Try her on a Heil PR-35. Plenty of GBF with that mic, and of course, technique.
Recently started working with a new group and its proving to be a challenge.Lead singer performs at a whisper, her singing voice is lower than a soft talking voice. She has amazing tone and she sounds incredible, but has no projection or power behind her.I've moved her over to ears which has been the first step in the right direction, I currently insert a graphic over her voice and "go-to-town" on the offending rings as they pour in.I've currently got her on a e935 which she loves in her ears, however I'm not feeling it out front. The proximity effect is a little too much, but is great for feedback rejection.Anyone any recommendations for mic improvements?The likes of KMS105's or 87 cause more problems than they help, as a lot of shows are on small stages, close to PA.Obviously the logic fix is the source, but that's not really option!
My thought would be to turn the monitor DOWN, which might encourage her to put more oomph behind her sound.
I'm not sure there is a one-size-fits-all technical solution for this
Peter, I was in a very similar situation a while back. After doing a number of shows with the artist and alot of trial and error, mostly error. I finally decided to get her alone with a small PA and about 30 vocal mics for an afternoon of trial and error. I borrowed the majority from friends. After trying everything from 58's to 105's the winner for her voice was the Audix OM6. That mic worked for her. I'm not sure what the artist's level is or aspirations are. If they are serious, don't limit the amount spent on a mic to $100. I never understood how every member of a band usually has thousands of dollars invested in personal gear but the singer doesn't want to spend more than $100-$200 for a mic that is arguably the most important input on the show. JP
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