PA vocals and guitar

1. If you have a monitor (wedge- shaped speaker) by all means use it . If not , don't go out and buy one just for rehearsal purposes . Turn the speakers you do have around to face the band . Just make sure that the vocal element of the microphone is pointed away from the speaker to minimize feedback . The advantage to using a wedge-shaped monitor is that it has a small unobtrusive footprint so as not to block the view of the stage performers .
2. Some use compression , some don't . It is a personal taste preference . The EQ's purpose is to compensate for the acoustics of whatever room you are playing in . Hard surfaces , carpeting , drapes , low ceilings etc. all affect the sound of your performance . As such , there is no set rule about where to set the specific tone controls . The room and your ear decides that .
3. Feedback is caused by sound coming from your speaker(s) entering your microphone(s) and being reamplified in a continuous loop . To prevent it , point microphone(s) directly away from speakers and very close to the source of the sound you want to pick up . Keep stage volumes down as far as possible so the gains on the microphones can be kept lower .
4. AER ? I am unfamiliar with what this means . If you mean an acoustic guitar amp , I would say that it could be used for vocal monitoring if necessary .
5. The sm58 and sm57 use the same microphone element but the sm58 is designed to accentuate the frequencies of the vocalist . The sm57 is more of an all around microphone that many feel is the Swiss Army knife of microphones . It is used extensively for snare drum and guitar cabinets and can be used for just about anything and do a reasonable job . If all you have is the sm58 it won't be harmed if you use it on a guitar cabinet . You may need to EQ it a little .
6. Condensers are used in live situations all the time . They typically pick up a wider frequency range than dynamic mics and are excellent for overhead drum mics or ensemble or group recordings . They're also excellent for mic'ing an acoustic guitar . If used as a vocal mic , a windscreen should be used to protect the capsule from moisture .

Just to add a little to Diceman's excellent reply.

1) If you plan on playing out in the future, I would get a monitor now and learn how to use it. Monitors cause probably 99% of feedback problems when playing live. A monitor needs to be carefully placed in front of a microphone with the rear of the mic pointing to the woofer in the monitor. Never have the front (the part you sing into) of a mic facing any speaker, this will cause feedback easily.

2) I am not a big fan of compression because it takes the dynamics out of the singing. I like when a singer can sing low like a whisper and then sing with big volume. A compressor will boost the low signal and attenuate the big signal taking much of the dynamics out of the vocals. But some singers have bad technique and do not stay on the mic well, they will sing close to the mic and then back away. So many soundpeople use compression to compensate for poor mic technique.

For EQ, start with all EQ controls at 12 o'clock. This is "flat" neither boosting or attenuating any frequency. Then turn each control and listen. Try to get the most natural tone of the voice possible. I find boosting Highs and Lows about 3 decibels while keeping Mids flat works pretty well for most singers. But never go by numbers, use your ear to get the best tone.

3) The most important way to avoid feedback is careful speaker/mic placement. Again, never have the front of a mic facing any speaker.

You also need to learn how to "ring out" your PA using your EQ. Very basically, set all EQ sliders flat in the middle. Slowly (very slowly) turn up Master volume until you hear the faint beginning of feedback. Back Master off slightly. Now, slowly push each individual EQ slider up and listen for feedback. This will tell you the specific frequency that is causing feedback problems, this can be different at different locations, mics, singers, etc.... When you find the problem frequency, cut this slider slightly, maybe 3 decibels. Now, turn your Master volume up again and listen for feedback again. You should be able to go slightly higher than the first time. When you hear feedback, back off again. Now again, slowly push up each individual EQ slider until you find the problem frequency. Again, cut this frequency about 3 decibels. It might be the very same slider again, or you may have to adjust several sliders. Go through this technique maybe one more time, any more than that and you end up really cutting frequencies. Ringing out the EQ like this will allow you to get maximum volume from your PA without feedback problems. Takes a little practice to get good at this technique.

4) I don't know what a AER amp is either.

5) The SM58 is generally better for vocals, the SM57 is better for instruments, although either can be used for vocals or instruments. The 57 has a much tighter pattern, it is super directional, you have to sing directly into it. This is difficult for many singers, although it is good for avoiding feedback. But the 57 is great for mic'ing instruments as it does not pick up other sounds from around the room. The 58 has a much wider pattern, so is good for singers, not as good for instruments. But other than the pattern, they are exactly the same mic.

6) Don't know a lot about condenser mics, don't own any, Diceman's advice is good.

Thans for the excellent responses.

An AER is a small acoustic amp. It has two inputs inc 1 mic input. I am thinking of acoustic guitar with my condenser mic and sing with my sm58 mic both into the amp. I'm not sure how well it would work.

Wes- you say bad mic technique? I find it very different singing into a mic than on my own. I think this is more the case when i dont have a monitor. I was quite shocked at how bad i sounded when i first started singing through the pa with no monitor. I got used to it but it felt like i was straining all the time.

Mike

It takes awhile to get used to singing on a mic. You have to learn to stay right on the mic except for really big notes where you may back off a little. But most of the time your lips are actually touching the mic.

Here is a video of Elton John playing live. May or not be your kind of singer, but Elton has a great voice and excellent mic technique. Check it out.

http://www.youtube.com/watch?v=dg5o12ftSE0

By the way, that looks like an SM58 Elton is singing into. The SM58 is the all-time #1 vocal mic. Good sound and extremely durable mic.

You can sing into that acoustic amp, that's exactly what the mic input is for. Most acoustic amps are really small solid state PAs, they are designed to deliver a very clean tone without distortion. Electric guitar amps are designed to distort to a degree, even clean tones. And it is perfectly alright to play your acoustic guitar and sing into that amp at the same time, that is what it is designed to do.

Wes

Wow. I am a great fan of Elton as it happens.

I have a Gain knob on the amp. Where would you say the best place is to have that- I know gain is strength of signal- before i had it quite low hence i was straining. Also when i sing i am not touching the Mic with my lips but about 2 inches away. Should i definately try to be touching it to get maximum range out of it?

I also know there is a risk ofshock from the mic -what should i not do!?

Also when i sing i am not touching the Mic with my lips but about 2 inches away. Should i definately try to be touching it to get maximum range out of it?

If not touching, then as close as you can consistently stay.
Like so many things in sound, the inverse square applies:
double the distance - 1/4 the sound level.
The further away from the mic you are, the more the level has to be cranked up, and the easier it is to get feedback
I also know there is a risk of shock from the mic -what should i not do!?
Don't stand in a puddle. :wink:

Actually, as long as you've checked that all the power outlets you are using for instruments and Pa equipment are wired correctly (use one of these), and have functional grounds, there should be no risk of electrocution

I have a Gain knob on the amp. Where would you say the best place is to have that- I know gain is strength of signal- before i had it quite low hence i was straining.

Not familiar with your amp, but on a mixer you use gain to get the max input signal from the mic without clipping or distortion. Normally you would sing or speak into the mic at gig volume and slowly increase Gain until the clip light just begins to blink. Then back off very slightly. This will provide the max input signal from the mic without distortion.

If you are straining, it is probably because you are off the mic. You don't have to put your lips on it, but get as close as possible as Kent_eh said. It takes practice to learn to stay on the mic, especially when playing an instrument. The video of Elton was good, when not singing he backs off. But as soon as he sings he is right on it. :D

Ok gain structure is something alot of people know about but not many know about if you understand that. LOL...

Set your amp to full turn it all the way up. You will not blow speakers if you structure it properly.
Next turn you gain on the channel completely down.
Now bring your channel slider to 0 or nominal. (don't be like me and forget to take it off mute)
Now slowly start talking into your mic and bring your gain up bit by bit until you can hear it well.

Start with that once do that to each channel and you should a decent gain structure.