Patryk TikTak Matela "Human Beatbox Personal Instrument" - free chapter

124 Patryk TikTak Matela

This chapter comes from my book „Human Beatbox – Personal Instrument”

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Mic

rop

ho

nes

7

…in which you learn about micro-

phone types, discover the differences

between them, and find out how to

hold and take good care of your mic.


What is a beatboxer or an emcee without their microphone? Right, its all

a matter of skills, but if you want to get to a larger audience, the issue of

sound equipment comes to the fore. Every microphone, cord, amplifier or

speaker changes the sound – there is no way to get it 100% clear. However,

it’s crucial to be the master of keep control over your equipment and set it

in the way that brings out the best of your vocals.

Microphones: types & usesNowadays, two basic microphone types are used: dynamic and condenser.

Other than these, like carbon or ribbon, are pretty rare – they are relics of

a time gone by and their application is limited.

Dynamic microphones

A dynamic microphone receives air vibration (i.e. sound) through

a special membrane, which converts the membrane’s movements

into sound. Most mics used on stage are dynamic receivers, mainly

because they have higher tolerance for distortion, they are more

endurable, less likely to cause feedback, and also don’t require an

additional power source.

A speaker works in a completely opposite way – an electrical

impulse causes the membrane to vibrate; the latter moves the

air producing sound. Because of that speaker’s feature, you mi-

ght have heard one of your DJ friends saying that you can plug

earphones into a mic slot and so ‘McGyver’ them into a simple

microphone. I wouldn’t recommend it as the sound quality you

get this way is quite low.

Condenser microphones

A condenser microphone is much more complex than a dynamic one. Its

basically consists of a very thin (we’re talking nanometers) diaphragm that

Human Beatbox - Personal Instrument 127

converts air vibrations into electricity. Mics of this type need

additional power (called phantom power), usually +24V or +48V.

These devices are incredibly sensitive, therefore additional means

of protection are necessary. There is a membrane shielding the

mic, called a pop-killer, which partially eliminates plosive sounds

(anyone dealing with recording vocals will explain to you why they

hate plosives) as well as protects the capsule from humidity, like

water vapor or saliva drops spit during the beatboxer’s performance.

Condenser mics are often installed in dedicated elastic mounts

(also called shock mounts) to isolate them from any kind of vi-

bration around them. A mic without a shock mount will record

an audible “pop” sound if you tip the mic stand or stomp your

foot near it. The holder’s suspension reduces these sounds to

a minimum. Another device, often built into the mic or mixer, is

the high-pass filter, which cuts off the lower sound frequencies

(60-80 Hz, sometimes up to 100Hz). It doesn’t affect the vocal

sound itself, since human voice does not produce anything si-

gnificant on a frequency that low, but on the other hand it deals

with the lowest kind of vibration, i.e. made by a bus in the distan-

ce or an elevator outside your studio. Those low tones have the

largest energy, so later on they’ll be a pain in the neck when you

compress or otherwise boost your vocals.

These days, consumers may choose from a wide variety of hand

held condenser microphones. Their construction features the

capsule inside of the microphone head and an internal battery,

which supplies phantom power. Prices of such mics can get pretty

steep (i.e. Shure SM87A costs around $250, while Shure KSM9 goes

over $700) and they are also more delicate than their dynamic

counterparts. However, they are characterized by unsurpassed

sensitivity, a much broader frequency range and the ability to

pick up even the subtle nuances of timbre.

What is a beatboxer or an emcee without their microphone? Right, its all

a matter of skills, but if you want to get to a larger audience, the issue of

sound equipment comes to the fore. Every microphone, cord, amplifier or

speaker changes the sound – there is no way to get it 100% clear. However,

it’s crucial to be the master of keep control over your equipment and set it

in the way that brings out the best of your vocals.

Microphones: types & usesNowadays, two basic microphone types are used: dynamic and condenser.

Other than these, like carbon or ribbon, are pretty rare – they are relics of

a time gone by and their application is limited.

Dynamic microphones

A dynamic microphone receives air vibration (i.e. sound) through

a special membrane, which converts the membrane’s movements

into sound. Most mics used on stage are dynamic receivers, mainly

because they have higher tolerance for distortion, they are more

endurable, less likely to cause feedback, and also don’t require an

additional power source.

A speaker works in a completely opposite way – an electrical

impulse causes the membrane to vibrate; the latter moves the

air producing sound. Because of that speaker’s feature, you mi-

ght have heard one of your DJ friends saying that you can plug

earphones into a mic slot and so ‘McGyver’ them into a simple

microphone. I wouldn’t recommend it as the sound quality you

get this way is quite low.

Condenser microphones

A condenser microphone is much more complex than a dynamic one. Its

basically consists of a very thin (we’re talking nanometers) diaphragm that


The main difference between wired and wireless microphones is revealed

by the names themselves. When on stage, a wireless mic will come in a lot

handier, but if you’re in a studio and you don’t move too much while recor-

ding, it’s better to use a mic with a cable. A good shielded microphone

cable means slightly better frequency transfer and less electromagnetic

interference. Cordless mics have one disadvantage – the receiver has to be

plugged to an electrical socket and the emitter requires power from the

batteries (usually AA or 9V). Of course, there are models with microports (also known as “bodypacks”, specifically dedicated to news reporters), but

they are usually used to connect to a camera recorder.

Lavalier type microphones are small devices used to boost speech during

e.g. lectures and news programs. They come either as tie clips (which you can

pin to your clothes) or a headset (a small ball at the tip of a bow, attached to

your head behind your ears). Those microphones are usually omnidirectional (explained below).

Shotgun type microphones are the mainstay of the film industry. They are

usually mounted on boom poles, which are held by boom operators over-

head or below the subject’s mouth, but always outside of the movie frame.

Those mics need to be directional, so they can pick up only the specific

sounds and ignore the background noise.


Microphone polar patternsEvery mic type has its own sensitivity in a given space, therefore each picks

up signals around the capsule differently. The reason for that is the so-cal-

led polar patterns, a set level of spatial sensitivity based on the location of

the sound source. In some mics the pattern can be adjusted manually, but

mostly it’s predefined by the manufacturer. Below are some of the most

popular polar patterns; each of them can be used for a different purpose:

Cardioid – shaped like a heart, hence the name.

It picks up only sounds from the front and the

sides, completely ignoring signals from the rear.

That’s why it’s usually used to record vocals, like

Shure SM58. Even if you face the monitors while

singing, it’s highly unlikely that you will end up

with feedback.

Supercardioid – polar pattern similar to the pre-

vious one, but extended. There is more front

pickup and less pickup from the side. Comes in

handy on stage, when a lot of musicians stand

next to each other and you want to pick up only

individual signals and avoid crosstalk.

Omnidirectional – also known as “spherical”,

used to record the whole environment around

the mic. This type is used to record orchestras

or sounds of nature, as in this case all the sounds

in a given environment need to be recorded at

equal volume levels.

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Figure-8 or bi-directional – mostly used to record the sides, with no front

and rear pickup. This pattern is used for mid-side stereo recording, in which

the sounds from the front are recorded by a separate mic. Then, through

the mixing process, the recorded tracks are added together and separated

into two channels.

Hold it like a beatboxerIt goes without saying that beatboxers and lounge singers hold their mics

differently. The former do it in a peculiar way, they almost never put their

fingers on the shaft itself, but rather wrap them around the mic head and

hold it close to their mouths. That’s because of one the features of dynamic

microphones, the so-called proximity effect – by putting the mic as close

to the source of sound as 1-2 inches (3-4 cm) you can boost the low tones

ranging from 50 to 300 Hz. That way your vocals sound way more hollow

and your bass gets a bit distorted. Singers usually want to avoid this effect,

since it boosts the bass and the drums, but a beatboxer is a different breed

of cat and may, actually, want to go for such a distinctive sound.

In fact, there are three most popular ways of holding a microphone and

none of them could be labeled as optimal or universal. Each of them serves

a different purpose, so you should adjust the way you hold it to the beat

you want to achieve.

The first way is known as the classic beatboxing grip. The thumb and the

middle finger surround the head around the ring, located around the middle

of the mic head of practically every dynamic microphone. The index, the

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middle and the ring finger hold the shaft and

the little finger is put on its the other side to

be able to lift the mic’s weight.

This grip suppresses most nasal sounds, so use

it if the most important sounds you make

come from your mouth. In this case the sound

of your breathing through the nose while

beatboxing is almost inaudible.

It’s possible that you might want to get more nasal sounds, in which case you should hold

the mic only with the last three fingers of your

palm. Adjust the grip to the size of your palm

and comfort. If your hands are small, you can

always hold the mic shaft with the other hand

just to be sure it doesn’t slip out. In this case,

your mouth is right next to the mic head while

your nose is right on top of the ‘basket’ you

form with your fingers, which is supposed to

be your resonant chamber. Every nasal sound

will get boosted, including the breathing.

There is an interesting variant of this grip which

I call the praying position. Hold the mic head

between the edges of both your hands, so you

form a shell around it as if you were playing

on a harmonica. This option ensures isolating

the melody made through your nose without loosing the mouth-made

beat the whole time. The shell makes you sound “telephonized” as it cuts

off the highest and the lowest frequencies. Use this grip to imitate playing

on a harmonica or doing other sound effects.

How to get more nasal sounds

Figure-8 or bi-directional – mostly used to record the sides, with no front

and rear pickup. This pattern is used for mid-side stereo recording, in which

the sounds from the front are recorded by a separate mic. Then, through

the mixing process, the recorded tracks are added together and separated

into two channels.

Hold it like a beatboxerIt goes without saying that beatboxers and lounge singers hold their mics

differently. The former do it in a peculiar way, they almost never put their

fingers on the shaft itself, but rather wrap them around the mic head and

hold it close to their mouths. That’s because of one the features of dynamic

microphones, the so-called proximity effect – by putting the mic as close

to the source of sound as 1-2 inches (3-4 cm) you can boost the low tones

ranging from 50 to 300 Hz. That way your vocals sound way more hollow

and your bass gets a bit distorted. Singers usually want to avoid this effect,

since it boosts the bass and the drums, but a beatboxer is a different breed

of cat and may, actually, want to go for such a distinctive sound.

In fact, there are three most popular ways of holding a microphone and

none of them could be labeled as optimal or universal. Each of them serves

a different purpose, so you should adjust the way you hold it to the beat

you want to achieve.

The first way is known as the classic beatboxing grip. The thumb and the

middle finger surround the head around the ring, located around the middle

of the mic head of practically every dynamic microphone. The index, the

-5dB

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Classic beatboxing mic grip


Standard vocal grip is simply holding the

mic shaft without covering the head. If you

want your vocals to sound optimal, that’s what

you should go for. This grip makes your vocals

sound natural and at the same time it makes

the mic very resistant to feedback.

When you hold your mic, remember about

the cable. Grab it with your other hand and

make a small loop so that nobody snatches

the mic away from your grip by stepping on

it. Pay attention to the plug and don’t stretch

the cord. My personal recommendation is to

hold a cord loop with your mic-holding hand.

If you don’t hear your sounds very well while

on stage, look for the monitors. Usually, they

are the wedge speakers facing you at the very

front of the stage. If their sound makes your

ears bleed, move the mic away from your mo-

uth or tell the sound technician to lower the

monitors’ volume. Remember not to confuse

the volume of the monitors (directed at mu-

sicians on stage) with the volume of speakers

(directed at the audience). Because of that

difference, it’s always recommended to give

your mic to some other beatboxer and listen

to the sound from the audience’s perspective

during soundcheck.

People who fill up the venue also absorb the sound, especially the lower and

the medium-lower frequencies. That’s why when you do the sound check

with an empty room, always ask for a little more bass than you actually want.

Vocal mic grip

That’s how you should hold your cable

to protect the plug


If there is more than one mic, remember the markings (the number, the

color of the label) of your equipment. This helps you to communicate with

the sound technician, e.g. „Please turn number one’s volume up!”.

Once I had to deal with a d-bag of a sound engineer, who was kind enough

to set each microphone individually, and then, when every device on stage

started roaring because of feedback, he immediately pulled all the volume

sliders down. This forced me to push my voice a lot louder in the middle of my

show. That’s a lesson to be learned for the future – schedule a sound check

before the show and let the sound crew know about any inconveniences

or problems with monitors. At the end of the check you should try all the

sound sources at the same time to adjust the proportions between them.

Tweaking the micIf you want to avoid the ”telephone effect” –

cutting off higher and lower frequencies – make

sure your grip over the mic is as “open” (i.e. not

surrounded by fingers) as possible.

Many amateur rappers hold the mic wrong, it

looks cool but sounds terrible. Noobies tend

to squeeze the microphone head with their

whole fist and scream incomprehensibly at

the side of the mic. Hilarious as it looks, it also

distorts the sound and suppresses it a lot, so if

you don’t want to end up sounding like crap,

hold your mic properly.

Plenty of singers and rappers like to hold the mic right next to a little cord

loop. A lot of people don’t have a clue why they do it and some don’t even

know how it should be done. Usually, it’s a way of protecting the cable plug.

If you hear sizzle when you move the cable, you should replace or repair it as

soon as possible. If such a malfunction occurs during your show, try holding

That’s NOT how you should hold the cord

the plug in a way that sizzles can’t be heard any more. That way you’ll make

it till the end of the show even if the equipment is really old. The small cable

loop you hold in your mic-holding hand is also a good way of making sure

that the plug will stay in its place when somebody steps on the cord while

you’re moving. If it happens, only the loop will get jerked away from your

hand and you will realize what happened just in time. Remember – take

care of your cables. Cord is bond, yo!

Any other ideas?Other than those listed above, you can also grab your mic in a less popular,

but more sound-oriented way. It’s always advisable to try new things since

every novelty makes you sound (and look!) more original and so your show

gets more interesting.

Clip-on mics are small microphones, often used to boost the sound of

wooden instruments. They are attached to the instrument itself to convert

its vibration into sound. Because of that, they usually go great with double

bass, violins, acoustic guitars, etc. Why don’t you try experimenting with

placing a clip-on mic near (or possibly on) your face?

A throat mic is a specific case, it doesn’t respond to the sound itself but

receives the vibration of vocal cords. At first, devices of this type were used

in the military as they were able to clearly transmit quiet speech regardless

of the noise in the background. Pilots and lifesavers have been using throat

mics until this day. However, the sound quality is probably not their strong

suit, since they were designed to cut out every other sound other than

human speech.

If you stick a throat mic to your neck or hold it against your throat, it’s going

to pick up only low sounds with the upper band barely audible. This type

of a microphone might not work well solo but it can be a nice addition to

a regular dynamic mic, as it enriches the sound with a deep bass line. Boost

it, compress it on a separate channel and then add it to the sound of the


Human Beatbox - Personal Instrument

main mic. This should make the bass line sound thundering, which will get

even more impressive in venues with proper subwoofer sets.

Speaking of weird sound sources, let’s talk about old microphones with

vintage sound. They are probably going to be popular until the end of time.

I own a Sennheiser MD21, which was produced between 1954 and 1957.

I bought it on eBay for a reasonable price. It’s perfect for making the sound

“dirty” and it also transforms the kick sound into a precise hit. Evidently, it

doesn’t sound like a Shure, but hey, isn’t that the point?

Distort it!If you want to sound even more powerful, you

could use a trick invented by guitar engineers –

re-amping. The basic principle is to send your

beatbox to a huge speaker and record it with

a microphone from a certain distance. Shure

SM57 works great coupled with your favourite

guitar amp. It’s useful to record both the “clear”

source and the converted one to set proper

proportions between them later on during the

mix. Recording through an additional speaker

limits the sound band and reduces the number

of details. On the other hand, the sound you get is very heavy and, consi-

dering how many types of speakers, amplifiers and microphones there are,

the number of possible combinations is practically infinite. This technique

can be used live or in postproduction. A simpler way to do this – just pass

your signal through – is to use a guitar block by Tech 21 called SansAmp.

Megaphone – another interesting technique of sound distortion has been

used, among others, by the band Cocorosie. The group uses a megaphone

to distort beatboxing and make it sound lo-fi. High tones like sounds of

a trumpet or screeching scratches don’t sound very clear once you put

them through it, but at the same time they fit in the mix perfectly, as if they

Why not use a megaphone in a gig?

135

were there all the way. This works great if you want to mix in the vocals and

you’re not the world’s most educated sound engineer.

There is no such thing as the best way to hold the mic, record beatboxing,

distort sound or create a unique one. If you are into retro sound, look for an

old mic, if you prefer distorted industrial, go for a megaphone. The effect

of a modern sound can be achieved by putting the microphone through

a noise gate, equalization and a lightweight multi-band compressor. That

combination is precisely what Killa Kela uses while recording. In his own

words: “My sound is eq’d the same way you would eq a drum set”. Now, we

don’t know the precise settings of his equalizer, but it’s always good to try

something new in that area. The idea is to find your own method, which

will emphasize your unique beatboxing style.

Types of plugsIn general, there are three basic ways to con-

nect audio devices. Via XLR, Jack, or Phono.

Needless to say, the number of connectors in

use is a lot larger, as there are others like Spe-akon (used for powered speakers) or MIDI (used

for transmitting the data of virtual instruments

and synthesizers). Listed below are the plugs

usually used in a studio or on a stage when

it comes to recording or converting vocals.

Jack

One of the most popular connectors on the

market. Comes in various sizes – 2,5 mm or

3/32” (micro jack), 3,5 mm or 1/8” (“small” jack) and 6,3 mm or 1/4” (“large”

jack). The first two options are implemented in many small electronic devi-

ces like mobile phones or mp3 players and the large jack is often installed

Three types of jack plugs – from the top:

6.3 mm, 3.5 mm, 2.5 mm



in studio devices. You need to know the difference between mono (also

known as TS, used for instruments) and stereo plugs (also referred to as TRS),

responsible for plugging microphones or creating balanced connections (i.e.

introducing another signal line to reduce noise). The difference between them

is visible to a naked eye – a plastic ring divides the mono jack into two parts

and in case of stereo it’s three. A mono jack always supplies an unbalanced connection, a stereo jack can be either balanced or not.

Phono

Also referred to as RCA or chinch. A connection

type usually installed in home audio equipment,

but also in turntables and some sound effects,

e.g. Kaoss Pad. Much like a jack plug, this one

also has a design flaw. While plugging it to the

phono socket, you can hear a loud thud, as the

signal connection touches the slot before it re-

aches the grounding pin. The solution is to pull

the channel volume all the way down before

connecting or disconnecting equipment. The

phono connection is unbalanced.

XLR

Also known as a Cannon connector. A round-

-shaped, balanced, 3-pin plug, usually used for

modern era microphones and speakers. That’s

the only type of cable capable of conducting

electricity and the signal at the same time. This

property is used for supplying phantom power to condenser microphones. If possible, always

connect your mic through an XLR.

Chinch type plugs

Male and female XLR type cord

137

Adapters

A vast majority of audio cables can be connected together. The market

features adapters from one system to another. The rule of thumb is always

to use as few of them as possible as you want to reduce noise. The more

adapters you plug in, the worse quality of your sound will be.

Taking care of your microphoneYears of intensive use of your dynamic mic

should not affect it in any way. Unless you

have been throwing it around, drowning it, or

keeping it in hazardous conditions, it should

be working just fine. There is only one thing

you should now about your microphone, as

there is no way to avoid it – it’s sure as hell it

is going to stink.

Whether you like it or not, every time you

beatbox or sing, a copious amount of saliva

lands on the microphone. Under the metal net

covering the head (“grille”), dynamic mics are

equipped with a special type of foam screen.

Its task is to protect the microphone capsule

from humidity and reduce unnecessary sounds

like thuds, blasts or cracks. Yet, over a course

of time, the mic foam gets soaked with our

mouth fluids and becomes the perfect envi-

ronment for various types of bacteria or other

unsavory micro-organisms. The resulting smell

puts off everyone using the gear. To avoid

wearing a gas mask around your microphone,

clean it and wash the windscreen regularly. In

some venues these practices are not performed

Windscreens

Removing the windscreen from the

microphone head with a pencil



and you get a gag reflex beatboxing to their mics, not to mention the

unpleasant rash that may appear around your lips the next day.

Washing the mic foam screen is not rocket science – just unscrew the mi-

crophone head carefully and then pull it out of the metal net with your

finger or a pencil. Watch it, as the windscreen is pretty delicate and might

get torn if you pull it too hard. Meanwhile, put your mic in a dry place. Don’t

machine-wash your foam screen, just soak it in a bowl of warm water sprin-

kled with a little bit of washing powder or dish detergent. Consider adding

some some softener with a nice scent. Let me tell you, nothing beats the

surprise when you smell almonds or coconut on stage.

Let’s leave the windscreen in water and move on to the net. Use a hard brush

(an old tooth brush will do) to clean it under running hot water. A little bit of

washing liquid never killed anyone, but stay away from stronger chemicals. If

the mic shaft is greasy or dirty, wipe it with a slightly wet rag and be careful

not to touch any electronic parts. After you wash it, put your mic foam under

running water, as you don’t want any cleaning agent to stay on its surface.

Once everything is clean and smells fresh, put down the net and the wind-

screen to dry. Don’t use a hair dryer, just leave them for the night. Make sure

not to put them on your mic while wet, as this way you may end up with

a short circuit. It’s best to do the whole operation during the day and leave

the windscreen to dry through the night. In the morning, assemble your mic

parts carefully just to appreciate the freshness next time you use it.

This way of cleaning usually works with dynamic mics with heads that can

be unscrewed, with Shure SM58 and Sennheiser “E” series serving as the

139

best examples. However, before you disassemble your mic, make sure that

doing so will not void its warranty. Never unscrew condenser microphones

with large membranes as they are much more vulnerable to mechanical

damage and humidity. If you want to freshen the material the pop-killer is

made of, washing it may not be a bad idea.

FeedbackThat’s what you call the characteristic screeching sound when you put

a mic right next to a speaker. The sound recorded by the mic is transmitted

to the speaker, which then amplifies and outputs the signal, which in turn

gets registered by the mic... again and again. That’s what we call an infinite

loop, which results in the unbearable screech. If you want to reduce this

effect, try the following:

• move away from the main speakers (it’s best if they stand in front of

the stage or hang above it )

• stand in front of the monitors – this way the mic won’t pick up their

signal (turn the mic’s back towards them)

• don’t squeeze the mic in your first, as this usually suppresses or distorts

the signal, which often leads to feedback (see: How to hold a mic?)

How to choose a mic?I often get buried in an avalanche of e-mails containing the same question

“which mic is better?”. As there’s no simple answer, I always respond with

“what do you need it for?”. Naturally, in the era of a huge electronic market,

every microphone marketed as “perfect for vocals” draws my attention, since

this is the type I’m looking for. The reason why it’s labeled as such is the

sound of these mics, designed in a way to gently boost the frequencies of

human speech, which makes vocals or beatboxing stand out among other

instruments on stage.



Microphone features

Let’s start with a few parameters you should check before buying a mic. The

first of them is the frequency range. Theoretically, sounds audible to young

people range from 20 to 20000 Hz, which can be checked by a laryngologist

or in a simple hearing test. Even though human voice is unable to produce

such a low bass or a high screech, this range is useful for registering the so-

-called harmonic sounds, i.e. those derived from the basic sounds, which, after

all, are responsible for all the sound nuances. However, this range is specific

to condenser and studio microphones. Dynamic mics on stage range from

around 50 Hz to 15000-16000 Hz and that’s actually a pretty good result.

High-end models reach as high as 18000 Hz.

The second important aspect is the polar pattern, i.e. the way how a micro-

phone picks up the sound. There are many patterns to consider, the most

popular are cardioid, supercardioid and omnidirectional. Most people usually

go with the first one, which is supposed to record the sound coming from

the front and a little bit from the sides of the capsule. The supercardioid

mics follow the same pattern, but they focus more on the front, and the

omnidirectional are supposed to register everything around them.

Self-noise or equivalent noise is generated by the device in the absence of

sound. There is no such thing as perfect equipment and perfect conditions,

so apart from the sound itself, a lot of noises like electric network hum get

recorded. Try to compare the self-noise values (they should be listed on the

box or in the manual), but remember that manufacturers tend to exaggerate

those numbers, so don’t base your opinion entirely on them. Look for SNR

(Signal-to-Noise-Ratio), which means a ratio between the signal (usable

audio) and the internal noise of the mic.

The tonality of a mic is a whole different story. Everybody has their own

preferences so there are no general rules about that. Try to compare the

sound at the store, plug the mic in and look for the differences between

various models and volume levels. Some of mics will give you a lot of heavy,

141

‘muddy’ bass while others will supply a limited but precise bass line. Some

will provide crystal clear high frequencies, others will carry human speech

well by boosting certain sounds in the mids (between 5 kHz and 10 kHz).

See for yourself and find a mic that suits your needs. Base your judgment

on different sources, not only internet reviews.

Which brand of a dynamic mic should I check out?

As for dynamic mics, a few companies have already established their posi-

tion on the audio market. Among the most popular are brands like Shure, Sennheiser and Audix, together with AKG, Rode, Beyerdynamic and Audio Technica. Mind you, these are only general tips, since listing all the producers

is impossible. However, I wouldn’t recommend dynamic mics produced by

Sanyo, Sony, Technics or Panasonic, which probably cram the shelves of your

store. Remember, their purpose is neither stage or studio. It’s probably karaoke.

Shure SM58 is a model that can be seen on a lot of stages around the world.

This vocal microphone follows the cardioid pattern. Its solid structure (both

the grill and the shaft are stainless steel) prevents it from physical damage

and humidity. It handles feedback pretty well. It has been produced for over

40 years and I have had my SM58 and beta58 for over 9 years now. The Shure beta58 is a supercardioid mic slightly boosted in the higher range, making

it more tailored for lead singers with less bass. Last time I checked, the price

for SM58 was around $100, beta58 sets you back $150.

If your budget is tight, go for its limited versions – the PG58 ($60). The main

difference between PG58 and the SM58 is lower volume and limited upper

band. Both mics sound okay on stage, they don’t cause any rumble or di-

stort the signal provided the mixer is properly set. If I was you, I’d rather pass

and save some more money for a SM58 or pick a good model from a rival

company. It’s a choice to last for years.

Sennheiser is also a renowned brand when it comes to vocals, especially

thanks to its popular series called “evolution 800”, ranging from a budget

e815 ($60) to high-end handheld condenser e865 ($270). Residing right in



the middle of this range is the famous e845 ($140) - a supercardioid mic, the

same price range as the SM58, with similar parameters, but some say the bass

sounds clearer on this one. E800 Sennheisers are really resistant to feedback.

If you want to go for something else, check out the dynamic mics made by

Audix. They have a whole vocal series called OM, which ranges from OM2 to OM11. I had a good run with OM5 ($120) – this mic is very transparent in

the upper band and very resistant to feedback with stage monitors. It’s also

clearly louder, but maybe because you can boost it quite a lot in the mix

before the sound gets distorted. Audix also has a beatbox-dedicated micro-

phone called Fireball ($150), which looks great and fits the hand. I haven’t

had a chance to test it extensively, but my friend had to return it twice due

to build quality. Maybe a flawed batch, I don’t know.

I have to mention the AKG BBB Dfive – the official Beatbox Battle mic. It’s

frequency range is tailored for beatboxing and it’s got loud bass and clear

highs (make your hi-hats stand out). For about $100 it’s great for beatboxing,

had it for a couple of years now. It needs getting used to and is not a universal

mic – you get boosted beatboxing and slightly distorted speech.

Condenser mics on stage

Handheld condenser mics used for vocals are a whole different story when

it comes to their quality and price. Compared to the dynamic capsules, the

sound is usually way more transparent, but the prices are double. Like every

other mic of that kind, they need phantom power of +24V or +48V coming

from the mixer. I’ve seen Shure SM87a ($250) used many times on stage by

Bobby McFerrin. However, a beatboxer won’t be able to make use of the

vast range of frequencies on stage – bear that in mind before any purchase.

Summing up

In the end, let me repeat – please don’t ask me about microphones.

I neither work in a store nor know all the models on the market. I have tried

some of them with my own equipment. If you don’t want to buy Shure SM58,

143

look for some less expensive models manufactured by other well-known

and established companies. In general, they do their job better than mics

of unpopular brands. Beyerdynamic TG-X58 is interesting – it boosts the

bass and flattens the upper band and it’s a bit cheaper than SM58. Still, be

cautious of its on/off switch. Mine got loose after a couple of months and

I had to fix it with tape so it stays in an “on” position all the time.

A mic should always have an XLR output. Never buy one with a fixed cord,

especially the one that ends with a jack plug. That’s how you spot a karaoke toy.

If your want to spend 15$ on gear, don’t

expect miracles – high quality also translates

to the materials used for mic production.

Keep away from unrecognized companies

with exotic names, unless you try their equ-

ipment out personally. Even if a mic works

perfectly in the beginning, pay attention

to its build quality as you don’t want it to

fall apart after your 5th show. “Garbage in

equals garbage out”. It’s better to spend

150$ once and buy a reliable piece of equ-

ipment than to buy a knock off three times

for 50$. Pick mics that are made of metal

– they will last longer.

Always chose the gear that suits your needs.

There is one rule I have always followed:

“if you don’t need such a good mic, why

spend money on overkill?”. If you use a mi-

crophone once a month and do it in your house, you probably don’t need

equipment that will last for ages and survive thousands of gigs. I whole-

heartedly recommend to try the mic before purchase – every good music

store will let you plug it in and test it for yourself. They are supposed to, so

remind them about that, if necessary. Happy bargain hunting!


This chapter comes from my book „Human Beatbox – Personal Instrument”

If you liked this one chapter, please consider buying the whole beatbox book:

• 11 chapters

• 210 pages

• over 100 pictures and illustrations

You can have the whole book for next to nothing, because I decided to sell it at a „pay what you want” price. That means you can have your own e-book from $1, but the suggested price is $19.

If you really can’t get 19 bucks together (like not buying a few beers at a party) do pay

less. On the other hand, if you want to support the international beatbox scene and own

a unique product, donate more than the regular price. I leave the decision entirely up to you.

To buy the e-book, all you need to do is:

1. Go to beatboxinstrument.com/en

2. Click on Buy the e-book and pay via PayPal

3. You will get the download link in the e-mail

The printed version will be available in a couple of weeks, as soon as we finish the print-

-preparation process. Prices will start at $39 because of the high quality print - thick paper

pages, over 100 color pages, glossy cover, etc.

This book will really stand out in your collection!

My warmest greetings to you and I will see you on my beatbox workshops somewhere...

http://beatboxinstrument.com

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