Mics for live performance?

[Tycho]

I'm seeing more and more acoustic guitarists using mics rather than pickups for live performance.  (Granted, this might just be because lately I've been going to see lots of more traditional folk and bluegrass/old-time performers.)  This has got me curious about the best kinds of mics to use on a guitar in live performance.  I know very little about mics, but I've noticed that the mic'd guitarists tend to use skinny cylindrical mics rather than the larger mics used for vocals.  Does anyone know what those are, and why they're better for mic'ing guitar?

[Bltprf502]

This was just covered on the SCGC players forum.  Eric Skye is a good person to ask.  He does a good job micing for live performances.

[unclrob]

They mostley use condensor mic's.The small one's are more directional and the larger one's have a large diaphram.I use mostly Shure SM57's and 58's.Though now and again I do use a couple of large diaphrams when in a duo or trio setting.With the electric band I use a GHS 301A velcroed to the side of my acoustics.

[ronmac]

The instrument mics you are seeing are small diameter, cardioid condensers. As Rob mentioned, they have a more focused pickup and the smaller diaphragm is able to capture transients better. Both of these characteristics are desirable for acoustic instrument work.

Using condensers on stage can be a bit tricky, but definitely worth the effort to learn a few simple basics on positioning and board setup.

There are quite a number of good mics, in all budget categories, out there that I would recommend for this type of work. Audio Technica AT3031, ATM33A, AT4041, AT4051; Oktava MC012 (with cardioid capsule); Shure SM81, KSM141; Audix ADX51; Rode M3 all come in at a reasonable price. I have used all of these listed (and a few more in the "ahem" more generous budget category) successfully on festival stages.

[rockstar_not]

As pointed out - these are small diaphragm condenser microphones.  'Tricky' to use because they are less directional (have broader cardioid patterns) than a similarly sized stage dynamic mic like a Shure SM57.  However, if you are relatively far away from your PA system and/or floor monitors or amplifiers, you will be pleasantly surprised by the sound.

In a way, they can be more forgiving, because of their more 'even' cardioid pattern, you can move around a little bit more with them, than with an SM57.  Their 'off axis' response is much closer to their 'on axis' response.

You will need phantom power with one of these mics, so your amp, mixing console or DI box should be able to supply phantom power.

You can get started with these for under $100, if you have a phantom power source already.  Just a few days ago, there was a special on MXL small diaphragm condensers, with mogami internal wiring, for under $60 - I think it was a Musician's Friend stupid deal of the day.



-Scott

[Tycho]

Good info.  Thanks everybody.

[AZLiberty]

I'll make it simple:

SM58 for vocals,
SM57 for instruments.

That is sort of the default starting place.  You can use a 58 for instruments, and sometimes female vocals sound better with a 57, but 58=vocals 57 = instruments is whee most sound techs are going to start.

Usually you want to aim the mic at the bottom of the fretboard/top of the soundboard (keep it away from the soundhole to avoid the "air woomph" noise), though I've heard nice results aiming it at the lower bout.