If the PA has mic inputs, then the mic pres are built in.

Short answer, but that's all there is to it. ?

Alan Ratcliffe wrote:
Short answer, but that's all ther is to it. ?

Thanks Alan, Much appreciated ?

Jeepers, short thread, but that's all there is to it ?

I remember hearing something like the 58 is the same as the 57 but the 58 has a wind screen or something built in? Would you need a wind screen/pop shield in front of the 57 to prevent damage?

You'd have to pop pretty pretty loudly to damage a 57, they are used a lot for mic'ing up amps in big concerts. The filter in the 58 is meant to reduce the amount of low roll off in a desk needed to get the popping out, making it more of a vocal mic than a 57.

Gearhead wrote: You'd have to pop pretty pretty loudly to damage a 57, they are used a lot for mic'ing up amps in big concerts. The filter in the 58 is meant to reduce the amount of low roll off in a desk needed to get the popping out, making it more of a vocal mic than a 57.

Am I also correct that the 57 is more directional that a 58? ie. You sing sirectly into the top of a 57, but can speak sort of around a 58?

VellaJ wrote:

Gearhead wrote: You'd have to pop pretty pretty loudly to damage a 57, they are used a lot for mic'ing up amps in big concerts. The filter in the 58 is meant to reduce the amount of low roll off in a desk needed to get the popping out, making it more of a vocal mic than a 57.

Am I also correct that the 57 is more directional that a 58? ie. You sing sirectly into the top of a 57, but can speak sort of around a 58?

Both are dynamic mikes and almost identical. You cannot sing "around" a SM58, you sing straight into both the 58 and 57.

Reminds me of the one show where the sound engineer "hung" the SM57 on my amp, pointing down. (nuff said.)

A 57 and 58 are both cardioids and have a fairly decent response off axis to about 90 degrees so theoretically one can hang a 57/58 in front of an amp without too much performance degradation. The high's will have rolled off a bit so by turning the mic axis off the amp acts as a HF cut which can be handy if the amp is bright.

Hanging a mic just looks a bit tacky and unprofessional though but can be done in an emergency if no mic stand is available.

The same cannot be said for any supercardioid mics such as a Beta 57/58 though. These mics are much more directional than the SM 57/58 and wont work hung in front of an amp.

SM 58's also wotk well for ensemble work with more than one vocalist sharing a mic. Ive had anything up to three vocalists sharing a mic with good results.

Thanks guys ?

I actually had band practice earlier and tried this out. It seems it will need a pre-amp, despite my connecting the mic straight into the XLR "Mic" input... Maybe this PA is fairly entry level..?

VellaJ wrote: Thanks guys ?

I actually had band practice earlier and tried this out. It seems it will need a pre-amp, despite my connecting the mic straight into the XR "Mic" input... Maybe this PA is fairly entry level..?

I don't believe it

Alan Ratcliffe wrote: If the PA has mic inputs, then the mic pres are built in.

Short answer, but that's all there is to it. ?

This ^

Maybe it's broken.

VellaJ wrote: I actually had band practice earlier and tried this out. It seems it will need a pre-amp, despite my connecting the mic straight into the XR "Mic" input... Maybe this PA is fairly entry level..?

Make sure your mic channel gain is turned up, not just the fader. What PA is it?

epictring wrote:
Reminds me of the one show where the sound engineer "hung" the SM57 on my amp, pointing down. (nuff said.)

Hey, at least it was a 57! I wasn't clued up on live mic'ing up of amps at all until recently, when my bass player started pointing at gigs what the sound guys were hanging over my amp. (I even got a dented carol mic once). All the vintage, re-tubed gear in the world won't save you in these scenarios, so needless to say, the money I'd saved for a TC Hall of Fame reverb went straight to a 57 and a small stand ? as the "sound guy's" role diminishes, so my rig sounds better ?

Huzzah!! ?

Oh ya I had a question.... :-[

Is using your own decent mic at gigs the best you can do (apart from having nice gear and be a decent player haha), or would buying and using a fancy preamp improve results too?

Sebastian wrote: would buying and using a fancy preamp improve results too?

Not really. The differences between any decent board's pres and a top shelf standalone don't make a huge difference in a live situation. And even if your pre is far better than those in the desk, the rest of the desk and PA system will likely be the same level and even out any advantages the standalone pre brings.

Alan Ratcliffe wrote: Not really. The differences between any decent board's pres and a top shelf standalone don't make a huge difference in a live situation. And even if your pre is far better than those in the desk, the rest of the desk and PA system will likely be the same level and even out any advantages the standalone pre brings.

Thank you sir ?

I'll get the exact model number from my friend this afternoon, though I don't think it's anything amazing. I do know, though, that it doesn't have a mic gain setting. It's got Level, 2-control EQ and delay/reverb. Also, it's got the XLR "Mic" input and a 1/4" jack marked Line. That's about it...

VellaJ wrote: I do know, though, that it doesn't have a mic gain setting. It's got Level, 2-control EQ and delay/reverb.

Sometimes they label the input gain as "Trim", but I do know some of the small PAs don't have a separate mic gain control. Then you would do well to have one of the small, portable mic pres on hand if you can't get enough gain from the pres in the PA.

Some of the smaller desks like the Yamaha Stagepas 300 have a mic/line button. Make sure the button is set to mic when you have the mic plugged in. (kind of obvious but I forget about it now and again).