What Vocal Mic is Best for Me? The Shred Guide.
OK so you’re finally ready to get out into the world and start performing. Woohoo! I’m excited for you.
There are a few pieces of gear every musician should have - certainly your own instrument, some extra cables, whatever whatever, but if you’re going to be singing lead or backup in a band and you’re playing at a bar or restaurant you should have your own microphone.
Not only is it the responsible thing to do to make sure you’re always prepared, but it is also more sanitary, AND you can find a microphone that better suits your voice, genre, or band setup (more on that later).
HERE WE GO -
1 —
Shure SM58 - $99
This has been the industry standard for longer than I have been alive. Introduced in 1966, this is THE microphone you will see at every venue across the country. This is a dynamic microphone with a cardioid polar pattern, which means it’s focused in a directional way and rejects sound from the rear and sides, though in not as extreme a way as super or hypercardioid. They can be purchased new for roughly $99, they are rugged and dependable as hell, and they actually sound good! If all things are relative, this is the live microphone to which all other microphones will be compared. A perfect starting microphone that will last forever and you can keep as a backup when/if you decide to upgrade, and also a favorite of those with bright or nasal voices as the 58 has a smooth and round top end.
Bonus that if you take the metal dome grille off you have an SM57, which is Shure’s incredibly popular instrument mic. If you ever need to mic your guitar amp, you’re covered!
If you’re not into having the status quo but want all the same specs here are some comps:
Sennheiser 835 - like a 58 with a slight midrange bump and a little more high end
https://www.sweetwater.com/store/detail/E835--sennheiser-e-835-cardioid-dynamic-vocal-microphone
2 —
Audix OM5 - $169
This mic has a hypercardioid pattern, so it is even tighter than the aforementioned SM58 and even better at feedback rejection. This allows you to crank the microphone louder before it starts to feedback, along with this mic’s incredible midrange that seriously cuts through the mix. The OM5 is a favorite of Eddie Vedder, Alanis Morisette, and countless others. Comes with a 5 year warranty. Super lightweight and comfortable in your hand, and also not as common as the SM58 so you’re not as likely to get your shit left behind or have somebody accidentally run off with it. This happens way more often than you think. I’ve owned an Audix OM5, an OM7 and an OM2 and they’ve all been really nice mics.
3 —
Electro-Voice ND96
If you’re playing with a loud band this is a GREAT mic for you. The flat top to this mic means it was built for you to sing right up on the grille and gets you closer to the capsule than any other mic available. Hypercardioid pattern so it’s super tight, and truth be told when your face is right in front of the mic because you’re “eating the mic” that acts as the best blocker for drums. Not a joke. Next time you want to find out if your vocal mic is picking up drums or cymbals try listening to your monitor when you’re not in front of your mic and then do it again with your head in front of your microphone as if you were singing. It actually makes a huge difference. Anyway this mic was designed to be used over a loud band which is why I purchased it and it actually works! If you’re doing hard rock shit or playing on really tight stages and feedback is a big issue this one is cool. It’s got a presence switch as well so maybe if you sing in a low register and you deal with muddiness that’ll help as well. A really interesting mic and a smart mic. Not that expensive either.
4 —
Shure KSM 9 - $559
On the opposite end of the spectrum, if you’re on a small stage with a loud band this is the absolute WORST microphone you could buy. It will sound like absolute shit and is one of the most expensive live mics around. BUT if you want to sound like Adele, this is a pretty good start. Although she may use the Neumann version ($729 for the wired version, somewhere around $1400 for the wireless). Anyway, this is a condenser microphone, so for our purposes we can think of this as using what is technology typically found in studio microphones. This explains the high level of clarity you’ll find in a handheld condenser, but also much higher risk for feedback and of course bleed from other instruments since this mic is so good at picking up everything. This is a cardioid pattern and they make a KSM9H that is hypercardioid, but either way this is best suited on large stages / with in-ear systems / mega churches / drums behind plexiglass etc. Will require phantom power! Don’t be frightened, these ghosts are friendly like Casper.
Some other microphones that are great and definitely worth mentioning:
Shure Beta 87A - $259
An affordable handheld condenser mic with a supercardioid pattern. Sounds great and is less prone to feedback. I have used this on small stages and it actually gets the job done and sounds really good. If your band isn’t super loud and you’re a real “vocalist” this is a great option.
Shure Beta 58 - $169
This is just a supercardioid version of the SM58. It is a little brighter and some people don’t like the sound as much, but it should be less prone to feedback. Pretty easy to find used if you’re into that.
About Wireless
Keep in mind that there are wireless versions of ALMOST all of the mics that I have mentioned so far today so if wireless capability is important to you don’t let that be a deterrent. You just need to find the correct microphone transmitter body and capsule. It will be more expensive but nothing in life is free. I’ll make a guide on those soon.
