Microphones/Vocal Effects

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Neumann KMS 105

Matt's choice of live microphone is a Neumann KMS 105. He prefers to use this microphone as it deals with his challenging mic technique (i.e. not singing near the mic).

Designed with superlative vocal reproduction in mind, the KMS 105 brings Neumann quality to the demanding sound reinforcement environment. With its supercardioid polar pattern, low self-noise and uncoloured off-axis pickup, the KMS 105 complements in-ear monitor systems. By employing a unique four-layer acoustic filter, the KMS 105 minimises popping and wind noise, and because of special mechanical and electrical filters handling noise is virtually eliminated. Superior resolution and linear frequency response make it very easy for the artist using the KMS 105 to identify whether he or she is "on mic".

The Neumann KMS 105 is used extensively by many large bands and costs around the £400 mark.

Matt's Microphone stands have until recently been K&M 23850 desk mounted stands, these crane mics suiting Bellamy's singing technique.

During The Resistance tour, both Matt and Chris use Yellowtec MIKARM YT3201 Studio Mic Booms which are Aluminium frames giving optimum movement. These are desktop mics mounted on a stage mic stand and usually cost around $225.00 . (unfortunately they can't seem to be found in the UK) These mic stands, previously believed to be custom built for Muse are actually used in studios, most commonly in radio stations.

Recently on the 2nd Law tour Matt has switched to a Nuemann Handheld Wireless microphone,model KK 105 s.This enables Matt to move around the stage and interact with the crowd during singing parts that don't require guitar playing.

Also during the european leg of the 2nd law tour,Muse have stopped using the desk mounted radio mic booms,and instead have swtiched to standard K&M microphone stands,this is probably due to the fact that Matt has freedom to detatch the wireless microphone from the stand and no longer requires the manouverability of the radio mic booms.

For Psycho and Drones Tour, They are using 'Atlas Sound' microphone boom and stand bottom.

Dom uses a Shure SM58 for the vocoder part of Supermassive Black Hole - the post chorus "Into the Supermassive", as well as in the mid section of The Globalist.


  • Royer Labs R-122L on the cab with an SE Electronics Reflexion filter


  • Clean rig: Beyerdynamic M 88, DI
  • Distorted rig: Shure SM7B


  • Kick: Beyer M88 (at hole), Shure BETA91 (inside)
  • Snare: Shure SM57 (top), Neumann KMS 105 (bottom)
  • Cymbals: Neumann KM184
  • Toms: Shure Beta 98
  • Percussions: AKG C414

Drones Studio Setup

  • Kick: Neumann FET47, Sony C48 (at hole with pop filter), Shure BETA 91 (inside)
  • Snare: Sony C48 (top), AKG C414 (bottom)
  • Hi-Hats: Neumann KM84
  • Overheads: Telefunken 250
  • Ride: Neumann KM84
  • Toms: Sennheiser MD421 (Batter) Neumann U87 (Resonant)
  • Percussions: AKG C414

Note: for Supermassive Black Hole, Muse use a Roland TMC-6 trigger to MIDI converter on the snare and kick drum to a Roland SPD-S.


Avalon VT737

Matt's voice goes through two stages when singing live.

  • Normal, standard clean vocal with no effects
  • Through an Avalon VT737 with high gain that produces a "nice valve distorted" sound

Matt's voice also goes through System 6000 reverbs, a TC delay and an H35000.

In the studio, Chris's bass is usually ran through the Universal Audio 1176

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