1979

Don't know if this is the right forum to post this in, but I figure you remote folks have had a decent background with all sorts of FOH stuff so...

...Here's my story: I'm mainly a FOH/monitor guy. The only expensive mic I actually own is an m260. Being a ribbon mic I was apprehensive about bringing it out to shows, but all I can say is that I'm now addicted to what this mic does, how good it sounds, how well it can reject bleed. etc. This mic has improved the quality of my sounds and saved my ass plenty of times.

As a drum overhead it rocks! I've used it on those brutal sounding 'django' style acoustic guitars with heavy monitors, guitar cab (obviously), but heads down the best application I've found for this mic is the dreaded drum vocalist. Basically, I need to hear cymbal bleed into a beta58 (the usual suspect) like I need a second asshole.

This past weekend the drummer in a loud indie band told me that he was a relatively quiet backing vocal and he needed a lot in his wedge, and I remember thinking "oh **** I can't deal with cymbals and a close by beta58 together -ever again!". So I grabbed the m260 and patched it in. Yes it did need some eq for a live vocalist, mainly a lot off 80hz roll off, and a little boost on top. The singer started up in sound check and I realized it needed a fair bit of gain to match a 58's output, but nothing that insane. Nonetheless it sound great, very articulate, any of the very minimal cymbal bleed sounded good...and yes because of it's tight pattern I was able to dime his monitors, In sound check he asked for less of his own vocal.

I have never heard this mic feedback, and while I haven't jammed it front of a wedge. I have positioned it nicely in relation to the monitors and dimed the gain, and the send, and not even a ring. I would like to try these just on regular vocals live.

Any one else using these mics on stage? I'd like to here about applications. Any one try these just outside a kick? I'm scared to try that out, but some folks tell me it works well.

cheers