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[Tomm Williams]

Agreed.  I do not like the sound of the 609 on an amp...at all.  I also have used the EV n/d308/408/468 mics on guitar amps with great success.

I'd also say that a basic kit has to include 4-6 SM58 and 4-6 SM57, as others have pointed out.  Consider there are more SM58 than everything else combined, and you'll find that more singers are familiar with them than not.  You may not personally like them, but that is not necessarily your choice.

Best regards,

John

+1 on the 308's. I was searching for something to replace my 421's as they were just too cumbersome and fragile. I find the 308 to be a great alternative and sounds almost as good. Not only did the 308 replace my 421's, I also ditched all my sm57's of which the 308 sounds much better.

They can be found easily under $100, they're highly adjustable, light weight and sound good on cabs, horns, toms, really anything you would use a 421 or 57 on.

[Mike Sullivan]

The Beta 58 is one of my least-liked microphones.  It's got the "ice pick in the forehead" sound that I spent 15 years trying to get rid of (only to find out that, back then, it was the combination of HF driver and horn).  If you want a mic with a presence boost that is wider and smoother, try the Shure SM-86.  I use them on a big bluegrass festival where some artists bring Neumann KMS-105.  While not the same, they are similar enough that we don't need to make any significant changes in monitor world to accommodate the Neumann users.

In condenser mic land (again, I do a lot of bluegrass and acoustic music) I really like the Audio Technica AT4021, for less money consider the ATM-450 or even the AT Pro37.  Versatile mics.

If you're doing big drum kits or 2 stages, I'd add another Betae52/91 combo for those who don't want the Audix.

Go with 10 SM-57 and get a pair of Senny e906... besides guitar amps I think they are good trumpet & trombone mics, too, and you can use them on floor toms in a pinch.

Microphones are fun to use and collect.... and yes, I'm rationalizing my Gear Acquisition Syndrome.

Main reason for the Beta 58a is for riders, since I do work with a larger company that calls me on occasion.  I like using my OM3's where I can, and they work for just about anything, but everyone around here uses Beta 58's or SM58's.  I forgot about the 609's as well, but I had meant to do the 906's as I've heard they are better.  As far as the condensers, I had a friend who recommended the AT4041's but they are way out of my price range, they're mainly going to be used for drumkits anyways, most bluegrass shows will be done by a buddy with his set of 4041's.  I will check out the SM86 though.

[Tim McCulloch]

Main reason for the Beta 58a is for riders, since I do work with a larger company that calls me on occasion.  I like using my OM3's where I can, and they work for just about anything, but everyone around here uses Beta 58's or SM58's.  I forgot about the 609's as well, but I had meant to do the 906's as I've heard they are better.  As far as the condensers, I had a friend who recommended the AT4041's but they are way out of my price range, they're mainly going to be used for drumkits anyways, most bluegrass shows will be done by a buddy with his set of 4041's.  I will check out the SM86 though.

We get requests for Beta58 also.  We own a few (whereas we own dozens of SM58).  I'm trying to think of a show where a lack of Beta58s were a problem.

Folks that want a particular mic will put it on the rider; folks that MUST have a particular mic (meaning no show without it) will bring it with them... or we'll hire it/them in and add it to the bill.

[ProSoundWeb Community]