Multiple Brands - Warm Audio, sE Electronics, Lauten Audio etc. - V7

try super cardiod mics like the se v7 or even shure beta 58a. have your drummer tape his cymbals. turn guitars and bass down on stage. use in ear monitor. project your voice more but not like you are doing to hurt yourself etc

Hell yeah, V7 gang all the way for all the reasons you mentioned. Plus, it's cheaper than the 58 by ~£20!

Get a cheap used Behringer UM2 or better interface. These are very popular inexpensive interfaces and great for starting out. You're going to want to have 2 separate channels in case you have anyone else that wants to simultaneously record with you. Get XLR cords. For most part USB mics are junk. Next, ask yourself are you in a super quiet environment or medium to loud environment where you are going to record? Quiet then go for condenser mic like AT2020. Easy to find used in great shape from people that wanted to podcast but didn't commit. On the other hand if you're on a medium to loud environment, a dynamic mic is better suited for this purpose. Shure 58 or SE v7 are great mics, but you can definitely find cheap dynamic mics like Behringer XM8500 that will get you started. I'd really recommend shopping used on Facebook marketplace for the interface. The Condensers I mentioned are over budget new, again easily found on marketplace. These beginner xm8500 retails for $19. Everything I mentioned are XLR style mics. I really think that if you're really invested in creating content you should start off with the gear that will perform the best over first couple years. Nothing wrong with Rode usb mic, but most people would send you the route im talking beyond very little usage

99.9 % of the singers I work with are amateur; college a cappella. I've tried Senn 835 Senn 441, Earthworks SR 314, SE V7, and others that I can't bring to mind right now. The Shure SM58 is a "1 size fits all" microphone. It's also great with duos and trios. I'll use 2 AKG 414 mics for the back up singers, and I'll have 3 "solo" mics in front. Sometimes I'll have a really expensive mic in the center with SM58s on either side. During a show I might have 10 - 15 different singers on a solo mic. When someone winds up soloing on one of the 58s, my ears relax. I learned the hard way to stay away from super cardioid with amateur singers; the plosives will kill you!

I've had some good luck with Logic's stem splitter for exactly this problem. It's not perfect, the amount of artifacts can vary, but if you get a decent result it can sit in the mix much better than a vocal with tons of cymbal bleed. (Edit: and yeah cleaner capture is the first priority. I like SE V7 or Audix OM2 for better rejection, treating the room is super helpful, if you have time play around with placement of the singer and check what you're getting.)

I think they all have a place, Sennheiser 935 is their best live capsule that would suit a majority of voices, 945 is good but a lot brighter so you gotta take the HF boost down with that one plus it has a limited working angle so if your slightly off it dissapears , Used to love the Shure Beta 87a but then I found the AKG C535 and wayyy prefer that over it for live main vocal duties. A 58 will always be a solid option so always have a few, I have had three SE V7 capsules go dull on me and the paint comes off them so easily despite looking pretty and so as great as they are for the price the inconsistency lets it down. Telefunken M80 is similar to 945 but behaves better on rejection and has a slightly wider axis response but yet it has some plosives close up, it's very workable and higher quality paint grades over the V7 colors. AKG D5 is good but sounds a little veiled but again can work on some people, Earthworks Sr117 is my new go to for live condensers for band work where clarity and flat tonality is necessary and you can really carve the sound to this mic. I'm trying to keep it to myself as a secret but for the money it's bloody awesome. Beyerdynamic M88, M69 or Soundstar Mk 2 (M400) are insanely good if you can find them for good money

SE V7 is superior to a SM58 - if you're leaning toward a 58, get the V7 instead

V7 is incredible for live so know there isn't too much of a gap here. My pick is a M88, it has such a tight low end pick up for baritone with a nice presence bump. Translates V well through any speaker. Love it. V7 has better plosive rejection, just sounds a little hyped where the M88 is v natural.

Honestly not a fan of a V7 or anything sE Also think a handful of people don't sound that great with their M80s

they seem to sound great but not so sturdy. V7 and V7MC1 sound great / look great when new but loose some magic after a year or so of venue / road use.

"If I were to buy a microphone with those characteristics, I would choose the sE Electronics V7. It's a dynamic mic, and here in Italy, it has been used by various artists and on music shows. (107€ on the Italian Amazon).

I'd highly recommend SE Electronics range. The V7 is akin to the SM58 but I think it sounds a lot nicer. They also have a new-ish range of broadcast style mics that might be better for VO work. The Dynacaster DCM6 has a built in "cloudlifter" and is an incredibly good mic for the money and should be well within your budget.

SE v7, Audix OM5, Sennheiser E935, AKG D7, there's so many great dynamics out there for a similar cheap price, and depending on your vocalist, one or the other will be a more ideal fit. They will stand a touring environment just like a 58 will, while giving better rejection, or simply better sound in general. The Audix i5 is also a pick over a 57 for me in some cases, sharper transient response and a bit more bite, does well on snare for some stuff.

Everyone gets an sE V7. If I run out, someone gets a V2. Easy.

Lately a lot of dynamic mics like the sm7b, but it's a bit too pricey. I used a Samson q2u for a couple years and currently I use an SE Electronics V7 and I'm very happy with them. I got the q2u when it was like $45 but it looks like it more than doubled in price. It's now in the same price range as the v7 or Shure sm 58 ($100ish) and I don't think I can recommend it at that price. I've seen the fifine am8 recommend as a value mic from a lot of people and I realized Podcastage actually put out a review for it a while ago. I highly suggest watching his reviews when it comes to recording gear. Budget (<$100) Behringer xm 8500 - $20 on sweetwater but needs an audio interface and XLR cable - https://youtu.be/zrKKjGXyHg4 Fifine am8 - $45-$55 USB and XLR mic that was a "kinda recommend". Comes with USB cable - https://youtu.be/lQ0vjxX2mU8 Mid tier - all will need an audio interface/XLR cable Shure sm 58 - https://youtu.be/G5-3tm4ru-k SE Electronics V7 - https://youtu.be/3XjQYPIxP68 There are plenty of others like the Shure mv7, sm 57, Audiotechnica AT 2005, etc but I'm too lazy to find the links Pricey tier Sm7b Electro Voice RE20

Another vote for sE here - I have the x1 and V7; both excellent mics for the money - though I'm not sure I'd compare them to Neumanns!. I also have the Rode NT1, which is another fantastic device at the price.

Second the V7, the hypercardioid is especially nice for snare drums, untreated rooms, and guitar amps, basically the three things I use it for.

I spent a few years doing FOH for an Indie/Alt Rock band too, with a soft vocalist and blaring guitarists. I've managed to pull off having vocals to cut through while most people would struggle. here's my take: 1. Yes, a different mic helps. But only to a certain extent. I'm currently using a SE V7 wired mic. My gain has to be around +38 to get a good signal in (yes she's that soft). If your system is tuned good enough, it shouldn't be feeding just yet. Yes, it does have a better gain before feedback and tone compared to an SM58. 2. Send vocals to a bus group rather than straight to Stereo, and ring it out as you push it up. This will give you some headroom when you need it. Similar to how you deal with Lavs at a corporate gig. Don't send your vocal's FX Returns straight to Stereo either, but rather route them to the Vox Bus. 3. In tight spaces, start your monitor and FOH mix with vocals first, with everything else relative to that level. Everything will bleed into your mic. So just supplement what you need after you already have your Vocals up. 4. More importantly, having IEMs goes a LONG way. After 3 years, I've finally convinced the band I am working with to be on IEMs. They dont have to fight each other's wedge levels anymore and I can worry less about the stage volume and bleed. 5. Lastly, this is worth mentioning-if your guitars are on amps, consider switching to amp sims! I've tried everything else from Waves plugins to Defeedback (V1) and I find that this workflow still works best even in shitty venues during a tour in Indonesia

For work calls, I personally think the mics built into the MacBook are great, the isolation mode works really well for cutting out ambient noise. For live streaming, mic positioning will help quite a bit with the ambience Your Se V7 at about 🤙distance away should do well. Point the rear of the mic towards your keyboard. According to the pickup pattern it does have some sensitivity to sound from the back but less.