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L1® Users Forum Musicians General Forums What Do You Think of This New Approach? Stepping out from behind the microphone (stand)|
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Stepping out from behind the microphone
Using the L1™ means we can clear a lot of "stuff" off the stage. What remains is even more noticeable. I am thinking about getting rid of the microphone stand or at least getting it out of the way. This came up recently in Sight Lines and the T1™.  Is anybody considering the transition to a headworn microphone? The microphone on a stand is starting to feel like the last of those walls that separate me from the audience. I didn't notice it when there was the zone in front of the band that was so loud no one would enter. With the L1™ we eliminated that. We also did away with the moat of monitors. So what's left? The microphone on a stand. It feels a little odd without the microphone and stand. So far I've just been doing it in rehearsal. It feels more like I am more accessible, and exposed. I do it all the time for public speaking, but the music is a more vulnerable place.  Working the microphone I have been experimenting with a Countryman Isomax MHHP6HH05 with mixed results. The tone is different, brighter than my Neumann KMS 105, but I can probably get used to that. For some songs it is just fine. For others, it's a struggle. I'm not a disciplined or particularly skilled vocalist I have to push a little harder to get some tones. With my regular microphone on a stand I work off-axis or back off a little to manage the volume. With the headworn microphone, I can't do that. I am working with the compressor in the T1™ but it feels like I am losing some of the dynamic range I am used to. I am open to suggestions here. Tone or ... I will probably give this more time as I weigh the competing priorities of vocal tone and visual and emotional accessibility. Is anybody out there thinking about this? T1™ Compressor - Notes from MikeZ-at-Bose |
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Hi:
I already did. I've been using a headset microphone for quite some time now. It's fantastic. Since using it I really don't like using regular microphones any more. There is only one drawback to a headset microphone, that I've noticed, and that is that because you are always in close proximity to the microphone you can't cough in the middle of a song (as you can do with a regular microphone by turning your head away from the mic, etc), and you have to watch your breathing, etc. Other than that I find the headset microphone to be ideal for me. Though I am looking into a wirelss version and hope to purchase one in the near future. In any case I'll never use a regular microphone with my L1 again. Stu |
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Hi Stu,
What prompted you to make the switch to a headworn microphone? You've got a Crown CM-311A, right? I found your mini-review. Five months later, do still recommend it? |
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Hi ST, I echo what Stuart said. I've been fully wireless now (Crown CM311)for the last 350 -400 gigs and can't imagine going back. I interact a lot with the crowd by walking around their tables and have been known to sit at their table with them or even walk back behind the bar if I play that type place.
The crown sounds as good as most any handheld mic I have ever used and you can scream, yell or jump up and down if you want,there is no distortion and it stays in place. It also has a "cough" button for when you need to....well...cough, or talk privately. leo www.leodean.com "It don't mean a thang, without that tropical twang" |
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Hi ST:
Becuase some of the stuff I play on the guitar has my left hand all over the neck while I'm singing, and I have to look where my left hand is going, I needed to have a microphone that 'followed me' when I looked down to see where I had to place my left hand. A headworn microphone seemed to be the only solution - especially with the Bose L1 where good vocal technique requires you to 'eat' the microphone much of the time if you don't want to deal with feedback, etc. Not being able to keep my mouth in close proximity to a regular microphone (with the L1) meant that frequently my vocals faded in and out, etc. Some very talented performers can play all over the guitar's neck while singing - and never have to look to see if their fingers reach the right place, etc. Unfortunately I don't fall into that category! A headworn mic has solved that problem. I really like how my vocals sound through the L1 with the Crown. Several people, most of them being much better vocalists than I'll ever be, have also commented about how good the microphone sounds thru the L1. I have used other (hand-held) microphones and have never liked any of them (even good-quality ones I currently own and/or have used). I could never get the consistent vocal quality from any of them that I'm currently getting from the Crown microphone. I assumed it was because I'm not a vocalist and didn't know how to 'work' a microphone. That might be part of it but, since the Crown microphone stays always in the same proximity to one's lips, there must be something else I was doing wrong. In any case I'm very happy with the Crown headworn and (at least for me, anyway) it provides me with the confidence level in the equipment (like the L1 does) where I can know that (even though I'm not a great vocalist) my vocals are always going to sound acceptably good through the L1. Initially I was a little self-conscious about wearing a headworn microphone for several reasons. And I thought the thing would not be that comfortable (it doesn't look like it would be in the ad pics!). However, once it's adjusted I forget it's even there. I'm only reminded that I'm wearing it when I step on the wire! My earlier review still stands. Though I fixed the adjusting knob so that's working now. I am learning to control my breathing and sniffling, etc, while wearing the microphone. The only drawback is if I have to cough part way through a song. I have to try to suppress the need to cough because there is no way I can get away from the microphone as I could with a regular stand-mounted microphone. The issues I have with sniffling, breathing, the urge to cough, etc, has given me a much-increased respect for vocalists who have to deal with all these issues on a regular basis, etc. I have had the idea of purchasing (if they are available, or making one if they are not) a footswitch with XLR I/O that will silence the microphone's input so that, if the urge to cough comes on suddenly, in the middle of a song, I can wait for a suitable place in the song to silence the microphone with my footswitch, turn away, and cough, etc. I still want to upgrade to a wireless microphone (and guitar connection), only because I would rather not deal with getting tangled up in the wires, which I always seem to do no matter how careful I am. I will look at the wireless version of the Crown I have now, and I also will look at the (Sennheiser GW 152) headworn that came well-recommended by a couple of people on this forum who are using it. Word-of-mouth: still the best advertising there is! I still wish Crown would have made the case so that the microphone could have been packed away in its adjusted condition, etc. Currently, I have to loosen the adjusting knob and re-adjust the microphone to get it back in its case. It would be really nice if I didn't have to do that. It's not a big deal to set it up each time but that tiny adjusting knob, which already failed once, is what I'm concerned with. And I wish there would have been one or two spare foam covers for the microphone, included at purchase. All things considered I would highly recommend it to anyone wanting a headworn microphone, and who doesn't mind that it is not of the inconspicuous variety. Like the sound quality of the L1/T1, I continue to be amazed by the sound quality from this microphone. Stu. This message has been edited. Last edited by: StuartD, |
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ST
We are trying to get rid of the mic stands and guitar cords and go 100% wireless. We are in the process of trying: - Countrymen ISOMAX - Sennheiser ME3 - DPA 1088 (I think this is the #) - Crown 311 We have noticed the same issues with breathing, coughing, etc...also dynamics. We tried the Crown at a pracice and I thought it really sounded good but the other guys said it had to much breath noise. Then I read the manual it how you are supposed to wear with it touching your lips. Need to keep experimenting. Our goal is to have nothing on stage but musicians / e-drums / bass / guitar / L1's. We are also trying to find a light system, looking at LEDS and how to mount with putting up poles. At one time I saw on this forum where someone was mounting a light on the L1. I can't fing that thread but I will search again. Anyway, I am interested in this thread and I will post back our findings. Steve |
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Hi Leo,
Thanks for weighing in. I went to your site http://www.leodean.com Thanks for making some of your songs available there. I enjoyed the music. Did you use the Crown CM-311 for those recordings?
I bet you put on a great show. |
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Hi Steve (srmbr)
Not questioning your wisdom here, but I am curious about *your* motive for this. Could you say more about your thoughts, motives for making the change?
You meant "without"? If you put them on the Cylindrical Radiator® loudspeakers (not recommended for safety reasons), wouldn't this put the lighting behind you? |
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Hi Stu,
Just as an odd aside, I used to practice with my eyes closed to overcome the looking at the neck thing. It turns out that for the most part, my hands knew where to go. But - I ended up with a different problem. I got too comfortable playing that way and I stopped looking at the audience altogether. But that's another discussion.
I'm okay with mine for public speaking. Same issue with the wire.
I read about the knob in your earlier review (and published as a review on one of the vendor sites). This was troubling - glad you got that sorted out.
I did a search on the web for a "cough switch". Whew - you can spend a lot on those.
Me too. I don't need the mobility. I often sit, especially when doing the "unplugged duo" sort of show. But I think it would be nice to be wireless.
My Countryman microphone does not disassemble in any useful way. I have too cart it around in a box that is 8" x 6" x 4". Just big enough to be a nuisance.
I get the impression that the really inconspicuous ones are better suited to speech. I hope that srmbr (Steve) will tell us all about those microphones he is testing. The DPA 4088-F looks interesting although at the high end of the $cale. |
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Hi ST,
Thanks for starting this topic. Another good source to fill our daily "food for thought" requirements... Hi Stu,
One possible way of muting your headset is to wire a momentary Normally Open footswitch so that is will connect XLR pin 2 to pin 3 when held down. You can test this theory using a microphone cable that has a Neutrik NC3FXS connector. A local church has six condenser microphones equipped with these and it works very well. You should be able to purchase an inexpensive momentary Normally Open footswitch and add male and female XLR connectors, either panel mount if there is enough room on its case or by adding a couple of cables with inline connectors. Muting a wireless headset with a footswitch is a little more complicated. This would require the switch to mute the output of the receiver. I would add a 1:1 Isolation transformer at the output of the receiver and apply the above footswitch setup after the transformer. Let me know if you have questions. Mark |
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Hi ST,
I am considering the same thing and have been for a while but everytime I do I always come back to my senses after playing a gig. The reason I can't make myself do it? I use the mic to get different results by way of the distance of my mouth to the mic. I really dont know the first thing about setting up a compressor but I know the theory of how it works and I had rather use good mic technique. some notes I sing at a whisper and some I sing louder to get a growl or some character out of my vocals. for this I have to back off the mic and you can't back out of a headset or get closer if you need to. I usually sing right up on the mic with lips barely touching the screen and just pull off when needed to get a bit more volume or some special thing vocally. I am interested to hear how you do with this adventure. I have been thinking about one of the natural colored high end Sennheiser headworn mics. I have seen and heard people use other mics and had terrible trouble with feedback. Let us know what you decide and how it works for you. |
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I would like to go wireless, just so I don't bonk the microphone as I move when playing.
When I lean in and out of the drum kit, the mic is in the way. I've had a Crown 311 for a year now, would love to use it, but have problems.
However, for me, even with a wireless, I'm not "stepping out" since I'm still behind the drums. |
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Hi Stuart, I've looked for an XLR silent mute switch as well - in my case I was looking for something to mute an SM58 mike to let our flute player see an in-line tuner, while silencing the microphone. - Never did purchase anything and have switched to the T1 which has its own mutes. I noticed this xlr mute - intended for taylor guitars, that may do what you want for your headset (foot sw xlr mute) -- https://www.taylorguitars.com/taylorware/Item.aspx?item...tegoryid=1004&page=3 Jim M |
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Different thought...
I could probably get used to a headset and would like it. But... I LIKE stepping up to a mic stand to sing. It makes me "feel like somebody". I remember as a kid, going to concerts and seeing those mic stands on the stage before the show starts, it added positively to the anticipation of seeing imagining, in just a few minutes, of seeing the Three Dog Night guys, or Steve Stills, or Clapton, stepping up there to start the thrill. Also, I'm not Garth Brooks. I'm not a statue either, but I don't really NEED the mobility. This is not meant to discourage anyone seeking the headset mics, just my thoughts. I'll probably stay with my security blanket of a good ol' mic stand... |
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Hi Jim,
It is very likely that the Taylor Balanced Breakout won't work for Stu's application. The available info on this unit mentions a transformer which would prevent the required phantom power from getting to the headset. Although it is not mentioned I suspect that it may be a latching switch. If one was to build a mute box, this would be a good layout to follow. Mark |
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Hi Stu,
I found the connector Mark (Le5) mentioned above at Amazon for $12.11.  NEUTRIK NC3FXS XLR FEMALE w/ON-OFF SWITCH --== click the picture to see it in context ==-- I have something like this on the connection for my headworn Countryman wired microphone. It works great with a little practice. Not quite a *momentary* on/off switch, it takes a twist off/twist on. With the one I have, you can do it with one hand. These days I just use the mute button on the T1™ . This message has been edited. Last edited by: ST, |
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Hi Mike,
This is a great thought and an interesting insight. I have been wondering if the term Stagecraft is appropriate here.
-- Wikipedia. I hesitate to use the term, just in case I offend someone who actually does it. Maybe we are talking about artistic vision, and its implementation at the same time. But I think of a performance as a relationship that starts with the audience long before you show up, that may never completely end. It may not matter to everyone, but it all matters somehow. So everything you mentioned, the anticipation, that sense that something important was going to happen, *that* is meaningful. And here you are now, however many years later, it is still with you. Like you, I don't need the mobility. In your case, I don't think you are describing a security blanket with all the connotations that the term invokes. I think you are describing the positive fulfillment of an expectation. I didn't anticipate this thought, but it *is* the kind of thing I was hoping we could explore. So what does the audience see when they look at your stage before you arrive? This message has been edited. Last edited by: ST, |
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Hi ST,
Wow, there is alot of activity on this topic. 1) Motive - Trying to make a radical change, simplify, looking for the most efficiency. 2) Our audience has always seen us from behind 3 tiered systems and we are have hidden by equipment. This look, even no mic stand, will make them turn there heads twice. 3) Want a clean stage. Lighting, you are correct, we don't want to set up poles. I thought a light in the L1 would provide background lighting and have a LED light on the ground pointing up. This may cause to much of a shadow though..Still looking for a better solution for frontal lighting with no poles. Thanks Steve |
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Hi ST:
I have tried closing my eyes and playing, etc. However, there are some pieces (Scott Joplin piano rags for example) where I go from first fret position to past the twelfth fret very quickly. I have never been able to do that without looking.
I think I found the one you found  Yes...very salty. I found a couple that cost in the region of about $80 each. One was described as being for dynamic microphones only. The other one This one... looks like it could work, but I might lose the phantom power supply from the T1. Then I'd need to rely on the battery in the Crown's beltpack controller box thingy. But I'm looking into it to see if it might work.Le5: The Neutrik connector looks to be very good but I need to mute my microphone using a footswitch. I could use the mute on the T1 if I had a hand free to do that. When I'm playing my guitar I have no choice but to use my foot to do the mute thing. Unless of course I could train my throat to wait between songs, to cough That Taylor mute box that Jim mentioned could work if I was prepared to use the battery in my Crown's controller pack. Which I would do if I couldn't find a mute box that would'nt remove the phantom power, etc. I'm going to try to find a local store that might have one that I can try. Thanks for the comments and suggestions everyone... Stu |
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Hi:
Speaking only for myself, as an audience member, when I was younger I wanted to see gear, gear, and more gear; and wires...lots of wires; and a large mixer, lots of rack-mounted effects, etc. Nowadays I want to hear - and see - the performer. I don't much care anymore about seeing all the gear, other than from a point of curiosity as to what might be being used. But as far as I'm concerned that could all be backstage somewhere. So, now that my primary interest/focus is on the performer(s), and not the gear, I can understand the desire to get rid of the gear on stage that some folks sometimes refer to as stage clutter (One piece of gear I never cared for was the monitor speakers. They always seemed to me to be "in the way"). I also derive a lot of satisfaction from watching the amazed looks on peoples' faces who are listening to the L1 for the first time - and where there is nothing (where one normally expects to see gear) except the L1, my little mic stand with the T1, and a stool...and watching them try to figure out how I'm able to put out such a good quality sound. Once I am fully wireless I can see where I would mount the T1 back on the L1 speaker and not have the microphone stand at all. Just a stool...and nothing else! Stu |
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L1® Users Forum Musicians General Forums What Do You Think of This New Approach? Stepping out from behind the microphone (stand)|
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