Originally posted by Esparka:
I must admit frustration @ the inability to use the compression and the Gate @ the same time on the Tonematch. That would definitely end it.
I've also been working to turn down. (for those looking in)
Someone just sent me a response to my plea on this thread. He says the Sennehieser e945 worked great for him as a cut through the mix while being feedback resistant.
Here is a quote from the Sennehieser folks re: the e945.
"The Sennheiser e945 Supercardioid Dynamic Mic is a fully professional supercardioid vocal microphone that cuts through the mix and offers a smooth, natural sound. Its warm tonal response is matched with rugged construction and excellent feedback rejection."
I "will" be checking this out.
Originally posted by ~Musicman~:
I am not sure what the Tone module is capable of, but I would suggest looking into a device that can provide both compression and noise gating. The gating will basically keep your mic 'off' until you sing into it, eliminating the feedback (to a point) and the compression should give your voice a bit more punch.
A couple of months ago I switched over to an EV 967 from an sennheiser 945e, which I liked. The EV is exceptional at having good tone quality and extreme feedback rejection at the same time. It sounds better than the sennhieser. The sennheiser is more of a buttery/smooth sound, where the EV is more of a high gain sound the picks up every little part of your voice. Every little crackly and click and overtone. It is great for both high and low ranges. The mic is designed for close technqique where you eat the mic. the grille is flattend out and right on top of the capsule.
So, back off just a little bit and your voice start to get lost. Lips on the mic and your voice cuts through.
I've noticed that it also had a low/mid ranged boost when up close. It is not a muddy boost though. It is really good for shall we say mountain man heavy vocals. It has an emphasis, in that range, but it is not over done.
So, for the EV 976, out of the mics I've tried has been the KING of good live sound + feedback rejection. AKA, getting my mic rediculously loud through my Bose L1.
To give you an example of the type of vocal I use this mic for, when I play out live, people come up to me and say I sounded a bit like: Queensryche/Dio/Rob Halford/Zakk Wylde/Ozzy. My range on a keyboard is a full four octaves, two either way from middle C. The bose L1 + EV976 sounds really good to my ear in just about all those ranges. This combination, with a good mic angle, and me eating the mic allows me to have my mic as loud as 3 o'clock with the master at 3'oclock in most of the places we play. We normally don't play that loud. But, we always check just how loud we can turn up to make up for when a crowd rolls in. (And sometimes we just get really stupid with the volume,hehehehhehehhehehe)
As far as head sets. I bought one for a different project. A shure one. It was a condensor as well. I like the sound of it. But, definately too sensitive for live, with a full band. Condensors are normally too sensitive when you are loud and in a tight areas. Tight is usually any medium sized club. My advice just get mic on a stand, or if you don't play an instrument a wireless handheld if you are trying to move around more. IMO,mics on stand sound better for some reason.