The 58...

[clineaudio]

Like it or not, it's there. Personally, the more I work, the more i think the 58 is horrendously aggressive. Simply put, it hurts.
I know it's that way for clarity reasons...but does anyone have a quick move to tone it down a bit? Or a similarly priced mic that you'd suggest?

A second question for the working FOH engineer... Do you have a quick way to get compression levels during line checks, or soon there-after w/o screwing with the singer? Often times, I don't wanna be auditioning compression during the crunch time of sound check, and I also certainly don't wanna be setting up compression during the first note of the set. So, when do you usually audition, and set your initial comp levels?

[dagosto]

A little trick I picked up for the 58 is to take the windscreen off and replace it with one from a Beta 57. This changes the characteristic of the mic in a good way and also gives the singer a flat target to sing into which will help on your end. If this isn't enough try trimming a little between 2k-5kHz. This is usually where those painfull frequencies live.

I think that adjusting the time for adjusting compression settings for FOH is during sound check. If you've worked at the same place for a while you should already have an idea for where you're settings should be. I would say you should use the compressor mostly as a limiter with an attack on the quick side and a medium release to minimize pumping.

[drewsifer]

Is there any better mic to throw at somebody than a 58? if there is, I havent found it!

[lukedavo]

I did.....
The Global Audio HM1 by CAD, those things fly really well, very minimal wind resistance. Here are some quotes from our satisfied customers.....

" I've broken 3 noses with my HM1"

" I plugged it in and it didn't work so I unplugged it and threw it across the room, I was amazed at the distance I got, and I knew then this was the right mic for me."

" I can't wait to throw my mic again!"

[Nubus]

use your comps on the sub groupd mix busses, not directly on the channels providing the aux sends to the monitors. tweak the comps whenever then cause you don't screw with the stage.

what's so bad about the 58?

[clineaudio]

Well, the 58 is used on stages because of that 2-5k bump that helps the vocal cut, its difference from the 57 (a little less "aggressive") is that is has an even more exaggerated bump in the 6k range which really comes across as a knife to your ear on sibilance, which we, as american music listeners, have come to get used to. Of course, the way to mellow it out a little is a good preamp and compressor chain on the lead vocal. This is how the 58 can sound (with a good singer), fair / acceptable one set, and good/fantastic during another. The FOH engineer for the headliner usually has a nice little rack of tricks for the people who write his checks.

Personally, as a stage vocal mic, I prefer the sennheiser 865, if only more clubs had them . It's much less "gack"-y than the 58. But still cuts through.

And thanks for the subgroup tip

[Nubus]

i thought the only difference was the ball on the end.

[Nubus]

And I thought of another tip for you and your compression trickery. Use a Y cable if you don't use the Subgroup. You get a new channel and mix awaaaaaaaaaay

[clineaudio]

58
57

Maybe the minor differences in this graph is what I percieve, Maybe it's a little more around 5k, maybe 10k that's "slicing" me...maybe it's the way it makes people sing when they "eat" it...but there's a diff

[EvanExempt]

Originally Posted by clineaudio

58
57

Maybe the minor differences in this graph is what I percieve, Maybe it's a little more around 5k, maybe 10k that's "slicing" me...maybe it's the way it makes people sing when they "eat" it...but there's a diff

? Dude You're crazy. You really think you can hear that. I want to see a blind test.... get it? SEE a BLIND test. HAHAHAHAHAHAHAHAHAHAHAHAHA