TromboneChat

Hello!

What are your recommendations for microphones to use during live performances (thinking more Rock/Pop)? I'm trying to build my arsenal to have anything I may need for a gig. I have a Shure PGA48 vocal mic around but would consider investing in a clip-on mic designed for trombones/brass playing.

I see Shure/Audio Technica/Sennheiser all have similar products, figure I would post here before I buy!

Thanks!

I'd just use a Shure 58 - they're indestructible and do a fine job.

For clip ons the Audio Technica do a basically fine job and are not expensive. For rock/pop stuff you don't always need much hi-fi equipment.

I use a version of this. Very happy with it.
https://www.gear4music.com/PA-DJ-and-Li ... WQQAvD_BwE

If you put it in a mic stand, shure SM57 or 58. In my opinion, everyone should own 1 or 2 SM57s.

For clip on, I’ve had success with the shure beta 98 wireless and clip mics. Also, I’m a big fan of Audio Technica gear too (PRO 35 I believe).

Using a Shure 57 for bone and trumpet. Seems to be doing the job for all who are on the receiving end. Euph and horn usually go without a mic, room acoustics seem to project them well where I’m at, which is fine because I don’t really have time to switch mic positions around.

Geordie wrote: ↑Wed Oct 05, 2022 3:17 pm I use a version of this. Very happy with it.
https://www.gear4music.com/PA-DJ-and-Li ... WQQAvD_BwE

+1

Geordie wrote: ↑Wed Oct 05, 2022 3:17 pm I use a version of this. Very happy with it.
https://www.gear4music.com/PA-DJ-and-Li ... WQQAvD_BwE

Not to ruffle feathers here, especially since there was a +1 for this mic, but I’ve used this and hate it. Shure makes better mics and this is their entry level clip on mic.

Another thing that bugs me about this mic is that when it’s clipped to your bell the cord faces up instead of down. The mic should be placed on the right side of someone’s bell but trombone players obviously have their slide in the way.

JLivi wrote: ↑Thu Oct 06, 2022 6:52 pm

Geordie wrote: ↑Wed Oct 05, 2022 3:17 pm I use a version of this. Very happy with it.
https://www.gear4music.com/PA-DJ-and-Li ... WQQAvD_BwE

Not to ruffle feathers here, especially since there was a +1 for this mic, but I’ve used this and hate it. Shure makes better mics and this is their entry level clip on mic.

Another thing that bugs me about this mic is that when it’s clipped to your bell the cord faces up instead of down. The mic should be placed on the right side of someone’s bell but trombone players obviously have their slide in the way.

Here is featherless response . Yes, there are better mics. This does the job I need at a price I need. Used in a variety of situations and no one has said anything negative.
Not sure why the mic ‘should be on the right side’ of the bell. I always place it on the left. In five years I’ve had no issues.

Geordie wrote: ↑Fri Oct 07, 2022 11:38 am Not sure why the mic ‘should be on the right side’ of the bell. I always place it on the left. In five years I’ve had no issues.

That was in reference to how the cord coming out of the clip lays. It points up on the PGA98. I've always felt it should face down. A very small bother to me, and probably only me

Samson AWX for wireless.

For a stand mic the Sennheiser 421 is a nice step up from the Shures. Even better is a 441, but more cash.

A few points against the 421 are it's four times as expensive, if the stand adapter breaks you can't find another one quickly, and it is much bigger in its case as opposed to a 57 in a pouch.

Thanks for all of your suggestions! After trying my friends clip on mic then going to the gig and having to point in one spot without moving, I decided on the Shure Beta 98H/C mic. I was between that and the ATM 350 and decided to go with this one. Just from my quick little play tests at home through my audio interface it sounds very good!

I recently bought the Shure and I hate it. The sound is probably great but I can't get it to point in the right direction or stay where I set it. It needs a completely different clamp orientation to work on trombone. My opinion, of course, but I'm picky.

I'm using an AKG 419 clip on mic. Its fantastic, but has been replaced by the C519 mic.

JKBone85 wrote: ↑Mon Oct 10, 2022 7:48 am Samson AWX for wireless.

JKBone85, how do you like the Samson AWX? Good sound quality? Does it add weight to the bell?

MagnumH wrote: ↑Thu Mar 23, 2023 12:28 pm

JKBone85 wrote: ↑Mon Oct 10, 2022 7:48 am Samson AWX for wireless.

JKBone85, how do you like the Samson AWX? Good sound quality? Does it add weight to the bell?

Like everything, it has its upsides and downsides.
Here are the upsides:

Sound quality is good - This mic is the successor to the Airline Series that Samson offered for years and the quality of those mics were beyond decent and I have no complaints about the sound quality on this, definitely better than previous models.

Size - instead of mic and transmitter being mounted on the gooseneck like in other models, the clip and transmitter are the same piece, with a gooseneck coming off of it. The whole mic is much more stable and fits along the bell bead.

Power - RECHARGABLE!! Yes, gone are the days of constantly buying batteries in bulk like sax players with reeds. Its one less habit, and one less continuing cost. USB cable to charge and the life on a single charge is longer than any AA batteries.

Here are some downsides:

Sound quality is good. - This mic is good, bordering on very good, but there are definitely better sounding mics out there. That being said, they are also considerably more expensive.

The Gooseneck. My biggest complaint about this microphone is the design on the gooseneck. I love the concept of how the mic sits on the bell, but the gooseneck is not strong enough to stay bent at 90 degrees. It must be reinforced to stay in the position you need it to, and I don't believe it's possible to replace the mic and use, say any other mini XLR mic with the transmitter.

Power - It's rechargeable, which means you can't take the battery out and put new ones in if you HAVE to. You do have to remember to charge it.

I am giving some thought to upgrading to an AMT, and taking my Samson out of the horn rack to use whenever I need it, but what that decision is going to come down to is the same that brought me to the Samson in the first place, the Samson is around $350-399. AMT is $919.

For the price point, durability, quality and as an investment, I recommend the AWX.

If you don't need wireless, look for an old AKG C419 clip-on.

Got to use mine the other night (because I have to wave the slide up and down for some endings!) and it does a beautiful job through a good sound system. Blended with the other Sennheiser 421's on horns.

And, it's so nice to play with some freedom of movement when you have to crank out some low 'Bari' E's and F's!

For a wired clip-on, I can recommend the DPA 4099. A bit higher end than the AKG, so pricier, but higher quality, better sound. I have the brass bell attachment, which is a clever rubber design that won't scratch your bell. It should fit any trombone as well as any other brass instruments and saxophones.

Certainly, I can provide some information on choosing a microphone for live playing.

When choosing a microphone for live playing, there are a few factors to consider, including the type of instrument or vocals you will be using it for, the environment you will be playing in, and your budget.

One important factor is the type of microphone. Dynamic microphones are often a good choice for live playing, as they are durable and can handle high sound pressure levels. They are also typically less expensive than other types of microphones. Condenser microphones are another option, and they are known for their sensitivity and accuracy. However, they are often more expensive and may require phantom power to operate.

Another factor to consider is the directional pattern of the microphone. Cardioid microphones are a common choice for live playing, as they pick up sound from the front of the microphone and reject sound from the back and sides. This can help to minimize feedback and unwanted noise. However, if you need to pick up sound from multiple directions, an omnidirectional microphone may be a better choice.

It's also important to consider the environment you will be playing in. If you will be playing in a noisy or crowded environment, you may want to choose a microphone with a high gain before feedback, which can help to minimize feedback and allow you to be heard more clearly.

Lastly, budget is also an important factor. There are many high-quality microphones available at various price points, so it's important to determine your budget and look for a microphone that meets your needs within that budget.

Overall, when choosing a microphone for live playing, it's important to consider the type of microphone, directional pattern, environment, and budget to ensure you choose a microphone that will provide high-quality sound and performance

mbermurphy wrote: ↑Wed Mar 29, 2023 2:09 am Certainly, I can provide some information on choosing a microphone for live playing.

When choosing a microphone for live playing, there are a few factors to consider, including the type of instrument or vocals you will be using it for, the environment you will be playing in, and your budget.

One important factor is the type of microphone. Dynamic microphones are often a good choice for live playing, as they are durable and can handle high sound pressure levels. They are also typically less expensive than other types of microphones. Condenser microphones are another option, and they are known for their sensitivity and accuracy. However, they are often more expensive and may require phantom power to operate.

Another factor to consider is the directional pattern of the microphone. Cardioid microphones are a common choice for live playing, as they pick up sound from the front of the microphone and reject sound from the back and sides. This can help to minimize feedback and unwanted noise. However, if you need to pick up sound from multiple directions, an omnidirectional microphone may be a better choice.

It's also important to consider the environment you will be playing in. If you will be playing in a noisy or crowded environment, you may want to choose a microphone with a high gain before feedback, which can help to minimize feedback and allow you to be heard more clearly.

Lastly, budget is also an important factor. There are many high-quality microphones available at various price points, so it's important to determine your budget and look for a microphone that meets your needs within that budget.

Overall, when choosing a microphone for live playing, it's important to consider the type of microphone, directional pattern, environment, and budget to ensure you choose a microphone that will provide high-quality sound and performance

Yes to the above!

If you're in a bar band/wedding band/rock, jazz band or even a small ensemble in a tight space where you have amplified guitars, basses, etc. and you're anywhere near the monitors or main PA speakers, it's smart to have a hypercardoid or cardoid mic for your horn. And those don't need to 'break the bank' in order to do a fantastic job.

Many of the above suggestions are good, and 'on-stand mics' like the good old Shure 57/58, Sennheisers 421, or Audix i5 will take the sound pressure of a trombone or trumpet and amplify it very well.

And for 'on-bell' mics, you still can't go wrong with a wired setup like an old AKG 419/519, Shure, AudioTechnica, or others. All you have to do is plug into the XLR cable going to the main mixing board, or have the proper adaptors for your condensor battery pack if that's what you have.

No need to spend a fortune for a live mic these days.

Thanks, ChatGPT.

mbermurphy wrote: ↑Wed Mar 29, 2023 2:09 am Certainly, I can provide some information on choosing a microphone for live playing.

When choosing a microphone for live playing, there are a few factors to consider, including the type of instrument or vocals you will be using it for, the environment you will be playing in, and your budget.

One important factor is the type of microphone. Dynamic microphones are often a good choice for live playing, as they are durable and can handle high sound pressure levels. They are also typically less expensive than other types of microphones. Condenser microphones are another option, and they are known for their sensitivity and accuracy. However, they are often more expensive and may require phantom power to operate.

Another factor to consider is the directional pattern of the microphone. Cardioid microphones are a common choice for live playing, as they pick up sound from the front of the microphone and reject sound from the back and sides. This can help to minimize feedback and unwanted noise. However, if you need to pick up sound from multiple directions, an omnidirectional microphone may be a better choice.

It's also important to consider the environment you will be playing in. If you will be playing in a noisy or crowded environment, you may want to choose a microphone with a high gain before feedback, which can help to minimize feedback and allow you to be heard more clearly.

Lastly, budget is also an important factor. There are many high-quality microphones available at various price points, so it's important to determine your budget and look for a microphone that meets your needs within that budget.

Overall, when choosing a microphone for live playing, it's important to consider the type of microphone, directional pattern, environment, and budget to ensure you choose a microphone that will provide high-quality sound and performance

MagnumH wrote: ↑Sun Apr 02, 2023 7:58 pm Thanks, ChatGPT.

Sure reads that way, doesn't it?
--Andy in OKC

Some non-ChatGPT input !.....

Maybe I'm like many of you, who have always found that when having to use an 'on-stand mic' when playing live has actually hindered your playing?

As in....you have to be so close to the mic that you can't move, or the mic is positioned so that you have to play in an extremely awkward stance so that you're actually unable to play the trombone very well due to having to accomodate the mic placement.

Then, you can't see the music, can't 'shift' your embouchure when needed, can't totally focus on the music to be played because you're not in an optimum playing position, etc. etc.

I'm sure many of you have run into the same situation many, many times. Call it the necessary 'hard-knocks' of playing in live situations.

Sure, there' something 'cool' about seeing a horn section all set up nice and neat with matching mics on the stands and the horn players barely moving a muscle while they play and making it all look so easy.

But 'on-stand mics' in live siturations only really serve us well in optimum conditions where you are able to set the mic up the way you like, place it where you can see the music and be able to play your best, etc. etc.

So if you're able to use a clip-on mic of any kind, go for it!

Think of how liberating a clip-on mic has been for trombonists like Jimmy Pankow in Chicago and many other horn players in big-name stage acts. Pankow must have really felt restricted 'back in the day'!

(....sure...many discussions can ensue pondering the quality of sound of clip-ons vs. big dynamics, condensor mics, ribbon mics for on-stage use, etc. etc. and what the soundman prefers, etc. etc.)

But most clip-on mics worth using are actually hyper-cardoid and a great help to the soundman for not having to deal with any leakage from other instruments on stage.

Cmillar wrote: ↑Wed Apr 05, 2023 6:18 am Sure, there' something 'cool' about seeing a horn section all set up nice and neat with matching mics on the stands and the horn players barely moving a muscle while they play and making it all look so easy.

There's nothing cool about a horn section that doesn't move. Be a performer first, musician second. Assuming we're talking about 3-5 horn sections in a pop/rock setting.

JLivi wrote: ↑Wed Apr 05, 2023 8:19 am

Cmillar wrote: ↑Wed Apr 05, 2023 6:18 am Sure, there' something 'cool' about seeing a horn section all set up nice and neat with matching mics on the stands and the horn players barely moving a muscle while they play and making it all look so easy.

There's nothing cool about a horn section that doesn't move. Be a performer first, musician second. Assuming we're talking about 3-5 horn sections in a pop/rock setting.

I’m with you on that for sure.

But there are very ‘old-school’ big band leaders who are very ‘militaristic’ in their approach to how a bands looks

Clip on mics are fine for amplification in a non-subtle playing environment. But the negatives are:
1) using mutes is difficult, especially plunger

2) doubling more than 1 horn is not easy - switching back and forth between tenor and bass bone is time consuming
and won't work in 1 tune. I have to play tenor, bass, and tuba in one band I play with, and I may need all 3 on 1
tune. I nor the sound man want to mess with 3 mics.

3)You can't "work" the bell mic like you can a mic on a stand (I always bring my own 12" goose neck to help).
Proximity to the mic changes the sound as well as using pulling down out of the mic and up back into it for
dramatic crescendo/decrescendo situations.

4) Batteries gone - so are you, not to mention interference, etc. And if your bell mic interferes with the lead singers
mic, your off for the night. Too many wireless mics on the stage and you will have problems!