Stage Microphone for Tinwhistle?

[srt19170]

I'm in a trad/pub song band playing tinwhistle and I'm currently using a Shure SM57 microphone, but it's having a lot of trouble picking up the whistle, even when I'm right on top of the microphone. There's still some room to increase the gain on this microphone, but I'm wondering if I wouldn't be better off getting a vocal mike like an SM58. I'm open to other suggestions as well, if anyone has any good recommendations. Thanks!

-- Scott

[Craig Stuntz]

I'm in a trad/pub song band playing tinwhistle and I'm currently using a Shure SM57 microphone, but it's having a lot of trouble picking up the whistle, even when I'm right on top of the microphone. There's still some room to increase the gain on this microphone, but I'm wondering if I wouldn't be better off getting a vocal mike like an SM58.

No, not really. The 58 is essentially a 57 with a beefier windscreen. I'm not a fan of either one, indeed, not really a fan of dynamic mics in general, although I'll grant that they're more or less indestructible. If the 57 isn't working out for you it's unlikely that the 58 will be any better. It's been too long since I was seriously involved in audio production for me to give you advice on particular models, but I'd suggest finding a reputable sound reinforcement dealer and asking them for a condenser mic which fits your needs.

[Tommy]

Have you tried putting the Sure mic on a boom stand? Than place the mic above the whistle pointing down at it.

[shadoe42]

Not sure how this would work on stage but at home for some basic recording purposes I have had good luck with my headset mic getting good sound. The boom goes right over the windway hole. Or to whereever you feel you get good sound.

Both the concerts I have been to lately that featured a whistle player both had boom mics with the mic placed in a similar fashion.

[lisdoonvarna]

They are the same microphone. You can look at the frequency responses of them on Shure's website and they are the same graph.

I question if the problem you're having is really the mike. It could be your mixer settings or you amp settings. I use these mikes all the time and they pick up just fine. In noisy settings make sure you have a monitor system that allows you to hear yourself. I've had gigs where I've had trouble hearing myself but the people out front of the speakers can hear fine.

Another question. Where are you positioning the whistle. I think sometimes people at first think the sound comes out the end of the whistle, but it almost all comes out by the fipple airway. Position the mike near your mouth like you're singing into it.

Lisdoonvarna

Condensor mikes can create some feedback problems at least it did for a group I was in. We switched one member's mike to a dynamic and we eliminated the problem.

[Craig Stuntz]

Condensor mikes can create some feedback problems at least it did for a group I was in. We switched one member's mike to a dynamic and we eliminated the problem.

Condensors, in general, are more sensitive and reproduce sound more accurately than dynamics. There are a variety of things you can do to reduce feedback rather than use a lesser microphone, including:

• Turn the volume down. Personal rant: Most shows are too loud anyway, because the FoH "engineer" is partially deaf from too many loud shows.
• Move the monitors / loudspeakers to reduce the leakage. Better still, use in-ear monitors.
• Get the mic closer to the instrument (e.g., a mic which mounts directly to the instrument
• Use a different pickup pattern (i.e, a more directional mic)
• Use a bandpass filter or, better still, a purpose-built feedback exterminator.

[Wanderer]

I used both a Shure SM58 and SM57 with my band in Houston for nearly 2 years, and never had a problem with it being picked up. I suspect the problem isn't necessarily with the brand of mic.

[Kansas]

Byll - Bill Stein both plays the whistle and runs and owns a recording studio. You might want to do a search on his name and the word microphone. I'm almost sure I saw a post awhile back he did make a recommendation.

His group "Gladly Playe Wyth Stryngs" also made recordings. However, I don't see their website anymore.

Byll also teaches music in school, so if you message him, give him a little time. it will be worth the wait - great guy!

I found the link. It was about home recording. But there is a lot of info in the posts from several people. Might be a good starting point of who to query.

http://chiffboard.mati.ca/viewtopic.php ... ht=#453564

[slowair]

Have you tried putting the Shure mic on a boom stand? Than place the mic above the whistle pointing down at it.

That's exactly how I do it and it works just fine.

Mike

[William T. Anderson]

Increase the highs on the mic's channel, this should be a first step...The 57 should do the job. Be mindful of you distance from speaker/monitors as a hot mic with high highs is a feedback hazzard. Also trouble shot the mic for damage...What kind of whistle are you playing?
A new product out by Nady is a hand held condensor mic which I just had to tryout as its the first of its kind, has been great for me though it is VERY sensitive. This could change the way stage performance is miced for the future ... here's the link to it, its only $50 US with free shipping I think. If you have any questions on it just pm me as I've got over 50 hrs on it on stage and in the studio so far...

http://www.musiciansfriend.com/product/ ... sku=277067

WTA

[Dee Whistler]

I've used the 58 and prefer it to 57. I get best results when the mic is above the whistle pointed down (actually tried this after seeing Brian Finnegan uses 58 just that way). I'm not completely satisfied with this solution though and still looking for what could be best mic solution for whistle.

[srt19170]

Thanks for all the replies.

I mentioned the 58 because a bandmate uses it and it picks up her whistle better than my 57 picks up mine (with equally gain on the mixer). I'm a little concerned about going to a condensor mike because our regular gig is on a tiny stage and there's not much room to adjust monitors, speakers, etc. to reduce feedback.

I do have my mike on a boom and at the airway, although not adjusted to point downward; I'll try that. I'll up the gain some more at the next performance and we'll see how it sounds.

-- Scott

[lisdoonvarna]

Scott- A bit of troubleshooting. You could try playing into her mike with your whistle and see how it sounds. Then have her play into your mike and see how that sounds. If you sound fine in her mike then its your mike or cable or a bad channel. If she sounds fine in your mike then its probaby your positioning of the whistle or your whistle is a quieter one. I used to use a Dixon but in noisy bars even with floor monitors I couldn't hear it well enough especially the low pitch notes. They were just gone. I started playing a Sweetone and it really cuts through the noise.

You could also try plugging her mike into your cable and channel and see if its okay. Then you have a bad mike. OR try a different cable Or a different channel. You shoud be able to one by one change all these variables systematically and figure out why your not getting enough sound. I love doing this stuff. Its like being a CSI!!

Lisdoonvarna

[Dave Parkhurst]

I use one of those wireless can-style mini-mikes...works pretty well. Sort of like the ones you see on people on TV. Picked it up on eBay for around $40. I fabricated a clamp using a springy plastic ring which wraps around the whistle but is easily removed. The clamp was originally intended, I believe, for fastening stuff onto pvc or copper piping. You can either place it on the bottom of the whistle (for speaker-ruining bass notes) or up near the windway for a more balanced tone.

[barbuck]

I've also used 57's & 58's in the past, although I currently use an SM-81 (condensor) mic. As someone mentioned above, the condensors generally are more sensitive, and you need to take measures (as also mentioned above) to reduce opportunities for feedback.

Regarding hearing yourself play, even though we use monitors (speakers, not ear), I find that wearing a brimmed hat on the songs/tunes where I play whistle gives me the optimum ability to hear what I'm playing. Although I don't typically wear that type of hat, it makes enough difference (for me, at least) that I always wear one now when performing in a band situation.