I've used the SM-58, OM-2 and OM-5 for years. IMHO the OM-5 is the best. The inner detail and natural sound are unbeatable. The slight HF boost is just right.
You’ve stated it perfectly, I have the OM5 and the OM7, and I prefer the OM5 for the reasons you say - it’s handy to have the OM7 on hand though in case you get a particularly feedback prone stage or a particularly loud drummer, then you can sacrifice a bit of ‘sparkle’ for more gain before feedback (not that the OM5 isn’t good for feedback rejection, it’s just that the OM7 was designed for it and excels at it)
Even if you were using these mic's to track vocals in a bad or untreated room, I can easily notice how much the OM7 rejects the sound of the room which is priceless in that situation. Have heard samples of recordings/songs used in terrible, small untreated rooms with the OM6 that were of pro quality. Just requires good mic technique of course
Yes, sometimes a mid-level mic with a tight pattern actually works better than an expensive studio condenser when you are recording in a space that is not well controlled acoustically.
Another informative and inspiring video! Thank you Barry! I say inspiring because you have just pushed me over the fence to go and get an OM7!!! It won't break the bank so I will bite the bullet.
@@Barry-Watson I frequently get feedback issues on stage...especially at the 2nd half of my gigs when the ears get tired, and I start cranking up the mic volume so i can hear myself. OM7 sounds like the solution
Just a tip - if all your vocal mics, and all your stage monitors are of the same model, then you (essentially) just need one EQ curve to get the best gain before feedback - and you tend to have a more stable PA system. If you have a bunch of different mics and monitors it will be more difficult to achieve stability at high SPL levels.
@@Barry-Watson I do use IEMs. But ears get really tired after 2 hours of singing and playing. So i crank up the volume. Sometimes enough to cause feedback. Only sometimes - depending upon how close i am to the foldback. But you are right - IEMs are the way to go. I will NEVER go back to foldback speakers (esp in a noisy environment, with lots of drunk people yelling along with "...it's a longway to the top if you wanna rock and roll" hahaha)
Very helpful. My voice is tonally similar to yours. I've a nice collection of recording and live mics. with a recent purchase of BAE (Neve type recording pre) am getting great use from the humble sm57 and 58 for vocals on rocky type songs ( despite having some great LDCs )rather than the hyped super mics ala telefunken M81....brilliant for small PA use. used to have an OM5 . got stolen . In a heartbeat I felt it was the best in your presentation..ie not a supermic as much yet full bottom end , making your voice the most engaging..Am about to get reacquainted with same..TA..
Yeah, more expensive isn't always better. Depends on the application. Sometimes I feel that the SM57 sounds best, but I'm drawn to using "better" more expensive mics because I have them.
Thanks for watching! The video isn't meant to serve as a measured scientific experiment. Drawing from my experience using these microphones in live performances, I discuss and demonstrate some of my experiences. To accurately assess the microphone patterns, one would ideally have access to an anechoic environment, a resource not readily available to many. I hope that sharing my firsthand experience with these products aids in your decision-making process.
![Ribé - El Sutil Arte [POLEGROUP074]](http://i.ytimg.com/vi/HvAFbDLRKf8/mqdefault.jpg)
Fantastic demo and love the perspective and understanding that you provided!
Much appreciated!
I've used the SM-58, OM-2 and OM-5 for years. IMHO the OM-5 is the best. The inner detail and natural sound are unbeatable. The slight HF boost is just right.
You’ve stated it perfectly, I have the OM5 and the OM7, and I prefer the OM5 for the reasons you say - it’s handy to have the OM7 on hand though in case you get a particularly feedback prone stage or a particularly loud drummer, then you can sacrifice a bit of ‘sparkle’ for more gain before feedback (not that the OM5 isn’t good for feedback rejection, it’s just that the OM7 was designed for it and excels at it)
Even if you were using these mic's to track vocals in a bad or untreated room, I can easily notice how much the OM7 rejects the sound of the room which is priceless in that situation. Have heard samples of recordings/songs used in terrible, small untreated rooms with the OM6 that were of pro quality. Just requires good mic technique of course
Yes, sometimes a mid-level mic with a tight pattern actually works better than an expensive studio condenser when you are recording in a space that is not well controlled acoustically.
Hey Barry, that stuff you said about the ‘wow factor’ is absolutely spot on!
Thanks!
Another informative and inspiring video! Thank you Barry! I say inspiring because you have just pushed me over the fence to go and get an OM7!!! It won't break the bank so I will bite the bullet.
Great! I love my OM7s, and I hope they work well for you too!
@@Barry-Watson I frequently get feedback issues on stage...especially at the 2nd half of my gigs when the ears get tired, and I start cranking up the mic volume so i can hear myself. OM7 sounds like the solution
Mics like the OM-7 can help. Loud stage volume makes things more challenging. I'm a fan of in-ears (IEMs) for this reason.
Just a tip - if all your vocal mics, and all your stage monitors are of the same model, then you (essentially) just need one EQ curve to get the best gain before feedback - and you tend to have a more stable PA system. If you have a bunch of different mics and monitors it will be more difficult to achieve stability at high SPL levels.
@@Barry-Watson I do use IEMs. But ears get really tired after 2 hours of singing and playing. So i crank up the volume. Sometimes enough to cause feedback. Only sometimes - depending upon how close i am to the foldback. But you are right - IEMs are the way to go. I will NEVER go back to foldback speakers (esp in a noisy environment, with lots of drunk people yelling along with "...it's a longway to the top if you wanna rock and roll" hahaha)
Very helpful. My voice is tonally similar to yours. I've a nice collection of recording and live mics. with a recent purchase of BAE (Neve type recording pre) am getting great use from the humble sm57 and 58 for vocals on rocky type songs ( despite having some great LDCs )rather than the hyped super mics ala telefunken M81....brilliant for small PA use. used to have an OM5 . got stolen . In a heartbeat I felt it was the best in your presentation..ie not a supermic as much yet full bottom end , making your voice the most engaging..Am about to get reacquainted with same..TA..
Yeah, more expensive isn't always better. Depends on the application. Sometimes I feel that the SM57 sounds best, but I'm drawn to using "better" more expensive mics because I have them.
I love the om3xb
That was so helpful! I like this guy ;)
Glad it helped!
Good knowledgeable video.
Thanks for these informations
My pleasure
Lightläsk depend of the arena too
How do you really test mics with different pickup patterns if you just stay in one spot? That makes no sense.
Thanks for watching!
The video isn't meant to serve as a measured scientific experiment. Drawing from my experience using these microphones in live performances, I discuss and demonstrate some of my experiences.
To accurately assess the microphone patterns, one would ideally have access to an anechoic environment, a resource not readily available to many. I hope that sharing my firsthand experience with these products aids in your decision-making process.
I did not hear samples of each one, thank's!
In the video I use each of those mics, and they are all in nearly the same position and gain so you can compare.
@@Barry-Watson Thank's
Om3x
Om3xb