic for background vocals and whatnot. So cheap, gotta try it! :rockon:

 

[evenkeel]

Another good option is a Shure 57/58 clone from Radio Shack. These were made by Shure and are 57/58's in all aspects but the label. No longer made, but they pop up on EBay from time to time are are very cheap. I picked up a couple for less than $10ea.

 

[Spudman]

A condenser mic is maybe what I should get for home use - what do you recommend?

I will still get a cheap Samson dynamic mic for background vocals and whatnot. So cheap, gotta try it! :rockon:

I've used some of those Samson and Behringer inexpensive mics and they work great. Not super high quality great but great for live work for sure.

What is your budget?

There are a couple great condensers that are industry standards that won't let you down and sound great. That said, there are also some great budget large diaphragm condensers as well. For example people are getting great results with the CAD GXL3000 as well as numerous mics under $150. Or you can check out the Sure SM7 for around $350. It's really your call.

You can look here and get some great ideas. Be prepared to read a lot.

A preamp can make a big difference with the condenser. Even the little ART and Behringer tube stand alone units for around $40 can improve a fair quality mic, either condenser or dynamic.

 

[wingsdad]

For voice-over at-home-studio stuff, I concur 100% that a condenser mic is the way to go.

Not available at places like GS, MF, et al, ADK Microphones are pro-studio grade at working stiff prices.

I started with ADK's at the recommendation of my local dealer with this set...when you consider what you get for $200 US, it's a smash deal:

A-51 & SC-1 Pak

I liked those 2 so much, I later got a A-51S -- higher SPL with dB cut and bass-cut switching and 2nd SC-1 to give me a matched pair for stereo axis recording of acoustic guitars & such.

The thing about an LDC like the A51 is its sensitivity; you need a really quiet recording environment. If you can hear outside noise like cars, etc coming through your windows, it will pick it up. So if a flea farts in your studio, you'll catch that, too.

Spud's spot-on about using condensers with a little tube pre-amp, too.

 

[Robert]

Ahh, those flea farts are always such a nuisance in my studio!

Thanks wingsdad!