Being also a (mediocre) acoustic guitar player, I have a Fender Acoustasonic 30 amp with a good reverb. I was thinking about purchasing a microphone in order to play both my low D whistle and Irish flute through the Fender in order to get that beautiful"reverb" that makes the sound of irish whistles and flutes so fascinating. Can I get some suggestions from anyone ? I don’t want to spend a lot, though. Thanks !
For just fooling around with a guitar amp, any cheap high-impedance (500+ Ohm) vocal microphone with a 1/4-inch plug will do. Think Radio Shack, starting around $25. Otherwise, you can’t go wrong with a standard Shure SM57 or SM58 for around $100. You’d also need an impedance transformer for around $15, else the volume level will be low.
MTguru,
Thank you for the suggestion. What is an impedance transformer and how does it look ?
It’s one of these: http://www.musiciansfriend.com/navigation?q=transformer
I’ve got the Audio-Technica at the bottom, which works fine. It transforms the balanced low impedance XLR to an unbalanced high impedance 1/4 inch that plugs right into the amp’s guitar input.
Of course, if your amp has a separate XLR input (and it looks like your Acoustasonic does!), then you probably don’t need the transformer and can plug in a Lo-Z microphone directly.
I sometimes use this setup, SM57 + transformer into a Roland JC-77 guitar amp for small gigs where a full PA isn’t necessary, and it does the job.
Hope that helps!
The best budget mic I have found is the Behringer XM8500 for $20. Don’t let the low price fool you. This thing rivals mics costing up to $100.
http://pro-audio.musiciansfriend.com/product/Behringer-XM8500-Microphone?sku=270490
I’ll highjack this thread only slightly to ask: what setup would I need to improve the recordings of my whistle on my computer? I’ve been using the voice mic that came with a previous computer and it doesn’t have the dynamic range to pick up all the whistle’s sound. What would be a reasonably priced setup to connect one of the mics discussed above to my computer?
I use one of the cheap battery-operated mics from Radio Shack, and I attach it to the bottom of the whistle with a rubber band (if it is attached on top, you get too much wind noise).
Another thing I did was to forgo the computer’s sound card and use one of those M-Audio USB sound devices.
Thank you for all the suggestions. My Fender Acoustasonic has a specific input for microphone. Do I still need the impedance transformer and plug the microphone in the guitar input, or can I avoid to buy the impedance transformer and go directly with the microphone into the
microphone input ? Thanks !
Do I still need the impedance transformer and plug the microphone in the guitar input, or can I avoid to buy the impedance transformer and go directly with the microphone into the
microphone input ?
You don’t need the transformer if you go the low impedence mic route, although it is a handy gadget to have in your equipment bag. Low inpedence microphones generally have XLR connectors and they plug into low inpedence preamps which have XLR connectors (using an appropriate balanced XLR cable, a mic cable). High impedence mics generally have 1/4" TS (phone plug) connectors and plug into high impedence preamps which also have 1/4" TS connectors. Think electric guitar inputs. Mind you, ultra-high impedence inputs abound on acoustic guitar amps to support piezo pickups in acoustic guitars and they also use 1/4" phone plugs. I won’t get into balanced 1/4" TRS connections.
Feadoggie
Gerardo: If your Fender input is of the 3 pin variety (XLR), you do NOT need an input transformer. It is also possible that you have a TRS balanced quarter-inch mic input. You should be OK without a transformer with this input, also.
Over the years, we have used a number of different mic brands and models - including a number of studio condensers, needing phantom power, on stage. I have come to the conclusion that mic technique tends to be more important than the mic model, itself. Allowing the whistle to get very close to the mic is counter-productive to the sound that the audience hears… There needs to be a sense of ‘air’ around the sound of a whistle, and a whistle mic’d at very close distance will not only lack this airy quality, it will often make the sound boomy and strident, because of the proximity effect inherent in many live sound cardioid microphones.
Bottom line for my band: Over the years, we have gravitated back to using the ubiquitous Shure SM57’s and 58’s. Either mic will cost you about $100 new (street price), and $75 used.
If a vocal is going to be performed on the same mic as the whistle, I would choose the SM58. If the mic is going to be used for only a whistle, acoustic guitar, or a violin, I would choose the SM57. A distance of 6-8 inches from the mic should ensure a nice open, airy sound for you, on your whistle. For your flute, you may wish to move in a little closer. At less than 2", the proximity effects will be evident.
The best to you in your endeavors.
Byll
Ditto what Feadoggie and Byll said. Just plug the XLR directly into the amp.
Walrii, I use a little Behringer Xenyx 802 4-channel mixing board to interface my SM57 to the computer sound card. The 2 mic preamps are good, and the $60 price is right. It also serves as a handy submixer for live gigs. If you need only 1 mic input, the 2-channel Xenyx 502 ($45) would do nicely.
Sure SM58.
I play in an acoustic duo and these are bombproof. When ‘pi55-heads’ approach the stage, you can hit 'em over the head without damaging the mic.
Recently, I’ve tried putting my V3 through my Tapco 12 channel mixer, with one of the effects pre-sets.
I started with ‘Stage’…sounded good
next was ‘Theatre’…sounded better
then, ‘Hall’…wow-ee-woo!
finally settled for ‘CATHEDRAL’… 
BS.
About the SM57 vs. SM58 thing. They’re the same microphone (same cartridge), the only difference being the ball end and vocal pop filter on the 58. Both are rugged enough to hammer nails and fend off attackers. 
I also mike other non-wind instruments where breath pop is not an issue, and just prefer the more compact head and flexibility of the SM57. You can get in a little closer to the element if you want. For vocals and for close-miking winds, I just attach the external foam filter and it’s good to go.
I’ll second the Behringer mixers, they make good stuff for the money. You can also use a usb audio interface which will act as your soundcard:
http://pro-audio.musiciansfriend.com/product/Behringer-UCONTROL-UCA202-USBAudio-Interface?sku=702540
So, you can get a mic for $20, and mixer for $40 (depending on your input needs) and a usb interface for $20 (not needed but a nice add-on) - all from Behringer.
I use both Mackie and Behringer (MX2004a and Xenyx 2442FX) mixers in my studio. I have not had an issue with either brand of mixers. I can’t say as much about much of Behringer’s other stuff though.
The USB interfaces (or Firewire) are a good suggestion. You get all the stuff you need in a handy little economical package. Look for USB 2.0 though.
Feadoggie
Yes, I’ve seen/heard very mixed reviews of Behringer stuff. I have a Behringer direct box that’s pretty darn noisy. But the mixer has been solid. Good preamps, effective EQ, and flexible routing. Small/light enough to sit on the computer desk or toss in a gig bag. I added an external power switch because there’s no onboard switch, and the proprietary power plug is one of the documented weak points.
About the Shure SM57 and SM58 thing - again:
I agree completely that the mics use the same capsule. But because of materials used in the mics - more metal in the 58 - more plastic in the 57, and the pop filter design of the 58 (which impacts how close a human or instrument can get to the capsule), there is a decided difference in frequency response which has created a situation in which the SM58 is kind of the gold standard for vocalists, doing stage work. The SM57 is more often used for instrumentalists. And yet, the SM57 has always been kind of infamous as the mic that is used for Presidents of the United States, including the current occupant…
Either of these microphones will work fine with whistles in LIVE work. For studio work, there are better choices. Putting whistles aside for the moment: I can remember a number of times in which we have used SM57s in the studio, for various purposes, including a female vocalist - who simply sounded like magic through that inexpensive, workhorse mic. However, I have never used an SM58 in the studio. Curious…
Best to all.
Byll
Thanks to all and especially MT for the help.
bit late but I just wanted to jump in a toss out another vote for the Shure SM 58, nice mic and you can always use em as tire chocks to brace your car if youre changing a flat tire or parking on a hill or something.
I use a 58 and Behringer UB1204FX-Pro for recording stuff at home, just plug the 58 into the Behringer via XLR and then its 1/4" out to 1/4" in on a Creative Audigy 2 with Livedrive breakout box. works pretty well.
notCindy
I don’t do much recording at the computer but for what little I do, I get pretty good results using an inexpensive Labtec C-316 headset mic along with Audacity software. I don’t remember the exact price of the headset but seems like it was less than $15 and appears to have acceptable dynamic range for whistles. Here’s an audio clip. Not my best effort but you can at least hear the quality. The clip was recorded as a WMA and converted to mp3. I’m still playing with the reverb settings to get the best results. http://www.whistlethis.com/index.php?content=YkdsemRHVnU%3D&utid=TVRRd01nPT0%3D
BTW, regarding mics for performance, our band uses nothing but SM 57/58. I use an SM 58 for lead vocals and whistle.