Is This Thing On? The Stage Microphone Market

Performance microphones and recording studio mics have quite a few characteristics in common, of course. The ability to capture and amplify – and perhaps record – human vocals and acoustic instruments is the main purpose of a mic and, naturally, the degree to which any type of microphone achieves that end successfully makes that tool more (or less) appealing to end-users.

Stage microphones have additional “must have” features, though. First off, these things take a lot of abuse – from performers, to roadies, sound engineers, baggage handlers, audience members, and weather – and must be more rugged than their studio counterparts. Additionally, most touring musicians and all but the top-tier of performance venues can’t afford to drop a ton of cash on what will almost certainly be more than just one or two units. Performance mics often need to be relatively cheap, which means designers need to craft product simultaneously robust, sonically effective, and modest in price.

We spoke with reps from a few big names in this stage mics – read on to get their take on the state of this market segment.

For your brand, what models of stage/performance mic are currently hot sellers?

Gary Boss: We have a few vocal mics that are “hot sellers.” The ATM510 does very well for us, as it is not only a rock-solid vocal mic, but we also offer it in a three-pack at a substantial discount. That tends to get folks’ attention.

For higher-end live sound, our AE6100 has always performed well, as it is very well behaved on loud stages thanks to a highly consistent and tight hypercardioid pick-up pattern. The mic that might be a surprise that has become one of our best sellers is the AT2010. This handheld mic was designed using the same condenser element that is found in our best-selling AT2020 studio mic. One of the design criteria was to make a live sound condenser vocal mic that had the higher fidelity associated with condenser mics but with output and ease of mixing of a dynamic.

Ryan DiPietrantonio: Our most popular SKUs are our Concert 88x systems, Concert 99 systems, AWX and AWXm wind instrument systems and some of our replacement headsets and lav mics. The Concert 88x and Concert 99 systems are fantastic values and have premium features such as automatic channel scanning. The AWX/AWXm wind instrument systems feature a completely redesigned microphone paired with a rechargeable clip-on transmitter that fits in even the tightest of horn cases. Our redesigned SE and DE (single ear and double ear) low-profile headsets are awesome and are great for stores because they can be used as upgrades for major wireless brands with the included adapter cables.

Robb Blumenreder: While Sennheiser offers a versatile assortment of microphones, our best-sellers are split between two amazing vocal microphones: e 835 vocal microphone ($99), e 935 vocal microphone ($179); and two of our most successful backline microphones: e 609 Silver guitar amp microphone ($109) and our e 604 drum mic, which is offered in a 3-pack ($349). For Neumann, the KMS 104 and KMS 105 ($699) are considered the pinnacle of vocal microphones. Featuring a true condenser capsule with a gold sputtered diaphragm and innovative, integrated pop screen design, the KMS series are the best complement you can give a talented vocalist to bring their studio sound to the stage.

Soren Pedersen: The legendary Shure SM58 is more popular than ever. And we’re starting to see more and more SM7B on stage these days.

What qualities are customers looking for in a stage microphone?

RD: I think most customers are looking for something that sounds great first off, has a low noise floor, can survive a few drops, but, most of all, fits within their budget.

RB: There are a few non-negotiables when you’re working with stage microphones and right at the top of that list is durability. Mics aren’t treated with the same care as their musical instrument counterparts – they’re often considered tools, so they need to hold up to a rough life on the stage to get the job done. Stands fall, things get stepped on and a mic can’t jump out of the way of a drummers stick or guitarists headstock. So, sound aside, everyone is looking for a product that can last while they stand at the counter admiring the MI jewelry in the glass cases. Sennheiser can easily check that box thanks to our team of German engineers and rigorous testing procedures. From a design perspective, vocal mics can be pretty straight-forward, but our backline microphones are purpose built for their applications. Now that’s not to say that they can’t be used for secondary applications, just that they are generally built to address a challenge on stage. For instance, our e 604 microphone is a small, dynamic mic that can be tucked into tight drum set configurations, incorporate cable management and give you a huge sound. The e 609 Silver features a unique capsule design that keeps the mic body tight up against the guitar cab and even lets you forgo a mic stand if that’s your style. These design elements make for a unique product and it’s very easy to immediately understand how it can make your life easier on stage so you can focus on your performance.

SP: The number one thing is quality – both sound and build quality. Not only do customers demand the same great sound night after night, but they are looking for a reliable microphone that can withstand different environments: a rugged microphone they don’t have to worry about.

GB: It basically comes down to durability, feedback resistance and intelligibility/fidelity. That’s just the first part of the equation; customers are also always looking for responsive customer support and great service from the manufacturer.

For stores that do especially well in serving this market segment, what are some best practices they adopt when it comes to display, marketing, et cetera of stage mics?

RB: The best possible thing you can do is to educate your staff so that they have talking points to help navigate what can be an overwhelming experience for some. Just like a server at a restaurant, staff that’s had experience with an item can do a better job in talking about it – it’s important for your team to be the customer and try out the products you sell in store, too. Sennheiser offers training through our Sound Academy as well as through our comprehensive network of area sales managers and independent rep firms. Of course, we’re only a phone call away if we can ever help you, your staff or our mutual customer!

Assuming your team is trained and ready, the next best thing for someone checking out microphones is to actually hear them with their own voice. Learning about the customers’ needs based on the equipment they already have can help you narrow things down: do they own their own PA, if so – what kind, what’s their signing style, is this for live or studio use – these questions help to determine what the right product might be for them. Take our e 835 and e 935 microphones – depending on the PA system being used, one might be a more logical choice than the other. For example, bands that are using powered speakers or speakers on a stick (i.e. 12” with horn) and only routing vocals through the PA would probably notice a distinct difference comparing the 835 to the 935, namely that the 835 will really cut through while the 935 is much more neutral. The reason for this is based on the pre-emphasized EQ curve with the e 835. The e 935 is designed for a more natural response, generally larger PA systems that have a full band mix running through them and recording applications. Shooting out products with your own voice is a great way to understand if you’ve found a match as it’s important to test them for your individual voice and style. Since some people are shy and don’t want their voice heard across a store, offering up a pair of headphones hooked up to a mixer with the EQ settings flat, gain stage set the same, and setting up the mics on a couple stands is a way to gain a friend when it comes to an introverted performer.

Since online business is a significant portion for many retailers, it’s important to have a comprehensive overview on your product pages and not just stock images. Generally, the manufacturer will have more than enough content for you, but you want to stand out from the noise and the best way to do that is to generate your own content. Whether that’s pictures, videos or audio samples on your website or social media, engaging with your customers in a unique and captivating way will help ensure they spend more time on your site while getting information that’s beyond the generic info made available to everyone reselling these products. Another great way to help push product is to have client reviews or testimonials talking about their experience, music type and involving them as an important part of your community.

SP: The SM58 and SM7B are two products that have a wide and universal reach. Customers recognize the products from the stage, YouTube, twitch, everywhere. They have become pop culture icons which makes it easier on stores when they can show their customers pro gear at a consumer price.

RD: I think the best thing a store can do is to demystify wireless. Many times, performers will want to take their stage show to the next level, but are afraid to “cut the cord” and go wireless. Everyone has had trouble with a WiFi router at one point and many think the same tech issues will arise with a wireless mic. However, some stores have a mock stage setup and if you can demonstrate in under five minutes how to connect a receiver to a mixer, scan for an open channel, and then pair the wireless transmitter and have the customer repeat that process, that gives them the confidence to go forward and rock!

GB: Demo, demo, demo. This is one of the key differentiators between brick-and-mortar and online. Even when mic samples are posted online for live mics, many customers really prefer to hear them (and feel them) in person through a PA. Studio mics are more forgiving in this regard, where online demos can be very effective. Retailers should have a dedicated PA set up and ready to go with a mixer and two cables ready to provide A/B demos. I would also suggest giving your customers choices and options, but not so many that it is confusing. Also only sell the mics that you and your crew believe in. The most successful pitch comes from a genuine belief in the product and company you are selling. The customer is looking for you to be the expert, so you should make certain that you and your staff are the experts. Audio-Technica is always happy to provide mic training for anyone who needs better chops or a refresher on microphones. In the scheme of things, mics are one of the most important yet least expensive accessories a customer can buy to improve their sound, so a little expertise goes a long way (and can easily create return-customers for life).

What have been the most significant recent innovations in stage microphone design and manufacture — and what do you expect to see more of in the future?

SP: Our dual diaphragm KSM8 vocal microphone was a huge breakthrough in dynamic mic technology. With two ultra-thin diaphragms and groundbreaking reverse airflow technology, the KSM8 Dualdyne delivers unparalleled acoustic performance for stage and broadcast. More to come from Shure!

GB: Obviously wireless has been growing steadily compared to wired products, not only on stage but in our everyday lives in all manner of products. The ability for companies to duplicate the sound of their wired products to a wired counterpart has been getting better and better. Getting the sound right is not an easy engineering task. Recently, Audio-Technica has made capsules of most of our handheld mics available for our wireless using an industry-standard thread mount. Finally, as the adoption rate on in-ear monitors and the quality of cost-effective PA systems continues to rise, more customers are discovering the benefits of live condenser mics on stage.

RD: I am most excited about pairing microphones with smartphones. A wireless solution like our Go Mic Mobile offers users the ability to have professional audio to their phone, audio is no longer seen as an afterthought for video. Content creators have realized that 4K video means nothing if the audio sounds like it was taped in another room with a mic under a blanket fort. I expect more wireless options, stereo mics and shotgun mics built for phones coming in the very near future.

RB: Sennheiser and Neumann are fortunate to have long-standing products that have become industry standards for production and studio professionals alike. Taking cues from requirements for these demanding applications and applying them to our products has made for an exceptionally successful line of vocal and backline microphones. Neumann continues to abide by their quest for perfection, utilizing a team of experts in our production clean rooms to assemble each and every microphone capsule that goes into our products. As the saying goes, a diamond is forever and we certainly strive for that goal with every product that has the Neumann diamond logo on it. From our KMS Series of vocal microphones to the KK series of capsules made for Sennheiser wireless, Neumann has found a second home for the discerning musician unwilling to compromise their sound outside the studio walls.

For Sennheiser, our evolution line of wired mics got its start in 1998 and has grown over the past 22 years to become a pillar within our MI portfolio. Our investment in a custom built, highly automated production line enabled us to bring German precision to dynamic microphone production. Providing unparalleled consistency and innovation in the protection of your sound is what helps set Sennheiser apart. A great example of this can be found within each and every evolution dynamic microphone – a hum compensation coil generates a phase-inverted, opposing field, which cancels out background noise from the power grid and other equipment, protecting the sound you work so hard to perfect. The evolution series features a wide selection of vocal and instrument microphones that have been purpose built to excel in just about any application or backline need.

In the future, we will continue to see a democratization in the microphone space. The use cases are expanding, and now more than ever, people who never thought about sound quality are invested. DIY and professional vloggers and podcasters are ushering in a new generation of microphone users, and this will undoubtedly impact the design elements in the next generation of mics.

This development will likely be fast-tracked due to our current situation. We see more and more content recorded and streamed live, as well as performances that would be typically reserved for stage instead broadcasted. Microphones that are purpose-built for this market, taking elements of pioneering stage mics like our evolution series, will define the future of this space.