124 Patryk TikTak Matela
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...
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.
126 Patryk TikTak Matela
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
128 Patryk TikTak Matela
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.
Human Beatbox - Personal Instrument 129
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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130 Patryk TikTak Matela
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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Human Beatbox - Personal Instrument 131
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
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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
Human Beatbox - Personal Instrument 133
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
134 Patryk TikTak Matela
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
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Human Beatbox - Personal Instrument
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
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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.
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Human Beatbox - Personal Instrument
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
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Human Beatbox - Personal Instrument
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 ($250) used many times on stage by
Bobby McFerrin. However, a beatboxer won’t be able to make use of the
vast range of frequencies on stage – bear that in mind before any purchase.
Summing up
In the end, let me repeat – please don’t ask me about microphones.
I neither work in a store nor know all the models on the market. I have tried
some of them with my own equipment. If you don’t want to buy Shure SM58,
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look for some less expensive models manufactured by other well-known
and established companies. In general, they do their job better than mics
of unpopular brands. Beyerdynamic TG-X58 is interesting – it boosts the
bass and flattens the upper band and it’s a bit cheaper than SM58. Still, be
cautious of its on/off switch. Mine got loose after a couple of months and
I had to fix it with tape so it stays in an “on” position all the time.
A mic should always have an XLR output. Never buy one with a fixed cord,
especially the one that ends with a jack plug. That’s how you spot a karaoke toy.
If your want to spend 15$ 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!
144 Patryk TikTak Matela
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...