Articles by Mark JW Graham | Nottingham Vocal Coach & Singing Technique Expert

August 13, 2012November 30, 2025

Review: Rode M1 Microphone

As a full-time vocal coach, I take singing pretty seriously. At my Nottingham vocal coaching studio I have a huge range of microphones for myself and clients. But I need to have a reliable workhorse microphone to hand whenever I need one – enter the Rode M1. If you’re looking to pick one up, here’s a direct link to Amazon for the M1.

Summary

Want/need a workhorse mic but find the standard SM58 too muddy/indistinct? The Rode M1 is the answer. A very modern sound, solid lows, a beautifully thick yet sweet midrange, and crisp top end.

Full Story

A while ago I was on a shopping binge to kit out my studio with some new gear, and decided to treat myself to a new general purpose dynamic mic. I already have a great mic – the Electrovoice N/D 967 – but it’s a little aggressive in the upper mids. This works great for cutting through a live mix with electric guitars, bass, loud drums, etc. However it’s a little aggressive and ‘in-your-face’ for some more acoustic styles of music or low key settings.

I wanted something smoother in the top end, but still with an extended silky top end. Based on various clips, reviews and recommendations I opted for the Rode M1.

Rode M1 Review - Reviewed by singer and Certified Vocal Coach, Mark JW Graham

Rode M1 Microphone

Want a workhorse mic with a different vibe to the standard SM58?

The Rode M1 is your answer. Modern sound, solid lows, a beautifully thick yet sweet midrange, and smooth top end.

Check Price →

If you’d like to purchase the Rode M1, you can buy it through this Amazon affiliate link right here for an excellent price.

What Did I Think?

I had a solid testing experience with it the week I got in. I performed with it live in the morning, out again performing in the evening. In the afternoon I did some recording for an hour or two to test it out running direct. Here are my initial but reasonably detailed findings.

My opinion: Someone on the Rode website gave a review that it’s like the illegitimate love-child of an SM58 and a Shure Beta 87A – to my ears, this describes it pretty darn well. It features the smoothness and musical compression you might associate with an SM58, but without the muddiness or muted top end you might associate with an SM58. It also features the clarity, crispness and tonal even-ness of the Beta 87A, but without getting harsh or fatiguing. It’s also beautifully meaty, no wooliness like the SM58 can often be accused of.

Live Use

This was leading at church, varied songs, but nothing heavy.

The mix on stage wasn’t great, but my feeling on the whole thing was that M1 sounded (and physically felt) very solid in the low mids, with a smooth and controlled top end (never got harsh). The Rode M1 still carried over clarity and nuance in the upper mids and treble frequencies. The competitor and industry standard SM58 sounds great and iconic, but I’ve often wanted a bit more clarity in the upper mids.

In short, I felt the Rode M1 performed well. I certainly felt good using it.

The evening meant we had more time to fiddle with the EQ to fit it in with the band, and the only things that needed to be adjusted were due to quirks of that room and that system. Really silky top end. Again, it felt really solid to listen to even from onstage.

Recording

I wanted to record some dry vocals to get a feel for what sort of signal the M1 sends out, i.e. what is the sound desk getting and how much do they need to tweak to get a workable mix for a given style. So, to get a feel for how it would respond to different styles, I recorded single takes of some varied songs: Queen ‘Hammer to Fall’, Daniel Bedingfield ‘Nothing Hurts Like Love’, AC/DC ‘You shook me all night long’ and George Michael ‘Kissing a fool’.

In short, I’m really impressed by the versatility of the microphone. It responded more like an instrument than a tool, in that it responded to the nuances of each song to give a rounded take that would fit each style. The only one I thought could be improved with some added warmth would be ‘Kissing a fool’, but I think that is my fault as for something that croonerish I should’ve gone for added proximity effect. Again, the fault of the musician (me!) rather than the instrument.

I’m particularly pleased with the sweet but clear top end of this mic. Almost condenser like, but smoother than that, and useable in an onstage live environment more easily than a handheld condenser. Really captures top end harmonics, but makes them sound fat and juicy, rather than harsh and brittle. Adds real weight to your voice, but not unnaturally so. Certainly not boomy. In fact, the top end is so good on this mic, I don’t think I’d have any problem using this in the studio for recording.

To conclude the longer recording section, I can hear this mic working for more or less any style of music. It’s a true singer’s mic, one where if the vocal performance/track doesn’t cut mustard, the issue will be the performer… not the mic. That said, I don’t think it’s an overly unforgiving mic, though the clear top end means it is far more honest than an SM58 or other dynamics, so certainly less forgiving than some dynamics.

Build

Feels industrial. Solid metal body. Robust grille. Heavier than an SM58, but I like that – feels like a real instrument. There’s also ‘something’ about the XLR connection point. It looks and ‘feels’ far more secure and solid than others. Not that I’ve ever thought others looked inferior, but something about the M1 (not sure what!) stands out to me as a cut above others I’ve seen and used.

Overall

As stated above, if you want a workhorse mic that is useable for most everything, but without the muddiness/indistinctness that some people dislike about the SM58, then the Rode M1 is the answer. Quite honestly it’s got (IMO) the perfect sort of balance I look for in mics.

If after reading this review you’d like to purchase the Rode M1, you can buy it through this Amazon affiliate link right here for an excellent price.

July 17, 2012July 6, 2025

Stevie Wonder – For Your Love

The last few weeks I’ve been listening to lots of Stevie Wonder – he is an absolute monster songwriter and vocalist. This one is particularly excellent. In particular, check out the epic key changes and effortless pure high notes towards the end. The man is unbelievable.

I should also point out that he is a long-time student and friend of Seth Riggs – if you want to know more about Seth and his contribution to the progression of vocal technique (trust me, it’s important!) then just click here.

Love it.

June 26, 2012December 7, 2025

500 words or less: Five Great Male Vocalists

Another 500 words or less blog post, this time on five great male vocalists. Now, this is not meant to be a definitive list, and I reserve the right to change my mind tomorrow, but as of right this second, here are five great male vocalists I think you should have a listen to in more detail.

1. Freddie Mercury

Utterly amazing singer and performer. He seemed to be able to hold an audience in the palm of his hand. One minute he’d be strutting the stage, the next he would a quiet reserved man sitting having a pint and a cigarette in the corner of your local pub. Mercury’s sound was and is instantly recognisable, with a very clear and pristine tone to his voice, unlike many rock singers of his day. His songwriting was also prolific and he penned many hits for Queen.

2. Stevie Wonder

Stevie Wonder is a long-time student and friend of Seth Riggs – if you want to know more about Seth and his contribution to the world of voice and how this has influenced my teaching, just click here to find out more. Listen to pieces like ‘Lately’ and ‘For your love’ to hear the pure quality in his voice at all points in his range. He makes it sound effortless everywhere. Stevie is a total monster on vocals. What is perhaps even more impressive is his ability to just serve the song, even if ‘technically’ he wasn’t doing it correctly… even though he could… he just ‘felt’ for the song and that showed through his voice.

3. Bruno Mars

Already covered briefly in an earlier blog post, Bruno is an excellent singer and one of the few vocalists out there right now who do the voice real justice. He knows how to write catchy tunes, and deliver them with a real artistic flair. I think you’d struggle to find a more rounded artist in today’s current contemporary line-up. He is currently working on his next album, and I can’t wait for it.

4. Bono

Now, with the vocalists above listed, some of you might be surprised that I list Bono here. But great singing is far more than simply possessing great tone or great technique, it requires a sense of melody and an internal ‘feel’ for music and the piece you are singing. Bono not only writes great songs, but delivers them is a truly engaging manner. Check out any of their live DVDs to get a taste for how exceptional a frontman he is. His range, whilst perhaps more limited than other singers listed here, is more than sufficient to deliver the songs in his repertoire beautifully.

5. Bruce Dickinson

‘The’ frontman for Iron Maiden. Having seen these guys live, I think it could be argued that Bruce is the most energetic front man on the planet. I’ve been told he rehearses in advance of tours on roller skates so as to get his fitness up to a sufficient level to maintain his onstage antics. His range and tone is also closer to that of a skilled classical opera singer than some of the shouty or shrill singers that we might otherwise picture. Truly an exceptional singer.

Check all these guys out, because they are amazing.

June 21, 2012July 21, 2025

Five Vocal Misconceptions – Think you can’t increase vocal range?

Things like ‘I can’t increase vocal range’ are just not true…

To increase vocal range, you just need the right tools, it’s not something you’re stuck with. While we’re on this topic, let me tell you about some other misconceptions…

Here’s another short and sweet post on some interesting points. This one is focusing on five misconceptions about the voice, but I’ve left the more controversial misconceptions for longer posts.

1. I’m stuck with the range I’ve got = WRONG

Range is NOT static – Many insist that the range you have is the range you are stuck with, and that you cannot increase your range – end of. This is simply not true. Singing is a matter of improving the co-ordination of your voice as an instrument, from your vocal cords through to your vocal tract and everything else… but that’s ALL stuff you have already. It’s not a question of strength as much as it a question of ‘balance’ and muscle co-ordination. Since starting to study effective vocal technique my useable vocal range has increased by over an octave and a half, all with quality, and adding to that daily. The same result can be achieved with any singer over time.

2. I struggle with the high notes, I must be an alto/bass = WRONG

Range does not determine voice type – You may know that the bass guitar is an octave lower than the guitar, but they share LOTS of notes in common with one another. Common notes do not make a bass into a guitar, nor vice versa, they sound different. Likewise, many male singers with large ranges can hit soprano notes. This does not make them sopranoes. Similarly, sopranoes share notes with tenors. This doesn’t make them tenors. Just because you struggle with high notes doesn’t mean you are (necessarily) a lower type of voice. Voice type is not determined by range but the specific mechanics of a person’s voice, as these are distinctly different in the separate voice types. You can absolutely increase vocal range from where you currently are, you just need the right tools to experience it.

3. That guy/girl can sing so loud! They must be amazing singers = WRONG

Loudness does not reflect skill – We are all impressed by loud singers. And confidence in (good) singing is a big part of that. However, as we looked at in the explanation in the beginner course on the engine of the voice, loudness can come about not because of skill, but because of a lack of skill. Many singers cannot help but be excessively loud at the top of their range because they lack the balance to control that co-ordination. Now, skilled singers can and should be able achieve a high volume and a true forte in their voice, but volume alone does not reflect skill.

4. I can rely on the microphone and sound engineer to fix my voice = WRONG

Microphones cannot replace correct singing technique – In the same way that a guitar amp reproduces what is going on at the guitar and can complement what is going on at the guitar, a microphone reproduces and complements what the voice is doing… but it cannot compensate for weaknesses in the voice. Don’t think that autotune can fix something where you need to increase vocal range or improve your technique. There is simply no substitute for having good vocal technique and a balanced vocal ability.

5. Wow! That artist sounds amazing on the album, they must sound that way all the time = WRONG

The tape recorder doesn’t lie, but albums do – What we hear inside our own head when we sing is not what the audience hears. When we sing we need to record ourselves and listen back to hear the truth. However, when we listen to produced vocals on an album, we are NOT hearing the truth. We are hearing vast amounts of compression, multiple takes spliced together, and professional mastering on a singer’s voice, that masks and hides many of the problems we might hear in our own voices when we record one-take at home. The message is, we need to record ourselves to hear what we really sound like, but we cannot trust this same principle when listening to recorded albums. Don’t think that your favourite artist sounds that good with perfect pitching and nuance all the time – albums lie. Here’s a video to prove it to you.

Learn More: Related Articles

If you want to learn more about voice and recording, you can find out more by visiting these related articles:

June 11, 2012January 1, 2026

500 words or less: Five Good Habits for Vocal Health

If your singing voice hurts, you’re not alone. Many singers experience discomfort or even pain when using their voice. Keeping your voice healthy is critical for both short-term performance and long-term vocal health. Here are my top 5 essential tips to help protect and strengthen your voice:

1. Always Carry a Bottle of Water

Hydration is critical for vocal health. I recommend carrying a bottle of water with you at all times. Whether you sip, gargle, or simply have it nearby, this habit will help combat dehydration and keep your vocal folds lubricated. Staying hydrated is one of the simplest ways to avoid pain if your singing voice hurts.

2. Avoid Speaking Over Loud Noise

Trying to talk over loud environments like gigs, concerts, or crowded venues puts tremendous strain on your vocal folds. This can cause swelling (adema) and temporary or even permanent damage. If you’re in a noisy place, either speak minimally or protect your hearing and voice with earplugs. Prevention is key to protecting your singing voice from unnecessary injury.

3. Stay Away from Smoke and Smokers

Smoking—and even passive smoke inhalation—is devastating to vocal health. Smoking dries out the vocal folds and causes long-term damage to the delicate tissues you rely on to sing. If you take your singing career seriously, avoid smoke-filled environments whenever possible to protect your vocal longevity.

4. If You Lose Your Voice, Rest Longer Than You Think

When you’ve lost your voice, it’s often a sign of swollen vocal folds. While complete vocal rest can speed recovery, it’s vital to continue resting even after your voice returns. Resuming vocal use too soon risks re-injury and can make problems chronic. Always allow extra recovery time after any vocal trauma.

5. Listen to Your Body

Every singer’s voice is different. Some voices can handle hours of use; others fatigue quickly. Learn to recognise the signs of fatigue, strain, and discomfort. Over time, as your stamina grows, you’ll be able to do more safely. But until then, respect your body’s limits to prevent injuries before they happen.

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Learn More About Vocal Health

If you want to explore more on vocal health, singing technique, and avoiding injury, check out these related articles:

June 5, 2012July 6, 2025

Bruno Mars – Runaway Baby

Great artist, great tune, great performance.

Bruno (real name Peter Gene Hernandez) has only had one album to date, entitled ‘Doo Wops and Hooligans’ released in late 2010, but it’s pretty epic as a first offering. He’s currently getting a new album recorded and I plan on picking it up as soon as it’s out.

Reggae?
His debut album features a variety of tunes all with reasonably different styles, but all have a distinctive Hawaiian/reggae backdrop… you might think I’m making that up, but if you listen closely it’s a common theme running through almost every track and this is even admitted by Bruno himself in a few interviews, citing growing up in Hawaii as a major influence in his lifestyle and writing.

Here’s a thing or three…
Focusing on a few of the tracks:
– ‘Just the way you are’ – This has arguably been the most successful song from the album. It’s a feel-good anthem played at weddings across the world in the last few years. The melody on the chorus is really simple, memorable, and the last line is a good ‘hook’ that really sticks in your mind. I like it anyway!
– ‘The Other Side’ – The amazing Cee-Lo Green features in this track (Cee-Lo will be featured in a later blog post) and it is a stonkingly cool track. Artistically, I like the way the lyrics say very little, but you paint a whole world in your mind. Technically, the melody of the chorus is stupendous, as it 100% out of chest voice… not a single note in chest voice, and it goes a good octave about chest voice too. But you’d never know, Bruno just makes it sounds as effortless as he was telling you about it… amazing.
– ‘Runaway Baby’ – The song linked to above is the song that sold me on Bruno Mars and made me buy his album. I’d heard ‘The Lazy Song’ which I really don’t like (sorry!) and that turned me off, but then I heard this and saw this performance and it made me want to hear more of this guy. Great thing about this is how catchy the riff is, and how simple the melody is, but the rhythms are infectious. Love it.

And I’ll leave you with…
The best thing about Bruno (I feel) is how he marries technical ability with songwriting ability and has brought that out into the market relatively late in his life. He was in his mid-20s before he started to make waves across the world, which is late by some standards, but had been a successful songwriter in his own right for other artists. I think that is very encouraging for those who harbour desires of a musical career but think that because they are not 18 anymore then they can’t make it. Bruno stands apart and shows that this isn’t true. His technical ability is amazing, but he uses that to great effect to serve the songs he rights, which are immensely catchy in their own right.

In short, Bruno rocks, have a listen. The songs might seem impossible to some, but with the right guidance they are totally achievable. Also, let me know if there are any other artists you’d like me to look at.