New York, NY (April 27, 2023)—Brand new from the oldsters at Point Source Audio is the Series9 line of miniature microphones supposed to be used in theater, movie and different purposes the place discreet miking of expertise is required. Products within the Series9 embrace GO-9WL lavalier, EO-9WL ear-mount and GO-9WD dual-ear headset microphones, all accessible in single- and dual-element variations.
The headworn mics characteristic a 3mm omnidirectional back-electret capsule, whereas the lav capsule is a 4mm omni back-electret design.
Capsule specs embrace frequency response of 20 Hz to twenty okayHz; sensitivity -39 dB 1V/Pa (at 1kHz); most SPL 142 dB; and output impedance 1300 Ω. All fashions are IP57 waterproof-rated for resistance to sweat, water and make-up, will be cleaned with 70 % isopropyl alcohol, and have patented Endure connectors in 3-pin Lemo-style, TA4F and three.5mm locking ring, examined to 12,000 bends. The mics could also be powered throughout a voltage vary of 1 to 10 volts.
Series9 microphones can be found in beige, brown or black. Headset fashions characteristic a increase that bends 360 levels, enabling the headset to reverse for mounting the mic on the correct or left aspect.
Dual-element variations of every mannequin present redundancy for important purposes and could also be paired with the BBX-SK/BBX-SH backup field to be used with a single wi-fi transmitter.
Point Source Audio manufactures a big selection of equipment for Series9 microphones, together with windscreens, headset frames, alligator clips and magnetic clips for discreet mounting. Series9 microphones embrace a two-year guarantee.
New York, NY (April 27, 2023)—Brand new from the parents at Point Source Audio is the Series9 line of miniature microphones meant to be used in theater, movie and different purposes the place discreet miking of expertise is required. Products within the Series9 embrace GO-9WL lavalier, EO-9WL ear-mount and GO-9WD dual-ear headset microphones, all obtainable in single- and dual-element variations.
The headworn mics characteristic a 3mm omnidirectional back-electret capsule, whereas the lav capsule is a 4mm omni back-electret design.
Capsule specs embrace frequency response of 20 Hz to twenty okHz; sensitivity -39 dB 1V/Pa (at 1kHz); most SPL 142 dB; and output impedance 1300 Ω. All fashions are IP57 waterproof-rated for resistance to sweat, water and make-up, will be cleaned with 70 % isopropyl alcohol, and have patented Endure connectors in 3-pin Lemo-style, TA4F and three.5mm locking ring, examined to 12,000 bends. The mics could also be powered throughout a voltage vary of 1 to 10 volts.
Series9 microphones can be found in beige, brown or black. Headset fashions characteristic a growth that bends 360 levels, enabling the headset to reverse for mounting the mic on the correct or left facet.
Dual-element variations of every mannequin present redundancy for important purposes and could also be paired with the BBX-SK/BBX-SH backup field to be used with a single wi-fi transmitter.
Point Source Audio manufactures a wide selection of equipment for Series9 microphones, together with windscreens, headset frames, alligator clips and magnetic clips for discreet mounting. Series9 microphones embrace a two-year guarantee.
THE TAKEAWAY: “The total package deal isn’t solely worth but additionally fairly versatile, providing a variety of tonal choices.”
COMPANY: Lauten Audio • www.lautenaudio.com PRICE: $499/pair, together with cardioid and omni capsules; inline pad: $79/pair. PROS:
• Very good sound
• Great bang for the buck
• Versatile system CONS:
• Output can overload some mic preamps even with the pad inserted
• Pads are usually not included
• Labeling is troublesome to learn
Several months in the past, Lauten Audio introduced up to date variations of its profitable Series Black line of microphones, which incorporates the LA-320 (tube condenser), LA-220 (FET condenser) and the topic of this overview, the LA-120 condenser microphone. V2s incorporate a variety of refinements over the originals, together with a refined and engraved nickel head grille, engraved hand-filled lettering, inset badge and an aesthetic replace—all whereas sustaining the sonic attributes.
The LA-120 is a small-diaphragm (17mm), transformerless condenser microphone with a detachable capsule, and the stereo set comes with a pair of cardioid and omnidirectional variations. Preamp circuitry employs through-hole development and is spec’d for a dynamic vary of 120 dB (minimal) with a sensitivity of 10 mV/Pa, -40 dB (0 dB = 1V/Pa @ 1 okayHz).
Controls on the mic physique embody three-position highpass (flat, 50 Hz, 150 Hz) and lowpass (flat, 15 okayHz and 10 okayHz) filters, every with slopes of 6 dB/octave. The -10 dB pad is an inline, screw-on kind that matches in between the physique and capsule.
LA-120 V2s are packaged in pairs in a pleasant presentation field that homes the 2 microphones, two cardioid and two omnidirectional capsules, a pair of mic stand clips and a pair of mic stand mounts. Pads can be found as an possibility.
Operation of the LA-120s is simple, although I really feel like there must be a warning someplace that phantom energy must be turned off earlier than altering the capsules or mounting/ eradicating the pads, as that is all the time observe. Phantom energy necessities are spec’d at 48 VDC, however I used to be ready to make use of the mics with an outboard phantom provide that gives 24 VDC.
HOT MIC, MINIMAL GAIN
I examined the LA-120s in a wide range of conditions, and the very first thing that turned obvious is that the output stage of those mics is sizzling, a attribute indicative of Lauten’s philosophy of offering gear that may carry out at a excessive stage (pardon the pun) even when a consumer doesn’t have entry to lots of costly outboard gear. Have no worry when connecting to a desktop recording interface that doesn’t present lots of achieve—the LA-120s require minimal achieve, even when used with a quiet supply.
In line with that idea, I recorded a Taylor acoustic guitar utilizing a Focusrite Scarlett 2i2 interface and was slightly shocked to search out that the instrument didn’t sound all that completely different than it did after I recorded it utilizing some slightly expensive outboard gear.
Using the cardioid capsules (no pads), replica of the instrument was clear, current and articulate, and background noise was barely audible—after which solely when the studio screens had been cranked to unreasonable listening ranges. Using the highpass filter within the 50 Hz place cleaned up a little bit of room rumble, in addition to some foot-tapping that might in any other case have been transmitted by the mic stand.
Sticking with the Scarlett and utilizing the LA- 120s in cardioid for stereo drum overheads, it turned evident that these microphones are able to punching above their weight. Overall, the package was well-balanced—although an in depth mic on the kick would have been useful for including a little bit of weight and assault (not attainable with the Scarlett, because it’s a two-channel interface). Cymbals, hi-hat and snare had been crisp and clear, and the resonance of the toms got here by very properly. The LA-120s additionally captured a sensible illustration of the room sound.
It’s value noting that no matter what preamp I used, the pads had been required when utilizing the LA-120s as overheads. Combining the LA-120s (cardioid) with a pair of Vintech X73i preamps for overheads on a unique drum monitoring session once more yielded an amazing recording, the place the imaging was spot-on and you possibly can really feel the nylon tip of a drumstick on the hi-hat.
It was throughout these classes that I began experimenting with the lowpass filter, which produced some very fascinating outcomes. On overheads, switching the LPF to the 15 okayHz setting was akin to creating the hi-hat and trip cymbal take a step again within the combine, whereas decreasing a few of the sizzle from the trip and crash cymbals. Moving the change to the ten okayHz place took that attribute one other step, mellowing out the crash cymbals and offering a nod within the route of a ribbon transducer with out sounding too darkish.
The LPF was good for sweetening up a tizzy hi-hat or tambourine when the LA-120 was used up-close on these devices. The LPF was very delicate when used on acoustic guitar, the place the 15 okayHz setting eliminated a little bit of the metallic ringy-ness from the strings, and the ten okayHz setting darkened the sound ever so barely.
These are delicate modifications, not jaw-dropping variations, which makes all of them the extra helpful. Changing the settings on both filter does produce an audible “tick,” so I’d counsel muting your audio system when doing so.
CLOSE-UP ON DRUMS, PIANO
Spurred on by a suggestion from the parents at Lauten Audio, I made a decision to attempt the LA-120s close-up on some drums. First up was a snare, with the pad and cardioid capsule. Initially, I believed that the mic couldn’t deal with the SPL, however that proved to not be the case. It turned out that the output of the LA-120 was so sizzling when used shut on snare that almost all of my preamps—together with a Vintech X81, Drawmer 1969, Focusrite ISA110 and Avalon AD2022 (the latter with its pad change on)—couldn’t deal with the output with out being overloaded. Using an exterior phantom energy provide to run the LA-120, the mic may drive the X81 or ISA110 line inputs with loads of stage—through which case the mic produced a meaty, impactful snare sound.
When I positioned the LA-120s (with pads) close-up on toms, I skilled related outcomes, with most preamps incapable of dealing with the extent. One of the few preamps that did work on this utility was the AEA TRP. I set the LPF off and the HPF to 50 Hz to tighten the underside finish a contact, which produced a spherical, full tone from the toms (be aware that I once more used the outboard phantom energy provide as a result of the TRP doesn’t present phantom energy).
Using the LA-120s to document an upright piano proved to be enlightening in a number of methods. As a reference, I A/B’d the LA-120s with a pair of cardioid condenser mics from one other producer that price greater than thrice the Lautens. The microphone pairs sounded surprisingly shut, although one may argue that the LA-120s had a bump within the low-mids, whereas the opposite pair proved a bit smoother and tighter in that area. The high finish, nonetheless, was very related.
OMNI VS. CARDIOID
In the piano session, I additionally tried the LA-120s with the omni capsules, which I most popular to the cardioid. Given that the mics had been about six inches from the hammers, there was a noticeable proximity impact with the cardioid capsules. Switching to the omni capsules cleaned this up and improved readability within the low-mids, and turning on the LPF mellowed out the assault of the hammers on the strings.
On acoustic guitar, swapping the cardioid capsule for the omni made the guitar sound fairly completely different, with a lot stronger midrange in comparison with cardioid. Combining the omni capsule with the ten okayHz filter offered a timbre nearer to what you’d anticipate from a ribbon microphone.
In basic, the cardioid capsules yielded greater output ranges, sounded extra “hi-fi” than the omni capsules, and, after all, decreased room sound within the recordings. The omni capsules produced a a lot flatter and fewer flattering character, usually sounding extra midrange-y than the cardioid capsules. Omni capsules on drum overheads softened the highest finish, giving the recording a retro vibe.
Lauten Audio has carried out a wonderful job on the LA-120 V2, largely by resisting the temptation to “enhance” the sonic traits of a microphone that has already gained lots of followers. The total package deal isn’t solely worth but additionally fairly versatile, providing a variety of tonal choices because of the filter settings and the completely different capsules (the quick-start information even supplies filter settings for varied purposes). My one caveat to a possible purchaser can be that the pads are obligatory in case your intention is to make use of the LA-120 close-up on loud sources.
Still, should you’re in search of a pair of small-diaphragm condensers on this value vary, you owe it to your self to take a look at the LA-120s.
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.
THE TAKEAWAY: “If you’ve wanted to get a completely updated classic tube condenser microphone, now might be the time! Super-highly recommended!”
COMPANY: Neumann • www.en-de.neumann.com PRICE: $8,499 MSRP PROS:
• Awesome male and female vocal microphone. CONS:
• Connecting cable seems delicate.
• No shock mount basket offered as yet.
The first prototype Neumann M 49 microphones were made in 1949 for NWDR—Northwest German Broadcast—and badged as B-M 49. The remotely controlled M 49 was an instant hit when it was first introduced and shipped in 1951; it was the first studio microphone to have a continuously variable polar pattern and, to this day, is still sought after by engineers and producers.
The notable revisions of the first M 49 were called the M 49 B and C, with the broadcast versions labeled M 249 B and M 249 C. M 49 microphones are considered one of the best condenser models for male and female vocalists. Prices for original, pristine, working examples sell for more than $15,000. The new M 49 V uses the same circuit as the M 49 C.
Each mic is hand-built to the original specifications and design documents from the Georg Neumann archives by the three Neumann employees trained and qualified to assemble the reissue, which means that there will be a limited number of M 49 V microphones produced each month.
The original M 49 used the same classic M7 large-diaphragm capsule as the one deployed in the (less expensive at the time) Neumann U 47. The M7 capsule has PVC diaphragms and was later replaced by the more durable K 49 capsule. The center-terminated, dual-diaphragm K 49 capsule is gold-sputtered Mylar with an outside diameter of 34 mm and a free working diameter of 26 mm. The thickness of the two diaphragms is not specified.
The M 49 V uses the same RF-proof, 7-pin Tuchel connector set as the broadcast version M 249, though Neumann reports that there will be no separate broadcast variant: “We refrained from adding complete ‘modern day’ EMC (electromagnetic compatibility) protection measures, as this would not be in line with classic design, and (we are) counting on that the M 49 V will be used in ‘controlled environments.’”
NEW TUBE AND POWER SUPPLY
The M 49 V uses a new pre-selected triode tube (Neumann has declined to disclose its type) to replace the no-longer-manufactured MSC2/AC701K Telefunken tube used in the original. The good news is that the new tube type enables the M 49 V to have lower self-noise than the classic M 49. Maximum SPL is 125 dB (there is no pad switch), S/N ratio is 74 dB, and sensitivity is measured at 8 mV/Pa.
The new tube requires 6.3 volts for the filament as compared to the Hiller MSC2 and later the Telefunken AC701k at 4.2 volts. This necessitated a new power supply called the NM V. The previous N 52 or NN 48 power supplies will not work properly with the M 49 V. Connecting the new mic with an old N 52/NN 48 will appear to work at first, but the under-heated filament will cause a very high noise floor and is not recommended.
I found it interesting that the new NM V supply powers up with 4.2 volts filament voltage and then “ramps up” to change to 6.3V when a new M 49 V mic is automatically recognized—this slow filament heating should help the tube to last longer before replacement.
It is possible to power any vintage M49 or M249 with the new NM V without damaging the MSC2/AC701 tube inside from excessive filament voltage. The NM V is a linear power supply, not a switch-mode model, and automatically adapts to 110 VAC or 230 VAC mains.
The new power supply has a smooth-operating polar pattern control knob for continuously varying between five different choices. These are: figure-of-8 bidirectional with deep side nulls at full CW; a sub-cardioid mode with broad rear lobes; a cardioid with rear null; a wide and broad cardioid; and omnidirectional at full counter-clockwise. Frequency responses and polar plots are listed for each of the five modes and shown in the manual.
OTHER CHANGES
In keeping with the classic design, the same circuit and the same BV 11 output transformer wound to the original specifications are used as in the Neumann M 49 C. The first M 49s had an amplifier frequency response well down into the infrasonic range, but to protect the output transformer (from overloading and distortion) and also for practical reasons, a broadcast LF roll-off was added, starting at -2.3 dB @ 30 Hz up to -3 dB @ 40 Hz.
The M 49 V comes with the M 49 C’s first-order highpass filter set to 30 Hz, but there is an internal switch (S4) to change that to 12 Hz for extended low-frequency response and a very slight increase of distortion. A second internal switch (S2) locks the polar pattern to cardioid-only, like the original M 49, and at the same time increases sensitivity by 2 dB; a 3 dB increase in signal-to-noise ratio and self-noise is about 1 dB lower.
However, these two switches are not user-changeable. If your workflow is voice-over or overhead pickup only, you might consider ordering the mic in cardioid-only. Everything is the same in cardioid-only, and you may have the mic converted back to multi-pattern by Neumann.
(To change the settings of the internal switches, you should contact Neumann Service. If an unauthorized customer opens an M 49 V to change the switches, or touches the diaphragm and damages it, this is not covered by the warranty.)
The M 49 V comes in a cloth-covered wooden attaché style case that contains the microphone, gimbal style MZ 49A elastic holder, 10-meter (32-feet) KC 5 cable, and EU, UK and USA AC mains cables.
As delivered, I found the KC 5 cable a tangled mess. I tried the M 49 V on many sources, and I had to be careful where I laid down the connecting cable as it is of a small diameter and seemingly fragile, and could be easily cut by a cartage case rolling over it. I also thought there should be a shock mount “basket” accessory offered with this mic. The yoke mount’s rubber spacers on either side of the mic body are shock absorbers.
IN THE STUDIO
My first use for the M 49 V was a male vocal session. I had been using my house standard mic I know very well, David Bock’s U195 condenser. I used identical Sunset Sound S1P “Tutti” mic preamps both set to about 35 dB of gain for softer singing close in on both mics.
Both of these mics have large, dual-diaphragm, center-terminated capsules and large output transformers, but similarities end there, as the U195 uses an FET circuit and is cardioid-only.
The M 49 V had a slightly wider pickup pattern with a little more of the room tone captured. On this singer, I heard a little more bottom end—we used the same working distance on both mics.
Comparing the new M 49 V with an M 49 A was interesting. The 70-year old M 49 A came with a “V” yoke mount, but had no modifications and used a European Telefunken power supply that ran on 240 VAC. It compared well to the new M 49 V, as I found the old A had slightly more output level (the new M 49 V delivered in cardioid-only also has more output) but less low-frequency energy, more self-noise and a slightly “muddy” sound. The new M 49 V was dead quiet, and the low-frequency response was accurate.
Excellent uses for the M 49 V include orchestral brass in omnidirectional pattern and acoustic upright bass in cardioid about 18 inches out from the “F” hole—depending on the player, you can angle the mic toward the bridge if you need more attack. Overall orchestra pickup in omni works great, but some experimentation with the mic’s exact placement is required.
FEMALE VOCALS!
Of course, female vocals sounded amazing! I prefer singers very close to the mic, and the M 49 V in cardioid seemed to add just the right amount of thickness in the low-midrange frequencies but was not excessively bright and sibilant. My female singer could get right up on the mic and sing at any volume, though you will need a windscreen/pop filter.
During that session, I compared the M 49 V to a Telefunken U47 with M7 capsule and a Sony C-800G—all in cardioid pattern. I used three API 312V mic preamps, with the Sony putting out more level and the Telefunken and M 49 V about the same. Generally, the Sony seemed thin in the low-midrange by comparison and seemed a little bright—it also seemed to “pop” more readily than the others. That midrange “bark” you get with the Telefunken was also there in the M 49 V, just not as pronounced. I thought the M 49 V was overall smoother and more even-sounding, with no peaks from this particular singer.
The Neumann M 49 V is an excellent addition to both the company’s microphone line and its legacy. If you’ve wanted to get a completely updated classic tube condenser microphone, now might be the time! Super-highly recommended!
New York, NY (January 27, 2023)—Taking aim at the burgeoning streaming market, IK Multimedia has introduced iRig Stream Mic Pro, a multi-pattern condenser microphone and 24-bit/96 kHz audio interface for iPhone, iPad, Android, Mac and PC.
Sporting dual mic capsules, iRig Stream Mic Pro offers selectable cardioid, figure 8, omnidirectional or stereo pickup patterns, providing solutions for noise-rejection, immersive audio and more
Outside devices—media players, keyboards, mixers, turntables, soundboards and more—can be connected to a stereo 3.5 mm audio input, sending signal directly into the mic. With its monitoring mix control, users can blend the direct or recorded audio via the headphone output.
The mic’s Loopback+ feature allows users to additionally route that outside device signal into a separate app to add reverb, EQ or noise-reduction before sending to a second app like Instagram or Tiktok.
All the features are controlled via a single control knob that lets users click through each setting to make adjustments or mute as needed. LED level indicators aid monitoring without headphones as well.
The mic offers 2 modes, stereo or multichannel, defaulting to stereo mode where it pre-mixes multiple sources of audio—line stereo inputs (+ Loopback) and mic capsules—down to a stereo track. Switching to multichannel mode, the two capsules are routed to channels 3 and 4 respectively, giving users 4 channels of audio to send to recording apps such as GarageBand or a DAW.
The mic comes with mini-DIN to iOS Lightning and mini-DIN to USB-C cables, asd well as apps like iRig Recorder 3 LE (iPhone/iPad/Android), and MixBox CS (iPad) and MixBox SE (Mac/PC), a suite of FX including dynamics, EQ, reverb and more.
iRig Stream Mic Pro is shipping and available for $169.99.
Fairview Heights, IL (January 25, 2021)—Any pro-audio company that has been around for more than 50 years is used to change, and Heil Sound, well-known for its microphones (and ham radio gear), is no exception. In November, 2020, Ash Levitt was appointed president of the company, the culmination of a long journey within the Fairview Heights, IL-based company.
“I actually first worked for Heil Sound when I was in high school—soldering, building and packaging products,” Levitt says. “Despite going to college on a Jazz scholarship for guitar, my degrees were in Psychology and I was a research psychologist in academia for a number of years.”
While Levitt initially took a different career path, he remained connected to pro audio, playing in bands and regularly doing consulting work for Heil Sound CEO and founder, Bob Heil. “I was essentially working in two parallel worlds—writing research papers during the day and attending soundchecks and meeting with FOH engineers and artists at night,” he recalls. “I spent a lot of that time shadowing Bob Heil as well, going to studio sessions with him, learning his perspective on product design, and watching him engage with engineers and artists.”
For Levitt, it was an eye-opening learning experience—one that eventually led to him returning to the company in 2017, where he leveraged his research skills to better understand the company’s user, dealer and distributor market research.
“My background and experience give me a unique perspective and approach to my job, because I am able to see it from different perspectives in the industry,” Levitt says. “As a performing and recording musician, I understand the concerns, needs and requests of engineers and artists. As a researcher, I know the importance of asking the right questions, and use a data-driven approach to improve our business intelligence. I then tie those threads together to align and better understand the perspectives of our customers, dealers and distributors.”
That mix of passion and meticulousness will help create the next chapter in Heil Sound’s colorful history. “In the early years of the company, Bob Heil developed and innovated much of what we now take for granted in the live sound industry,” Levitt explains. “In the 1970s, the company made PA speakers, amplifiers and modular mixing boards, and had multiple live sound crews out on the road with many well-known artists, including The Who, The Grateful Dead, The James Gang, Peter Frampton and more. Currently, the company has two divisions—the Pro Audio division, which focuses on high-quality dynamic microphones and accessories for live sound, podcast, broadcast and studio applications, and the Amateur Radio division, which focuses on ham radio microphones, headsets and accessories.”
Despite casting a long shadow in pro audio, Heil Sound remains a small company in terms of personnel and is essentially a family business. Most of its employees have worked there for years in a variety of functions; while parts are sourced from around the world, product finishing and quality control is still handled in-house, as is product development and R&D, working with professionals in the field. Levitt points to the new PR 37 vocal mic as a prime example, noting that multiple FOH engineers used prototypes on the road with different productions, including the Warped Tour. “The final product is so much better for it, and we are thankful and indebted to them for their invaluable, real-world feedback,” he says.
Heil Sound has always maintained a strong DIY sprit, and that has fostered a company culture and philosophy that is closer to an agile new startup rather than an industry cornerstone. Maintaining that viewpoint takes an active effort. “We have genuine concern in listening to engineers and artists,” he says. “We pride ourselves on having boots on the ground, so to speak, and in being reachable and responsive to the working professionals in the industry.”
This philosophy carries through to all interactions with customers, dealers and distributors. Levitt hopes that the company’s methods show that they are music fans and musicians themselves, and that they’re passionate about helping people achieve the best sound they can.
Helping customers achieve their goals in turn helps Heil Sound determine its own objectives. “My attention is simultaneously focused on the details as well as the big picture in terms of finding the right balance with our product line, vision, brand initiatives; and ensuring that our short-term and long-term strategic goals are met,” he says.
Live sound has always been a key part of Heil Sound’s history and product lineup, but with concerts sidelined during the pandemic, the company is finding its biggest market now is podcasting, streaming and home recording. “We have long had a solid foothold in these spaces, so we were well-positioned when the pandemic struck, and those products started flying off our shelves,” Levitt says. In fact, sales for some of Heil’s podcasting-related products have increased by 900% year-over-year, and Levitt expects that will only continue to grow.
Much as live events are expected to come back in 2021, so will demand for the products that make them happen. With that in mind, Levitt has short- and long-term goals for initiatives in that market that will be implemented over the next couple of years. For now, he acknowledged, the live-sound world has bigger concerns. “Our hearts and thoughts are with everyone in the live sound industry who is struggling right now,” he said. “We sincerely hope that industry workers and independent venues are able to hold on until we can all safely experience live concerts again.”
Netherlands (January 6, 2021) – The pandemic has changed all aspects of the production world, from live shows to TV tapings, and sitting in the center of that Venn Diagram is Euroconcerts Audio Control, which takes on all sorts of projects, including annually recording classical music productions for Dutch National TV.
“In previous years, we would record a choir with a stereo mic set up,” said Euroconcerts founder, Johan van Loo. “However, due to COVID restrictions this year, we were only able to have a small number of singers on-stage. Therefore, we had to switch to a close-miking setup – and the DPA 2011 Cardioid proved to be the perfect solution. It not only has a great, natural sound, it also looks nice on camera because it is not obtrusive.”
A longtime user of DPA, van Loo got his start with the brand when it was still part of the Brüel & Kjær family. “Since I first began using DPA’s small diaphragm microphones, all of the artists with whom I work have come to prefer DPA over other brands,” he says. “They especially love them for close-miking their instruments because the mics sound better and provide more gain before feedback. It’s been the same for vocals, especially since the launch of the d:facto 4018V.”
Included among the Euroconcerts mic locker are the DPA 4015 Wide Cardioid, 2011 Twin Diaphragm Cardioid, 4023 Compact Cardioid, 4037 Compact Omnidirectional, 4099 Instrument Microphone, 4061 Miniature Omnidirectional and d:facto 4018V Vocal Microphones.
Camerino, Italy (December 7, 2020)—Since it was founded in 2011, The Andrea Bocelli Foundation (ABF) has raised more than 30 million Euros and constructed eight schools, including the new Camerino Music Academy in Italy, replacing the former Academy’s previous building, which was destroyed by an earthquake in 2016. Aiding the effort, Shure provided microphones and headphones for the new facility.
The new Camerino Music Academy was constructed in less than 150 days thanks to the funds and oversight of the ABF. The new facility will host the lessons of more than 160 enrolled students. Architect Renzo Piano, the Municipality of Camerino, the Associations of the territory, the University, the music high schools, and the Conservatory of Fermo were also involved in the project, built with modern and anti-seismic construction techniques.
The Andrea Bocelli Foundation, like other nonprofits, has experienced a significant reduction in fundraising due to COVID-19. Additional income for the project was also impacted as the result of a break in live performance concerts by Bocelli. The Camerino project and its need for donated audio equipment was brought to the attention of Shure by Andrea Taglia, sound engineer for Andrea Bocelli.
“Shure has worked with Mr. Bocelli and Mr. Taglia for years, providing invaluable feedback to our product development process,” said John Born, Senior Product Manager at Shure. “Their recognition in the industry and ability to bring a world-class audio experience to the largest performance venues are second to none. While we continue to be their first choice on tour, we are especially honored that Shure equipment was selected by their installation team on such an ambitious and complex project.”
Shure provided an assortment of audio gear including KSM studio recording microphones, Microflex gooseneck mics, SLX-D digital wireless microphone systems, and professional studio-quality SRH headphones.
“We are pleased to lend our support to the Andrea Bocelli Foundation for this important and worthy project,” added Christine Schyvinck, president and CEO at Shure. “The Camerino Music Academy aligns with the objectives of Shure’s Corporate Social Responsibility program, supporting the development of future generations of musical artists, particularly under challenging conditions. It is a privilege for Shure to be associated with Mr. Bocelli and Ms. Berti and their exceptional organization.”