Musicians and sound engineers are constantly trying to figure out how to create the quintessential live sound experience. Using the right mics and the right placement can bring a live music experience to the next level.
The microphones used in live performances are not necessarily the same mics used for recording in a studio. The studio is a very controlled environment with separation and isolation. The restrained nature of the studio makes it possible to use very sensitive and delicate microphones. If the studio is like a laboratory, then a live stage is like a rodeo.
Live performances have stacks of blasting guitar amps, heavy hitting drummers, floor rumbling bass, and don’t forget the vocalist. All of these sounds are then run through a big ol’ sound system. Even the audience can produce some serious volume. On top of being loud, live shows have a high “whoops” factor. Such as, “whoops” the lead singer dropped the mic… directly into her beer. “Whoops,” the bassist just kicked over his amp, destroying the helpless mic underneath. With all of these sounds and unstable-personalities whirling around on stage, engineers usually opt for the durability and control of dynamic microphones. Dynamic microphones can withstand the loudest sounds and the biggest falls with minimal problems. Sensitive condenser and delicate ribbon microphones are less likely to stand up to the abuse of a live performance.
Vocal Microphones for Live Performance
Shure SM58 (): it is no surprise that the first microphone on this list is the timeless is Shure SM58. Produced since 1966, the SM58 has built a strong reputation for its durability and sound, and nearly half a century later it is still considered the industry standard for live vocal mics. You will find these microphones in nearly every venue you play, from dive bars to large theaters. Even headlining artists like Lenny Kravitz and Seal use the SM58 live. The SM58 is a unidirectional (cardiod) dynamic microphone. The cardiod pattern focuses on the voice while rejecting and minimizing the off-axis stage noise coming from other directions. The SM58 has an excellent gain-to-feedback ratio, meaning you can turn it up quite loud without having much feedback. The mic has a slight mid-range and bass roll-off to best suit the voice. The SM58 has a built in pop filter to help protect against the plosive sounds of P’s and the sibilant sounds of S’s. The SM58 is a fundamental live vocal mic and for under $100 you can’t beat the value.
Shure Beta 58A (): an upgraded version of the SM58 with some unique features. The Beta 58A is a high-output supercardiod dynamic vocal microphone. A supercardiod pattern is more focused and narrow than a cardiod. This insures high gain-before-feedback, maximum isolation from other sources, and minimum off-axis tone colorations. The Beta 58A has a shaped frequency response that is ideal for close-up vocals. The Beta is just as rugged and durable as the SM58 due to the proven shock mount system, and hardened steel mesh grille. I’ve seen these microphones fall down stairwells, and while the grille might get dented, the mic still works fine.
Shure Beta 87 (): offers the detail and sensitivity of a studio condenser microphone within a road-ready chassis. With the Beta 87, Shure designed a unique condenser microphone specifically for live performance. You can purchase the mic with a cardiod pattern (Beta 87C) or supercardiod pattern (Beta 87A). The mic has an exceptionally smooth frequency response and high sound pressure level capability. The Beta 87 features a controlled low-frequency roll-off that compensates for the proximity effect and prevents the “boomy” sound often associated with close pick-up. The Beta 87 has very low susceptibility to RFI and electromagnetic hum. The built-in pop filter reduces undesirable wind and breath sounds. The Beta 87 is a premium quality microphone and has consistently been a top choice of performers and audio technicians around the world due to its superb accuracy, detail, and rich vocal production.
Guitar Amplifier Microphones for Live Performance
Shure SM57 (): the brother of the SM58. The 57 and 58 are actually based on the same cartridge design. The main difference is the grille. The SM58 was designed for vocal applications, and therefore uses a ball grille with a built-in pop filter to eliminate plosives. The SM57 is designed as an instrument microphone, where a smaller grille size is more practical and plosives are less of a concern. The grille of the 57 features an integral resonator assembly, where the grille is actually part of the cartridge. The distance from the top of the grille to the diaphragm is shorter on the SM57 compared to that of the SM58, which allows for a more pronounced proximity effect through closer mic positioning. Additionally, the resonator-grille assembly design of the SM57 produces a slightly higher output above 5 kHz. The 57 is the go-to mic for guitar amplifiers on stage and even sometimes in the studio. I like to place an SM57 perpendicular to the amp grille, so that the capsule is almost touching the grille and pointing at the outer edge of the speaker. Pointing the mic at the center of the speaker can result a boomier sound with less clarity. In a live setting, the 57 is also great low-cost option for snare drums, toms, aux percussion, acoustic instruments, horns, strings, vocals, and just about anything. SM57’s are the foundation of most mic collections. Even when you have thousand dollar microphones at your disposal, you will always find a use for your SM57.
Sennheiser E609 (): a supercardiod dynamic microphone specifically designed for guitar amplifiers. The supercardiod design improves isolation in live sound applications while its increased output and wider frequency response improve overall performance. The E609 is designed to be positioned directly on the speaker grille and can withstand very high SPL without distorting. An internal hum compensating coil reduces electrical interference. One of the coolest features of this microphone is that the cable can be looped through the handle of the amp and the mic can hang down and be positioned perfectly without the need of a mic stand. Unlike mics like the SM57, the E609 is addressed from the side. When the E609 is hanging upside down the capsule is on axis with the speaker from a guitar amp, while an SM57 would be 90 degrees off. Eliminating mic stands with the E609 means there is less to set up and break down. Additionally, the guitarist can’t knock into the stand and mess up the mic placement. Like the 57, I like to place the E609 on the outer edge of the speaker driver. If you think of the speaker like a dartboard with three concentric rings, the mic should be placed in the outermost ring.
Drum Kit Microphones for Live Performance
Unlike a singer or guitar amp, drum kits are a blend of many sounds. This means you need many microphones to capture the sound of a drum kit. It can get very expensive to buy each microphone a la carte. There are some good values to be had in buying a drum mic kit. These kits provide multiple microphones with drum mounting hardware at good package prices.
Shure DMK57 (): an entry-level drum mic kit for the budget conscious. This kit contains three Shure SM57s, one Beta 52, and mounting hardware to attach the SM57s to snares or toms. The Beta 52 is a large diaphragm supercardiod dynamic microphone specifically designed to capture the low-end punch of the kick drum. This mic will require a small mic stand to be placed properly. The SM57 makes an excellent snare microphone. 57’s are even used on snare in many pro recordings. The other two can be placed as needed, either on toms, hi hat, or cymbals. In a mid-level situation, you can get away with just micing the kick and snare and letting the room do the rest of the work. This mic kit won’t get you high fidelity drum clarirty, but it will make sure it is heard. The real value in this kit is that you can’t outgrow the SM57’s. Even when you have much better drum mics you will always have a use for those 57’s.
Audix DP7 (): a pro-quality kit with seven drum mics. Included is the D6 kick mic, two D2’s for rack toms, one D4 for floor toms, an i5 for snare, and a pair of ADX51s for overheads. Also included are four D-Vice rim mount clips for the snare and tom mics. The whole kit is packaged in a foam-lined aluminum road case. The D6 kick mic is a common first choice among sound engineers. The D6 has a frequency response of 30Hz-15kHz and is designed to sound good in any position. It is not dependent on finding the “sweet spot” of the drum. The i5 ranks up there with the SM57 as a top choice mid-level live snare mic. The D2’s are excellent for toms, conga, or similar percussion. The hypercardiod D2 is focused, natural, and articulate. The D2 accurately reproduces the warmth and overtones of the instrument without sounding harsh or boomy. The D4 provides an extra octave of low-end response beyond the D2, and is perfect for large toms and other instruments with extended bass frequencies. The ADX51 overheads are cardiod condenser microphones designed to handle the rigors of live sound. Characterized with extended highs, excellent imaging, and high SPL capabilities, the ADX51 can be used for overheads, cymbals, high-hats, and acoustic instruments. The Audix DP7 kit has all of the mics you’ll need to capture a pro-quality live drum sound.
Utility Microphones for Live Sound
The Shure SM57 and SM58 can be used for almost any situation. While they are slightly different, the 57 can be used for vocals and the 58 can be used on instruments and amps. Of course, you can get a better result with a high quality microphone that is designed for that specific application, but 57s and 58s will get the job done. Sometimes they’ll sound just as good as that expensive high quality mic.
This next group of microphones can be used for a variety of live applications. Coincidentally, all of these microphones were originally designed for radio broadcast, but have become commonly used in live performance.
Sennheiser MD421 (): a cardioid dynamic microphone with a large diaphragm. The MD421 can handle very high sound pressure levels, making it a natural for guitar and drums. The MD421 can be used for vocals, horns, acoustic instruments, strings, kick drum, and bass amps. The MD421 is a classic and well-respected microphone that captures detailed full range sound.
Electro-Voice RE20 (): a cardiod dynamic microphone with excellent transient response, making it easily comparable to the finest condenser microphones. The RE20 has a built-in bass roll-off and an exceptionally wide frequency response. The RE20 can be used on kick drums, bass amps, guitar amps and any other loud source with bass frequencies. It is also commonly used on horns, winds, and acoustic instruments. Some vocalists love the RE20 as a vocal mic. The RE20 is a classic broadcast mic with unique look and an even more unique sound. Experiment in different live applications and explore the possibilities of the RE20.
Shure SM7B (): a cardiod dynamic mic with a smooth and wide-range frequency response. The SM7B was originally designed for spoken word style radio broadcasting but has found a lot of popularity as a studio / live microphone. The mic has a built-in selectable low roll-off and high boost. The mic also comes with both a standard and a thicker windscreen. The SM7B is the mic of choice for many performing and recording vocalists. Additionally, the SM7B can be used on guitar or bass amps. I have also seen it used for acoustic instruments, horns, and strings. The SM7B is a great versatile microphone that can be used both in the studio and on stage.
Wrap Up
In this article, we have presented you with some of the top mic choices for live sound. It is important to remember that there are not hard and fast rules when it comes to mic choice and placement. This article should just serve as a starting point for your own experimentation. The most important advice is to use your ears to create the best sound. Try different mics and different placements until you are happy with the sound. Different rooms might call for different choices and placement. Always adjust and make changes. After you gain some decent experience with live sound you will be able to read a room and know what decisions to make before placing the first mic. As you gather more experience, let your ears lead your decisions and don’t forget that live sound is more of an art than a science.
