Question... How would you EQ? Neumann KMS 105 for demonstration, Earthworks SV33 for narration.

[@KINGxDAVID94]

Thank you 🙏🏾

[@MrClaywell]

I purchased the KMS105 and e965 for vocals to AB during singer/songwriter acoustic performances and after much experimentation (eq, compression, etc.) settled on the e965. Not to say the e965 is a “better” mic than the KMS105, but it certainly works better for my voice. The e965 more effortlessly got my vocals “out of the way” of my acoustic guitar, where the KMS 105 was like a wall of sound that would only stop clashing with the guitar after vigorous eq acrobatics. Haha Love the channel, keep up the good work!

[@MrNicknayme]

For me, different mics serve different purposes. Example, I use an M201 on snare if I need girth and a SM57 if it’s more of a jazz thing. In effect, oomph vs tone. It’s the same with vocals. Sometimes I want a d:facto for a smooth, mellow “summertime, and the Living is easy..”, and other times I want a dynamic for rock backing vocals. Sometimes I like the emphasized upper mid for a pop vocal, sometimes a de-emphasized if a vokalist is twangy. Horses for courses. Trying to get the best tonality and feel before resorting to EQ’ing, so I can use the EQ musically, fitting the different parts in where the fit the best with the other audio sources on stage. Using the EQ to repair as little as possible, in other words.

[@AntonBrowne]

Thanks. An issue is, how can a singer choose from the myriad of mics? Another way is to have a fast, flat, true mic and adjust/tune the instrument/voice to acheive the tone - rock backing vocals, adjust voice to that role. Want more twang then make your voice more twangy (takes a little practice). I make the point that we guitarists search out expensive NOS valves, vintage speakers, particular strings etc. etc. to get our precious tone and then... someone sticks an SM57 or such in front of it and changes it???

[@MrNicknayme]

@@AntonBrowne making the source be better is always preferable, but not easy. You could run the risk of making the artist loose selfesteem or become sad. I stay away from that! Making sure the artist is always in the best mood is key to a great performance. From helping with the gear loadin to offering coffee. But yes, you are right. Sometimes you have to though, if the artist is not yet skilled enough to dial in a great (or just an OK) tone on an amp. But it can be tricky. Some invite you to do whatever you want, and some take offense quite fast, even if you downplay obvious flaws, and asks if “we need to fine adjust” anything. “Fast, flat, true” is in my oppinion not to aspire to, in most situations. For rock and dirty blues, I like dynamics more. I don’t want fast, neither the high end extention, and a bit of compression from the mic is nice. I know I’m in different position, since I’m a soundguy and not a singer looking for that one mic that compliments me the best, for a certain genre. I look for mics that make different sources sound and feel the best without any processing needed. -I can give a too twangy singer a mic that won’t emphasize the twang. That mic might not suit another singer, but another mic would. I’m always on the hunt for tools to solve different problems, so to speak. A guitar cab is one of the harder things to mic right. Adjustments of only a cm can give you a completely different tonality. A 57 can sound great on a cab. Me, I prefer a Sennheiser e906 on rock guitar, and a DPA 2011 on a jazz guitar. Horses for courses. The thing is, that many engineers don’t get it. They try to force their taste, instead of doing reinforcement of the artists taste. To bring the artist’s sound across to the audience, and only only fixing shortcomings of the amp or the artist. How to choose the right mic as a singer? Study what’s available. Your KZbin channel is a great resource. Then when ready, buy 10 different mics and use them when out in the real world, playing gigs. Ask the soundguys which they think sounds best on your voice, and compare that with your own judgements about how they sound in the monitor, if feedback is ever an issue, the price, maybe looks feel in your hand. Pick one or two, and return the rest for a refund. For my voice, that would be a SM58 and a Audio Technica AE5400. Both the lows and highs on both are great for my tonality. A SM 58 on your voice, Anton, is not the best match. The Presence boost is too high up and you need more bottom-end. Kinda like the Neumann KMS 105. The AE5400 could be a good match though. Sorry for the long post. 🧐🙃

[@PeterlahayeNl]

withs one do you like more kms105 vs Shure Nexadyne ? or Dpa d:facto or Nexadyne ?

[@AntonBrowne]

I'm afraid I don't know, I'm trying to get my hands on a Nexadyne.

[@ninjabluewings]

An amplifier without tone controls to me is COMPLETE JUNK!!! I don't care how much it costs if I am paying crazy money for an amplifier I want the choice to change my sound

[@AntonBrowne]

A lot of people argued that point when those amps came out. I notice that I use the tone pots on my guitar amp and PA but my main listening amps don't really have tone controls! Like most people I listen on my phone, digital player or computer with headphones and guess what... no tone cotrols - apart from some presets which I doubt most people use.