This is very true...
recording and stage have different demands. Also, rule 1 is to try some!
Make sure it works well for the person who will use it. A 'better'
microphone (i.e. more ££) might not work as well for a certain person as

Some vocalists like to hold the mic while recording, some are used to not
and can effectively use mics where proximity effect is a bigger factor.
Sometimes a stage mic just sounds right and makes the vocalist more
comfortable. I have found that vocals go down better when the singer is at
ease and comfortable.

For some this means screaming into the mic while kissing it. All that
matters is the end result and how it sits in the mix. At the end of the day,
if the resulting material works, it just works.

I have one guy I work with that likes my 10 year old Audix mic. I think that
was like $75 USD when I bought it. He just likes it... rotten foam capsule
cover (thing is nasty under the screen, lots of gigs) and all. Can't argue
with that. That thing looks like it did time in a war zone. He feels that it
makes his vocals sound more like they do when he plays live. IMHO, anything
sounds good through a focusrite: )

Just remember to keep every mic you buy (as long as it does it's job). You
can always use another mic around the studio, especially in a pinch: ) You
will always be glad you have it when you will need it. I don't feel that a
cheap
mic is a bad investment at all. Just get whatever one sounds works for the
singer. If you can, get him/her to go to the store with you to try them out.

l8,
2mb

In article ,
Signor El Poke wrote:
The SM 58 seems to be cropping up a lot.

It does. Often for all the wrong reasons. ;-)

I want it for vocal only, and for studio only.

Its primary application is as a rugged live vocal hand mic designed to
cancel out feedback from a PA system.

Non of these really apply for studio use and indeed bring disadvantages
with them.

I will be plugging it into a mixer, i have a mixer somewhere with a
phantom power output , do you recommend using that or should i get a psu
if needed?

If it's a half decent mixer, its phantom supply should be fine.

I have seena few Shure PG58/57 on ebay cheap about £40 new, they claim
they are simlar spec to the SM58.

The B1 looks ok, i think i saw it with another name on it tho.

Any more of an idea anyone?

Personally, I'd try and get one of the large diaphragm Chinese or Russian
condensers that can be switched to omni-directional.

--
*Parenthetical remarks (however relevant) are (usually) unnecessary *

Dave Plowman London SW 12
RIP Acorn

In article ,
Signor El Poke wrote:
The SM 58 seems to be cropping up a lot.

It does. Often for all the wrong reasons. ;-)

I want it for vocal only, and for studio only.

Its primary application is as a rugged live vocal hand mic designed to
cancel out feedback from a PA system.

Non of these really apply for studio use and indeed bring disadvantages
with them.

I will be plugging it into a mixer, i have a mixer somewhere with a
phantom power output , do you recommend using that or should i get a psu
if needed?

If it's a half decent mixer, its phantom supply should be fine.

I have seena few Shure PG58/57 on ebay cheap about £40 new, they claim
they are simlar spec to the SM58.

The B1 looks ok, i think i saw it with another name on it tho.

Any more of an idea anyone?

Personally, I'd try and get one of the large diaphragm Chinese or Russian
condensers that can be switched to omni-directional.

--
*Parenthetical remarks (however relevant) are (usually) unnecessary *

Dave Plowman London SW 12
RIP Acorn