Originally Posted by aussie_techie
That way of thinking is completely backwards. Good compression will help you get the most out of low end underpowered systems. Of course it wont solve fundamental problems, but when you are stuck with a certain system you have to maximise what you can get out of it.
Ok you may still limited to being a less than setter sound, but thats still better than the distorted mess if there is no headroom in the system. The only quality that matters in such a case is that the vocals are loud, clear and consistent and that is the difference between poor or no comp and good comps.
maybe so but it's still true in most cases. I'm sorry that very few venues that most musicians actually play at have mid range to high end setups.
It's like hitting a gold mine when their house console is a decent A&H or Soundcraft.
and while I do like and use SM and Beta 58's most of the mics I suggested are not really boutique level mics. The AE5400 and AE3300 are imho as good as the $700 handheld mics and you can get them brand new in box under $300 (for the 5400) and under $200 (for the 3300). If you actually knew about the AE6100 you'd know it actually performs and handles better than an SM or Beta 58 in about every situation unless the characteristics of the SM or Beta are absolutely perfect for the singer which in my experience is pretty rare. Those Shure mics are using very dated technology and while it is tried, true, respected, etc there are undeniably products that have come along that are better from the ground up.
Ultimately if you want dynamics and quality it's going to have to come from the vocalist, then the mic, then the preamp, then the EQ, then any outboard dynamics processing, etc. And like I said I'm not trying to be discouraging I'm just trying to pose a realistic scenario because you are going to be dealing with unpredictable sound guys/gals, a different live rig in house every night, etc. I don't know if perhaps you are luckier than me but I know substantially more about running live sound than probably every house engineer I've ever encountered in my career as a semi-professional musician. Of course I have friends that have sound companies and he knows his shit but he's not the run of the mill house engineer at your average bar/club.
And until you actually try using the A/T AE series, Heil PR20 or P35, etc on stage don't judge my opinions. It's obvious you've never actually used them before or if you have you or your soundguy probably didn't know what you were doing. I won't even list the acts that are currently using these mics to save you from embarrassing yourself. I'm not trying to be mean or hostile I'm just being serious. An SM58 is an industry standard not the best mic ever made.
What gain did this guy honestly have by buying the same mic everyone of these clubs already has? If you are going to invest in something, invest in something that actually tailors to you and works. I've run sound before and I treat much like I would a recording I choose mics to compliment the sources at hand (at least when I have them at my disposal). A female jazz singer is going to likely get a different mic than a screamo male vocalist if I'm running sound. Yeah an SM58 will work on both sources but are you really playing on the mics strengths in order to best portray the picture of their performance? No you are just simply grabbing the tool you are familiar with to reproduce the sound of the performance.
But like I said it's all up to you, go ahead and buy a nice preamp and compressor to run in some dive that's going to have mediocre sound at best anyway. Or you can save some money by compensating on the performers end and just getting a decent stage mic that better suits your style of singing. Not to mention carting a bunch of stuff around you run the risk of theft, damage, etc etc and the risk that it will make absolutely no difference to your overall tone in the wrong hands.