Which microphones offer the highest audio quality for live performances and concerts?

If the performer is going to be right up on top of the mic pick one with low proximity effect, this avoids you having to EQ out the muddy low mids that build up and make it difficult to make out the words.

Chosing the right microphone could well be an engineers choice to get the best sound but the end result is to have the original sound source be reproduced with less artifacts or the need to do a lot of equalisation, simply.....use the right microphone for the application.

Com o passar do tempo, tenho visto algums mudan?as no mundo dos microfones. Mas sem dúvida os "SM58", e seus clones, ainda s?o a melhor solu??o n?o somente para a clareza mas também confiabilidade.

For vocals, it’s hard to beat Shure Axient Digital. There’s a reason Shure has been the “industry standard” for so long. The variety of interchangeable capsules for their wireless microphones is hard to beat. The Sennheiser 9000 Digital series is right up there as well.

I had researched and sure my choose for on the stage is Neumann KMS 105 also with in-ear monitors. Adele using this microphone

DPA has some of the best Mics for live instruments I’ve evee tried. Depending on what I am ic’ing. Neumann (KM184 is ine of my favorite microphones ever!)..

For rich and detailed orchestra instruments you should use Schoeps, DPA, Earthworks. It's another league. Live and recording. BTW: the Piano Mic System from earthworks is the real deal.

Experiment with different types of microphones for the best sound responses from instruments. A ribbon microphone will sound vastly different on a piano or guitar versus a dynamic capsule. A large diaphragm dynamic microphone is a better choice on a kick drum than a ribbon microphone for obvious reasons; the SPL from a kick can seriously damage or destroy a sensitive ribbon mic. Microphone placement is also important. As an example, when placing a mic on a guitar cabinet, use a QBox or similar with headphones and move the mic around to find the tone you want to hear reproduced.

DPA at source for precision reproduction. I actually rarely use them. I like to choose exactly the right mic for the source, position it perfectly, and rely less on the processing control end. Precision really comes into play with the opposite approach. Neither way is right or wrong to be clear.

When it comes to microphone durability, the Shure SM57 and SM58 are the top picks. They are workhorses and can be placed on any sound source. Are they always the best choice? No, they aren't. However, they just work when the show is on the line.

If there were a nuclear war all that would remain would be cockroaches and Sure SM58s/57s. I feel like they would play very dark doom metal?

100% this has to go to Shure with the SM-58 (and 57!). For the price point, they reproduce brilliant results and are virtually indestructible. For a mic you can throw loose into a case at the end of a load out and it still have it perform at its top, there is no other option.

For live work , on the road etc.. SM58 my go to choice… They are practice, durable, and deliver on signal- quality ratio’s every time

You can never go wrong with a shure SM57 or SM58, they’re built like tanks and they’ve stood up to thousands of gigs ever since they were introduced. You can’t get better than them for the money.

Feedback control has two key factors. 1. less noise in the room helps. I like to encourage bands onto in-ears so I'm only ever dealing with F.O.H. P.A. 2. reduce the frequencies that create standing waves in your space.

Lets talk podium mics in an acoustic space that is quite reverberant, a chapel from a century or so ago for example. Spaces that were designed to amplify a voice for the congregation are challenging to install a modern sound system. Pick a hypercardioid patten condenser mic to reduce local reflections and position it far enough away from the presenter so they are not tempted to lean into the mic.