MI Pro

For those of us who have spent most of our musical lives somewhere to the side of or behind the singer, it’s easy to forget that they of the huge ego, tight trousers, backstage histrionics and gear-moving avoidance also have an instrument to worry about. Two really, if you count their fragile voice boxes, which give bands a centre point for the songs and a target for the pint pot slingers to aim for. Vocal chords aside, what we’re driving at here is, of course, the microphone.

Many of us might never have considered the humble microphone much past the battered old SM58s that are the mainstay of most live venues across the UK. There are basically two types of microphone to the ignorant: battered ones that people use live, and fancy ones that producers and engineers get all hot under the collar about in the studio. One type you might get away with spilling half a pint over, the other you certainly will not.

There’s more to it that this simple division though – much more – and with a wealth of manufacturers out there clamouring for the consumer’s increasingly unsure attention, it can be difficult to decide which mics to stock your shop with. Which, handily, is where MI Pro steps in.

So, without any further ado, here’s a rundown of what’s what in the wired (that is to say, not wireless) microphone market. Enjoy…

AUDIO TECHNICA
With a huge reputation, a wide range of mics covering all price points and an impressive list of endorsees that includes the likes of Metallica, Alesha Dixon, Gwen Stefani and Linkin Park, Audio Technica is a big name in the microphone field, and rightly so.

Its popular Artist series, which now comes with an impressive lifetime warranty (something that is unique to Audio Technica), continues to go from strength to strength. The ATM610 gives a good idea of what the range is all about. A hypercardioid dynamic vocal mic with extended range and multi-stage grille pattern for protection against plosives and sibilance without compromising high-frequency response, this is a high quality microphone designed to provide the best possible response for professional vocalists, at an achievable price point.

At the entry level, the Midnight Blue series has a number of excellent options for well under £100, including the MB1K, a dynamic, unidirectional vocal mic with high output. The first rung on the ladder of this range, it’s certainly a good introduction to the world of microphones for the naïve first-time buyer.

SHURE
As probably the best-known microphone brand in the world, Shure’s legacy is already assured thanks to the legendary and ever-present SM58 and its highly useful little brother the SM57. However, the company continues to produce excellent, innovative products that are at the forefront of market trends and carry the Shure mainstays of excellent sound reproduction, rugged quality and plenty of features.

The latest successes from Shure come in the form of the PG27 and PG42, a pair of microphones that have been designed with the home recording market in mind – an important and ever-growing sector which is seeing increasing numbers of musicians realise that home recording doesn’t need to mean a compromise in sound.

Equipped with large-diaphragm capsules, the PG27 and PG42 provide clear reproduction of instruments and vocals and are durable enough for everyday use and practice, while remaining sophisticated enough for advanced recording. Both are available in USB and XLR configurations and have already proved hugely popular with the target market. 

SENNHEISER
Another big hitter in the microphone market, Sennheiser’s award-winning Evolution series is a steady seller and has been used by some of the biggest names in the market.

The e935 gives a good representation of the range. This vocal mic was developed in conjunction with sound engineers with the idea of cutting through high on-stage levels, and the research clearly worked, as this is the mic now favoured by the likes of the Ting Tings and the Arctic Monkeys, among others. German-made, with a tough metal body and advanced shock mount design, it has a hum-compensating coil and is a consistent seller.

On the instrument side of things, the e908 is a hugely versatile and popular mic that is available in four variants, covering off drums and percussion, wind instruments, saxophones and trumpets, and is yet another Sennheiser mic that has found a home with some big name artists, with fans including Take That and George Michael. An integrated shock absorber eliminates handling noise, while a quick and flexible set-up is catered for by the included mounting clamps and long-necked, flexible booms.

PEAVEY
Peavey announced for the first time at NAMM this year the successor to its original MSP1 microphone pack. The first gig pack was designed for vocalists and, having hit the market four years ago, was due a refresh.

The new MSP2 microphone pack is again designed for musicians on the move, but now features a PVi 2 dynamic cardioid microphone with decreased handling noise. Like its predecessor, the updated gig pack includes a fully adjustable, tripod-style boom stand that works equally well with vocals, acoustic guitars, amplifiers, drums or whatever else can be dreamt up. Accessories include an XLR-to-XLR (or XLR to Jack option) cable, a mic stand clip and a protective nylon mic bag, all zippered in a durable gig bag. Importantly, this promises to offer a great margin to the retailer and chances for the much-loved add-on purchases at the counter.

Peavey recently announced the RAB ribbon microphones, which offer an affordable option to retailers within what can be an incredibly high-end section of the market.

JHS
As one of the biggest distributors out there, you’d expect JHS to have its fair share of mics on the market, and you’d be right. It does a swift line of business with its GYC brand, a name that has proved popular for musos on a budget and looking for a decent quality, low cost solution. The range features a number of uni-directional dynamic mics, with each including carry cases and cables.

Of interest in the GYC range is the GM55, an affordable 50s-style mic that wouldn’t have looked out of place in the hands of the King in his early days, and gives retro fetishists a chance to look and sound great without having to shell out a fortune. Also worth a look is the GYC drum kit mic outfit, which features a range of dedicated drum mics and mounts, all presented and kept safe in a neat padded ABS case.

ASHTON
A good spread of low cost options are available from popular Aussie brand Ashton, as might be expected from a company that has sliced out a decent share of the market with its positive attitude to marketing and good quality product to back it up.

The DMP100 drum mic set is a solid collection of four dynamic drum mics in a heavy duty, moulded case that will allow soundmen without the deepest pockets a chance to get some decent sounds from even the shoddiest of drumkits.

The DM20 aims to fill the role of a beginner’s microphone. A sub-£30 price point should ensure that, while a wide range and an 80Hz to 12kHz frequency response, alongside a protective hard case, makes this a safe option for first time buyers.

A more advanced version is also available in the form of the DM100. Well suited to performance, the super cardioid polar pattern fights unwanted feedback and squeal.

AKG
AKG is yet another big hitter in the microphone world. A brand that brought its first microphones to the market in the late 1940s and has seen innovation and growth every decade since, its current line-up certainly reflects the decades of experience that have led the company to this point.

The C 5900M is a case in point. A condenser mic meant for live applications, it features a spring steel wire-mesh grill that ensures it’s not going to be broken easily and an internal spider shock mount for handling noise suppressions. A switchable bass cut filter minimises background interference and general stage rumble, while an output level selector lets you boost the microphone’s output level to drive less sensitive outputs. This is a high end microphone for professional applications and it comes inclusive with a stand adaptor and a hard shell road worthy case.

STAGG
As one of the most popular brands at the lower end of the market, and with its name across a huge number of products, there is no surprise that Stagg has plenty to offer in the microphone sector. First up is the Stagg MD1500BKH Pro Stage, which with a retail price just under £30 is an affordable entrance into the world of microphones, without customers having to worry that build or sound quality has been compromised. It features a cardioid polar pattern, with a frequency response of 60Hz to 16Khz, and is built to take the sort of battering any singer worth his salt will inflict on any of his favourite mics.

At the higher end of things for Stagg, nearing the £100 mark, is the PGT-80H, a multi pattern studio condenser mic that has plenty to offer customers looking for something that can offer versatility and results in one package. The PGT-80H features a dual, one-inch gold plate diaphragm, pressure gradient transducer, multi-polar pattern (Uni/Bi/Omnidirectional),10dB attenuation pad and low-cut filter switch(-12dB/oct), and also includes a shock-mounted cartridge, rugged metal housing and IntegrMesh grille.

AUDIX
Placing the emphasis soundly on excellent sounding, built-to-last microphones, the US-based manufacturer Audix has been building a name for itself since it was established in 1984, and has put together a roster of endorsers that includes some mighty big hitters, such as Katie Melua and country legend Willy Nelson.

The pick of the Audix range includes the flagship D6, a product which is fast becoming one of the most highly rated drum mics out there. Suited to stage, studio and broadcast applications, the D6 is characterized by a cardioid pickup pattern for isolation and feedback control, and is equipped with a VLM (Very Low Mass) diaphragm for natural, accurate reproduction. Lightweight, compact and easy to position, with a wide frequency response of 30Hz to 15kHz and the ability to handle sound pressure levels in excess of 144dB, it’s easy to see why the D6 is well suited to lower frequency applications.

On the vocal mic side, the OM7 is a steady seller for Audix, a microphone which features the ability to provide unprecedented gain before feedback on concert level stages without sacrificing sound quality. The OM7 has proved resistant to feedback on extremely loud stages and is well suited to singers that cup the microphone with both hands – one for the screamy front men.

PICK AND MICS
There’s plenty of choice out there and a good spread of excellent quality options at truly achievable price points – all important in these belt-tightening times.

The boom in home recording and the growing popularity of live music means that there is plenty of demand for mics that can do the job in both settings – the name of the game here is sound quality, versatility of use and reliability, undoubtedly the holy trinity for any music maker making their merry way in the world.

Fortunately, microphone manufacturers are increasingly clued up to the fact that the lowly home recording and toilet venue gigging schlup should be as important to them any arena filling diva, and so we have an excellent range of products to choose from at pretty much every level of the market.

Thanks to the high levels of attention to solid construction and excellent response, even those on the tightest of budgets can afford something that will not just do the job, but do it well and at a price that won’t make eyes water – which means that nobody has to resort to £20 Argos mics in their musical endeavours, and hooray to that.