Second mic?

[swarfrat]

Okay - you know the age old question, if you could only have one mic, what would it be?

My answer to that was an SM57. Mostly for guitar. But I'm wanting a vocal mic now for the home studio. Really to minimize switchup and fiddling while working as much as anything. I'm currently thinking that an SM58 would work well for the vocals I want,  so why not? Or alternatively a budget LDC mic like the AT2020. If I go this route, I'll likely get a second  for a stereo pair.

So if you already have an SM57 for guitar, and you're going to pick your NEXT mic, what would it be?

 

[mayfly]

I would not bother with a 58.  A 58 is just a 57 with a windscreen. Put a pop filter in front of your 57 and you are there.

If you are really serious about vocals, I have one of these:

http://www.neumann.com/?lang=en&id=current_microphones&cid=tlm102_description

It's very very good.

 

[Johnfv]

yes, a 58 is just a 57 with a windscreen; both great mics but not exactly variety. For your next mic I suggest a nice condenser. I spent a lot of years in studios working with some of the best Neuman, AKG, etc. mics - fantastic if you can afford them. Lately I have been really impressed by this Sterling ST55, buy the package and get a small diaphragm condenser and pop filter for "free" (and 15% off this price with the coupon code TAKE15). Might just get another set myself. The small (ST31) mic is pretty good, the ST55 is the one that really sounds good on anything.
http://www.musiciansfriend.com/pro-audio/sterling-audio-st55--st31-condenser-mic-package
Here is a quick sound check recording we did with the ST55 trying out a new Focusrite interface. Notice how well it picks up dogs barking
http://johnviehweg.com/wordpress/wp-content/uploads/2011/12/BH-Acostic-full-monte.mp3
http://johnviehweg.com/wordpress/?p=262

 

[pabloman]

That package is great. Highly recommended. We used them on an acoustic and it was lovely.

 

[baskruit]

An decent LDC is definitely nice to have.
BUT!

I wouldn't go that route unless you have a room that's decently treated and soundproofed. LDC's are in general incredibly sensitive and will pick up more than you wish for if you don't have a proper room.

If that's the case I'd rather look for a high end dynamic like a Shure SM7, Electrovoice RE-20 or maybe Sennheiser MD441 with its hypercardioid pattern. Mind you: Such a mic does demand a better than average preamp to take full advantage of it.

 

[swarfrat]

Good point Baskruit. Given the narrow overlap of budget constraints, room, and mic characteristics, at least a 58 would be a workhorse vocal mic, and represent less of a compromise than a similar priced LDC. Maybe if I decide to take up the harpsichord I'll change my mind, but right now I'm recording no other sources than guitar cabinets and voice. An acoustic guitar is probably 18-24 months away, and has been for more than a decade.

 

[Patrick from Davis]

Another common mic to try on dirty guitar sounds in the Sennheiser 421.  A lot has been written on what type of mic to use for what, Gearslutz has a never ending stream of threads.  The Sennheiser, plus a ribbon mic like a Royer, is a great way to capture an electric guitar.  Acoustics, not so much.  The large diaphragm condenser seems to be the way to go.  Also, while there is a lot of name calling in the mic modification world, look into mic modification services like OktavaMod, or JJ Audio.  They both are well done considering the price of the mics that they are going for the sound of.  Good luck
Patrick

 

[baskruit]

The 421 is a great mic. I used to own a dozen mics but sold most of them since I haven't recorded anything in years. But I kept my pair of 421's (and a 441) just in case I ever start recording again.

 

[NLD09]

I'm loving my sm7b right now. Great on guitar, bass, and vocalist for me.

 

[TonyFlyingSquirrel]

I've got a Beta 58 that's ok for some vocals.

My electric guitar is all direct via POD, but for Acoustic/Vocals/Native Flute/Hand Drum using an MXL/990 Condenser Mic, but it took me a while to get placement & dialing out some of the upper ended harshness out. 

I'm gonna be trying out a couple of pencil condensirs & ribbon mics out using x/y or mid/side techniques for the acoustic.  I still prefer the MXL990 for the flute, still experimenting with placement for the hand drum.  There are so many sweet spots to choose from.

 

[Kadmium]

I'd like to chime in and lend my support for the Shure SM7 / SM7b. It's an incredibly useful microphone for a lot of things, particularly for vocals. It's all over a lot of records - it's the primary vocal mic in Michael Jackson's Thriller, and it's a go-to choice for most of the bands I listen to - there are heaps of videos from recording sessions of metal singers screaming into these these things like an SM58 with no handling noise whatsoever.

 

[Steve_Karl]

Studio Projects C1 is worth looking at.
I know of a person that has quite a few very expensive boutique mics and ends up using his C1 for vocals more than the old standards.

 

[Johnfv]

I've heard a lot of good things about the Studio Projects C1, may have to try one. I have their little VTB1 preamp and like it a lot, it's nice to be able to have both tube and SS signal paths in one unit.

 

[SalsaNChips]

I have three mics in my home studio:

1.) SM57 -- for the guitar cabinets
2.) SM58 -- extra, for when I have guest vocalists
3.) Rode NT1 condenser -- My main mic, on an articulating arm with isolation mount and pop screen. Used for vocals and recording acoustic guitar and as an ambient room mic in the mix with the SM57 when recording guitar

I have found that the above three satisfy 99% of my needs for a small recording studio. A few things I have learned:

1.) The SM57 and SM58 are similar, but different. The SM57 is highly directional, like a laser, only picks up what is directly in front of it. The SM58 is as well, but a little wider pattern, side to side. The SM58 has a slight presence peak around 2-4k that ths SM57 does not have. Barely noticeable but there. I guess that is why it is considered a vocal mic (that and the wider pickup pattern). Both are built like tanks and last forever, zero reliability issues. Just plug them in and they work.
2.) The Rode is great for vocals but do not get too close to it. Breath can cause condensation and fogging on the gold elements inside the condensor and the mic will get muddy or cut out as a result. This is not a Rode problem, a lot of phantom powered condensors share this. Use a pop screen and keep the vocalist 8 - 12" away from the mic and everything will be fine. It is superb on acoustic guitar as well, just back it off about 12" from the sound hole on the guitar and use a SM58 further back for ambient blend in the mix.
3.) Use a good quality tube pre-amp on all the mics to warm up the signal going in the board or recording equipment.

Between these three mics, you should be set and not need to worry about additional mics unless you get into live recording with several artists or have to mic an acoustic drum set which is a whole 'nuther ball of wax