willowgardenuk wrote:Know what you're saying. I just hate 57s although I have used them a lot, I've always been searching for an alternative since I realised that dynamics don't have to sound boxy and constricted...

To veer...

Anyone get their hands on the new Josephson dynamics yet? I'm certainly intrigued...

rayj wrote:

skatingbasser wrote:

rayj wrote:The guy I do some work with uses Audix all over the place. He swears by them, and he is a better soundman than myself, for sure. He still uses SM57's on guitar and SM58's on vocals, though. And, he is an Audix dealer...

Hmm.

You mean for live sound, right?

Yes. Oh, wait...this is a recording thing, isn't it? Sorry...

No, not really, just to clarify.

Re: live vocal mic.

I've been doing this for years, touring with my own mic. The beta 58 was too brittle and I had a lot of trouble with getting any low end out of my monitors with it. The 58 I still love but have been interested in the Audix OM-2, tried it a few times and liked it in a way that is hard to describe other than it sounded better on crap monitor systems to my ears, i.e. there was better singing. Nothing matters I guess if she sound like trash out in the front. Anyone have experience with these puppies?

the om-2 is similar to a 58 but is more characterised like a 57. so its kinda in the middle of the 2. i have used them before and thier very good monitor mics but i find my om-5 a lot better for less feedback and suits my vocal a lot better eq wise.

fakiekid wrote:the om-2 is similar to a 58 but is more characterised like a 57. so its kinda in the middle of the 2. i have used them before and thier very good monitor mics but i find my om-5 a lot better for less feedback and suits my vocal a lot better eq wise.

does anyone have FOH experience that would sway me away from the audix or the 58 if I'm happy with one or the other in the monitors. note that we're not typically with a touring engineer.

I prefer the Audix line myself...especially the OM5's and OM7's...but, to state the obvious, a competent engineer who knows how to EQ a vocal/whatever, and a good monitor mixer who can ring out a system on the fly are much more important to the live than the difference between these two lines.

Having had way too much experience with the SM58, I'm more about having ANY microphone that hasn't been dropped/stepped on/dunked five times too many. If I were, for instance, David Yow's engineer, I would just buy a bulk case of the damn things, and gaff the hell out of them.

the om-5 is a lot better foh mic. cuts through with a lot of clarity.

fakiekid wrote:the om-5 is a lot better foh mic. cuts through with a lot of clarity.

As does the Sennheiser 835. Definitely different 'sound', though.

willowgardenuk wrote:Yeah, I agree totally. Good solid low end. Actually, Audix make a pretty good set of mics overall, I hear the D6 is a really great kick drum mic, anyone tried one?

I've been using the D6 exclusively doing live sound for the last year. I am EQing much less and gating much less often - almost never, actually.

I'll compare the D6 to a D112, just because the AKG is the mic we on this site are likely the most familiar with. The D6's presence peak is higher up the frequency range, it's a bit more scooped in the mid-range, and it's low end bump is a bit lower. Overall, through a p.a. it sounds a lot more like a kick drum to me than the D112 does.

I've only used it in the studio a couple of times. It seems to work best with fast, clickier kick drum applications. Not so good on drums with uncut resonating heads.