In this short additional video Ian Thornley talks with Mitch about his favorite microphones – in studio and live. Hope you enjoy!




i’m mitch seekins the vocal coach

welcome to part two of my interview with

ian thornley from big wreck

this is an additional segment to the

main interview that i did with ian

thornley which is posted here. In this

segment we talk about microphones in the

studio and live if you enjoyed this and

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this is something for the tech guys out

there uh do you have a preference on

microphones when you when you tour

or in the studio?

um yeah i mean in the studio we use all

kinds of different things but generally

got that elam one that nick rascalinics

had was great

but certain mics will sound great on

your voice in certain ones

right …yeah of course

i’ve blown up some mics in in

in my day but

even mics that were were like famous

mics that other famous singers had used

they’re like this is … this is

so-and-so’s mic it’s gonna be awesome

they put it in front of me and it makes

it to like about halfway through the

song but i’m not a particularly loud

singer i mean it’s probably louder than

somebody who’s singing you know

standards but but yeah

um like there’s there’s chad for

instance is probably the loudest singer

i’ve ever heard wow

it’s twice as loud as me and i’m pretty


uh but generally speaking it’s i we we

tend to lean towards 87 it’s like a  Neumann u87and

for a long time it was it was uh u47s


sort frank Sinatra used

but i think that’s it’s a bit warm and

tubby the 47


for one voice like it’s those were

designed to record an entire room like

like a band or an orchestra or whatever

but it is a very detailed it’s great but

87s just have this little

this little rip on top that i tend to

that i tend to like and it helps cut

yeah  i think that’s what our first

record was done on and it’s something

that just kind of

just kind of gone back to yeah um yeah

and even sm7 i got uh i got sm7s here

like those are great for demoing because

they do they do a similar

you know live it’s a uh

not just 58 but the beta 58 which again

has this little bump in the upper mid

which helps just helps me with my

in-ears and helps me uh get pitch and it

cuts through the mix

it’s just  a nice mic there’s nice

clarity on the top because i use the 58

for years and then they came up with the

beta 58 and it’s like oh

it’s still a war horse

yeah they don’t go down

exactly that’s great we’ve had some

great mics over the years um

and some of them are like some of the

really high five ones i find don’t

they don’t work the same for me they

don’t and especially for you know a loud

rock band it’s yeah you need you need to

it’s you know you go back to what what

works yeah and a 58 or certain in my

case the beta 58 is that’s money yeah

exactly much less back to that

you know i’d love i love trying all this

different stuff because so-and-so uses

blah blah blah they’re amazing so it’s

got to be great you know

they could give me a 1959 sunburst les

paul i’m not going to sound like jimmy page

yeah so i just kind of go with what

works yeah exactly um

beta 58 is great and 87’s in the in the

studio i mean

they’re not they’re not cheap but

they’re not terribly expensive yeah you

know they’re not like a four you 47s are

like 15 17 grand elams are ridiculous

but yeah you know you can’t go wrong

with an 87.


thanks for doing this man

all right