Wired Mic Rental

Although there are all sorts of different microphones available, they all operate fundamentally in the same basic manner. It’s important to understand this when selecting the right microphone for rental. They all feature a diaphragm that responds to air pressure changes. An electrical signal is then generated from the vibration that is then amplified into a sound. There is more info on that at the bottom of the page

Handheld Mic

Application: Vocals

Type: Dynamic
Connection Type: XLR 3pin
Shure SM 58

Handheld Mic

Application: Vocals, Music

Type: Dynamic
Connection Type: XLR 3pin
Shure SM 57

Handheld Mic

Application: Vocals

Type: Condenser
Connection Type: XLR 3pin
Shure SM 87

Audix OM6

Wired Dynamic Mic

Podium Microphone

Application: Podium Mic

Type: Dynamic
Connection Type: XLR 3pin
Apex 145

Stage Microphone

Application: Live stage dramas

Type: Dynamic
Connection Type: XLR 3pin
Shure MX 391/C

Camera Mic

Applications: Video Production
Type: Condenser (1/AA battery)
Connection: XLR 3pin (M)
Model: Audio Technica MEK66E

Lapel Mic

Application: Interviews

Type: Condenser
Connection Type: XLR 3pin
Shure Pro7A

Studio Mic

Application: Studio

Type: Condenser
Connection Type: XLR 3pin
Neuman TLM 103

Push To Talk

Application: Conferences

Type: Condenser
Connection Type: XLR 3pin
Shure MX 412/s

Drum Mic Kit

Application: Musical
Type: Condenser
Connection Type: XLR 3pin
Samson SADK 7

Countryman Mic

Application: Stage Shows

Type: Condenser
Connection Type: Mini XLR 3pin
Countryman E6

Mic Plus Recorder

Application: Interviews

Type: Condenser
Connection Type: XLR, 1/4pin
Zoom 4N

Shure 55SH

Retro mic for singers

Sterling Audio ST59

Application: Radio Studio
Type: Condenser-Cardioid/Omni
Connection Type: XLR 3pin

Shure SM7

Application: Radio Studio
Type: Dynamic-Cardioid
Connection Type: XLR 3pin

Kick Drum

Application: Musical Events
Type: Dynamic-SuperCardioid
Connection Type: XLR 3pin

Our ProcessIn 3 Simple Steps

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Guide to Recording Vocals and Choosing the Perfect Microphone

Being a vocalist is a highly enjoyable job, but it doesn’t come without its challenges. The pressure of capturing and recording vocals as perfectly as possible can be a lot, which is why choosing the right microphone is very important.

Sound engineers have the task of trying to identify the perfect microphone, signal path, and level for recording and headphone balance in order to achieve a harmonious blend of all components.

Here are some tips to capture the best vocal recording possible.

Choosing the Right Microphone

Although there are all sorts of different microphones available, they all operate fundamentally in the same basic manner. It’s important to understand this when selecting the right microphone for you.

They all feature a diaphragm that responds to air pressure changes. An electrical signal is then generated from the vibration that is then amplified into a sound.

Here are three main types of microphones out there:

  1. Dynamic - These are typically focused on the mid-range, and are generally used to amplify drums or guitar cabinets since they are able to handle higher levels of sound pressure.
  2. Ribbon - These are quite rich in tone, and are softer and more subtle. Since they can’t handle excessive vibration or movement from being moved around, they need to be handled with care.
  3. Condenser - These pics are more sensitive to changes in sound pressure, and have a greater dynamic range compared to dynamic microphones. As such, they tend to be the mic of choice for capturing vocals. Condenser mics need ‘phantom power’, or a power source, in order to operate. Because these types of mics are very sensitive, they might not be able to be used in the hand because of noises.

Frequency Response

For a vocal mic, the frequency response should be looked at. It’s important to determine whether the sound will be natural, flat, or will even boost specific frequencies. For vocals, it’s usually preferable to have a microphone that emphasizes certain frequencies that suit specific singers.

Sound Pressure Level

How much dynamic range the microphone can tolerate is the range of usable volume without being distorted at a high level or noise at a low level. When it comes to this factor, dynamic mics are usually best.

Noise Level

The amount of noise in the background that’s actually created by the microphone is what’s considered the noise level. In general, capacitor microphones are usually better able to capture subtleties as compared to dynamic microphones.


This involves measuring the microphone’s efficiency at converting changes in sound pressure to control electrical signals. In essence, this is how loud the mic can be.

Polar Patterns

The Polar Pattern is basically the pickup pattern. When looking at the polar pattern on a circular graph, this represents in which direction a microphone can pick up sound. The following are the three fundamental polar patterns to consider:

  1. Omni-directional - In this case, the microphone will pick up sound equally from all directions, which is ideal if you want to record all the space around the source.
  2. Cardioid - This picks up the sound source predominantly from the front, and rejects sound from the sides and back. In this case, the mic only captures the source that it’s pointing at.
  3. Bi-directional - In this scenario, the sound is picked up equally from the front and back, while rejecting signals from the sides.

Pop Treatment

Having a pop shield is a good idea if the singer happens to be standing too close to the microphone, which would otherwise create unwanted noise from puffs of air like ‘p’ and ‘f’. Pop shields can help prevent these unwanted sounds.

The Proximity Effect

The bass frequency increases as the singer gets closer to the mic, and vice versa. Cardioid microphones tend to increase or decrease frequencies around the 100Hz mark by anywhere between 10 to 15 dB if we move from 25cm to 5cm and back. This is known as the ‘Proximity Effect’.

This is a good thing if the vocalist’s microphone technique is skilled, which can create a richer, more powerful sound. In order to use this effect appropriately, the singer has to maintain a steady distance from the microphone, which is why getting a mic with less of a proximity effect might be more desirable.

The Tube Effect

A ‘tube’ mic makes use of a valve as the pre-amplifier for gain. The tone that this effect creates tends to be more pleasing to listen to. However, the sound can often be colored, and therefore not necessarily ideal for every vocalist. In essence, the ‘tubing effect’ tends to add some sound distortion if it’s overused.

Recording Studio

Many people do not take the recording environment into consideration when looking for the right microphone. You could have the best microphone in the world, and it can still sound terrible in an environment that’s not conducive to a nice sound. Many times we have to improvise in our recording environment in order to make the sound come out pleasing to the ear.

The Bottom Line

Having a solid understanding of the basics of how microphones work, the different types out there, and how you plan on using them can help to make your renting decision much more informative.

Frequently Asked Questions

A Boom Mic is what we would recommend for a Choir.
The larger the group the more mics recommended.
The Seinheiser ME66K6 Boom mic with Boom Mic Stand is the best way to go.

We usaully recommend using our Shure SM57 Dynamic Mics for live instruments.
And we also have Samson SADK 7 kits with Dynamis super cardioid Kick drum mic for the full capture of the drums.

The Shure SM 58 Dynamic Vocal mic is the way to go. If its for just a quick confrence speech with small sound system, or for that DJ at the turntables with a large crowd.
The shure SM58 is one of the mics we have to offer to get your voice heard.

I haven't came across any mic we have that could not be used on any mixer. Depending on the inputs your mixer provides(XLR or 1/4 Pin), we give the proper connecting Cable.
But to aviod our customers from having any issue, we rocommend and offer a range of different mixers to fit your needs.

Getting feedback thru the mic can be generated from the mic picking up low frequency's, which is all controlled thru your mixer.
Normally you would cut the low frequncy's off or adjust the gain setting on your mixer till the feedback is eliminated.
Also the distance between the speakers and the Mic makes a diffrence. You do not want your speakers set up behind your mics.

Going wireless or using wired mics is all up to you. Our wireless systems or just as effective as our wired ones.
Wireless Mic systems provides a more professional look for you corporate events and office settings. And when using our Lavalier or Lapel mics its we highly recommended that you
use our QLX wireless kits to provide the best range and sound quality for larger spaces and bigger sound systems.

The countryman Mic fits like a behind the ear headphone, but instead of speaker going into the ear, it has a flex mic arm the sets across your cheek to pick up vocals.
Where our lavalier mics clip to ones body in a position to pick up vocals. And both use wireless transmitters to wired recievers ran into mixer.