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Any ideas as to a good mic for a quiet female singer? Yes, I realize that this is the studio section, but I figured that it's more for the 'hardware' style questions. So far, all we get is feedback when I'm told to turn her up. It's a crappy situation 'cause it's a small room and we're all turned down as low as we can. I've experimented with mic placement, but it's still feeding back. Live sound just isn't my thing, and I hate having to keep on top of the PA when I'm the drummer as well... AND I'm setting up mics and the computer for recording the practices. Anyways, I get back to the topic. Any ideas? I've also cosidered getting a 'feedback killer' kinda thing for the PA. So far the only mic that works at all is a BETA58.

Do you have a 1/3 octave eq? Killing feedback without one is gonna be tough no matter what kinda mic you use.

For a soft singer, I'd be inclined to use a small diaphragm condensor of some kind. The Beta 87 is pretty good, but there are lots of others. Oh, and like most supercardioid mics, Beta 58s dont have very good rear rejection of feedback.

Yeah, I've got an Alesis 1/3 eq... My P.A. doesn't hold priority with me so having relativly cheap stuff is the norm as opposed to the recording (and motorcycle) stuff. I'm not the hugest fan of the company, but I got the thing for $90 Canadian. I'm also using a Behringer mixer through two 15-plus-horn cabs. I will admit that the cabs are quite good in the quality department. (EV cabs, JBL 15's, Eminence Horns)

(Man, I'm really diggin' this K-OS album...)

the EQ is VERY important- not so much the quality but what you do with it.

but most of all, try fiddling with where the speakers are in relation to the singer. it's a small room- but there are still going to be pockets where the feedback won't as bad. angles/distance are big factors- especially if the mic is picking up more cymbal than singer.

is it low humming feedabck, or high squealing?
if it's low- roll off everything below 250. high squealing- try deadening the room.

try everything imaginable before getting a new mic.

I like the AUDIX OM6. For both it's rejection, and it's sound. The drawback is you have to really stay on it - which can take some getting used to, but I guess that's the whole point.

But I agree that more than anything, tuning the speakers to the mic is the most important part. I find that 58's work fine for most singers through a well tuned wedge.

Alrighty... Hooked up the EQ AND the girlfriend (female vocalist) bought a used AKG C535-EB. Things are actually being heard now... So far I'm just winging it with the EQ, adjusting the frequencies that are feeding back. I'm acually quite pleased with the microphone too... Anyone actually use it for recording?

I second the audix OM6. The OM3 is cool also. The top end in the betas really sounds strange to me (as in crap!)...
Ok, maybe try this. The priority is for the singer to hear herself at a level she's comfortable with, right? If your PA has two speakers think of one of them as your singer's wedge. Put it on the floor like in a concert right in front of her "seeing" the back of the mic (if the pattern is cardioid, to the side if its hypercardioid) and take some time to work on the eq with your graphic. Turn up sliders one at a time slowly until you start to prefeedback ring, then take it down to where it it's safe. remember if you take out to much it might sound very strange/unatural. Don't forget you can also adjust your channel eq if you need more control. The other channel/speaker can be for the rest of the band to hear the vocal or next to the other one as another floor monitor. I know this a pain in the ass setting up/breaking down if you're sharing the rehearsal space but it could help with your problem.

Oh, check your gain setting. If there isn't enough headroom and the signal is clipping that can produce feedback before a clean signal would. So getting more level cranking the gain might aggrievate the problem.

Hope this helps

Safari doesn't belive in spellcheck...

Javier Ortiz

We had the same problem for a while until our singer bought herself a personal in ear monitor. Now our floor monitors all face us and she can hear herself over everything. She keeps it in her suitcase along with her Beta 58 and uses it for every show too.