Tim Gillett wrote:
James Perrett wrote:If you've got a screaming vocalist who can't be heard with an SM58 then I'd say the problem isn't the microphone. Yes, an OM7 has a tighter pickup pattern but with a loud vocalist the SM58 should work.
Are you using compression or distortion on the vocals? If not used in the right way these can both reduce the gain before feedback. As already mentioned, the singer also needs a sensible microphone technique.
And lastly - is the PA loud enough to overcome the sound of the band?
I'm also guessing this has nothing to do with the microphone.
And if the band is that screamingly loud on its own, there's probably no headroom left anyway (in the audience's ears) for an even louder vocal.
But as so often with self diagnosed problems, posting a recording from the audience is probably better than" a thousand words". Give us
hearing... Your diagnosis that the problem is with the mic may be completely wrong.
I was not the engineer this night:https://www.instagram.com/p/B81Rn1HnrHS ... yisfac64rz
As you’ll hear, the engineer has used all the headroom up making things far louder than they needed to be on the instrument front, leaving little for the vocals. However, even when in good hands (my hands) having a vocalist that likes the wrong side of the stage barrier and to use a microphone in that manner will still present a challenge.
The thing about small venues is that usually the PA and monitor situation only compounds whatever issue you may already have, so in asking for the best microphone for this solution I am just trying to give myself the best chance I can have in overcoming the unavoidable issues.
I have been engineering a long time now so am fully conversant with graphicing and the various other ways you can make things sound the best they can be when in a subpar room with subpar equipment, and do everything I can. But having the right microphone rather than the wrong one may help that extra % to get it as good as it can be.
So while I know everyone is well meaning with their advice on feedback management here, it’s not something I really need advice on. It’s instead just a case of picking the right tool for the job to give myself the best chance from the source.
I’ll do everything I can to make it sound good and I’m never one for making things loud for the sake of loud (unlike most bands and engineers in this genre), and part of that is selecting the right tool for the job.
And for Male rock vocalists in venues with challenging PA and such a scenario, the Audix OM7 does seem to be that right tool.