Did a search and couldnt find any clear cut responses. Im trying to get recommendations from those in the trenches for purchasing several mics that will be used for a weekly in studio guest performance. Mainly would need to mic acoustic/electric guitars, bass, small drumset, upright piano. No set budget but looking for best price/performance ratio. We will use existing EV RE20s for vocals.
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Best Mics for in studio performances.
- Thread starter Fieldtech1
- Start date
That's a little like asking, "What is the best car?" It largely depends on what your needs and expectations are. There are a lot of very good microphones on the market. Your budget is usually the limiting factor. How much do you want to spend?
If I could have just one type of microphone to use for everything, my "Swiss Army Knife" choice would be some Shure SM-57's. They work well for just about anything, even vocals, especially if you use a wind screen.
You mention using RE-20's for vocals. Of course, you can do that, but most musicians will not be used to "working" those mics. The venerable Shure SM-58 would be a much more familiar choice for many. That doesn't mean you can't get good results with the RE-20's, but it may be more of a challenge.
You may also find that a couple of small diaphragm condenser mics would be handy for acoustic instruments. I've always liked AKG 451's for that, but even some inexpensive Behringers can sound good on the right source.
Opinions about microphones vary all over the spectrum. There are many ways to achieve similar results. They are not necessarily wrong, just "different." Good luck with your shopping.
If I could have just one type of microphone to use for everything, my "Swiss Army Knife" choice would be some Shure SM-57's. They work well for just about anything, even vocals, especially if you use a wind screen.
You mention using RE-20's for vocals. Of course, you can do that, but most musicians will not be used to "working" those mics. The venerable Shure SM-58 would be a much more familiar choice for many. That doesn't mean you can't get good results with the RE-20's, but it may be more of a challenge.
You may also find that a couple of small diaphragm condenser mics would be handy for acoustic instruments. I've always liked AKG 451's for that, but even some inexpensive Behringers can sound good on the right source.
Opinions about microphones vary all over the spectrum. There are many ways to achieve similar results. They are not necessarily wrong, just "different." Good luck with your shopping.
Since its just a once a week thing the station is not looking to spend a ton, perhaps $1500, but as i said no set in stone budget. Im looking for the most versatile durable mics, perhaps the Toyota Camry and Honda Accord of mics to go with the car analogy.
A decent mic package might look like this:
Audix D6 (kick drum)
Shure SM57 (snare drum)
Sennheiser e604 (tom 1)
Sennheiser e604 (tom 2)
Shure SM81 (overhead L)
Shure SM81 (overhead R)
Sennheiser 421 (bass amp)
Shure SM81 (acoustic guitar)
Shure SM57 (gtar amp)
Rode NT1A (piano low)
Rode NT1A (piano high)
Shure SM58 (Vocal 1)
Shure SM58 (Vocal 2)
There are a million choices...but I'd say: get 2 large diaphragm dynamics, (i.e. Sennheiser 421, Shure Beta 52, Audix D6) for Kick drum or bass amps, 4 Shure SM57's for snare drum and guitar amps, 2 or 3 tom mics (Shure SM57's are also fine for this, but the Sennheiser e604's are small and will clip on the toms), a match pair of condensers for drum overheads, a matched pair of condensers for piano, maybe one more condenser for acoustic, (i.e. Shure SM81, Rode NT1, Audix SCX25A), and a few DI boxes for acoustic instruments with built in pickups. Add a few Shure SM58's for vocals (or Audix OM2's), and you'll be set to handle most anything thrown at you.
Hope this helps.
Audix D6 (kick drum)
Shure SM57 (snare drum)
Sennheiser e604 (tom 1)
Sennheiser e604 (tom 2)
Shure SM81 (overhead L)
Shure SM81 (overhead R)
Sennheiser 421 (bass amp)
Shure SM81 (acoustic guitar)
Shure SM57 (gtar amp)
Rode NT1A (piano low)
Rode NT1A (piano high)
Shure SM58 (Vocal 1)
Shure SM58 (Vocal 2)
There are a million choices...but I'd say: get 2 large diaphragm dynamics, (i.e. Sennheiser 421, Shure Beta 52, Audix D6) for Kick drum or bass amps, 4 Shure SM57's for snare drum and guitar amps, 2 or 3 tom mics (Shure SM57's are also fine for this, but the Sennheiser e604's are small and will clip on the toms), a match pair of condensers for drum overheads, a matched pair of condensers for piano, maybe one more condenser for acoustic, (i.e. Shure SM81, Rode NT1, Audix SCX25A), and a few DI boxes for acoustic instruments with built in pickups. Add a few Shure SM58's for vocals (or Audix OM2's), and you'll be set to handle most anything thrown at you.
Hope this helps.
We do quite a bit of in-studio/listener lounge performances with current artists. Everyone just wants the basic pack of mics that they know well. If they're picky, they'll bring it.
I mostly agree with Level42's list, but I have never had anyone want to mic a bass amp for a performance - they always just want a DI. The amp stays in the room though so they can hear it, bass doesn't pass through headphones well enough. Also use DIs for acoustic guitars unless it's a serious guitar performance - everyone tends to pass on micing the acoustic for fear of wandering off mic. Yes, the mic would sound better. I like active DIs (BSS AR-133) but that'll quickly blow your budget. The Whirlwind IMPs are cheap and decent enough. Get at least four. I suggest not using the RE20s - anyone playing an instrument will want an SM58 on a boom stand for vocals.
Most will skip an SM81 if offered a different small diaphragm condensor. I like the AKG C451. I've had a handful of SM81s fail as well. Don't buy the Beta versions of the Shure mics. I've only had one artist prefer them, and they brought their own.
Get good mic stands (I like K&M), Z-bars, drum claws, pick holders, guitar cables, and guitar stands. Get a snake. Have a bunch of pairs of headphones and necessary amps/extender cables/etc. No artist can perform without some form of monitoring. Since we have an audience in the room we have wedge monitors, but headphones are fine if it's just the artists and talent.
Have fun. Recording/live mixing is a progressive disease that only gets worse once it's taken hold of you.
I mostly agree with Level42's list, but I have never had anyone want to mic a bass amp for a performance - they always just want a DI. The amp stays in the room though so they can hear it, bass doesn't pass through headphones well enough. Also use DIs for acoustic guitars unless it's a serious guitar performance - everyone tends to pass on micing the acoustic for fear of wandering off mic. Yes, the mic would sound better. I like active DIs (BSS AR-133) but that'll quickly blow your budget. The Whirlwind IMPs are cheap and decent enough. Get at least four. I suggest not using the RE20s - anyone playing an instrument will want an SM58 on a boom stand for vocals.
Most will skip an SM81 if offered a different small diaphragm condensor. I like the AKG C451. I've had a handful of SM81s fail as well. Don't buy the Beta versions of the Shure mics. I've only had one artist prefer them, and they brought their own.
Get good mic stands (I like K&M), Z-bars, drum claws, pick holders, guitar cables, and guitar stands. Get a snake. Have a bunch of pairs of headphones and necessary amps/extender cables/etc. No artist can perform without some form of monitoring. Since we have an audience in the room we have wedge monitors, but headphones are fine if it's just the artists and talent.
Have fun. Recording/live mixing is a progressive disease that only gets worse once it's taken hold of you.
On a post like this, you'll get varying opinions. I wouldn't have a problem using RE-20's. If you watch Stevie Wonder's performance of Supertition on Youtube, you'll see an RE-20. If you watch Radiohead's in studio performance from three years ago, you'll see their singer using an RE-20. They're one of the most forgiving microphones you can use...depending on your room acoustics, you may be very happy using RE-20's. SM-58's are classics, though.
If I could only buy one of those mentioned, it would be the Sennheiser MD-421. It isn't optimum for any of the uses you want, but it's good for all of them.
Somehow, the previous post went on line before I was finished writing. Here it is again:
With a $1500 budget, it would be hard to buy a full assortment of mics as some have described. You could probably get 16 SM-57's for that price, but I think a better assortment would be
4 SM-58's, about $400
6 SM-57's about $540
3 Behringer B-5 condenser mics, about $225
3 or 4 Direct passive boxes, about $150-200
That leaves you with about $150 or so for cables, stands, etc. That's not much. I prefer K&M stands. They are expensive, but worth it. They will probably be out of your budget. The "On Stage" brand sold by several music store chains, aren't too bad for cheap stands. You can usually get 5 for $100 and sometimes a canvas bag to store them in. These are not heavy duty, and will not last forever, but they are OK for the money.
Don't forget cables. Beware of most of the really cheap ones. You do get what you pay for. I've had good luck with Horizon, Rapco and ProCo. Nothing beats Belden or Canare cable with real Switchcraft or Neutric connectors. Most of the ones that come “free with your order” will cause more problems than they are worth.
Incidentally, since you are basically recording, often” less is more." You can usually mic a drum kit with 3 or 4 mics and get a good balance. Placement is important, but kick, snare/hi-hat and overhead will work. Use two overheads and you get a nice stereo effect. One well placed mic will work on a piano, but it may take more experimenting to find the "sweet spot." Simple and straightforward is usually the best way to start. You can get more elaborate as you grow.
With a $1500 budget, it would be hard to buy a full assortment of mics as some have described. You could probably get 16 SM-57's for that price, but I think a better assortment would be
4 SM-58's, about $400
6 SM-57's about $540
3 Behringer B-5 condenser mics, about $225
3 or 4 Direct passive boxes, about $150-200
That leaves you with about $150 or so for cables, stands, etc. That's not much. I prefer K&M stands. They are expensive, but worth it. They will probably be out of your budget. The "On Stage" brand sold by several music store chains, aren't too bad for cheap stands. You can usually get 5 for $100 and sometimes a canvas bag to store them in. These are not heavy duty, and will not last forever, but they are OK for the money.
Don't forget cables. Beware of most of the really cheap ones. You do get what you pay for. I've had good luck with Horizon, Rapco and ProCo. Nothing beats Belden or Canare cable with real Switchcraft or Neutric connectors. Most of the ones that come “free with your order” will cause more problems than they are worth.
Incidentally, since you are basically recording, often” less is more." You can usually mic a drum kit with 3 or 4 mics and get a good balance. Placement is important, but kick, snare/hi-hat and overhead will work. Use two overheads and you get a nice stereo effect. One well placed mic will work on a piano, but it may take more experimenting to find the "sweet spot." Simple and straightforward is usually the best way to start. You can get more elaborate as you grow.
My vote is for the Sennhieser 421. You can use it anywhere, It is overload proof and is one of the most musical mics out there. Cheaper than an RE20 and kicks its A#$@. Never Liked the RE20 made for bass drums, mostly a phallic symbol. Tons of 421's in every Recording Studio in the world! Almost as sturdy as a 635A. In my earlier days with remotes, I have driven over several 635's and still worked. One of our sales people used one to drive a small nail in wood to hang a banner, I didnt like it but no harm. If you want a condenser, Kinda neck and neck between a Neumann or a Peluso. Cheapy Large diaphragm mics that sound good are MXL V69 and Octavia. I have a Alesis AM11 that sounds good as well. MXL Makes a multi port 48 volt Power supply for the condenser.
Ditto RF guy.Love the 421..Never was crazy about the RE20.I remember when the 635 was $35.00.Very good mic,lots of TV news folks used those.
I missed the not about your $1500 budget the first time around. I think my list could be edited down a bit...if it's a decent room, 3 mics on drums will be fine. Get a decent kick mic, Audix D6 is my current fav, and runs less than $200. Audio Technica and AKG are both making some decent low cost condensers...get a pair for overheads. Some people like DI on the bass...when I play, I prefer a 421 on my cabinet...because I spend a lot of time getting my sound with my cab...and I want that to translate to the performance. A 57 will also work. Get a 57 or 2 for gtar amps, a few 58's for vocals, and an additional pair of condensers to use on piano or acoustic. A few Whirlwind DI's, and you'll be in business.
Revised list:
1 - Audix D6 $190
4 - Audio Technica AT2020 $99 per
1 - Sennheiser 421 - $350
2 - Shure SM57 - $79 per
3 - Shure SM58 - $89 per
3 - Whirlwind IMP2 DI - $35 per
$1466
So, yes...you can have a very usable mic package for your budget. Good luck.
Revised list:
1 - Audix D6 $190
4 - Audio Technica AT2020 $99 per
1 - Sennheiser 421 - $350
2 - Shure SM57 - $79 per
3 - Shure SM58 - $89 per
3 - Whirlwind IMP2 DI - $35 per
$1466
So, yes...you can have a very usable mic package for your budget. Good luck.
Thanks for all the suggestions, I will post some of our live performances on youtube once we our up and running with our weekly "live sessions" show.
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