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Audio Media magazine's Microphone Guide 2011 // Audio Media dergisinin 2011 Mikrofonlar kitapçığı

Audio Media magazine's Microphone Guide 2011 // Audio Media dergisinin 2011 Mikrofonlar kitapçığı

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AudioMedia Microphone Guide 2011 AudioMedia Microphone Guide 2011 Document Transcript

  • AUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDINGAUDIO MEDIATHE INTERNATIONAL BUYER’S GUIDETHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINE A SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUPMICROPHONES 2011 PRODUCED BY AUDIO MEDIA In association with: I N T E R N AT I O N A L E D I T I O N
  • Scan with a QR reader on your smartphone to see the NT2A video From the people that brought you the biggest selling studio recording microphone of the century comes the NT2A – a large diaphragm condenser mic combining extraordinary sound quality with almost limitless versatility. With variable polar patterns, pads and filters, the NT2A delivers stunning recordings on everything from vocals and acoustic instruments to drums and guitar cabs. Truly a microphone for life.Amazing value, the NT2A Studio Solution pack combinesan NT2A mic with a FREE shockmount, pop shield, miccable, dust cover and DVD guide to recording. Find out more at rodemicrophones.com Exclusively distributed in the UK & Ireland by Source • www.sourcedistribution.co.uk/rode • T: 020 8962 5080
  • Welcome to Microphones 2011, an International contents Buyer’s Guide. We’ve scoured the ever-widening market of professional microphone products for4 Alan Branch Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . your convenience, and thrown in a few informative and hopefully thought provoking articles from experts in the field. 5 Talking Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Newly updated and refreshed for this year, Microphones 2011 is a collection of promotional articles looking at some of the world’s leading microphone manufacturers and their products. Inside you’ll find the stories behind the gear – the ethos’ 6 Taming Of The Talent . . . . . . . . . . . . . . . . . . . . . . . . . . and design ethics that go into producing one of the core components in professional audio – and details of the products themselves. In addition, we’ve collated a directory of mic manufacturers, and included three articles around the subject of microphone technology and recording technique, specifically for 8 AKG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . the audio pro. Whatever your field of work, the quality of your product depends heavily on the quality and method of acquisition. This is why microphones are so important, and why this genre of audio gear probably generates more passion than any other. While the10 Audio Technica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . range of basic principles in microphone technology is relatively small, the variations on these themes are incredibly numerous – we’ve listed over 90 manufacturers in our directory, from all over the world, most offering choice across several transducer or electronic approaches.12 Audix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . You might be a film or drama location recordist, a music studio engineer, a Foley editor, a radio journalist, a member of an ENG crew, a live sound engineer – any, in fact, of the hundreds of very specialised roles that require not only a theoretical grounding in microphone technology, but also intimate knowledge of the ‘art’14 Beyerdynamic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . of microphone practise, placement, and choice. You might even just be starting to build your microphone stock and need a place to start. Are you aware of recent advances in all areas of microphone technology? Are you familiar with a16 DPA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . handful of high-profile manufacturers, but would like a greater breadth of awareness when it comes to the ‘alternatives’? Whatever your needs, Microphones 2011 should be able to help. It should be a place to begin your search. Microphones 2011 is a project developed by Audio Media18 Prism Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Worldwide (www.audiomedia.com). Audio Media concerns itself with the business of production and production technology for professional creatives, operators, technicians, and engineers everywhere.20 sE Electronic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Mac, Editor22 Sennheiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0)1354 669960 - Fax: +44 (0)1354 66996524 Schoeps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sales Manager Editorial Manager (Europe) Graham Kirk Lanna Marshall g.kirk@audiomedia.com l.marshall@audiomedia.com Editor Design & Production Manager Paul Mac John-Paul Shirreffs26 Shure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.mac@audiomedia.com jp.shirreffs@audiomedia.com28 Manufacturers Directory . . . . . . . . . . . . . . . . . . . . . . Mic www.nbmedia.com30 Microphone Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether 11 mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. © 2011 NewBay Media. All rights reserved.
  • + + + + MIC TIPS + + + + MIC TIPS+ + + + MIC TIPS+ + + + MIC TIPS+ + + + MIC TIPS+ + + + MIC TIPS+ + + + MIC TIPS+ + + + MIC TIPS+ Microphone Tips Recording with a microphone is often more simple than people think. With correct placement, the right mic choice, and the most direct route to the recorder you can create a high quality recording with a natural tone and good rejection of unwanted noise. 1. Mic Placement does. Listen to the instrument being played a good start – that’s two cardioid mics placed This has to be the most important point of this in your recording room, then listen to your facing each other at right angles, so the heads list, if you remember anything from this list recording – does it sound as rich and detailed, are nearly toughing each other. This keeps remember MIC PLACEMENT. Experiment with or a thin and poor impression? Obviously if the phase problems down and is simple to adjust moving the mic around the instrument, try using recording room is not so nice it’s more of a job on one stereo mic stand for trying different one ear by turning it toward the instrument and of getting the instrument to sound right first heights. Don’t forget a room mic or two, these moving around till you find a sweet spot. then finding a mic position. can be any type of mic, I’ve even used talk back Sounds obvious I know, but I never cease to be mics (really nice as it can have some kind of amazed at poor recordings because someone’s 5. Recording vocals hard compression built in) dynamics, condensers, placed a mic in a less than optimum position, Dead, dead, and even deader is how you want ribbons, different distances from the kit and such as next to a rattling drum or air con unit! your room. Any reflections recorded onto a positioning in different directions. I often put vocal take are impossible to get rid of, and lots up and delete the ones I don’t like later. 2. Mic Settings don’t normally sound very nice. The use of the With some nice EQ and compression the For the majority of recordings the pick-up modern day mic sound filter that envelopes room mics can add extreme power to your pattern is normally set to cardioid, however the mic by placing a half round sound proof drum sound. omni is the purest pattern and has a more barrier is almost standard now as they stop natural sound if you have a good enough room. reflections of the voice in the room bouncing 8. Drums - No Gate! Patterns like super cardioid and hypercardioid, back into the mic, the sE Reflexion filter being Don’t gate kits when recording, just don’t do it – are all basic extensions of the cardioid ‘rejection’ the most popular. Position a singer’s mic slightly you’ll end up chopping off a lightly played press shape, so a singer recording in front of the above but facing their mouth – this angle helps roll or similar and the producer will never employ speakers because they don’t like headphones them open their throat more. Use a pop shield you again, then again nor will the drummer. or only have one room may use a supercardioid or get them to sing off axis so wind isn’t blowing dynamic mic and place the mic with the directly into the mic diaphragm. 9. Recording General speakers to its rear. Record everything, usually the takes when the 6. Drums – Kick And Toms player or singer doesn’t know it’s recording can 3. Recording Rooms Placement is key. With the kick drum mic, the often be the best, and the first takes can often Poor room acoustics need help. Are there any closer to the beater, the less bass you get – often have the most vibe before they get bored of unwanted noises? Can you isolate them? engineers use two, one by the beater and one the song. Is the instrument best placed in the room? inside the sound hole or if the head is off just Try a different mic, try adding more dampening above the floor of the drum. Be careful the 10. Standfirst to the walls – or some corrugated metal roof snare mic doesn’t pick up too much high hat by Watch for mic stands moving or touching sheets if you want it more ‘live’. Remember to positioning it with the hat to the rear, sometimes a drum kit, these will only ruin an otherwise remove anything that might rattle or make noise tricky with certain drummers’ set-up. great recording, and sometimes you won’t get in the room – the usual culprits are someone Ringing toms have to be dampened – a second chance. forgetting to take the snare off the drum. tape, Moongel, O-rings, etc – these all help Use carpet for the mic stand and the singer to dampen the drums into a tight sound without 10. Inside-Out try and stop any foot tapping being picked up – losing power. There are lots of budget work Lastly make sure your mic is the right way and make sure the mic stand is tightly secured. arounds like old drum heads cut for O-rings, around! I got asked by a producer once who With a heavy mic and noise filter you don’t want plumber’s putty in place of Moongel, etc – was working in a studio next door why their it drooping in the middle of a take. just remember to use your ears. If it’s not vocal sounded so funny, was it the room or right keeping trying things out. the compression? I knew straight away when 4. Recording Instruments Normally dynamic mics are used throughout I heard it, and helped the engineer avoid Some instruments only record well with their the kit because of the high SPL – apart from embarrassment by pretending to adjust the natural sound which includes the room, you need overheads, which need condensers or ribbons mic, whereas in fact I just turned it round to capture a balance of the room and the direct to pick up the high frequencies of cymbals. the right way. sound, adjusting the mic distance until you find Overhead mics can be positioned in a variety of the right place. Too much of either results in the ways and placements depending on if you want instrument not sounding as good as it naturally more cymbals than toms, but an X-Y set-up is 4 MICROPHONE TIPS
  • + + + + TALKING VOICE+ + + + TALKING VOICE+ + + + TALKING VOICE+ + + + TALKING VOICE+ + + + TALKING VOICE+ + + + TALKING V Talking Voice Producer and Engineer TONY PLATT discusses his approach to recording vocals in the studio. V oalists often get a bad press, task is to find a place in the room that ‘sings Encouraging them to ‘work’ the microphone and accusations of being difficult or well’. This will also help to relax the singer and by leaning into quiet passages and moving being prima donnas are commonplace. reassure them that that you have their best away for the loud ones will provide quite Occasionally there may be substance to this, interests at heart. enough control over the dynamics, leaving the but mostly I think it’s a symptom of a neurosis My philosophy remains consistent for compressor to even out any inconsistencies. that is easy to understand. any source – get it sounding as close to your Some artists may not be capable of this and The voice is an instrument that cannot have intended sound as possible, and the rest will the compressor will need to be applied more its strings changed or heads tightened if it’s follow... exuberantly. The compressor will be bringing not sounding right; vocalists have to hope it A couple of years ago I was asked to produce another component to the overall sound and will deliver when they ask it to. They can (and the vocals for a singer in a goth rock band. therefore the right choice will get you closer to should) exercise and develop it to gain as much She was classically trained, with – potentially – the desired result. control as possible, but they also depend on a strong voice and wide range. Unfortunately, Incidentally, I have always found the the skills and understanding of producers and all her recordings felt and sounded timid – hardware 1176 compressors introduce engineers to capture it in all its glory. lacking the power they needed to compete unwelcome sibilance to most voices and avoid with the music. She never pushed her voice using them on vocals. However, several software The Final Frontier to full capacity because she had never heard, versions – such as the Bomb Factory one – do Any acoustic instrument depends on the space in the room or headphones, an accurate not display this characteristic, and I find them in which it is being played to reflect its delights representation of the effort she was putting into very useful. and nuances, so the first and most important the performance. At this stage I normally avoid EQ unless The solution was to walk around the studio, absolutely necessary – perhaps an HPF if there with her singing a couple of the bigger lines, until is rumble in the room, and sometimes a slight we found a place that had the right acoustics. middle roll-off if the voice is too harsh. The difference was instant – she started to sing 100 percent better and actually enjoyed the In The Mix experience. Once the vocal performance is captured and I Next, as I normally do at the start of a vocal get to the mix I can experiment with all sorts of session, we set up an assortment of microphones processing in the knowledge that the recording to try out. Generally I will lean towards using has as much power and depth as the artist is large diaphragm condensers for vocals, but I capable of delivering. Every mix is different and will never rule anything out if it gets the right there are no standard techniques for this stage. result. When recording Buddy Guy I had to use Even if an effect is considered inappropriate an SM58 for his vocals because he was singing for the genre, I try not to discount it – a in the same room as the band, with his guitar philosophy that I think stems from working with amplifier right behind him. He would move AC/DC. The band was adamant that if we used back and forth on the microphone, sometimes effects on any of the instruments, they weren’t over a foot away, yet his voice was always full to be heard. This made me think hard about and present – proof that there are times when how I used reverb and delays and so on, and remarkable artists require exceptional solutions. the result was an enhancement of the natural Experimenting with polar patterns can also organic power that is the AC/DC trademark. improve the results, though this will depend For example, the use of very short delays, on the voice and the room. For our goth rock sometimes with a little pitch change or even singer we used a figure-of-eight pattern because phasing can widen the sound of a vocal and sit I wanted to pick up some of the sound of her it more effectively into the mix, and I have gone voice in the room beyond the capsule, and I this route in all styles of music from metal to jazz. wasn’t keen on the side reflections. Neither am I adverse to introducing a little extra power by amplifying the voice and this Squeeze Gently has become much easier to try these days with After best position, microphone, and mic settings plug ins. are established, I will try different compressors. The vocal is, for me, very much the reference My goal is to apply just enough to pull in the full point for a mix and getting the right tone, range of the voice without losing the singer’s timbre, and perspective on it can develop a mix control over the timbre. more easily and quickly, but it’s not always easy! THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 5
  • + + + + THE TAMING OF THE TALENT + + + + THE TAMING OF THE TALENT+ + + + THE TAMING OF THE TALENT+ + + + THE TAMING O The Taming Of The Talent JERRY IBBOTSON gets expert insights on getting the best out of ADR. I remember it like it was yesterday: stressed over which is best. A good engineer two lumps of brown coffee.” sitting in the studio at a top London voice is also one who works out what they need to Meisner trained actors include legends like recording outfit. The voiceover talent (a guy give the actors, so that they can give their Robert Duvall, James Caan, Steve McQueen, off the telly) was in the booth and the producer best performance.” Gregory Peck, and Jeff Goldblum. from the games company was sitting on a sofa Tom’s recently worked with two different Mark puts his knowledge of such techniques behind me. I was there to act as an extra pair engineers in the same recording studio. to good use in the studio; providing actors with of ears and because I’d written the script. “One had a great personal touch and was happy as much information as possible about their After one take I turned to the producer and to make suggestions that kept the client calm. character and the situation they’re in. said, “Was that okay?” The other one just shrugged his shoulders and These cues may be visual, in the form of moving “What... oh... yeah... fine,” he said. said, ‘that’s not my decision’. I could see the or still images, or even audio, in the form of Then he went back to filling out his expenses client’s face muscles tighten”. sound effects. As Mark said, “This is not voice form. That, to me, sums up where voice over. This is acting.” recording can go horribly wrong: treated as an Thoughtful Thespians afterthought; a distraction from adding up taxi Someone who regularly sits on the other side of Take Two receipts. As a studio engineer or technician it the studio glass from Tom is Mark Estdale, who Another take on recording dialogue in the may not be your actual job to see that things go runs Outsource Media, one of the biggest players studio comes from Nick Kray, an ADR Mixer at smoothly but what happens when the producer in voice production for games. As a former actor, De Lane Lea in London. Nick’s been at DLL for goes AWOL, either literally or figuratively? he has an understanding of how thespians think six years and before that he worked at Skywalker “Some of the best engineers I work with and this is invaluable when it comes to teasing Sound. He took a break in recording to explain end up making decisions for the client. But they out the best performance. some of the tricks of his trade and talk about his still leave the client with the impression that it “Actors are like racehorses,” Mark said, whole ethos. was their choice,” actor Tom Clarke Hill told me. “They’re easily spooked. You need to “ADR is a dark art,” he said. “If I’m doing my Tom’s been an actor and voice artist for more communicate what is actionable – what they job it’s invisible.” than twenty years. He regularly lends his voice can actually do. If an actor can’t get a line, To be honest, talking to Nick provided a to video games, and TV and film productions. then chances are it’s a fault with the line, whole raft of quotes and ideas that will stick in He can’t speak highly enough of those studio not the actor.” the mind for a long time. Anyone who’s ever engineers who play an active role is recording According to Mark, one of the problems done a decent amount of voice recording will sessions. with recording dialogue for games is that echo many of his sentiments. Talking about ADR “A good studio person is the one who can say there is often no single coherent narrative. itself, he said, “It’s the only production work ‘That take is the one to use because...’ rather Because a game is broken down into small within post production. This is the only time in than simply sitting there letting the client get chunks, and because there may not be one post where live stuff is being made.” single outcome to the ‘story’, it’s harder for That’s something that he drives home to an actor to get a grip on their character. directors and actors who are stepping into the This is especially true for open-world, world of ADR for the first time, often reluctantly. ‘sand box’, games. He sits them down and stresses that ADR is not “My perspective is to understand how actors really post-production. They (the actors) are train and how they work,” he told me. “One way still performing, just as they were on set or on is the Meisner Technique, which is all about location. This is filming but without the cameras. truthfulness in performance.” The concept is the same as Mark Estdale’s quote For those not well versed in drama theory, from earlier – it’s not voice over at all. Stanford Meisner was an American theatre Then comes the comment that will stay with practitioner who gave his name to a method of me the longest, possibly because it’s something acting. It’s based on the idea that every action I see every day in my own production work. a character takes is in reaction to another. “My job is thirty per cent technical. Sit a character in a room on their own and And that thirty per cent is the same as most you’d never know, for example, that they were a people’s one hundred per cent. But the rest, fastidious control freak. Have them answer the the remaining seventy per cent, is public question, “What would you like to drink?” and relations. Dealing with people.” you’d quickly learn: “A coffee. Columbian. “It’s about getting people into the right Nick Kray. Freshly ground. Filtered. White whole milk and headspace to produce what’s needed in an alien 6 THE TAMING OF THE TALENT
  • microphones 2011OF THE TALENT+ + + + THE TAMING OF THE TALENT+ + + + THE TAMING OF THE TALENT+ + + + THE TAMING OF THE TALENT+ + + + landscape. They’re not on set any more and Bringing Fantasy To Life can’t, for example, see someone holding a gun One thing that voices can suffer from is the at them. They can’t see other people and react overwhelming feeling that the characters are off them in the same way.” standing in a Soho voice booth rather than in Which is where the public relations element the middle of a fantasy forest or in the thick of comes in. Nick goes to great lengths to talk a fire fight. If you think the audience doesn’t to the actors on a non-technical level; to get notice such things, believe me it does. to know them as people. He aims to find a What are the techniques that a voice common ground with them so that they’re not recordist can employ to help place a voice in fazed by being in a studio with a huge mixing the right environment? In Nick Kray’s work as desk staring at them. a movie ADR Mixer, it’s essential to replicate “I don’t want technology to get in the way. the sound of the original location dialogue as A desk and studio can look inhuman. So I sit closely as possible. A character has to ‘be’ in, down on the sofa with them to begin with for example, the Wild West and not just in W1. and we look at the scene we’re working on, “I’ll often find out what microphones over and over.” they used on set and hire some in for our He’s happy to admit that he’s a bit of session. Using location mics means half the a chameleon: changing how he behaves battle is won.” according to who he’s working with: “Some The next step is microphone placement. Tom Clarke-Hill. actors may not want to do certain things, so my Or rather, actor placement. “In the large theatre But to Nick, it’s still the human, personable job is find a way round that. Putting up barriers here at DLL, I can put an actor in the middle of approach that wins through. He judges a would frustrate the director, which is the exact the room with a few mics around them. successful session by the smile on the director’s opposite of what I’m trying to do.” They can get a sense of space and distance.” face and his willingness to share a few beers in Nick is sympathetic to actors who might Bearing in mind that Nick has worked on the pub afterwards. become aggravated in the ADR studio, some of the biggest movies in the world, he From actor Tom Clarke Hill comes a similar acknowledging that they are ultimately the swears by something of fairly humble origins message. “I got into voice work because I love ones who will be judged by their performance. and has been evangelising about it to studios sound. I didn’t get into it to crank the rubbish This comes back to ADR being invisible: a good in the States. out and leave. You need to be having some fun or bad performance will be laid at the actor’s “It’s the sE Reflexion Filter. I’ve stuck these hanging out with the actors and doing some feet, not the engineers. in the ADR theatre, quite far back from actor, recording at the same time. Get all the egos with a Schoeps boom mic inside. They allow me out of the way.” Session Opener to use all the space we have. I swear by them.” What about technical tips? At Outsource Media, Mark Estdale has a few basic principles that have helped him create a highly successful business and a solid reputation. For example, “The control room is on constant open-mic talkback. It keeps the session flowing and focuses people’s minds.” This point is echoed by actor Tom Clarke Hill, who has an enviable pedigree in voice work. “Turning off talkback is a bad thing,” he told me. “I can see them through the glass having a heated conversation but they’ve cut me out. If that’s what they want to do then fine, but there’s no reason for it. I might use the time to make notes on my script but often I’ll walk into the studio with them.” Not having tunnel vision when it comes to scripts is also vital, according to Tom. “A good engineer will spot that there might be some shouting right at the start of the script and shift it to the end. There’s no point in shouting for half an hour if you then have to do really quiet, gentle stuff. The actor’s voice might be croaky by then. Save the shouting or the death gurgles to the end of the session.” THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 7
  • + + + + A KG A C O U S T I C S + + + + A KG A C O U S T I C S + + + + A KG A C O U S T I C S + + + + A KG A C O U S T I C S + + + + A KG A C O U S AKG Microphones – Testament to Audio Quality Tradition From the studio, to the live stage, to the broadcasting booth, AKG continues to supply the professional audio realm with quality microphones, backed by decades of a highly respected reputation. As the music business continues to evolve, Combined with AKG’s Professional, Affordable Quality HARMAN’s AKG has a long-standing reputation HC 577 L, which is insensitive to The price is no match for AKG’s for offering studios, artists, and producers the moisture, perspiration, and salts, Perception 820 Tube microphone. highest quality microphones. suppresses cable Raising the bar in the class of Providing continued international noise through a dual- affordable mics, the 820 offers AKG leadership in the professional audio diaphragm transducer nine different pick-up patterns, microphones, remote-control switchable bass-cut market, AKG’s DMS 700 V2 wireless and sits comfortably system, iPhone App 2.0, C 414 XLS including the on the user and also filter, a ground switch that prevents and XLII, and Perception 820 Tube famous C 414 becomes virtually unwanted hum; and includes a flex the company’s vocal muscles in all series, have invisible on stage spider suspension, mic and power categories and genres of music. been part of under the lights or cable, and metal carrying case – countless records, on camera, the the ultimate in affordability. The Next Level in Reliable Wireless awards and DMS 700 V2 is one The 820 was constructed Audio Transmission performances. of the top wireless and designed with superb quality AKG’s DMS 700 V2 improves the link systems on the and low production cost in mind. quality and increases working range market. of transmitters, allowing freedom in applying a A Classic is Reborn wireless solution to any room in size from a small, Control Functionality and Style Surrounded by a seemingly limitless intimate venue, to a stadium. The successor of at your Fingertips number of top hits, AKG’s C 414 the successful DMS 700 system, includes a AKG’s iPhone App 2.0 provides continually improves with the next 512-bit encryption, AES EBU output and users advanced control generation XLS and XLII. The C 414 improved latency, link quality and range. functionality, managing wireless provides the lowest noise floor ever The C 414 comes complete among competitors and previous The wireless system includes the DPT 700 system parameters, from the with everything you need to bodypack for the ultimate in gain control. name of the set-up to the create great sound recordings, models of the C 414 series. For existing systems AKG offers an upgrade frequency signals, while possible including: a carrying case, a The C 414 XLS maintains the pop filter, a windscreen, and package that upgrades latency by 1msec, solutions for solving signal issues spider-type shock mounts. sonic character of the legendary 512-bit encryption, offers the DPT 700 manual are also addressed. An ALERT C 414 B-ULS, the longest-lived microphone input gain 0, +10, and +20dB, system automatically issues a C 414 model. Engineered for the and increases headphone output level 24dB. warning with a low battery or AKG’s friends highest linearity and neutral sound, antenna malfunction. With a Wi-Fi include: Brooks & it is the most universal and versatile connection, users are connected to Dunn, Missy Elliot, large diaphragm microphone the AKG HUB 4000 Q, which can released in decades. Widely used The Faint, Jon be used side-by-side with HiQnet for accurate, beautifully detailed Hiseman, Alejandro System Architect™ as the entire pickup of any acoustic instrument, Sanz, Sepultura, system is based on the advanced the C 414 XLS combines proven HiQnet protocol. Steve Stevens, reference quality, leading-edge The application is available on Kanye West, technology, and state-of-the-art the Apple iTunes store. Trey Songz, and components. other international The C 414 XLII is the successor superstars. of the famous C 414 B-TL II. It shows the unique sonic signature of the highly sought-after AKG C 12, which enables lead vocals and solo instruments to be placed even in a dense mix. The unrivalled up-front sound is also well known for distant miking applications like classical music recording or drum ambience miking. 8 PROMOTIONAL FEATURE
  • microphones 2011T I C S + + + + A KG A C O U S T I C S + + + + A KG A C O U S T I C S + + + + A KG A C O U S T I C S + + + + A KG A C O U S T I C S + + + + A KG A C UK Distributor Sound Technology Plc. Letchworth Point, Letchworth Garden City, Herts SG6 1ND e info@soundtech.co.uk t +44 (0) 1462 480000 f +44 (0) 1462 480800 w www.soundtech.co.uk India Distributor Hi-Tech Audio Systems PVT. Ltd. 3406, Desh Bandhu Gupta Road, Karol Bagh, 110005 New Delhi t +91 11 4317 4317 (30 lines) f +91 11 2872 0461 China Distributor Action Audio Musical Instruments Ltd. 3 Hong Ye Road, Wang Gang Town, Pudong District, Shanghai e music@tomleemusic.com t +852 2737 7688 f +852 2730 3573 w www.tomleemusic.com HARMAN (www.harman.com) designs, For a complete list of AKG manufactures, and markets a wide range of audio distributors, please visit and infotainment solutions for the automotive, http://www.akg.com/distributors. consumer, and professional markets – supported by 15 leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®. The company For over 60 is admired by audiophiles years, leading across multiple generations, and supports leading musicians professional entertainers and engineers and the venues where have used they perform. More than legendary AKG 20 million automobiles microphones on the road today are to capture their equipped with HARMAN sound so their audio and infotainment audience hears systems. HARMAN has a every nuance. workforce of about 11,800 CONTACT DETAILS people across the Americas, AKG Acoustics GmbH Europe, and Asia, and Lemböckgasse 21-25 reported sales of $3.5 billion for the twelve months A-1230 Vienna, Austria ended December 31, 2010. The Company’s shares t +43 (0) 1 86654 0 are traded on the New York Stock Exchange under f +43 1 86654 8800 the symbol NYSE:HAR. w www.akg.com e sales@akg.com HARMAN’s AKG, founded in Vienna, Austria more than 60 years ago has established US Distributor: AKG Acoustics, U.S. a reputation for superior audio equipment, holding more than 1,500 patents for 8400 Balboa Boulevard microphones, headphones and wireless technology. Northridge, CA 91328, USA THE INTERNATIONAL GUIDE TO MICROPHONES 2011 9
  • ++++AUDIO-TECHNICA++++AUDIO-TECHNICA++++AUDIO-TECHNICA++++AUDIO-TECHNICA++++AUDI Audio-Technica The Drive for Innovation, Quality, and Consistency The youngest of the world’s ‘big four’ microphone brands, Audio-Technica has employed design innovation and advanced manufacturing to consistently break the price/performance barrier with leading product for studio, broadcast, and live production applications. As a world leader In The Studio professional producers and engineers. in the design and It was with the introduction of the AT4033 in Recently added are two exciting new models manufacture of 1992 that the company established a leading that reinforce the 20 Series reputation for high performance position in the studio recording market. innovation and affordability. The AT2031 microphones and The AT4033 was the first ever high performance cardioid condenser is designed to be the ideal wireless microphone large studio condenser microphone priced at microphone for use with string instruments – systems, Audio- under US$1,000; exploiting the very latest its permanently polarised element offers Technica has design, engineering, and production techniques, extended frequency response with a slight rise developed market the AT4033 provided performance from a back in the high frequency range for a beautifully leading product electret design that rivalled famous studio detailed sound. Its low self-noise and high ranges for music condenser models several times more expensive. SPL handling capability offer a wide dynamic recording, broadcast Special accelerated diaphragm aging methods range, perfectly suited for the most demanding production, and live ensured performance remained consistent over applications. production. time, which provided for a more linear response The AT2022 stereo microphone features In each of these over a wide frequency range, even at high SPLs. two unidirectional condenser capsules in an areas Audio-Technica Modern production methods enabled a X/Y configuration pivot to allow for narrow delivers products level of consistency that ensured the identical (90-degree) or wide (120-degree) stereo that have raised the performance of every microphone; with no operation. Designed for general stereo recording performance bar necessity to produce the microphones in and field sound capture, the AT2022 provides and established a ‘matched pairs’ for stereo recording. the spatial impact and realism of a live reputation for design, Selling in thousands, the success of the AT4033 sound field. engineering, and established the company’s reputation as a The new AT2022 build manufacturing high-end studio microphone manufacturer and AT2031 The pivoting capsules of excellence that is and spawned the 40 Series large diaphragm join the AT2022 condenser mic second to none. condenser range. All models in the 40 series allow narrow and wide It’s an adhere to the same stereo operation. engineering and paradigm of high business philosophy performance and value for that originates with the company’s inception money and as testimony in 1962 when founder Mr. Hideo Matsushita to their quality also come introduced a moving-magnet-type stereo with the company’s phonograph cartridge. The company went on to Lifetime Warranty. design and produce phono cartridges and tone Audio- arms, both under its own brand and for others, Technica’s 20 including the legendary NHK broadcast. Series also The same high precision design and engineering strikes a perfect techniques that made the company’s various balance of cartridge designs so successful were also performance The Audio-Technica AT2031 applied to the manufacture of microphone and and price and is designed specifically for headphone products throughout the 1970s has long been superb performance with string and 1980s, earning the brand prestigious status popular with instruments. among audio professionals. aspiring and 10 PROMOTIONAL FEATURE
  • microphones 2011IO-TECHNICA++++AUDIO-TECHNICA++++AUDIO-TECHNICA++++AUDIO-TECHNICA++++AUDIO-TECHN microphones like the 40 Series AT4080 and New for 2011, the BP4001 (cardioid) In addition to the unique Lifetime AT4081 ribbon microphones as highlights of the and BP4002 (omni-directional) dynamic Warranty offered on its 40 Series, Artist, current Audio-Technica range. The company’s microphones are designed for all types of first-ever ribbon mics, the AT4080/4081 feature broadcast interview and remote newsgathering and Artist Elite series microphones, groundbreaking Audio-Technica design, with situations including ENG, EFP, and sports Audio-Technica introduced its First no less than 18 patents pending on the new applications. Impressions trial scheme in 2009. models. Created from the ground up, the pair Both microphones’ frequency response Covering the above-mentioned ranges convincingly solve the problems of fragility is tailored specifically for clear, articulate (and the company’s flagship monitoring and low output that have traditionally plagued reproduction of speech. The cardioid design headphone, the ATH-M50 along with ribbon mics, in part through the use of a of the BP4001 reduces pickup from the premium noise-cancelling and hi-fi proprietary MicroLinear ribbon imprint side and rear of the microphone, headphones), First Impressions allows for excellent durability. allowing for excellent isolation of the consumers to try microphones in their A significant degree of hand sound source, while the BP4002’s own particular working environment, production, including ribbon omni-directional nature provides free of charge, for a two-week period. corrugation, imprint, and assembly, a balanced reproduction of is involved in the construction of surrounding ambience. Trial mics are shipped with a discount the new mics, which maintain the Ruggedly built to withstand voucher, redeemable in-store only against sought-after ‘vintage-style’ ribbon a life in the field, the new Audio-Technica microphones from these mic tone. microphones feature a hardened ranges at a participating First Impressions Modern day classics of the steel grille, an integral windscreen, dealer. Further details are available at recording world, the 40 Series and a back-cavity assembly that www.audio-technica.com/firstimpressions microphones are lauded by ‘floats’ inside the handle shell, internationally renowned engineers providing exceptional isolation from and producers like Phil Ramone, Joe handling noise. The handle itself is dual element design, the AE3000, the AT4050, Chiccarelli, Frank Filipetti, Nathaniel generously long to accommodate AT4041, and the ATM350 are essential tools of Kunkel, and David Reitzas. These are microphone flags, making the BP4001 the trade. These live production series are now among the world’s most successful and and BP4002 particularly suitable for joined by the re-engineered Artist Series, offering best selling studio microphones today. location interviews. unrivalled performance at competitive price points. They are already making an impression For Broadcast On Stage in the market, with singers including Jodie Jones In the broadcast industry Audio- In recent years Audio-Technica has using the ATM710 condenser exclusively Technica is a brand that has become won devotees among artists and sound on stage, and other models earning a place synonymous with high performance engineers alike for its Artist Elite Series on backline rosters. location recording microphones performance stage microphones, in employed in the transmission of major both wired and wireless form. With users outside broadcast events. In particular and endorsees as musically diverse as the company has been associated with Katherine Jenkins, Rush, Metallica, the broadcast of international sporting The Blackout, and I Blame Coco, competitions. For many years, the AE Series handheld models – both official broadcast productions of the condenser and dynamic – are Summer and Winter Games – famed for their sound quality. When from Atlanta City to Beijing and partnered with Audio-Technica’s Vancouver – have featured literally recently updated 5000a and thousands of Audio-Technica 4000a Series wireless technology, microphones. In particular the transmission quality is such that company’s innovative shotgun designs engineers as seasoned as Dick Rabel have enabled greater capture of close are on record as saying that there is CONTACT DETAILS up audio in games and competitions. “remarkably little difference” between Audio-Technica Ltd (UK) The BP4071 and BP4073 wired and wireless models with the Unit 5 Millennium Way microphones are tailored to the needs The Audio-Technica same capsule. Leeds, LS11 5AL, UK of critical broadcast applications with BP4001 dynamic On backline too, Audio-Technica is t +44 (0) 113 277 1441 excellent signal-to-noise ratios and RFI- broadcast interview a de facto standard for many world- w www.audio-technica.com immunity. Innovative acoustic design microphone. class sound engineers including ‘Big’ also ensures that the new models offer Mick Hughes (Metallica, Def Leppard, Harvey Roberts levels of directivity comparable to mics up to Slipknot), Dave Bracey (Robbie Williams), and Senior UK Marketing Manager 50% longer, and as such deliver unequalled Andy Hawkins (Pigeon Detectives). For these t +44 (0) 113 277 1441 performance in a compact package. and many others, models like the AE2500 e hroberts@audio-technica.co.uk THE INTERNATIONAL GUIDE TO MICROPHONES 2011 11
  • ++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUDI Audix – A History of Performance, Innovation and Excellence Audix is a wholly owned American Corporation that was founded in 1984 in Redwood City, California, and has been operating out of its headquarters in Wilsonville, Oregon, since 1991. Audix is a shining example of what can be achieved when a vision is fuelled by imagination, passion, persistence, and hard work. Audix is one of the most recognised microphone companies in the industry, consistently raising the bar in the pro audio world with innovative, Bonnie Raitt. award-winning products. At a time when most companies outsource solutions. This is apparent from the design and sound reproduction, extended frequency their labour and manufacturing, Audix built performance of products such as the OM Series, response, and high SPL (Sound Pressure Level) an in house, state-of-the-art manufacturing VX5, VX10, D Series, i5, SCX25A, and Micros®. handling. facility with an emphasis on R & D, automation, VLM™ technology, combined with a very and CNC machining equipment. This not OM Series – tight hypercardioid polar pattern and only enables Audix to control the quality of Pioneering VLM™ Capsule Technology aerodynamic body design established the OM the products from start to finish, it allows for In 1986, Audix designed and introduced Series as a new class of vocal microphones. continual improvements and enhancements as a proprietary capsule for the OM series The OM5, OM6, and OM7 are the vocal new materials and processes become available. utilising VLM™ (Very Low Mass) technology. microphones of choice amongst sound While the process of capturing acoustic sound The principle of the VLM™ technology is based engineers and top touring artists such as Alanis waves and converting them to electronic on a very lightweight diaphragm, which allows Morissette, Pearl Jam, George Strait, Red Hot impulses is a very complex process, Audix for extremely fast, accurate processing of Chili Peppers, Willie Nelson, Bonnie Raitt, always strives for the simple, most elegant incoming signals. The result is clear and natural The Doobie Brothers, Blink 182, Jimmy Eat World and Crosby, Stills & Nash; to name a few. This series continues to grow in popularity year after year and has become a standard in the industry. VX5 and VX10 – Achieving New Standards in Handheld Vocal Condenser Condenser microphones are more challenging to use in a live stage environment. Typically, these mics are more prone to feedback due to higher sensitivity and are less capable of handling high sound pressure levels. However, many of today’s jazz artists, acoustic-based groups, and singer/ songwriters demand studio quality sound on stage. Audix has provided for this demand with the development of two outstanding condenser microphones; the VX10 and the VX5. The VX10 features a 21mm capsule and requires 48-52 volts phantom power 12 PROMOTIONAL FEATURE
  • microphones 2011IX++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUDIX++++AUD Audix combined detachable cable. The Micros™ also feature studio VLM™ capsule technology, quality sound, very low self-noise, and up to 129dB transformerless design, of dynamic range. Additional characteristics of and precision machined these mics include complete immunity from RF, aluminum housings to achieve tailored frequency response, three application The Audix DP-QUAD, new performance standards specific levels of sensitivity, and a wide variety of Audix’s newest mic in live sound and recording. optional clips and accessories. With the introduction of Coupled with the MicroBoom™, a portable pack. the D6 in 2002, Audix set lightweight carbon fibre boom arm available in for operation. Ideally suited for stages with the world standard for kick varying lengths of 24, 50, and 84 inches, the one featured vocal artist, the VX10 will provide drum microphones. The tradition continues Micros have raised the bar when it comes to unmatched studio quality sound for with the recent development of the i5; a well- overhead choir miking applications. live broadcasts and performances. rounded general purpose utility mic with The M1255B features an unprecedented The VX5 features a 14mm capsule outstanding results on snare and output sensitivity of 32 mV/Pa and operates on and switches for -10 dB pad guitar cabs. Audix simplified a minimum phantom voltage of 18 volts. It is and bass roll-off. The VX5 is the challenging task of selecting ideally suited for distance learning and conference an electret condenser vocal microphones to use for drum systems. The most recent products developed microphone requiring kits, percussion ensembles, utilising this highly sensitive capsule include the phantom power of 9-52 piano and general studio M40 and M70 ceiling microphones, which are volts. Providing a very wide sessions by being the first in designed for permanent installation. frequency response with the industry to pre-package rich lows and detailed highs, several different configurations the VX5 will meet the most of microphones into ‘mic demanding requirements for packs’. a wide variety of live sound applications. SCX25A – Destined to Become a Classic The D Series & i5 In the world of studio condensers, Dynamic VLM ™ Instrument a microphone only becomes a Microphones – Compact Design, classic when it proves itself to be Powerful Performance indispensable. The SCX25A is just Dynamic VLM™ instrument that. SCX25A has a large diaphragm microphones are chosen for live capsule housed within a unique, The SCX25A on guitar. performance due to their ruggedness, patented internal shockmount, which utility, high SPL handling, and pattern is isolated within an intricate machined control. The introduction of the D brass ring. This microphone has its own Series in 1993 broadened the category signature sound that delivers a pure, of dynamic instrument microphones open-air sound with exceptional detail and created new possibilities for drum and realism. and percussion applications. The SCX25A has proven to be an outstanding microphone on piano. Because of its small footprint and CONTACT DETAILS acoustic behavior, it can successfully Headquarters: Audix Corporation The VX5. be used on a short stick or in a closed 9400 SW Barber Street, Wilsonville, OR 97070 lid environment; one of the biggest t 011 503 682 6933. challenges facing any microphone. f 011 503 682 7114 M1255B. The SCX25A is ideally suited for any acoustical w www.audixusa.com application including vocals, guitar, strings, e info@audixusa.com brass, overheads, woodwinds, ensembles, and room miking. UK Distribution: SCV Electronics Ltd. The Micros ® – 40 Chigwell Lane, Oakwood Hill Indust. Estate, Pushing the Limits of Size and Performance Loughton, Essex, IG10 3NY Representing one the most intriguing t +44 (0) 208 418 1470 innovations in microphone technology, f +44 (0) 208 418 0624 The Micros™ are the world’s smallest condenser w www.scvlondon.co.uk microphones with integrated preamp and e sales@scvlondon.co.uk THE INTERNATIONAL GUIDE TO MICROPHONES 2011 13
  • + + + + B E Y E R DY N A M I C G M B H & C O . KG + + + + B E Y E R DY N A M I C G M B H & C O . KG + + + + B E Y E R DY N A M I C G M B H Perfect and Legendary Sound – Handmade in Germany Producing true, natural sound has always been of the highest priority at beyerdynamic. This goes all the way back to the company’s founder, Eugen Beyer, who was fascinated by the idea of recording sounds as perfectly as possible and then reproducing them just as perfectly. Perfect Sound Crafted By Hand Since then, scores of beyerdynamic engineers Since the Eugen Beyer electrical engineering have continuously invented new technologies factory was founded in 1924, beyerdynamic has to achieve ever clearer and purer sound. The been synonymous with German-made applied result: microphones developed and handcrafted high technology in the professional audio sector. in Germany, whose sound and quality are The dynamic microphone he invented in 1939 legendary throughout the world. was a first milestone – and many more followed. The Power Of The Microphone Whether for voices or instruments, whether at concerts, TV performances, or in the studio, the microphone is an integral part of the connection between a performer and the audience. Because a microphone does so much more than just transform sound into electrical impulses; it can excite you, make you scream, make you beam, make you cry, and touch your soul. A microphone transmits sound but it can also transmit so much feeling. Yet another reason for beyerdynamic to build the very best microphones. Currently the beyerdynamic product range comprises, in addition to microphones, wireless systems and professional headphones, headsets for TV commentators and pilots, as well as conference systems. 14 PROMOTIONAL FEATURE
  • microphones 2011H & C O . KG + + + + B E Y E R DY N A M I C G M B H & C O . KG + + + + B E Y E R DY N A M I C G M B H & C O . KG + + + + B E Y E R DY N A counts - both during development and during manufacturing. The result: first-class microphones - handcrafted in Germany. TG 90: Designed to be the very best in the Touring Gear range, the TG 90 series is manufactured to the absolute highest quality standards and delivers a sound that is second to none. High-end equipment handcrafted in Germany for the user who is looking for the ‘non plus ultra’. The TG 90 series provides an outstanding performance every time and can handle even the most demanding requirements on the stage. redefining its Sound Channelling Technology Microphone Portfolio (SCT) for decades. beyerdynamic’s acoustic Touring Gear Microphone Series: experts have created acoustic labyrinths with The best live microphone series we’ve ever built. special geometries providing optimised sound The Touring Gear series is a completely new channelling. They influence the sound and For more details please visit www. microphone range from beyerdynamic, totally model the polar pattern by using precisely tuned beyerdynamic.com/TouringGear and www. redesigned from the ground up. Touring Gear delay lines and attenuation pads. Whether with beyerdynamic.com. – the sound of German craftsmanship from additional elements, special materials, or unique beyerdynamic. design: every beyerdynamic microphone has its How is one microphone different from own Sound Channelling Technology to ensure another? Some are assembled by a machine and perfect control of the sound waves. The result is others are individually crafted by hand. Some a just incredible sound quality. can just be adapted to suit an application while others are designed specifically for it. Some only The Four Categories CONTACT DETAILS transport sound, others utilise special acoustic TG 30: HQ: beyerdynamic GmbH & Co. KG labyrinths to optimally channel the sound. The TG 30 series is the perfect introduction to Theresienstraße 8 Some are purely made up of parts while others the world of beyerdynamic live microphones. 74072 Heilbronn – Germany contain the know-how and precision of one of An entry-level series that can produce big t +49 7131/617440 the most experienced and respected companies beyerdynamic sound on a small budget. f +49 7131/617299 in the audio industry. Experience the difference w www.beyerdynamic.com between conventional microphones and TG 50: e proaudio@beyerdynamic.com beyerdynamic microphones. With aesthetically pleasing looks and The new Touring Gear microphones from outstanding sound quality, the TG 50 series US: beyerdynamic Inc. USA beyerdynamic are a series of live microphones is ideal for all users. The series covers all 56 Central Ave. that are set to excite performers in studios applications relating to stage performing – from Farmingdale, NY 11735 and on stages all over the world. Rugged in vocals, instruments and drums, to headsets and t +1 (631) 293 3200 design with phenomenal audio quality, they lavalier microphones. TG 50 is the standard e info@beyerdynamic-usa.com are the perfect complement to beyerdynamic’s Touring Gear series with a truly premium legendary M series models, including well-known performance. UK: Polar Audio Ltd. classics such as the M 88 and M 160 and the 17 Albert Drive, Burgess Hill personalised M(y)88. TG 70: West Sussex, RH15 9TN The models of the TG 70 series go one step t +44 (0) 1444 258258 The Secret Of Perfect Tuning further with no compromises: even better f +44 (0) 1444 258444 To achieve that unique ‘beyer’ sound, technical characteristics and even higher quality w www.polaraudio.co.uk beyerdynamic has been developing and materials for an even better sound. Every detail e sales@polaraudio.co.uk THE INTERNATIONAL GUIDE TO MICROPHONES 2011 15
  • + + + + D PA M I C R O P H O N E S + + + + D PA M I C R O P H O N E S + + + + D PA M I C R O P H O N E S + + + + D PA M I C R O P H O N E S + + + + DPA Microphones – Professional Microphone Solutions for any Need DPA prides itself on producing the best, most accurate microphones available, guaranteeing stunningly natural sound quality and zero colouration. Each microphone is handcrafted in Denmark and whatever the application, venue, or instrument, DPA can provide the optimum microphone. the super cardioid shotgun. DPA 4099 Clip Microphones Introduced with this new DPA’s ever-growing 4099 range of clip series are the pioneering Twin microphones has solutions for different Diaphragm Capsules – the 2000 instruments at an affordable price, and is series – with sonic characteristics proving a hit with musicians who love freedom second only to the 4006 and when playing live. Each 4099 comes with an 4011. These Twin Diaphragm ingenious, gentle mounting accessory, which Capsules bridge the gap between stays put on the DPA’s market leading miniature instrument while DPA 4099 Key Features microphones featuring the best the mic captures miniature capsule in the world, the best possible • High gain-before- and the ultimate Reference sound. The 4099 feedback Standard capsules. range is invaluable • Natural sound We now offer three different for gigging • Easy, gentle choices of better sounding, musicians who mounting noise rejecting state-of-the-art want to guarantee • Suitable for ever- preamplifiers: the MMP-A ultra unbeatable, growing range DPA Reference Standard Microphones transparent transformerless reliable quality of instruments The DPA family of high-end capsules is the preamp with active drive for impedance each time they including guitar, premium choice of engineers around the globe. balancing, the MMP-B preamp with low cut and play. violin, trumpet, Although one of the most imitated designs, high boost filters, and the ultra-compact MMP-C Great preamp with a softer, slightly more musical and performers like sax, cello, bass, the quality craftsmanship cannot be replicated, nor can the unique design which produces such slightly softer character. Sting, John drums, and piano impressive performance. Any Reference Standard Patitucci, Wayne The new Reference Standard capsule can be transformed Shorter, Randy The Best Just Got Better Microphones include the into a new configuration Brecker, and many more have been won over With the new redesigned by the DPA 4099. See some of them at www. DPA sonic signature in every by combining it with one capsule, while offering three DPA Reference Standard of three new preamplifiers, dpamicrophones.com/video where they share different choices of better Microphones you get: providing signal integrity, noise their experience. sounding, noise rejecting elimination, and even tighter state-of-the-art preamplifiers. • New electronics design specifications. The modular Reference – up to 120dB dynamic Standard Mic series not only range offers functional flexibility • Full modularity: three within the family of high- new preamps with end capsules but also a interchangeable capsules wider selection of capsules • Ultra-compact mics with at different price points and unrivalled cable mount for performance levels. all areas of installation The new modular 4000 series includes the state-of- • Improved rejection the-art DPA Microphones of radio frequency sonic signature in every interference capsule. Choices include • The best off-axis the legendary DPA omni, performance of any mic wide cardioid, cardioid, and • Zero colouration 16 PROMOTIONAL FEATURE
  • microphones 2011+ D PA M I C R O P H O N E S + + + + D PA M I C R O P H O N E S + + + + D PA M I C R O P H O N E S + + + + D PA M I C R O P H O N E S + + + + D P DPA Miniatures DPA Miniatures Key Since the 4060 Features miniature • atural, highly N microphone series detailed sound launched in 1996, • ide dynamic W the result of intensive range work with leading • ugged design R theatre sound • ompatible with C designers to fine- most wireless tune adapters and transmitters mounting cables, DPA miniature condenser mics have proved indispensable. Much loved in the theatre, where DPA has long quality. Its innovative design delivers a rich, DPA Headworn Mic they are widely used on West End, Broadway, set the standard smooth, and totally enveloping ambience and touring productions the world over, DPA Key Features for headworn to HDTV production, sports broadcasts, film miniatures have also found favour in broadcast • ic of choice M mics, being at the projects, etc. and for close-miking. DPA miniatures have a for theatres and forefront of this neutral character, combining great detail and broadcasters miking technique. About DPA Microphones resolution with a rounded sound and natural • Easy to adjust The acclaimed Drawing on more than five decades of response, and a range of adapters make them • Extremely stable DPA headbands world-class condenser microphone design, suitable for use with most professional wireless • atural, highly N are famous for DPA has manufactured ground-breaking systems. detailed sound staying put under products in its own name since 1998. DPA miniatures are available in different the most difficult • esistant to wear R The company employs 110 people and sensitivities and a range of colours for efficient conditions as well and tear, sweat is represented by professional audio concealment, as well as cardioid and omni- as their clear, and humidity distributors and dealers in more than 40 directional versions. Many accessories are natural sound. available, as are miniature miking kits in a neat Comfortable and countries worldwide. All DPA microphones carrying case, combining mics and accessories easy to wear, DPA headbands come in omni- and components are manufactured at for specific applications such as stereo recording, directional and cardioid versions, in a choice of the company’s purpose-built factory in instrument miking, electronic news gathering, colours, and for the left and right sides of the Denmark. and film. DPA’s miniature mic technology is face. Much R&D has gone into ensuring that also deployed in the BLM4060 Boundary Layer humidity and moisture won’t be a problem. This Microphone for boardrooms, conferences, is demonstrated night after night in theatres courtrooms, and anywhere that excellent vocal and broadcast studios across the world, as DPA pick-up is essential. headbands are put through their paces on the most rigorous performances and productions. DPA 5100 DPA 5100 Key Mobile Surround Features Microphone DPA offers various • lug-and-play P versatile solutions solution for surround miking. • ightweight and L The DPA 5100 portable mobile surround • ich, smooth, fully R microphone enveloping sound delivers channel • iscrete 5.1 D separation and analogue output, exhibits extremely no processing DPA Headworn Microphones low sensitivity needed CONTACT DETAILS DPA is proud to present the new single-ear to wind and DPA Microphones A/S headset microphone, d|FINE; the same tried and mechanical noise, Gydevang 42-44, DK-3450 Alleroed, Denmark true DPA condenser miniature capsule in a sleek low distortion, highly consistent low frequency, t +45 4814 2828 new housing with a newly designed single-ear and enormous dynamic range. This self- f +45 4814 2700 mount that wears like it’s not even there. It will contained plug-and-play solution is compact, w www.dpamicrophones.com be launched in September 2011. easy to use, and features DPA’s stunning sound e info@dpamicrophones.com THE INTERNATIONAL GUIDE TO MICROPHONES 2011 17
  • ++++PRISM SOUND++++PRISM SOUND++++PRISM SOUND++++PRISM SOUND++++PRISM SOUND++++P Maselec MMA-4XR Microphone Preamplifier Prism Sound has been supplying successful studio products for over twenty years and is renowned for designing specialised performance products built for the most discerning in the industry, where sophisticated and innovative technologies set them apart from the masses. This was the philosophy when Leif Mases set about the original design and applications, about designing his microphone preamplifier. such as the popularity of ribbon microphones. Leif’s rich audio history behind the console, This meant a complete input stage redesign, including work with Black Sabbath, Led Zeppelin, including a ten discrete transistor input, and Jeff Beck, gave him the practical frontline increased input impedance, and new amplifier experience needed to identify what he required design so that the 60dB gain range of the MMA- Famous for producing uncompromised audio when he decided to design the original MMA-4 4 was altered in the XR model to start at 9dB hardware, Prism Sound and Maselec are no mic preamp nearly ten years ago. It was a huge (instead of 0dB) and increase in 3dB increments strangers to the most demanding and revered success and was favoured by engineers needing to 69dB (instead of 60dB). recording, mixing and mastering studios, and a combination of great dynamic range and low All of this resulted in an improved sounding engineers around the world. The key feature and noise performance, as well as a preamp that and performing microphone preamplifier staying main attraction to all of their equipment is the would capture the sound of the microphone – a faithful to the design philosophy of the original transparent signal path. preamp that remained transparent and colour- Maselec MMA-4 pre. Throughout their product range Prism less at all gain values, something that was not Sound’s converters and Maselec analogue always available due to poorer transistor designs MMA-4XR Case Studies processors are designed to capture, process, in some of the other available tube-less mic pres. Youki Yamamoto and Matt Howe and reproduce analogue and digital audio The MMA-4XR design was a continuation Composer and Arranger Youki Yamamoto with clinical accuracy and faithfulness to the from the MMA-4’s success and also allowed has resided in the UK for the last 22 years original signal. The MMA-4XR microphone room for some improvements due to the partnering with Grammy award-winning preamp is no exception; the MMA-4XR is a four- availability and better performance provided Engineer Matt Howe. Based primarily at their channel minimalist microphone preamplifier by newer components and creative feedback studio in Pinewood Studios, both Youki and that has been designed to provide integrity and transparency. Consistent with this, each channel has controls for gain (69dB in 3dB steps), phase invert, cut (mute), and 48V phantom power. The phantom power circuit provides a higher- than usual level of current output – often a problem with inferior designs that can result in compromised microphone performance. Its output headroom extends to +28dBu, whilst the frequency response extends to more than 200kHz – well beyond the basic 20kHz audio band. The Theory When a microphone is chosen for a job, it seems logical to do it justice by providing adequate gain via the preamp without Youki Yamamoto and Matt Howe in their studio at Pinewood with their MMA-4XR mic pres colouring the sound. and Prism Sound ADA-8XR converter. 18 PROMOTIONAL FEATURE
  • microphones 2011PRISM SOUND++++PRISM SOUND++++PRISM SOUND++++PRISM SOUND++++PRISM SOUND++++PRISM Matt have worked on several this mic pre (ribbons are one of the hardest tests international film and TV for a mic pre). I am also a fan of detented pots, scores at various locations great for repeatable settings.” around the world. “We took MMA-4XR Mike Hedges mic pres with us everywhere Already a renowned and successful Producer last year – Teldex Studios in Mike Hedges has been praised for his recent Berlin, National Radio Hall work on the hugely successful classical album in Sofia, Abbey Road Studios The Priests, a project that took Mike and his in London, and Sony Music team from Northern Ireland to Vatican City to Studios in Tokyo. produce the fastest selling UK debut album for In the orchestra sessions a classical act. we used two MMA-4XR pres “Very rarely have I come across a piece of on all of what we considered equipment that is truly indispensable and I the important mics. This am so happy to have found these. Prism Sound included the conductor’s and Maselec have certainly delivered on their tree microphones, certain Steve Levine: Producer, and Maselec MMA-4XR and Prism Sound Orpheus user. promises with the MMA-4XR; it is only when section microphones, and solo PHOTOGRAPH: ROSIE LEVINE recording through mic amps of this quality that spots. During the mixdown, you can really appreciate the massive benefits we used fewer microphones decades, as well as composing a number of film and true beauty of audio transparency.” than we really recorded because the MMA-4XR scores. Still a very-much active producer and revealed the best characteristics of our principle contributor to the audio and music industry, Prism Sound and Maselec products can be microphones we had taken. These included some Levine can be credited with helping to define modern digital audio production. found in many studios around the world, vintage valve microphones and other modern day condenser mics. “Over the many years I’ve been a record often complementing one another within Matt has used the MMA-4XR for other music producer I have used some of the world’s a single system. This natural marriage is sessions, including Latin Percussion on a recent greatest studios and have regularly used Prism the inherent result of a passion from both Jazz album. The controls are very simple to use AD/DAs, but it’s only recently that I discovered companies to produce the highest quality and easy to read.” the MMA-4XR mic pre, and what a revelation! audio devices without compromise. This I have built up a nice collection of mics over synergy became official in the late 90s Steve Levine the years – every single one sounded better when Prism Sound and Maselec teamed up Multi-award winning Producer and Composer through this mic pre, especially the more esoteric to produce a range of analogue processors, Steve Levine has worked with many of the ones. I have just got the new Audio Technica ribbons and they sound so amazing through MEA-2 equalizer, MLA-2 compressor/limiter, renowned pop and punk acts over the past three and MMA-4XR mic pre, to complement the already-popular Prism Sound converters. CONTACT DETAILS Prism Media Products Ltd. The Old School, High Street Stretham, Cambridgeshire CB6 3LD, England w www.prismsound.com t +44 (0) 1353 648 888 f +44 (0) 1353 648 867 e sales@prismsound.com Mike Hedges with the Three Priests. THE INTERNATIONAL GUIDE TO MICROPHONES 2011 19
  • microphones 2011++++SE ELECTRONICS++++RUPERT NEVE DESIGNS++++SE ELECTRONICS++++RUPERT NEVE DESIGNS+ sE Electronics International RN17 Release Rupert Neve and sE Electronics tear up the manufacturing rule book again with the release of the sE RN17 pencil microphone sE RNR1 This is the world’s first pencil mic with a sE Electronics and Rupert Neve Designs first large scale, ultra high performance transformer collaborative product, the RNR1 Ribbon customed designed by Rupert Neve. This microphone, made history as the world’s first full combined with a newly developed 17mm capsule frequency response ribbon microphone, boasting from sE, which with a diaphragm diameter of almost flat performance from 20Hz-25KHz. This just 15mm is the worlds smallest mylar capsule revolutionary active ribbon microphone launched in production. The result is truly magnificent in 2008, incorporates discrete circuits and a performance, incredible high frequency definition, purpose designed transformer by Mr. Rupert Neve, smooth and natural bass extension and a with the capsule, chassis and manufacturing by sE combined package of absolute fidelity. Electronics. “…the U87’s sounded quite brash (by comparison). In contrast the RNR1 delivered a wonderfully warm and musically involving sound… the other invited guests included a number of producers and engineers, all of whom came to the same conclusion in terms of their masterly and enthusiastic I did.” Paul White, Sound On Sound, May commitment to innovation and quality that have 2009 also been my own hallmarks for more than 50 years." Siwei Zou of sE Electronics says: “I have, for many years, admired the work of Rupert Neve says: Mr Neve, and now that we have a chance to “Recent developments in the way that humans work together I am able to realise a quality perceive sound are demanding significant level in microphone technology that no other advances both in performance and the philosophy manufacturer to date has managed to achieve. of audio processing. That which was ‘good The excellence we have worked so hard to enough’ for light-hearted amusement fails to accomplish in production, design and capsule satisfy the thoughtful listener – in fact deficient technology at sE, coupled with the best sound quality has been shown to result in transformers this product area has ever seen, plus frustration, even anger. The experienced listener new cutting edge circuit board design, means is aware of incredibly small Sound Pressure Levels we are now able to produce high end mics, at that in many cases are beyond the conventional a fraction of the cost of other high end brand range of hearing.” models. This is a truly exciting time for sE. “I have worked for some time on the designs The mic ships with a cardioid capsule, in a solid for a new range of microphones ¬– the concepts oak presentation case, and with 4 metal cartridges of which are actually already being implemented which are provided ready to hold the optional in our own Rupert Neve Designs 5088 Console – cardioid with pad/cut, Omni, Hypercardiod and namely utilising Discrete Single-Sided Circuits and Figure of 8 capsules (which can be purchased my custom designed transformers." separately). The RN17 is also available as a “This new approach to analogue sound sE RN17 factory matched stereo pair, with all 5 capsules processing needs extreme care in its manufacture Following the success of the RNR1, the design also available as factory matched pairs. and meticulous alignment of the embedded teams at Rupert Neve Designs and sE Electronics discrete op-amps and the delicate microphone have come together to produce an incredibly high elements.” performance pencil condenser for instrument “This association with Siwei Zou and sE mic’ing, the RN17. Electronics will provide an ideal partnership 20 PROMOTIONAL FEATURE
  • CONTACT DETAILS CONTACT DETAILSUS Distributor These products are sE UKFingerprint Audio available as part of the sE Electronics International511 Flite Acres, Wimberley TX 78676 sE FREE LOAN Service 3 Hunting Gate, Hitchin, Herts SG4 0TJt 00 1 512-847-5696 For details please contact: t +44 (0) 845 500 2 500f 00 1 512-842-1380 t: 0 845 500 2 500 f +44 (0) 8442 459 159w http://fingerprintaudio.com w www.seelectronics.com e: sales@sonicdistribution.come information@fingerprintaudio.com e sales@seelectronics.com
  • ++++SENNHEISER++++SENNHEISER++++SENNHEISER++++SENNHEISER++++SENNHEISER++++SENNHEI Sennheiser – The Audio Specialists For more than sixty years, the name Sennheiser has been synonymous with state-of-the-art microphones. Bands, artists, live sound engineers, recording engineers and amateurs, broadcast professionals and film crews worldwide rely on Sennheiser microphones. History up a field in which the company was to excel 1987, Sennheiser was awarded the Scientific and Lab W in the future. In 1958, Lab W was renamed Engineering Award for the MKH 816 shotgun Sennheiser was founded in the summer of ‘Sennheiser electronic’, as the company had microphone, and an Emmy Award for pioneering 1945 as ‘Laboratorium Wennebostel’ or ‘Labor long since ceased being just a small laboratory. developments in RF wireless technology in W’ (Lab W) for short, named after the tiny 1996. In 1998, the evolution microphone village of Wennebostel. Founder Prof. Dr. Fritz Sennheiser series was launched, followed by evolution Sennheiser, at the time Deputy Head of the Innovations continued under the Sennheiser wireless in 1999, Sennheiser’s most successful Institute for Radio Frequency Engineering and brand name. The company developed RF wireless series to date. In 2000, Sennheiser Electroacoustics at Hanover Technical University, condenser microphones that operated according introduced the first studio microphone to fully turned the relocated university lab into a small to the RF principle, and the first professional utilise the wider frequency range of the new company and started manufacturing measuring condenser clip-on microphone, the MK 12. The digital audio formats, the MKH 800. 2002 saw devices. Two years later, he and his engineers world’s first open headphones were developed the glamorous combination of the SKM 5000 N unveiled their very first microphone design, the at Sennheiser (1968), and the company led the with a Neumann capsule. In 2007, Sennheiser MD 2 – and were soon to become experts in innovation for infrared sound transmission in the launched its new MKH 8000 Series. 2009 saw many fields of audio recording and reproduction. seventies. The launch of the radio microphone the launch of the wireless 2000 Series and of the Early product highlights included amplifiers, classic SKM 4031-TV in 1982 laid the third generation of evolution wireless systems. microphone transformers, magnetic miniature foundation for the success of Sennheiser wireless From 1988, the company had begun headphone capsules, and microphones such systems in the following years, and was followed founding its own sales subsidiaries to further as the MD 3 ‘invisible’ mic (1949), the MD 82 by the development of ever-smaller clip-on increase proximity to its customers. Today, shotgun microphone (1956), and Sennheiser’s microphones. 1993 saw the launch of another the Sennheiser network is comprised of first wireless microphone (1957), which opened radio microphone classic, the SKM 5000. In subsidiaries in France, Great Britain, Belgium, the Netherlands, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Canada, Mexico, and the USA, as well as long-term trading partners in many other countries. The Sennheiser Group has manufacturing plants in Germany, Ireland, and the USA. The late company founder Prof. Dr. Fritz Sennheiser and his son Prof. Dr. Jörg Sennheiser, Chairman of the Supervisory Board. (PHOTO: PETRA SCHRAMBÖHMER) 22 PROMOTIONAL FEATURE
  • microphones 2011ISER++++SENNHEISER++++SENNHEISER++++SENNHEISER++++SENNHEISER++++SENNHEISER++++SENN The Microphone Portfolio evolution Microphones Sennheiser has launched an 3000 and 5000 Series include such industry The evolution series of extraordinary studio standards as the SKM 5200-II handheld and SK microphones provides a microphone whose shock- 5212-II bodypack transmitters, as well as the complete microphone set- mounted capsule is based EM 3732-II twin receiver. As the entry line to up for vocals and the entire on that of the e 965. the professional segment, the 2000 Series offers backline. It comprises The affordable side-address Sennheiser’s renowned audio and RF quality at 600 Series instrument mic has a warm and direct a very attractive price point. microphones, 800 Series sound, ideal for vocals and For more than one million users worldwide, vocal microphones, and speech but also for guitars, evolution wireless is their no.1 choice for stage the top-of-the-range guitar amps, string, and wind and live use. Whether wireless instrument 900 Series of vocal and instruments, as well as drums transmitters or acclaimed vocal mics – this instrument mics, with and percussion. series contains wireless solutions for almost such acclaimed models every application. Great sound, quality as the e 935 dynamic MKH Microphones workmanship, and exciting extras for up- vocal mic and the e The choice for recording, and-coming bands, established performers, 965 large-diaphragm, broadcast, and filming presenters, musicians, reporting teams, and true condenser vocal specialists, Sennheiser’s MKH PA companies. evolution wireless is microphone. microphones are a sophisticated Sennheiser’s most successful RF wireless series. class of condenser microphones, Digital Microphones… The MD Range of Dynamic Microphones operating according to the RF …are a sound investment in the future of Sennheiser’s rugged, easy-to-use dynamic principle and using a unique symmetrical audio. Simply by adding a digital module, the microphones include all-time classics as the MD push-pull transducer. They offer an unchanging renowned MKH 8000 series can be turned into 21, MD 421, and MD 441, but also reporters’ acoustic impedance, extremely low distortion digital microphones. Perfectly matched to the microphones like the MD 42 and MD 46. figures, a higher capsule output with much MKH microphone heads, the MZD 8000 digital lower noise, and thus a very clear signal. module directly ‘translates’ the clear, warm, Permanently Polarised Condenser Microphones They are uniquely insensitive to unfavourable and responsive sound of the microphones Everything from professional subminiature climatic conditions, have a wide dynamic range into the digital world, avoiding the losses or clip-on microphones for use with Sennheiser’s and an excellent low frequency response even signal disruptions to which cables are prone. wireless technology to headset microphones with small capsules. Although their capsule is The microphones can be remotely controlled, and small camcorder microphones. Among grounded, they possess a genuine fully floating, allowing parameter settings such as the low- the classics are the legendary MKE 2 clip-on, balanced output without the need to use a cut filter and attenuation to be adjusted via and the K6 Series, where the user can tailor transformer. The line comprises the MKH 8020 a suitable mixing desk, a portable AES 42 the microphone to the recording situation by (omni), MKH 8040 (cardioid), MKH 8050 (super- interface, or a standard AES 42 interface adding microphone heads of varying directivity cardioid), the new MKH 8060 (short gun) and and a PC. to the basic power module. The portfolio also MKH 8070 (long gun), as well as the MKH 800 comprises the award-winning HSP 2 and HSP 4 Twin, a double-capsule microphone whose headset microphones, the MKE 400 camcorder pick-up pattern can be remotely microphone, and Sennheiser’s controlled at the mixing desk and smallest clip-on, the modified during post-production. MKE 1. The latest CONTACT DETAILS additions are the Wireless Microphone Systems Sennheiser electronic GmbH & Co. KG single-sided Earset 1 Thanks to the outstanding RF Am Labor 1, 30900 Wedemark, Germany and Earset 4 mics properties of Sennheiser’s t +49 (0) 5130 6000 for stage and wireless technology, sound f +49 (0) 5130 600 300 broadcast use. engineers were able to create e info@sennheiser.com systems with more than w www.sennheiser.com True Condenser 140 microphone channels Microphones The MKH 8000 Series can be used in operating simultaneously. A complete list of Sennheiser subsidiaries and With the new MK 4, analogue and digital environments, The top-of-the-range partners around the globe can be found at simply by exchanging a mic module. www.sennheiser.com. THE INTERNATIONAL GUIDE TO MICROPHONES 2011 23
  • ++++SCHOEPS++++SCHOEPS++++SCHOEPS++++SCHOEPS++++SCHOEPS++++SCHOEPS++++SCHOEPS++++ Quality & Innovation Schoeps is a name that brings visions of detail, technical superiority, pristine recordings, and a commitment to its customers that is second to none. What makes a company like Schoeps tick? Schoeps has until the CMT 200 and a balanced sonic character. Because of this, been innovating – the world’s first as well as being ideal for all of the traditional in the field of phantom powered shotgun applications, the CMIT 5 also finds microphones for microphone. Fast itself relied upon for critical music recording over sixty years. forward to 1973, and applications. It started out the launch of the in around 1948 Colette range Colette Series by serving the of microphones The Colette recording and PA and pre-amps – series has been markets. As well a modular system the flagship as a prototype that continues to modular tube microphone, be updated and microphone tape recorders augmented to range for were amongst the this day. Schoeps Schoeps for over early products. The SuperCMIT is a big step forward for the microphones 35 years, and By 1949 the first digital microphone – two capsules combine with are some of the the company DSP to create a super-shotgun. Schoeps condenser most respected continues to microphone came devices available to innovate and into existence – the CMV 50/2, with bayonet the professional audio engineer. add to the range. coupled capsules. In 1951, possibly the most Here are a few highlights... For example the iconic Schoeps, the CM 51/3 was released, its digital module, smaller dimensions made possible by a new SuperCMIT the CMD 2, has The Schoeps Colette MK 22. tube – the Telefunken EF 94. Schoeps tube The SuperCMIT redefined the directional made a big mics continued to improve and get smaller, microphone when it was launched in 2010, impact in the and is enjoying enormous success in all its digital microphone market. And there’s also the CM 51/3 applications. Unlike other digital microphones, MK 22 capsule with the new ‘Open Cardioid’ the SuperCMIT actually uses two capsules and polar pattern. Now there are more than 20 The CM 51/3 has DSP inside the unit. This enables a higher order capsule types and six amplifier types in the become one of the of directivity across a wider frequency range Colette range. most iconic images for than conventional shotguns without a change Schoeps microphones, in sound colour. The higher suppression of CCM Series and still plucks at the unwanted noise is highly desired in film and The CCM Series of heart strings of many documentary, sports and theatre. microphones is just as veteran audio pros. The SuperCMIT has been winning awards capable as the Colette range, The mic was introduced and accolades since its launch, including the but in this case it’s not a in 1951, after 7th Annual Cinema Audio Society Technical modular series. It appeals innovations in tube Achievement Award for Production. to customers who want design allowed Schoeps exceptional quality in a CMIT 5 U small size, making it ideal for to reduce the size of the The other shotgun in the Schoeps catalogue is intricate positions, surround body to an amazingly the all-analogue CMIT 5. Otherwise known as arrays, conference pick-up, slim 35mm in diameter ‘The Blue’, this mic has become well known for and so on. and 240mm in length. an incredibly smooth-sounding directionality 24 PROMOTIONAL FEATURE
  • microphones 2011+SCHOEPS++++SCHOEPS++++SCHOEPS++++SCHOEPS++++SCHOEPS++++SCHOEPS++++SCHOEPS++++SCH The Schoeps Secret Its reputation for quality, reliability, and service has been hard-won over sixty years, and Schoeps is not about to relax its commitment to its customers any time soon. Dr. Helmut Wittek, Managing Director (Engineering), is well-placed to explain the Schoeps outlook... For example, for surround sound we offer a product, and since then it has been accepted number of different solutions, and we advise by the market much more readily than even people on what to use in which application. we had expected. It could be that there will We do the same with digital mics; we offer be more of this technology in the future. both digital and analogue microphones and We are also now a partner in the Ravenna so we can make an informed and neutral project – a joint development project for recommendation on the best solution for an an IP-based audio and media distribution application. This is a good way of selling mics centred around ALC Networx. We are and has always been a part of the Schoeps amongst the first partners in that project and philosophy and its reputation. we are researching a networked microphone Helmut Wittek in action with the SuperCMIT. that could be a future standard. We are Q: Where do you see product and technology also heavily involved in the development of Q: What drives Schoeps and informs development going at Schoeps in the future? suitable microphone setups for multichannel its approach to products – what is the Wittek: The strengths of Schoeps have formats. My background includes work on philosophy behind Schoeps designs? always been in innovation, and that we are wave field synthesis and stereophony, so we Wittek: My colleagues and I, and also my eager to realise new ideas in the company. are developing stereo, surround sound, and predecessor, have always been very close For example, there have been a number Auro3D techniques here at Schoeps and to our users, and very close to their ideas of new surround sound techniques and we will be the right partner when it comes and experiences. We are not dictated to solutions, the open cardioid, the SuperCMIT to realising these techniques in a practical by shareholders, and this can be seen in and a bunch of new mechanical accessories. recording. Often new products evolve from our broader product philosophy. We want We will continue to work on new ideas, and custom built products which we realise to realise a perfect sound in the perfect bring them to the market when possible. also in smaller numbers. We are very flexible recording. We don’t want to simply sell as The SuperCMIT is a good example – signal in that regard – we can be very close to much as we can – we want to sell quality; processing inside a microphone hadn’t been and react to what is needed in our we want to sell the correct tools for the job. used in that way until we developed that customers’ applications. Stereo Recording Schoeps has a large selection of microphones and accessories for M/S, X/Y, Blumlein, ORTF, and A/B stereo recording, which allows the user to find the right setup for any stereo Multi-Channel Arrays recording situation. Its M/S Schoeps offers a wide selection of solutions are particularly CONTACT DETAILS practical multi-channel arrays and respected, as are its stereo Schalltechnik Dr.-Ing. Schoeps GmbH arrangements for the professional microphones such as Spitalstr. 20, 76227 Karlsruhe, Germany recordist including the Double M/S, the MSTC 64 U for ORFT t +49 721 94 32 00 ORTF Surround, IRT Cross, and recording or the CMXY 4V w www.schoeps.de OCT Surround systems. Due to this for X/Y. The recently e mailbox@schoeps.de large variety, any application can introduced stereo sets are be optimally targeted. The Schoeps particularly successful. US: Redding Audio, LLC engineers share their experience Schoeps stereo setups are w www.reddingaudio.com Schoeps is committed to and competence for any music, film, a standard in music, film, a comprehensive range of documentary, sports, ambience, or and sports recording. multi-channel arrays for UK: ioCo Limited live application and help to find the every eventuality. w www.ioco.ltd.uk proper setup. THE INTERNATIONAL GUIDE TO MICROPHONES 2011 25
  • ++++SHURE++++SHURE++++SHURE++++SHURE++++SHURE++++SHURE++++SHURE++++SHURE++++SHUR Shure is Focused on the Future Throughout history, the success and reputation of the Shure brand has been defined by our continued commitment to quality, and it shows in every Shure product. However, it is a never-ending challenge to stay ahead of the curve. Therefore our research and development efforts never end. In our role as industry leader, partnering and provide you with more choices, For Studio & Premium Live Performance – KSM with other important industry voices. Our creative freedom, and unsurpassed quality Shure KSM microphones deliver world-class collective and constant efforts helped make in sound reproduction. mastery of sound reproduction from exquisite the government aware of how proposed electro-acoustical design and technology. legislation would negatively impact countless Microphones Crafted from premium components, each microphone users. The importance of wireless For Broadcast – VP KSM microphone is designed to capture and microphones and the need to protect users A new range of microphones for broadcast and control the detailed sonic nuance of critical was acknowledged, resulting in the allocation portable production applications was launched studio performance, while withstanding the of Channel 38 frequency band in June. The VP68 omni-directional punishment of the most accomplished and for wireless microphones. condenser capsule features demanding live sound reinforcement. We have introduced Shure quality audio, a robust The latest introductions to the KSM breakthrough products design, and can be used with range include the KSM42, a premium side- – unavailable anywhere all Shure wireless handheld address, cardioid condenser microphone, and else on the planet – that microphones. It is ideal for the KSM44A, a premium, large-diaphragm, protect users from RF interview and broadcast side-address condenser microphone with interference, which are applications. multiple polar pattern options. The KSM44A as reliable and easy The VP89 is a features Prethos™ Advanced Preamplifier to use as any audio premium shotgun Technology for a ground-breaking low level product made by Shure. microphone. Its sound is of self-noise. We have already launched neutral and precise, its off- 2012 DSO (Digital Switch axis rejection unmatched, For Demanding Environments – Beta Over)-compliant wireless and a recessed low cut filter Consistently excellent performance has made products that are available delivers additional control. Beta the choice of top performers worldwide. to use now and beyond 2012 It is available in three modular Renowned for their warmth, presence, and in Channel 38 frequency lengths (S, M, L) offering sensitivity to fine detail, Beta cartridge bands. Plus, in June 2011 maximum flexibility for all configurations and carefully tailored response we introduced a new range broadcast environments curves are as distinctive as the artists who prefer of premium broadcast and including TV, field recording, them. All models feature maximum isolation and production microphones theatre, and sport events. minimum off-axis colouration. and audio products. Also new is the VP82 short The most recent additions to the Shure Shure will continue to shotgun, an economical Beta microphone range include a number of keep focused on the future choice for a compact, drum and instrument microphones. The Beta while honouring the legendary lightweight small footprint 181 features interchangeable capsules with performance promises of our microphone that delivers a different polar patterns for a truly diverse and past, introducing innovative natural off-axis rejection. multi-purpose instrument microphone. products that set new The Beta 98AMP/C drum microphone combines standards for the audio industry an integrated preamplifier with a miniature 26 PROMOTIONAL FEATURE
  • microphones 2011RE++++SHURE++++SHURE++++SHURE++++SHURE++++SHURE++++SHURE++++SHURE++++SHURE++++SH with cables and ULX – Full Featured UHF Choices for accessories, so they Experienced Engineers and Professional easily fit into the Installations beginner’s budget. Shure ULX wireless systems deliver outstanding New models in this performance for working musicians and range include the professional sound system installers. ULX is an PG27 multi-purpose excellent choice for larger performing groups, microphone, and the meeting facilities, and houses of worship; and PG42 vocal microphone is available in a DSO 2012 compatible version (both available in USB (K2E). Shure Predictive Diversity constantly and XLR versions). monitors RF signal strength and silently switches antennas when it appears likely that a dropout Wireless Systems will occur. Automatic Frequency Selection makes All Shure wireless it easy to find an open frequency or lockable systems are shipping in frequency, and volume adjustments prevent Channel 38 versions for tampering once the system has been set; half- use now and beyond the wave antennas that can be remote-mounted are 2012 DSO. standard equipment; and the receiver provides in-line power for antenna amplifiers. Axient – Zero Tolerance for Failure SLX – UHF Out-of-the-Box Wireless Solution Axient Wireless for Sound Installers and Working Bands microphone system Shure SLX Series wireless systems are designed cardioid condenser capsule to provide a defines a new standard in audio and RF for working bands and sound system installers, smooth, natural tailored response for drums and performance, it is also the first wireless system available in a version (K3E) that covers Channel percussion. It has a flexible gooseneck and the that not only detects interference but will 38. Useful features like Automatic Frequency A75M universal microphone mount for accurate automatically change frequencies, undetected Selection and Infrared Auto Transmitter Setup and secure positioning in any configuration. by the user, to avoid interference. make setup quick and easy, and Shure’s Also new is the Beta 91A, which is optimised With the Axient™ Wireless Management patented Audio Reference Companding delivers for kick drums, as well as traditional low end Network, Shure introduces a dramatic new sound that matches a wired microphone. applications including piano. threshold of control and confidence in RF applications with zero tolerance for failure. PGX – Simple Powerful Systems For Legendary Performance – SM The foundation of the Axient system is a suite of for Reliable Performance, The renowned sound and construction of the inter-related spectrum management tools that the Superior Entry into Agile Wireless SM Microphone line has remained the metric integrate spectrum analysis, channel allocation, Shure PGX wireless systems offer Automatic by which all other microphone performance and device management in a seamless, network- Frequency Selection and Infrared Auto has been judged, setting standards for based platform. Transmitter Setup ensure quick and easy setup, ruggedness, reduced handling noise, and while microprocessor-controlled diversity and improved gain-before-feedback. In live UHF-R – Premier Wireless for the Largest, Audio Reference Companding deliver great performance and recording applications, Most Demanding Applications sound and reliable performance. PGX systems SM Microphones are legendary – virtually Shure UHF-R Wireless Microphone Systems are available in a Channel 38 version (K5E) indestructible professional utility. deliver uncompromising Shure sound, and are with the most popular Shure handheld, lavalier, The SM58 and SM57 – the #1 and #2 the premium choice for the most demanding headworn, and instrument microphones, bestselling microphones worldwide for decades music, theatre, and broadcast applications. providing a stage-ready option for almost – possess a consistency and familiarity that takes The latest frequency band (K4E) covers Channel any application. The popular Beta 87 is now some of the guesswork out of setting up an 38 in line with the latest developments in UK available on PGX for the first time. unfamiliar sound system in an unfamiliar venue. spectrum regulation. The entire system can be networked together via USB or Ethernet For Entry to Shure Quality – Performance Gear connections with Wireless Workbench software Performance Gear Series microphones are providing full monitoring and set-up features designed to give access to Shure professional CONTACT DETAILS for all parameters. The all-metal handheld and Shure Distribution UK quality for artists and musicians on a more bodypack transmitters have switchable RF Unit 2,The I.O Centre, Lea Road, modest budget. Models include a complete set output power and a backlit LCD display. Waltham Abbey, EN9 1AS, UK of vocal, instrument, and drum microphones. Shure’s breakthrough Audio Reference t +44 (0) 1992 703058 Ideal for everyday use and practice, they share Companding delivers crystal-clear sound that f +44 (0) 1992 703057 many of the performance and construction matches a hard-wired microphone. w www.shure.co.uk details of other legendary Shure microphones. Performance Gear microphones come complete e info@shuredistribution.co.uk THE INTERNATIONAL GUIDE TO MICROPHONES 2011 27
  • Microphone Manufacturers DirectoryADK MICROPHONES BEIJING 797 AUDIO DPA MICROPHONES JOEMEEK MILAB MICROPHONESwww.adkmicrophones.com www.797audio.com www.dpamicrophones.com www.joemeek.com www.milabmic.com+1 503 296 9400 +86 10 5978 9246 +45 4814 2828 +1 877 563 6335 +46 0 42 38 16 20AEA MICROPHONES BERLINER AUDIO EARTHWORKS AUDIO JOSEPHSON ENGINEERING MOJAVE AUDIOwww.wesdooley.com www.berlineraudio.com www.earthworksaudio.com www.josephson.com www.mojaveaudio.com+1 626 798 9128 +1 888 642 8447 +1 603 654 6427 +1 831 420 0888 +1 818 847 0222AEVOX AUDIO BEYERDYNAMIC ELATION JZ MICROPHONES MXL MICROPHONESwww.aevox.be www.beyerdynamic.com www.elation-mics.com www.jzmic.com www.mxlmics.com+32 473 34 38 80 +49 7131 6170 +371 298 39708 +1 310 333 0606 ELECTROVOICEAKG BLUE MICROPHONES www.electrovoice.com KATAMOUNT ENTERPRISES NADY SYSTEMS INCwww.akg.com www.bluemic.com +49 9421 706-0 www.katamount.com www.nady.com+43 1 866540 +1 818 879 5200 +1 (416) 259-3527 +1 510 652 2411 FOSTEX INTERNATIONALAMBIENT RECORDING BOCK AUDIO DESIGNS www.fostex.com LAUTEN AUDIO NEUMANNwww.ambientaudio.com www.bockaudiodesigns.com +81 42546 4974 www.lautenaudio.com www.neumann.com+49 0 89 360 55 100 +1 702 365-5155 +1 877 721 7018 +49 30 41 77 240 GROOVE TUBESAMG ELECTRONICS BRAUNER MICROPHONES www.groovetubes.com LAWSON MICROPHONES OKTAVAwww.c-ducer.com www.brauner-microphones.com +1 480 596 9690 www.lawsonmicrophones.com www.oktava-online.com+44 0 1428 658775 +49 (0)2851 588 98 68 +1 877 438 2642 +7 0872 362 359 HHB COMMUNICATIONSAMT CAD MICROPHONES www.hhb.co.uk LINE 6 PEARL MICROPHONESwww.appliedmic.com www.cadmics.com +44 (0)20 8962 5000 www.line6.com www.pearl.se+1 908 665 2727 +1 440 349 4900 +44 (0) 1327 302 700 +46 42 588 10 HEBDEN SOUNDAUDIO LTD CASCADE MICROPHONES www.hebdensound.com MANLEY LABORATORIES PEAVEYwww.audioltd.com www.cascademicrophones.com +44 (0)114 201 3687 www.manleylabs.com www.peavey.com+44 0 1494 511711 +1 360 867 1799 +1 909 627 4256 +44 0 1536 461234 HEIL SOUNDAUDIO TECHNICA CHAMELEON LABS www.heilsound.com M-AUDIO PELUSO MICROPHONE LABwww.audio-technica.com www.chameleonlabs.com +1 618 257 3000 www.m-audio.com www.pelusomicrophonelab.com+44 (0) 113 277 1441 +1 206 264 7602 +1 626 633 9050 +1 540 789 4100 HOLOPHONEAUDIX CHARTEROAK ACOUSTICS www.holophone.com MBHO PRISM SOUNDwww.audixusa.com www.charteroakacoustics.com +1 416 362 7790 www.mbho.de www.prismsound.com+1 503 682 6933 +1 860 698 9794 +49 6261 7970 +44 0 1353 648888 HORCH AUDIOAVLEX CLOUD MICROPHONES www.horchaudio.de MERCENARY AUDIO RICSONIXwww.avlex.com www.cloudmicrophones.com +49 81242 53980 www.mercenary.com www.ricsonix.com+1 816 581 9103 +1 973 728 242 +1 508 543 0069 ISK MICROPHONES RODE MICROPHONESAZDEN CORPORATION COLES ELECTROACOUSTICS www.iskmic.com MICROTECH GEFELL www.rodemic.comwww.azdencorp.com www.coleselectroacoustics.com +44 (0)1342 841 637 www.microtechgefell.de +61 2 9648 5855+1.516.328.7500 +44 (0) 1992 4466 685 +49 0 36649 8820 JJLABS ROXDONBEHRINGER COUNTRYMAN ASSOCIATES www.jjlabs.se MICW www.wilddistribution.comwww.behringer.com www.countryman.com +46 8 410 510 88 www.mic-w.com+49 2154 9206 0 +1 650 364 9988 +86 10 5128 511828 MICROPHONE MANUFACTURERS DIRECTORY
  • microphones 2011 ROYER LABS SD SYSTEMS SOUNDFIELD T.H.E WUNDER AUDIO www.royerlabs.com www.sdsystems.com www.soundfield.com www.theaudio.com www.wunderaudio.com +1 818 847 0121 +31 20 692 6413 +44 0 1924 201089 +1 860 821 5414 +1 512 338 6777 SOUNDKING TRAM LAVALIERS SE ELECTRONICS www.soundking.com www.tram-usa.com XXL INSIDE SAGE ELECTRONICS www.seelectronics.com +86 574 8823 5195 www.xxlinside.com www.sageelectronics.com +44 0 1582 470269 TRANTEC +39 02 9822 1244 +1 613 228 0449 SOUNDMAN www.trantec.co.uk SENNHEISER www.soundman.de +44 0 208 330 3111 ZAXCOM SAMSON www.sennheiser.co.uk +49 0 30 28 59 81 16 www.zaxcom.com www.samsontech.com +49 5130 6000 TRINNOV AUDIO +1 973 835 5000 +1 631 784 2200 STUDIO PROJECTS www.trinnov.com SHURE www.studioprojectsusa.com +33 0 147 066137 SANKEN MICROPHONES www.shure.com +1 310 323 9050 www.sanken-mic.com +1 847 600 2000 VIOLET DESIGN +81 03 3392 6581 SYMPHOTEC www.violet-design.com SONTRONICS www.symphotec.de +372 645 5007 SCHERTLER www.sontronics.com +49 0 2623 929 5880 www.schertler.com +44 0 1202 236862 VOICE TECHNOLOGIES +41 0 91 630 0710 TELEFUNKEN www.voicetechnologies.net SONY www.telefunken.com +41 44 432 32 30 SCHOEPS www.sonybiz.net +1 860 882 5919 www.schoeps.de +1 608 256 3133 +49 0 721 943 200 THE Buyer’s Guides for Professional Audio A you need to know for Mon tors, M crophones, Recorders, Conso es and L ve Sound. A ava ab e to down oad as PDF s from our webs te AUDIO MED A THE NTERNAT ONAL AUDIO MED A THE NTERNAT ONAL AUDIO MED A THE NTERNAT ONAL AUDIO MED A THE NTERNAT ONAL BUYER S GU DE BUYER S GU DE BUYER S GU DE BUYER S GU DE DAWS MON TOR NG & M CROPHONES RECORDERS 2011 HEADPHONES 2011 2011 2011 AUD O AUD O AUD O AUD O + + + FOSTEX + + + + FOSTEX+ + FOSTEX+ + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + Professional Audio Recording For Film, Music, And Broadcast AUDIO MED A THE NTERNAT ONAL AUDIO MED A THE NTERNAT ONAL AUDIO MED A THE NTERNAT ONAL BUYER S GU DE BUYER S GU DE When it comes to professional audio BUYER S GU DE recorders for the audio, movie, and industries, no-one can match Fostex’s understanding of the tasks at hand. broadcast pedigree, product line up, and its unique W G W recorder isn’t just the best PD recorder ever, it’s simply the best professional location recorder available today. AUDIO Digital Mixing And 8-Track Recording Following Fostex’s philosophy of m LIVE SOUND ‘real knobs and buttons are better’, H LIVE SOUND recording, mixing, and routing is an intuitive experience. No multiple button pushes and complex menus to change a level, just turn a knob. Yet don’t confuse +++ + FOS TEX CONSOLES PD606 DVD/HD Location Recorder: TEX + + + battery life, loads of ‘instant access’ ease of use with a lack of features, Audio Aquisition That’s As Versatile as + + + + FOS APPLICATION As knobs, buttons, and switches, plus the PD606 offers a multitude of mixing You Are. a + FOS TEX whole battery of interface options. options and recording sophistication: TECHNOLOGY TEX + + + Designed from the ground up to excel But impressive features are flexible 8-track simultaneous recording + + + + FOS in ‘real-world’ applications, wherever via AES/EBU (six channels when using Nearfield only part of the script. Fostex’s you happen to be in the world. unrivalled pedigree in designing and the analogue XLR inputs), full 8-channel Choosing The PD606 8-track location recorder y 2011 manufacturing world class location analogue outputs, and the ability uld Be Eas offers spectacular audio quality, fl to exible recorders for over 16 years, and our digitally store monitor mix settings. 2010 – 2011 Monitors Sho to do. The job of monitoring. recording to 12cm DVD-RAM, hard disk, unique understanding of the broadcast, 2011 or a combination of both, rock solid timecode implementation, extended film, TV, and audio acquisition environments means that the PD606 FR2-LE CF-Based Field Recorder M one job altering PD606 On Location With James Bond M+ only have in any way TAS CA After all, they shing, not +++++ cing, not dimini Chris Munro recently used the PD606 on the new James Bond film. Quantum CA M+ + Not enhan is Chris’s fifth Bond movie, having of Solace worked on Casino Royale (for which material. + + TAS BAFTA), Tomorrow Never Dies, The he was awarded a s no complete CA M+ + the source World Is Not Enough and Die Another PM0.4 now Day. pact PM0.4 s ranging Fostex researched the entire production ultra-com The PM-serie + + TAS process, and gathered extensive of the reputed user PM-2 MkII PM-2 has is naturally CA M+ + comments when designing the PD606. rooms, the the lineup size. PM0.4 The machine now takes full size larger rooms, 8” woofer ze. ality? superb DVD discs for Created for of bi-amped power from 4” to use but its + + TAS greater recording time, and has been al audio (240 watts nded for desktop ise On Qu redesigned for simpler operation. M+ + Chris explained, r exception the power and, most recomme physical “Despite what the name suggests, Here is a compact audio recorder good sophistication nce in compact + TAS CA nal the PD606 is jaw-dropping actually) and ity to handle the audio performa applications to professio strives to prom effectively an 8-track machine. Whilst the versatil versatility +++ designed from the ground-up to meet + PS ns. its it has six e. Fostex importantly, rding applicatio unit size expands g, audio Why Com inputs, there are also two mix tracks and exceed the needs of professionals g systems g recording y studio monitorin +++ available. availabl io monitorin most demandin 200mm low frequenc low console top as portable In the same way that the PD6 was design-based on , in the field. It records to CompactFlash unique with a nt right n, as well 192k, 192k ience your and transp transpare + P SI the DV40, the PD606 is design-basedup to Equipped installatio at on in BWF at 24-bit 96kHz quality, is d through g natural at high g. ty recording varying numbers and remainin trum, even , audio monitorin +++ ,m elopment, endless audio spectrum for an 8-track machine. What’s more, across the PM-2 is great high quali its of tracks portability equipped with two professional levels, the Whether and trackcan be recorded throughout a single d + P SI of MP3, ha phantom powered XLR microphones, real-world listeningsound pressure c. PM0.5-Su b MkII use wit with the PM0.5 d recording heavy musi , TASCAM will. ideally for +++ configuration can be changed at and is s have achieved today’s bass PM0.5- Designed 200mm driver compresse onlysyncing to code required, it doesn’t I eautiful second MkII, the 110watt, y romise P SI two or four tracks are low frequenc or the type precise, lo recording, a real space and timeno comp +++ PM-1 MkII deep bass With bonus for editors.” reputa and offering Sub produces solution.dent in made a AUD O AUD O AUD O proportioned s: and an excellent Serie supreme singles reproduction gain recording so important to have a has I was confi on Fostex’s + Perfectly sound that (just a single + P SI second ‘pre-record’ buffer, meaning Capitalising AM and speaker nsparent PM-1 is capable output. Easy to set-up the quality TASC of clear-tra reverse switch), . there should never be a missed take +++ e of acoustics g speaker, the mely high phase re + + + KLE IN itorin g a brighter, y price and dable price out a great control and PM0.5s and or knowledg g extremel away from home.”.” and now offering of producin of a pair of + HUM MEL are affor lost soundbite. engineering, ly across the ty at an 10 + P SI studio monitors SPLs accurate combination superb sonic superb quality Mon for quali . With 120 b provides commended for +++ +++ full audio spectrum PM0.5-Su Recommended e price. Re m FOSTEX power a and ctive watts of bi-amped at’s full and at an affordabl m +++ + P SI a bass response th use with PM0.4. on A is prou m high- ts and a crisp om, church city , or Audio Media of two new produc to be dynamic, with vitality, + P SI ion is end that sparkles the type of om, M recisi a classro n live within , and has the simpli the additio ur vis +++ line for r delivers ete the rs. 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After a large ory, in Septem ber subsonic controller unit The company’s R the e accu l, space em. offer compatibi e in monitor years Although live of most affordable area will tool with consumer and a rhythm vintage live decoding offers ing CPR market. shoots and details of that in the process laborat capsule to stereo, M/S, also their most products are erat to the h mor working cost and ng syst replay systems, lity “Progress built on tradition” design (see with video y nt jobs in its ced its latest ced the with a large B-Format (which and SoundField portable. Like gen nks muc r t ifican ew mon itori acoustical and flexible We believe importa microphone capsule all SoundField erio and has been box-out), designed the most The Garnet systems, the Tha controls (consisting it will happil ng, tion, and 2005 Violet announ logy. We introdu is a tube into any existing can be further decoded ST350 generates a sup ce sign in a new level, low ing of output fine-tuned through in mind, M music recordi and inspira these. ite The Garnet gm capsule. The VD47 B-Format and SoundField introdu sting cut, a parametri extensive computer concerts TASCA passion way of diaphra gm techno compos -made audio format or future multi-chann consists of a multi-capsul ic equaliser, c simulation things are gold-aluminum dual diaphra with tube and custom el microphone and n inve nt of an eight-posi and countless s and get in the gm if required). The e whe tion phase listening tests. should hones, we new mixed l, layered diaphra ss, ation may be output stereo signal an associated eme , and control) control) allow The three- nothing of microp thickne in combin directly from unit. However, processor cts mov ing coil for seamless way design 22 ideology coating materia coating the analogue the DSF-2 in in this system, dete e mov tion system integ integration ration. Built-in makes system extremely this loudspeaker So in our points: and variable sound or digital domain about half the the mic is AOI em the reac ously volume control . three simple sputtering, rency, better panel XLRs or via rear- size and weight AOI syst e and g counter continu and a hardw hardware precise and trust in sound good transpa AES/75Ω BNC SoundField mics, of other The bran sing is control allows are remote revealing of detail, thereby It must adding respectively, while connectors can be powered and the decoder/proc essor mem them usin rate for centralise d system system the mixing enabling look nice e the M/S and B-Format from the mains the s ping control independe engineer to O 300, Compact It must as possibl signals are output This makes the or batteries. proc esse dam nt of the source, judgments make critical 3-way active be as simple digital B-Format digitally. From here, the ST350 ideal for ing. The the electronic s can be remote and with supreme monitor It must VIOLET The SoundField d DSF-2 in use signals may be the field: Sound use in filter remote located confidence. capturing the decoded to Designer Wayne reduce cabling. Finally, to ambience on 5.1 surround (pictured above Pashley Centre Court C by SoundField’s electronic there is integrated re Exact Localisati broadcast during for a BBC HD Surround Processor, DSF-3 Digital right) recently limiter for on And Extraordin Superb Sonic ing the 2008 Wi mic of choice made it his amplifier, mplifi driver Sense Of Space Qualities Wimbledon Tennis or by the company’s whilst travelling M protection ary The three Championship Surround Zone reaches of the around the far M, A14- , low heat magnetica s decoding software outback capturing dissipation A dense, low-reson lly shielded plug-in, M, A17- amplifiers, anc drivers use Austral M, A21- A25- -M, e. A225 rang itors io mon Aud PSI Full THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 29
  • + + + + MICROPHONE BASICS + + + + MICROPHONE BASICS+ + + + MICROPHONE BASICS+ + + + MICROPHONE BASICS+ + + + Microphone Basics The foundation of good microphone practice is technical knowledge. Blažo Guzina provides a run-down of the basics for anybody just getting to grips with the wibbly bits... M icrophones have different diaphragm (very thin foil) and a fixed metal response, is a chart that graphically represents overall physical and electrical plate (back electrode). microphone sensitivity with respect to the characteristics and are classifiable These two electrodes make up a condenser direction of soundwaves arriving at its into three main groups, based on the physical (capacitor) charged by an externally applied membrane. principle of converting sound into an electrical voltage (polarization voltage) or carrying its A chart is usually plotted in the form of signal: electrodynamic coil, electrodynamic own permanent electrical charge, as with an a 360° polar diagram, with the on-axis 0° ribbon, and electrostatic (or condenser) electret microphone. direction clearly marked. It is possible to classify microphones. When soundwaves vibrate the diaphragm, microphones into two main groups, based on the capacitance of the condenser changes their directional characteristics: non-directional Dynamic Microphone simultaneously, thus producing an output and directional microphones. The electrodynamic moving-coil microphone has voltage that varies with the intensity and In principle, a non-directional microphone is a coil of finely wrapped wire precisely suspended frequency of the sound. a pressure-operated electroacoustic transducer. between the poles of a magnet and attached to Condenser microphones usually have a Its response to acoustic sound pressure is a diaphragm. Soundwaves drive the diaphragm, flat frequency response, high sensitivity and omnidirectional, meaning that the diaphragm which vibrates in a high-level magnetic field. good ability to follow sudden, percussive sound reacts equally to all soundwaves arriving at its In the coil, this movement induces a voltage, events immediately. This is described as good surface, regardless of their direction. which corresponds to the sound pressure. transient response. A typical example of a directional Dynamic microphones are very rugged Condenser microphones require an microphone is a pressure-gradient transducer. and handle high sound pressures without impedance converter in the form of a This type has a bidirectional (or figure-of-eight) overloading. They are reliable and virtually never preamplifier to match the very high output polar diagram. This means the microphone distort the sound signal. They are insensitive impedance to low impedance microphone reacts to differences in pressure between the to extreme heat, cold, and high air humidity. inputs. This amplifier fits within the body of two sides of a diaphragm. Dynamic microphones can usually withstand the microphone in order to prevent hum, noise Ribbon microphones are the most common extreme environmental conditions such as pickup and the losses of the signal level due type with a bidirectional polar response. temperatures from -25°C to +70°C. to the length of the circuit from the diaphragm A metal ribbon diaphragm is equally sensitive to the amplifier. to soundwaves arriving from front and rear Ribbon Microphone axes. The electrodynamic ribbon mic has a thin Phantom Power All other known directional patterns metal foil in the form of a corrugated ribbon Condenser microphones need a DC supply are obtainable as a result of a combination suspended in a magnetic field. Sound pressure voltage. Except for battery operated of the aforementioned two main polar pattern variations displace the diaphragm, in which microphones, the voltage usually comes types. The number of variations is practically an electrical current is induced depending on through the microphone cable. The positive (+) unlimited. the amplitude and frequency of sound. side of a DC voltage connects to both signal When the outputs of an omnidirectional Due to the short length of the ribbon compared wires of (pressure) and bidirectional (pressure-gradient) to the moving coil, its output electrical a balanced line and the negative (ñ) side to pickup pattern are combined, the best known impedance is less than 1 Ω. This resistance is the cable screen. resulting polar responses that are obtainable too low to directly connect to the microphone An exception is the electret condenser are cardioid, supercardioid, and hypercardioid. input of a mixing desk or recorder, so a step-up microphone. This type of microphone has the Their common name is unidirectional transformer is needed to increase the impedance polarizing charge stored permanently within microphones. up to the 150Ω to 600Ω range. the diaphragm or on the backplate. No external A unidirectional microphone is most Due to constructional improvements, power is required to charge the diaphragm. sensitive to soundwaves arriving from one modern ribbon mics are suitable for outdoor and direction, in front of the microphone, but handheld use. They are prized for their warm, Polar Patterns softens sounds from the sides or rear. smooth, yet delicate sound quality. Apart from the basic differences in the physical The cardioid microphone is sensitive to principle of operation, the main factor that sounds from a broad angle in front of the Condenser Microphone influences the choice of a microphone is its microphone. Generally, it is about 6dB less The electrostatic (condenser) microphone uses polar pattern. sensitive at the sides, at 90° and 270°, and 15 a transducer element consisting of a vibrating Polar pattern, also known also as polar to 25dB less sensitive to the rear. 30 MICROPHONE BASICS
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  • www.neumann.com KM 184 DKMS 105 D TLM 103 D TLM 102 BCM 705digital g analog og U 87Distribution in UK: Sennheiser UK Ltd. · 3 Century Point · High Wycombe · Buckinghamshire · HP12 3SL, Great Britain · Tel: 01494 551 551 · E-Mail: info@sennheiser.co.uk