How about since "Green Banana Margaritas" ?!?!? ...
t.

I use the CM311A too, and it is a great mic. I would never go back to a handheld in a million years.

I can look at every member of the audience and keep my voice miked. I can look down at my keyboard, even move away to move a speaker. My voice is miked the whole time. This makes for a better presentation.

My voice has improved as I have learned to not increase my volume to reach the high notes.

If a better headset comes out, and it's less than $1000, I will buy it. But as far as I know, it's not out there.

Beakybird

You're right Tony--they're tough to beat as well.

Gary

OK, fair enough, I guess I WAS hi-jacking the thread a little....

tell ya what, I'll most likely get this Da-Cappo Headset mic and tell you all how it goes....

Hellboy44,

I would strongly suggest that if you do purchase the headset mic, buy it from a retailer that has a liberal return policy. Some retailers will not allow you to return mics, most claiming health department issues. In reality, there are NO health department regulations pertaining to microphones--NONE! Most of this is store policy.

When I purchased the Countryman E6 it was based upon two things, what I read on this forum, and hearing the mic used by a minister in a large church. Yes, he did sing, and he was using a Bose system, and the mic was very clear and distinct, features which I thought would be preferable. However, what I failed to hear was the mic had no depth whatsoever. It was very thin sounding and the feedback problem, even with lots of EQ changes, was impossible to work with. I sent it back for a full refund.

Mics used in live performances, particularly when PA systems are in close proximity, must have either super-cardiod or hyper-cardiod patterns in order to prevent feedback problems. This is why for so many years the Shure SM58 was considered the Gold Standard of vocal mics. By today's standards it is still a fairly good, handheld mic. \

The best headset mics, however, are usually those that must be positioned directly in front of the mouth, and often touching the lips. Additionally, in order to get the best low level response, and still be feedback resistant, the mic head must still be somewhat larger than most performers would like. Keep in mind that Garth Broos, Madonna, and a host of others are using the Crown CM-311A. They use it because it makes them sound good. Me too!

Good luck on whatever mic you decide upon,

Gary

I agree. I don't know what kind of music you're playing, with what kind of stage volume, but those little mikes that sit off on the side of your face typically are feedback nightmares with anything but the lowest of stage volume.

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Mike

I would pay attention to any mike's polar pattern, and buy what suits your regular stage setup.

Most keyboard players do not have monitors directly in front of them (damn keyboard gets in the way!), but unfortunately, most cardioid mikes null point (the point where the most feedback rejection will come from) is wherever the mike is directly pointing away from. Which is always pretty much directly forward. Where YOUR monitor is NOT...

Hypercardioids and supercardioids reject more from about 45º to the side of the mike rather than directly in front, making them, IMO, far better at feedback rejection for systems where the monitors are at the sides...

I also feel that head-worn mikes need FAR more care with vocal compression than regular stand mikes. It is VERY difficult, if you can't ride the mike, to go from warm and intimate to bright and full throated without a good compressor. Especially as your arranger isn't going to ride those dynamic changes much at all (ever notice how the arranger doesn't really LISTEN to you? ), so you need a very even sound, no matter your technique...

I have heard SO many singers using head-worn's that are either deafening you or inaudible, often on the same song. If your voice is already VERY even, with little dynamic range, sure, go for it. But I would factor in the cost of a really good vocal compressor (the ones in arrangers are pretty dire, IMO) to the mike if you are not...

Ok, I didn't realise that feedback would be an issue with headset mics.

Well I'll have to audition the Mic with the Bose (fortunately the store I'm buying from has one permanently set up (they are Bose distributors) so at least I can see if there will be an obvious problem.

Incidentally I've been using Shure headsets for some time now (years) so I'm completely sold on head-worn mikes per se.

Thanks for the advice fellas!

Fortunately, the Bose is relatively resistant to feedback as long as your gain isn't way up. I use a Sennheiser wireless with no problem, as I also point it a little off axis.

Bernie

It is VERY difficult, if you can't ride the mike, to go from warm and intimate to bright and full throated without a good compressor.

Diki,

While some of this may be true, in my experience, it has never been a problem. This is where learning and utilizing good vocal control techniques comes in. I've seen lots of singers who essentially had no vocal control at all. Essentially, they yelled into the mic, handheld and headset, at the top of their lungs. When using a handheld mic they pulled it away from their mouth when they struggled to scream out higher notes. Some call this power singing. Luciano Pavarotti was a power singer and he frequently used a headset mic. He had, and utilized, phenomenal vocal control. I was fortunate enough to see him perform was seated just 30 feet from him during the entire performance. What an incredible experience. His vocals ranged from very subtle to levels that no one on the planet could achieve, and he did this effortlessly.

In many previous posts I have stated that headset mics are not for everyone. I also urged, on many, many occasions, that unless you have an incredible, natural singing ability with excellent capacity for vocal control, spend a few bucks at the local community college and take voice lessons, which is well worth the small expense.

I believe that once this is mastered, their is very little need for dramatic changes in compression, etc.. in the keyboard's vocal processor. Usually, just a slight touch of reverb and a little delay or echo is all that's needed to fatten a soft voice, and really goes a long way throughout the singer's vocal range.

Cheers,

Gary