Chienmortbb

To be fair that is a £500 microphone and should sound better. The SM58 was a revelation when it came out but other makes caught up years ago, I was working on a show that the BBC were covering, unusually the BBC had not brought the right mix of mics. For FoH we were supplied with a box full of dynamic mics and the SM58s were front and centre. The BBC man sorted to the back of the box where the "also ran" mics were, the "disposable" ones. out of the box he took a Behringer XM8500, muttering about them being much easier to EQ. The SM58 was inferior to the Sennheiser dynamics at the time but were way cooler, the Sennheisers looked more like an ice lolly than a mic. More modern mics are better than the SM58, mics from Shure, Sennheiser, AKG, Sontronics and SE (I have to admit I have never heard or tried the SEs). However Like the Precision and the Strat, the SM58 is iconic and as such

The original Fane Crescendo had an aluminium dust cap that supposedly extended its frequency range and empirically did sound great to my young and untrained ears. AFAIK, theee were the first 12s to reach 100w power handling with and claimed 99dB efficiency. The problem? The aluminium dust cap would crack although a dab of epoxy resin sorted that mechanically although goodness knows what it did to the response. I know that @Phil Starrhad some back in the day.

Me too but NAD put paid to that.

That was one of my worries.

Good luck and keep us informed.

We had this over July/Aug/Sept often two per weekend. Now nothing since 15th November to Feb 9th.

Has anyone used these in anger? Of course it is not as good as using audio cable but I suspect it would suffice in many applications. Thomann Cat Snake

I did think about adding condenser but you are still the exception for vocal mics on stage.

I agree but for us weekend warriors, £3K vs £30? In saying that I progamme mine so rarely that I have to re-learn it. Also the firts PARs I boughtb were a new model but the protocol had changed from the old model but they had included the protocol document for the old model. I wasted hours...

The BUMP button usually appears at the top after 3 (I think its 3) days.

I would profess to be a lighting genius but trying to programme a DMX system can be challenging. I bought one of these cheap DMX controllers HERE. It is a real learning curve and the one thing you soon learn is that DMX Is not standard. Even within different PAR cans, the commands are different. You can resolve this using different addresses but be prepared to spend some time perfecting things.

We have had the discussion on here about what mics we use/prefer, but what do the other members of your ensemble use? It is multi choice so you can vote for both.

It has been a thing at the cheaper end of the market, paying lip service to the higher frequencies. Shame on Eich for saving money this way although they are not alone. It is one of the reasons that boutique makers like Greenboy, LFSys, and others exist, because the usual suspects play fast and loose with the top end. SEarch on here or on T*lkbass for Markbass combos and the issues with their top ends. If the best you can do is a tweeter and capacitor, do not bother.