Happy New Year,
There is a lot of gear pornography in musical blogs. Guitarists in particular have a world of electronics they love to show off and discuss - guitars, amps, pedals and the rest. We singers have one vital piece of gear that isn't talked about too much - the microphone.
I have moments when I walk on stage, the audience in darkness, and just one thing greets me in the circle of light. It draws me closer and promises to listen and share every sound I make.
Of course we all know that the quality of the sound system and the sound engineer have a huge bearing on the audio, but it's that mike sitting atop the stand that is the only tangible thing there for me.
I love that I can whisper to him and he'll listen to every nuance. We have our own secret communion - and at the end of our lovely dance I treasure the metallic taste left on my lips as a memento of our moments together.
I personally love a Shure 58 - it's the most common live performance mike around my parts - it's inexpensive, robust and I for one like the sound I get from it. I usually have a Shure 58 in my handbag although I often find, in the venues I play, the sound engineer will have their own mikes tuned to their own system and would prefer to use those.
However... recently at a gig, this conversation transpired:
Sound Engineer: Do you have your own mike?
Me: I do, but actually didn't bring it this time sorry - last time I played here I was told it wasn't needed.
Sound Engineer: You should own your own mike.
Me: Oh I do, I have 3 of my own mikes and usually bring one. Sorry, but I usually find sound engineers prefer to use their own.
Sound Engineer: You can use my mike but you should go out and buy a Shure 58, they're not expensive.
Me: I actually have three Shure 58s, love them.
Sound Engineer: Think of how much money all these musicians have to spend on their musical gear. The least you can do is go and buy your own mike.
Me:...
My point here? Never undervalue the mike - and beware the deaf sound engineer!
Cheers,
Amanda
www.amandaeaston.com
There is a lot of gear pornography in musical blogs. Guitarists in particular have a world of electronics they love to show off and discuss - guitars, amps, pedals and the rest. We singers have one vital piece of gear that isn't talked about too much - the microphone.
Of course we all know that the quality of the sound system and the sound engineer have a huge bearing on the audio, but it's that mike sitting atop the stand that is the only tangible thing there for me.
I love that I can whisper to him and he'll listen to every nuance. We have our own secret communion - and at the end of our lovely dance I treasure the metallic taste left on my lips as a memento of our moments together.
I personally love a Shure 58 - it's the most common live performance mike around my parts - it's inexpensive, robust and I for one like the sound I get from it. I usually have a Shure 58 in my handbag although I often find, in the venues I play, the sound engineer will have their own mikes tuned to their own system and would prefer to use those.
However... recently at a gig, this conversation transpired:
Sound Engineer: Do you have your own mike?
Me: I do, but actually didn't bring it this time sorry - last time I played here I was told it wasn't needed.
Sound Engineer: You should own your own mike.
Me: Oh I do, I have 3 of my own mikes and usually bring one. Sorry, but I usually find sound engineers prefer to use their own.
Sound Engineer: You can use my mike but you should go out and buy a Shure 58, they're not expensive.
Me: I actually have three Shure 58s, love them.
Sound Engineer: Think of how much money all these musicians have to spend on their musical gear. The least you can do is go and buy your own mike.
Me:...
My point here? Never undervalue the mike - and beware the deaf sound engineer!
Cheers,
Amanda
www.amandaeaston.com
