Stage Microphones

Live performances require microphones that are exceptionally rugged and reliable. This means that the majority of microphones you would use in the studio are unsuitable for a life on the road.

Stage microphones can be used in the studio but are designed principally for the tough conditions of touring live music shows, pubs and clubs and public address systems, they are usually Dynamic microphones.

They are constantly rigged and de-rigged, transported in often less than ideal conditions, experience extremes of temperature and then particularly in the case of vocal microphones thrown around (as exemplified by Roger Daltrey of The Who) and occasionally dropped and have to keep on working despite such abuse.

Dynamic microphones don't require phantom power, so should one of the three wires in the XLR lead break, the microphone will continue working, albeit at reduced level but that is easy to quickly rectify at the mixer. Just be sure to repair the lead after the concert as it wont work with only one wire.

Stage Vocal Microphones

The most iconic stage microphone for vocals is the Shure SM58, a Dynamic microphone with a cardioid pickup pattern, large windshield that cuts down plosives, good capsule suspension to avoid handling noise and a tailored frequency response for using very close to the mouth (the closer the microphone is to the sound source the less chance of feedback). The Beta form SM58A has a greater sensitivity and hyper cardioid response.

Ribbon microphones used as a stage microphone are rare, the one that seems to prove the exception is the Beyer Dynamic M160, it has a hyper cardioid pickup pattern, large windshield and can be used close to the mouth but is more expensive than the Shure SM58.

Because Ribbon microphones are more delicate than Dynamics they tend to be used on a stand for e.g. a singer seated at a keyboard.

Condenser microphones are delicate, require phantom power and are more expensive than Dynamic microphones so they tend not to be used as a stage microphone, you will see them more often in live performances that are being televised (when the television company will specify and / or provide them) or where a 'name' artist will specify their choice of microphone.

Examples are the Shure KSM9 (cardioid response), Neumann KMS 105 (hyper cardioid) and Sennheiser e965 (switchable cardioid / hypercardioid).

Stage Acoustic guitars

Because of the greater chance of feedback from an acoustic guitar in a live situation the built-in piezo pickup tends to be used, even if it doesn't provide the best overall sound of the guitar.

Some guitars have an electret microphone built in which give a better sound, but they are more prone to feedback.They both require some form of onboard power.

If the guitarist doesn't need to move about on stage then a stand mounted dynamic microphone such as the Shure SM57A Beta, the Beyer Dynamic M160 Ribbon mic' (it's fast response on transients makes it suitable here) or a Condenser mic' such as the AKG C451B with a cardioid CK1 capsule or Neumann KM184 (cardioid) should suffice as a stage microphone. Condensers have a fast transient response and higher sensitivity, the latter helps avoid feedback.

If the guitarist needs to move about on stage then a microphone mounted on a bracket clamped to the guitar pointed towards the top frets (not to the sound hole as this will cause feedback more readily) should do the trick. These will usually be Electret microphones such as the DPA 4022C or DPA4099G