Old Lyme, CT (March 14, 2023)—Sennheiser has unveiled its new Profile USB microphone, a consumer-priced cardioid condenser mic largely meant for streaming and podcasting use.
Designed with bodily controls on its casing, the side-address Sennheiser Profile is obtainable as a desk stand model and because the Profile Streaming Set with a 3-point self-locking growth arm. The Profile relies round Sennheiser’s KE 10 condenser capsule. Offering customers a cardioid pick-up sample, the mic duly attenuates sound coming from the rear, inserting larger concentrate on the person’s voice
On its entrance, the Profile USB Mic incorporates a mute button, acquire management for the microphone quantity, combine management to set the steadiness and a quantity management for headphone monitoring. Headphones or earphones might be linked through a 3.5 mm socket behind the Profile USB microphone.
LED rings on the Profile sign the working standing—inexperienced means all is properly, whereas yellow signifies clipping and pink means the mic is muted. The Profile might be tilted utilizing its self-locking joint; 3/8” and 5/8” connectors on the backside enable the mic for use with third-party desk stands. Meanwhile, the Profile Streaming Set’s 3-point self-locking growth arm affords built-in cable administration.
On its personal, the Sennheiser Profile runs $129 MSRP, whereas the Profile Streaming Set weighs in at $199; each are presently transport.
MIX VERDICT: Audix A127 Omnidirectional Metal Film Condenser Microphone
THE TAKEAWAY: “Using the A127s was an absolute pleasure. The mic delivered no matter I put in entrance of it with out including an opinion.”
COMPANY: Audix • www.audixusa.com PRICE: $1,999 PROS:
• Detailed, clear replica.
• Excellent construct high quality. CONS:
• No HPF or pad
• Output can overload some preamps
• Expensive (however properly value it).
Audix microphones want no introduction to Mix readers. Mics such because the D6, i5 and OM5/6 are in common rotation worldwide as workhorses on stage and within the studio. The Audix A127, nonetheless, marks the corporate’s first step into the sphere of premium, high-performance condenser microphones. The A127 is a small-diaphragm, omnidirectional mic designed to ship correct, detailed replica with none coloration.
The coronary heart of the A127 is a reference-grade, pre-polarized, half-inch capsule using a 3-micron metallic movie diaphragm. This capsule is assessed as Type 1, based on IEC 61094, a set of laboratory reference requirements for measurement microphones specifying tight tolerances for sensitivity and distortion throughout a spread of temperature, humidity and air stress. In different phrases, the A127 was engineered for very constant efficiency no matter environmental situations.
The capsule is coupled to a transformer-less, low-noise preamp, which—mixed with the capsule—delivers a self-noise spec of seven dB(A) and a frequency response from 10 Hz to twenty okayHz. The complete bundle is constructed into an unassuming tapered black housing that’s machined from strong brass, then nickel-plated. The Audix emblem, mannequin quantity and serial quantity are laser-engraved for longevity.
The A127 ships in a softshell case with a windscreen, mic clip, and frequency response plot/sensitivity chart verifying efficiency for the serialized capsule. Applications embrace vital recording of acoustic devices, ambient room recording and acoustic measurement. Audix supplied Mix with a matched pair of A127s for this assessment.
MIKING THE KIT
The Audix A127 requires 48 VDC phantom energy, ±4 VDC. A take a look at utilizing a conveyable 24 VDC phantom provide verified that the mic will be powered utilizing decrease voltages, however the advisable voltage needs to be used for optimum efficiency. Operation of the A127 is simple: There aren’t any exterior controls comparable to a pad or HPF. The U-shaped mic clip is easy however efficient, and locks by way of thumbscrew.
I first used the A127s for drum overheads on a stay present, set as a spaced pair pointing straight down above the equipment, roughly six toes excessive. The mics had been plugged into the inventory preamp inputs of an Avid Venue Profile, and even with the preamp good points set to minimal, A127 output ranges had been solely a hair under clipping the preamps. I set a HPF round 350 Hz to roll off the low finish, utilizing the A127s to seize the cymbals and “prime finish” of the equipment, with shut mics on the toms, snare and kick. Listening to the cymbals by way of the P.A. system, the A127s sounded clean and clear with out nasty peaks, even from the “trash”-type cymbals that the drummer was utilizing. Hi-hat sounded very pure, missing the undesirable “spit” that you simply usually hear from lesser condenser mics.
Next up had been some studio classes, the primary in Studio A at Mercy College. Aided by Sam Stauff (Engineer and Associate Director, Music Studios), we recorded drums utilizing the A127s, initially connecting them to a Neve 1073DPX. The A127s had been positioned as a spaced pair over the equipment, pointing straight down, roughly seven toes excessive, 5 toes aside. Unfortunately for the 1073DPX, the A127s overloaded the preamps, even with the preamp pad turned on and the achieve turned down all the way in which. We swapped the 1073DPX for an API 3124V preamp, which required the pads to be turned on, achieve controls set to minimal, and output degree controls set to three o’clock. The ethical of the story: If your preamp doesn’t have sufficient achieve to provide enough recording degree with the A127s, don’t blame the microphones.
Keeping with the Audix theme, we added two shut mics: a D6 on kick and an i5 on snare, each routed by way of Vintech X73i preamps. The outcomes had been wonderful, with clean crashes on hi-hat, wonderful definition on snare and tom hits, and an total sound leaning barely towards the ribbon finish of the spectrum. Toms and kick sounded good however lacked a number of the low finish we anticipate nowadays when utilizing shut mics. Presence of the snare by way of the A127s was nice, sounding a lot the identical as if the snare had been close-miked.
As we anticipated, the omnidirectional sample captured a reasonably good quantity of room ambiance, although this may be tweaked by adjusting distance between mics and supply. Ride patterns performed on a crash cymbal had been clean and even, with none harshness. For this session, Sam and I break up the outputs of the 3124V, routing one set straight into Pro Tools and the opposite by way of an API 2500 dialed in for some aggressive compression. The A127s took compression properly, including a pleasant “pffft’ on the assault of the snare drum, whereas emphasizing the room sound.
GUITAR, CHOIR, PIANO
We additionally tried the Audix A127s on acoustic guitar, first as a stereo spaced pair, then as a detailed and distant mixture. The stereo pair was positioned with one mic going through the bridge of the guitar and the opposite going through the world the place the neck meets the physique, each set about three toes away. The end result was a wonderful stability between the assault on the strings and resonance of the physique: current, clean and sensible, with rock-solid imaging.
We then moved the mics in order that the mic going through the world the place the neck meets the physique was nearer (now about 10 inches), and the opposite mic was about 12 toes away from the guitar. The shut mic produced a ravishing, intimate sound, once more with wonderful replica of the instrument, and including the room mic was like strolling into the studio, i.e., very sensible. To add a little bit of definition to fingerpicking, a contact of EQ did the trick: +4 dB @ 6 okayHz, with medium bandwidth. Background noise from the mics was non-existent, a requirement when recording fingerpicked guitar or utilizing a mic for ambient pickup.
Turning to a totally completely different utility, I used the A127s to file a small choir, putting them instantly in entrance of the group, spaced about eight toes aside. Voices had been well-defined and articulate, although the spaced association produced a gap within the center. Closing the gap between the mics would have cured this situation however time didn’t allow, so I opted for bringing the pan controls to roughly 9 and three o’clock throughout playback. Due to the omni sample of the Audix A127, the mics additionally captured some spectacular backside finish from the church organ, and I positively need to return there to file the organ by itself.
At the identical facility, I recorded a Steinway grand piano utilizing two distinctly completely different setups. The first was with the A127s exterior of the piano case, mics spaced about 5 toes aside, peeking over the rim of the piano physique and pointing straight in on the lid. This yielded too many reflections from the lid, inflicting a mess of part points. I made a decision to maneuver the mics contained in the piano, this time putting them 10 to 12 inches above the strings, pointing towards the hammers, roughly three toes aside and set again from the hammers towards the tip of the piano by round eight inches. The end result was completely beautiful. The A127s sounded clear and pure, with an ideal stability between the assault of the hammers and the resonance of the piano physique, and the low finish was full however not overbearing. These mics should not afraid of getting used up-close; shifting the mics in on the hammers decreased reflections from the lid, elevated presence and made the piano sound extra coherent—however not on the expense of sounding strident.
The A127s should not forgiving of placement, and the omni sample signifies that your room must sound pretty much as good because the supply. At my studio, I needed to work tougher on placement for drum overheads, and the A127s clearly revealed minor variations in location. For instance, shifting the mics from instantly in entrance of my drum equipment to a degree roughly 4 or 5 toes away yielded a significant distinction within the quantity of low finish from the kick and toms. Lazy engineers is not going to get alongside properly with the A127s.
Using the A127s was an absolute pleasure. The mic delivers no matter you set in entrance of it with out including an opinion. It’s clear, quiet and captures as a lot element as the remainder of your recording chain will enable. The A127 can reveal refined nuances neglected by different microphones, it’s lifeless quiet and the response is ruler-flat from 10 Hz to twenty okayHz. It’s a bit dear, however make no mistake that the Audix A127 is a top-shelf microphone that stands as much as any competitors within the worth vary.
Paramus, NJ (December 6, 2022)—Sony Electronics is adding to its DWX professional wireless mic series with a new digital wireless plug-on transmitter: the DWT-P30.
Intended for studio, electronic newsgathering (ENG) and location sound, the new transmitter works with Sony’s slot-in receiver and bodypack transmitters for a wireless microphone system that can be used with Sony’s cameras, in addition to UniSlot standard devices.
The DWT-P30 offers 375 kHz spacing high-density simultaneous multi-channel operation and wideband tuning at a maximum of 148 MHz. It allows users to tune to frequencies as mandated by the FCC Spectrum guidelines UHF-TV Ch. 14-36 and 38 UHF-TV. The transmitter uses CODEC MODE4, maintains transmission stability, provides low delay time and features selectable RF outpower power (2mW/ 10mW / 25mW). The DWT-P30 sports a battery life of approximately 6 hours, and is remote controllable, allowing users to change transmitter settings with a Cross Remote function,
The DWT-P30 is expected to be available at the end of 2022.
