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rightround: blogs: Live Sound Andrew R: Montreal Annette L: Sydney
Dana J: Live Sound Elise N: San Francisco Ken M: Tokyo Kim R: Austin
Recent Posts: In-ear monitors: More ME in the monitor, please! Small
club acoustics: Playing with the room Tips and tricks to make your gig
go smoothly Cheap gifts for broke musicians More about microphones
more articles... Ads by AdBrite Live Sound Dana Jae's blog Mic
selection and technique for live sound Hello Rocktober! This past
month has been a whirlwind of live sound events. I've collected a few
ne http://www.chinese-microphone.com/Drum-Microphones.html w stories,
some of which illustrate the single most important element in sound:
the microphone. Why, you may ask, is the microphone the most important
element? Well, without one you can't record sound sources, or amplify
them. So this time I'm going to talk about amplifying sound in a live
sound environment, and why there is actually an important difference
between mics for live sound and those used in the studio. Dana's
Recommended CD Blame Sally, Blame Sally Dana's Recommended Mics and
Gear: Blame Sally uses several different microphones: the Audix OM7
and Audix OM5, the Beyerdynamic Soundstar II, and a Shure SM58. I love
Audix vocal mics, as you can get a lotof gain before feedback out of
them. They are particularly suited to singers in loud rock bands.
(This is not a loud rock band, however.) For the instruments, I used a
Shure SM57 microphone on the percussion and a host of Countryman
direct boxes on the rest of the acoustic instruments and the keyboard.
A direct box enables you to take an instrument cable from a bass,
keyboard, or acoustic guitar and change it to a balanced line that can
run long distances to the mixer. A typical instrument cable is
unbalanced, and can induce noise if run longer than 30 or so feet. If
there is a lovely piano in the vicinity, I mike it with a couple of
AKG C414s or a Shure SM91 PZM microphone. The other band that day,
Deep Six, needed a ton of microphones. They had a drummer, a
percussionist, a bass player, two guitar players, a keyboard player,
and two saxophonists — and five of them sang. So we're talking
pedal-to-the-metal sound system and mixing. I only had 16 channels, so
in order to save space on the console I used three microphones on the
drums rather than my usual seven or eight. I had a Beyer M180 mic, one
of my faves for kick drums, and a Shure VP88 stereo mic over the top
of the kit to pick up the rest of the drums and cymbals. On the
percussionist, I used two Shure SM57 microphones over the tops of the
dual sets of combined congas and bongos to pick up all of them. The
Shure SM57 is the most widely used microphone on the planet. It never
lets you down, has an excellent sound for mik

ing instruments of all types, and is usually the one mic that any
engineer would die with. Yup, put it in the casket with me! I placed
additional Shure SM57s in front of Deep Six's guitar amplifiers. No
matter how loud a guitarist plays, you'll always want a little more at
some point. Though you may not use the mic all the time, when you need
it, it's there. (They can't tell how loud they are playing from the
stage, you know. This is why I have to shake my finger at some of
them, like a momma reprimanding her kid. Most play too loud.) I used a
Countryman direct box on the keyboard and the bass, and a few
different vocal mics on the band. Some engineers stick with the same
manufacturer, make, and model to mike all the vocals in a band. I say
"bah-humbug" to that! Every voice sounds different through various
mics, and it's important to pick the right one for YOUR voice. One of
the firemen had bought himself a Shure 55SH vocal mic. It looks really
cool and vintage. (And judging from his cool gig shirt, you c
http://www.chinese-microphone.com/Drum-Microphones.html an see why
"stylin'" is very important to him.) This mic looks so cool that you'd
think Elvis just walked off stage. It has a fine sound for the male
voice (good reproduction of the lower midrange). I used a Shure SM58
for his pappy, who stood right next to him playing guitar. The
keyboard player had a Sennheiser E835 that he had recently purchased.
It sounded great on his voice, though at first I wasn't too sure if it
would give me enough gain before feedback. For the rest of the band, I
used the Audix OM7 vocal mics that I have come to know and love for
live sound. Alanis Morisette, Bonnie Raitt, and Crosby, Stills, and
Nash are big Audix vocal mic fans as well. A few other mics of note: \xE2\x80?
Sennheiser E609s are particularly good on guitar amplifiers. I love
the Sennheiser MD421U (a standard for years) on tom drums and
saxophones. \xE2\x80?Both Audix and Shure drum kit packages are well worth
the investment. The Audix D2 and D4 are quite good, and I've already
mentioned the Shure SM57 on drums\xE2\x80\xA6love it. Their Beta 52 kick-drum mic
has a BIG sound. \xE2\x80?If you're a vocalist who wants one of the best live
mics and you don't have a really loud band behind you (say you
accompany yourself on piano or acoustic guitar), you will love the
Neumann KMS105. It's lovely, but a bit pricier than most others noted
here. Audix OM5 Dynamic Microphone Audix Fusion 7 Drum Microphone
Package Neumann KMS 105 Pro Stage Condenser Mic Shure SM57 and SM58
Microphone Package Shure 55SH Series II Cardioid Dynamic Microphone
Shure Beta 52A Kick Drum and Bass Microphone Sennheiser E609 Silver
Dynamic Guitar Microphone Sennheiser E835 Performance Vocal
MicrophoneBut first, the stories. On September 16 I had two live sound
events back-to-back. Early in the day I provided a complete sound
system for an eight-piece band called Deep Six at the San Francisco
Fire Department's annual chili cook-off, which kicks off their "Toys
for Tots" holiday fundraising event. (Four of the members of Deep Six
are firemen, including a father/son/uncle combo!) It was a big outdoor
show in the parking lot of a restaurant in SF's South of Market
district, near the ballpark. And yes, even though it was a 10:00 a.m.
load-in with the band's showcase starting at 1:00 p.m. and ending at
4:00, this was a drinking event. (The restaurant was named "Tres
Agaves," which happens to be the plant from which tequila is derived.
And there was plenty of it! When firemen aren't busy pulling you to
safety and saving your home or business, they enjoy a good party now
and again.)Blame Sally(Photo: D. Ross Cameron)The second gig of the
day was far more sedate and soothing. I did sound for a band I love
called Blame Sally. Talk about putting something beautiful in front of
a microphone — these ladies sing and play the most beautiful
music I have heard in years. I feel as though I've been elevated to
heaven every time I hear them. Every note they play and every melody
they sing is the perfect demonstration of what you would want to
capture with a microphone. And these gals use microph

ones to their best advantage. (Mic technique lesson coming up!) All
four are multi-instrumentalists, lead vocalists, and support each
other with rich backing harmonies. The members of Blame Sally offer a
perfect example of the proper use of microphones and mic technique in
live performance. Let's go over some of the basics. Different types of
microphones with different pickup patterns (also known as polar
patterns) are used for various purposes onstage and in the studio.
Omnidirectional mics pick up sound from every direction — a
complete no-no for most live bands, where the whole idea is to isolate
the sound of each instrument as much as possible. Bidirectional or
"figure eight" mics pick up sound from both the front and back. For
live sound, the pickup pattern that's most useful is the cardioid
(heart) shape, also known as unidirectional. (Hypercardioid and
supercardioid patterns are variations of this shape.) A microphone
with a cardioid pattern picks up sound from the front of the mic and
rejects sound from the back, which is, of course, ideal for live
vocals. An omnidirectional mic pickup pattern. A cardioid mic pickup
pattern.Most vocal mics used in live sound are dynamic microp
http://www.chinese-microphone.com/Drum-Microphones.html hones. This
means that there is a moving-coil magnet inside the mic that reacts to
sound pressure level (SPL). It moves back and forth in relation to the
pressure of the sound waves, creating voltage. These mics are
excellent for loud SPL, like you'd get from a kick drum. Your ear
works like a moving-coil magnet, sort of. (No, don't put your ear up
to a kick drum while someone is slamming it!) There's no magnet in
your skull (at least that I know of), but like a dynamic mic, the ear
has a membrane that reacts to sound pressure level. This is how you
can tell the difference between a whisper and a shout into your ear.Of
course, there are other types of mics besides dynamic microphones, but
they are not as commonly seen onstage. A condenser mic uses a
capacitor to store a charge that is either provided through the mixer
via the mic cable (this is known as "phantom power") or through a
battery. Condenser mics are widely used in studios, and have an
excellent frequency response. Then there are ribbon mics, which sound
amazing but are rarely used in live sound for vocals, as the usual
pickup pattern is bidirectional — the mic would pick up both the
vocalist and the guy hooting and hollering in the third row. Because
dynamic mics work well in reacting to loud SPLs, we use them in front
of electric guitar amplifiers, drums, horns, and voices onstage. But
wait a minute, you might be thinking: What if the singer in my band
sings really softly? Is this still the right type of mic to use?
Unfortunately, if you're in a band that has drums, electric/electronic
instruments, or loud sound sources, and you want your vocalist to be
heard, you need to use a dynamic microphone. In live sound, it takes
gobs of power to make the sound system loud enough for an audience to
hear. (After all, PA stands for "Public Address.") This uniquely large
amount of power is known as "system gain." And as loud as you make the
instruments, you have to make the singer even louder, and still avoid
feedback. One important concept in live sound is "gain before
feedback." A good live vocal mic has to have maximum rejection of the
feedback that can be generated by stage monitors that blast the sound
of the mic back at the singer. This is a key reason why you can't use
a studio microphone on a pop music stage. You'd get that horrible
ringing "SHREEEEEEEEET" in the sound system. That's when the audience
runs for t

he door. Eeeeks!Dynamic mics with a cardioid pickup pattern are
necessary for rejecting feedback. You can increase their gain enough
to make a sound heard above the din, but not interact negatively with
the huge amount of system gain that's rolling through the PA system.
(It's called physics, my friends, and there is a lot of information
that I must leave out for the sake of space.)But there's more to using
a microphone than just plugging it in and singing. To get the most out
of a performance, good mic technique is essenti
http://www.chinese-microphone.com/Drum-Microphones.html al. Check out
these photos of Blame Sally: You can see that the singers are very
close to the microphone. Dynamic mics sound best when you are
practically "eating" them. You hear the fullest part of the tone of
your voice (the rounded lower-midrange) when the singer is close to
the mic, and a far more diminished sound when he or she backs up just
a few inches. Jeri Jones from Blame Sally. (Photo: D. Ross
Cameron)Monica Pasqual from Blame Sally. (Photo: Tom Erikson
Photography)When singers with good technique (like this band) work the
mic, they get real close when singing quieter parts and pull away a
bit when belting out a loud note. They also back off a little when
singing backing harmonies, so the person who is singing lead stays in
the front of the mix. You've probably seen this in action if you've
ever caught a close-up of one of those big-name singers in concert.
(Whatever you think of Celine Dion, the lady does have good mic
technique, people!)Now, when you see a rapper "spittin'" on the mic
(not literally; it's a hiphop term) and he or she has their entire
fist wrapped around it — well, um, that is NOT good mic
technique, as it cuts off much of the mic's pickup pattern. Same thing
when you see Mick and Keith doing a vocal thing together on one mic,
each one from the side of the mic: That's not good technique either,
as the mic picks up sound the best from the front. (Well, it does look
cool, though. And both rock and hiphop have a lot to do with looking
cool, no?)Finally, vocalists, here is an important tip: Do yourself a
favor. Buy yourself your own microphone and take it to every gig. This
is your instrument, and you should definitely have your own. If you're
using the club's house microphones, you never know what the person who
sang before you has done with the mic you're about to use. Years ago,
I saw the lead singer of Fishbone do something so disgusting with his
mic that I ran out to the store THE NEXT DAY to get myself one. I've
never turned back!Posted September 2006 Send to del.icio.us | Comments
are closed dlabrecque commented, on September 25, 2006 at 11:11 a.m.:
Dana,I've heard that a "dynamic" mic will make a low-
energy perfomer sound more up-beat. Is this true? djlab commented, on
September 28, 2006 at 12:21 a.m.: Hi Dave!The only thing I've
found to make a low-energy performer sound more upbeat is to give them
a bottle of...Green Tea Vitamin Water before their set starts!;-)
anonymous commented, on August 17, 2007 at 6:14 a.m.: Thank you for
writing this blog Dana. It was exactly the information I was looking
for! Bless you!! about us contact us sitemap

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