Great rear-noise rejection means you can get plenty of level in a stage monitor before feedback. Heil's PR 22 rejects handling noise and can record a loud snare drum hit without distortion.
It's designed to reject everything but what's directly in front of it, with an EQ curve meant to enhance vocals and suppress plosives. Ironically, "SM" is short for Studio Microphone. This is the mic you see on almost every stage in the world, the venerable Shure SM58. But use caution it can be tricky to avoid plosives if you work them too close. Using more than one mic gives you a lot more control over the balance of the instruments, and handheld dynamic microphones are the most commonly used for vocalists. (Note: The secret of the 418- S is that it's two mics in one a cardioid "mid" condenser capsule facing front, and a bidirectional capsule focused on either "side." It's a mid/side stereo mic that needs to be decoded in post, which allows you to control the stereo width of the image, even after the recording is made.) It doesn't need to be too close to capture a vocal and push it out front in the mix and, as a result, you can see the facial expressions of every performer at the Tiny Desk without sacrificing intimacy. If you get the placement on this mic just right the clarity is astonishing, but bright. It's designed to capture voice for film (just like the 416 mono version - $1,000 - seen at the end of many boom-poles on set). If I only had one mic, I would strategically place all the musicians around it and hit record. My colleague and mentor Kevin Wait gets all the credit for choosing this mic to capture the early Tiny Desk Concerts. All Songs Considered Tiny Tech Tips: Why You Need Earplugs At ConcertsĪ much more expensive stereo mic is the Sennheiser MKH 418-S ($1,650).
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