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[LEFT] SENNHEISER | E845 A rugged “foundational” dynamic, the German-made E845 from Sennheiser offers a supercardioid polar pattern for reduced pickup of off-axis ambient sounds on stage.[MIDDLE} SHURE | Beta 87a Dead-center in the step-up category is Shure’s well-established Beta 87a supercardioid condenser with a warm, detailed response suited to many vocal styles. [RIGHT] AKG | D5 The supercardioid AKG D5 sits at the popular $100 street price point, and offers an exclusive Laminated Varimotion diaphragm for a uniform response regardless of the singer’s voice level.
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EARTHWORKS FLEXWAND
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Samson - Concert 88: An analog system operating in the UHF band between 542 - 566, 606 - 630, and 638 - 662 MHz, covering 24 MHz with 16 selectable channels; up to 16 simultaneous channels over two frequency bands; half-rack receiver with fixed antennas and rack-mount kits included.
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AUDIX | OM7 Sleekly shaped and with a natural, detailed response, the Audix OM7 is a favorite step-up dynamic of many discerning vocalists.
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AUDIO-TECHNICA | ATM-710 A step-up condenser, the cardioid ATM-710 from Audio-Technica offers a 80-Hz high-pass filter that allows the option of extended low-frequency response or reduced handling noise.
Given today's dizzying array of options, how do you find the right vocal mic at the right price?
Here's my advice. Pay attention. Listen carefully and critically. Ask around. Borrow when possible. Take a chance, but be ready to pay for return shipping and restocking fees. And, occasionally, stretch the budget.
A personal case in point. Four years ago, shortly after she released her exquisite Downtown Church (mostly) gospel album, Patty Griffin appeared on Austin City Limits. I'm blessed with an LG 32-inch LCD screen and good Polk Audio speakers, so I was thrilled. “Wow,” I thought at one point, “Patty's voice sounds just like when she recorded that song in the studio … err, I mean church. Isn't that a Beta 87 condenser she's using?”
We had a singer in our Joyful Noise group with a similar strong soprano voice. Hmm. I wondered how much that mic would cost. (About $250.) Would Mary's voice sound better through it? (Yes, though not as good as Patty's.) We're a small church so I had to stretch the budget, but it was for only one mic and we've found many uses for it over the years.
So keep this adventurous approach in mind as we breeze through a sampling of handheld vocal mics. Since various churches have different budgets, we'll break it down into four price categories, starting at $40 and finishing a hair under $1,000. (We'll be categorizing by MAP or “street price.”)
General Purpose and Backup: $40 to $75
Yes, you can get a decent dynamic mic for $40, and perhaps slightly less if you buy two or more in a package. But beware of incredible bargains. For example, when I came to my current church, I inherited a box full of six-for-$100, off-brand mics. They looked superficially like “the industry standard,” but within a few years some capsules had separated from their mounts and were rattling around in the windscreens.
I've had far better luck with $40-up mics from well-known major makers. No specific model numbers are given here (they seem to be constantly changing), but these mics are fine for general purpose spoken word in the classroom and fellowship hall, or for background singers when you have a big visiting group and come up short in your premium assortment. The big question here is whether to opt for models with on/off switches; these are handy in the fellowship hall but a potential nightmare on stage during worship.
The Solid Foundation: $75 to $150
I'd guess about 80% of the vocal mics used in churches fall into this price range. And there are bountiful options available. True, the venerable Shure SM58 cardioid dynamic deserves consideration, but it's not always the best choice for every voice in every situation. For example, we also have a trio of Sennheiser E845 supercardioid dynamics, which offer a tighter pattern and a subtle shift in the presence boost. And, when I need a second condenser, I pull out our Audio-Technica AT2010, which has creditable high-end smoothness and good sensitivity for its low price. (I couldn't stretch the budget twice.)
Of course, mic freak that I am, I hunger for more choices. So here are other dynamics worthy of consideration, working up the price ladder.
Just above the $75 threshold is Samson's supercardioid Q7, a rugged mic with a neodymium magnet element and a decent response (80 Hz-12 kHz) for most vocals. Then, sitting on the $100 line along with the “industry standard” we find AKG's D5 supercardioid, featuring a proprietary Laminated Varimotion diaphragm for a smooth response from 70 Hz-20 kHz along with a dual shockmount to suppress handling noise. At the same price point is Rode's M1, a cardioid with a neodymium magnet, 75 Hz-20 kHz response and a rugged build backed by a lifetime warranty.
Yes, you can get a decent dynamic mic for $40, and perhaps slightly less if you buy two or more in a package. But beware of incredible bargains.
Another step up brings us to the EV ND767A supercardioid. Its qualities include a Vocally Optimized Bass (VOB) capsule design (for reduced boominess and p-popping) and a 35 Hz-22 kHz response—remarkably wide for a dynamic. Alongside it is the OM3 from Audix, a popular choice among many vocalists for its natural and accurate response, with a slight rolloff in the mid-bass to control boominess and handling noise.
An extended bass (“xb”) variant maintains a more linear bass response for a meatier sound.
At the top end of this price bracket is the Blue enCore 200, unique in that it's a dynamic with active, phantom-powered circuitry for optimum tonal shaping and up to 4 dB of additional gain. Also, the ringed copper windscreen is totally cool.
Foundational Condensers
Yes, there are a few options for condensers down here. CAD's value-priced C195 cardioid actually shows some pricing under $75. It offers a creditable response of 50 Hz-18 kHz and will handle screaming vocals of up to 132 dB (but not recommended for drums). Our church's aforementioned AT 2010 slides into the middle here, and Lewitt's cardioid MTP 340CM sits at the top end of the range with its durable all-metal body, hardened hex-steel grille, and an airy 90 Hz-20 kHz response curve.
Step-up Class: $150 to $500
Mics in this category, as a rule, will sound noticeably better, have a flatter response (for higher gain before feedback) and exhibit better build quality for extended durability. Most will look sharper as well. Smaller churches may fit only one or two into the budget, so it's important to consider options carefully.
In the realm of premium dynamics, we start with the PM9 from relative newcomer Miktek. This supercardioid is assembled in Nashville, Tenn., and features a neodymium magnet structure for high output and a custom U.S.-made transformer for RF rejection. Sharing the spotlight here is the OM7 from Audix, a hypercardioid with a wide (48 Hz-19 kHz), accurate and neutral response, and a low gain output stage for superior gain before feedback.
Telefunken, a company best known for its premium studio condensers, enters the fray with its unusual M80 cardioid dynamic. It features a flat (30 Hz-18 kHz) response with an ultra-thin diaphragm to capture subtle transients for a “studio-like” sound. It also comes in multiple finishes (chrome, gold, wood, etc.) for on-stage and on-camera appeal.
The Heil PR35 is black only and all business, with a premium neodymium-iron-boron magnet structure, a proprietary rubber internal suspension and—uniquely—a three-position low-frequency (LF) rolloff switch that lets you tailor response to different vocalists.
Rounding out the top end for dynamics are two impressive mics from Germany. The hypercardioid M88TG from Beyerdynamic incorporates a capsule design that reduces off-axis coloration, enhances vocal articulation, and captures accurate bass; a humbucking coil reduces noise from stray magnetic fields. The stylish MD-431II supercardioid from Sennheiser is prized for its sparkling clarity and boasts a triple-layer steel mesh grille, internally shock-mounted capsule, and a removable magnetic on-off switch.
Step-up Condensers (and a Ribbon)
As a general rule, condensers in this group will offer a flatter and more extended frequency response, better build quality, and some will offer additional features such as bass roll-off and pad switches.
Kicking off here is the M1 from Rode, a beefy made-in-Australia basic condenser with a supercardioid pickup pattern, 35 Hz-20 kHz response, and—for better or worse—a locking on/off switch. For a few bucks more, Audio-Technica presents its ATM710, a rugged cardioid condenser that has a wide and flat response that can be altered by inserting the 80-Hz, high-pass filter. Also, a 10-dB pad can be inserted to handle screamers or for alternate duty on drums or guitar cabs.
Finally, tipping over the $300 mark, we have Rode's attractive and articulate S1, a standout performer with a tight supercardioid pattern, full range 20 Hz-20 kHz response, and a 10-year parts and labor warranty.
And now for our odd-mic out—or perhaps “in” for you. Ribbons are rare for on-stage vocals for a number of reasons, including weight. But for those who want that uniquely smooth sound, Beyerdynamic offers the well-rounded sound of its unique TG V90R.
Premium Grade: Condensers $500 and Up
Here we leave dynamics behind and look at what are essentially studio-quality condenser microphones repackaged for live use on stage. The trick here is to maintain that ultimate transparency while still finding a way to suppress p-popping (without external “stocking” filters) and handling noise. These mics do it very well, indeed. Yes, most churches can't afford them and perhaps don't need them. But if your church does HD broadcasting or webcasting, or any serious multi-track recordings of worship music, you probably do need at least a couple.
Just over the threshold is the PM5 from Miktek, boasting a flat 20 Hz-20 kHz response. It shares the same ½-inch, 5-micron evaporated gold diaphragm, custom transformers, and internal electronics as Miktek's highly regarded C5 studio mic.
Next up is Shure's KSM-9, available in charcoal or grey, featuring switchable polar patterns (cardioid or supercardioid), a Class-A transformer-less preamplifier, and durable roadworthy construction. Duking it out at the same price point are Neumann's KMS104 and KSM105, respectively the cardioid and supercardioid versions of the same capsule. Both are available in black or nickel finish, and offer a 20 Hz-20 kHz response, four-layer metal basket foamless pop filter, and extreme isolation mounting of the capsule.
In the super-premium range we find the impeccable, Danish-made D:Facto II from DPA. The maker claims it is meticulously engineered for linear phase and frequency response to capture the subtlest details of a vocal performance. But if you want to get loud, it will take 160 dB before clipping.
Finally, a hair below four figures, we find the awesome SR-40V from Earthworks. This is a company esteemed for its precision measurement mics, so the flat 30 Hz-40 kHz response is no surprise. The SR-40V seems to make voices sound more real than they actually are, if that's possible. I've only heard it through headphones at trade shows, with my woeful voice as program material. It made me wish my voice—or any voice in our church—was worthy of the mic. Just as well, as we can't afford it … yet.
Keep Listening …
Those are all the models we can stuff in the mic locker for now. Remember, this was a semi-random and subjective sampling. Many more excellent models are available in the two lower price brackets, though not much more above $500. So keep your mind and ears open, keep watching and listening, and reap the benefits of abundant handheld options.
