AKG establishes Perception 820 Tube as flagship mic

From the AKG website:

• Two back-to-back one-inch large diaphragms featuring True Condenser Technology


• 
  An ECC 83 dual-triode tube circuitry emphasizes even-order harmonics for rich, smooth and three-dimensional sound


• 
  The elegant remote control unit allows selection of 9 different pickup patterns from omnidirectional to cardioid to figure 8


• 
  The switchable bass cut filter (80 Hz, 12 dB/oct) reduces unwanted rumble or footfall noise


• 
  A 20 dB attenuation pad enables for high SPL applications up to 155 dB


• 
  Brush-finished, anodized Aluminium front plate and all-metal housing for maximum shielding


• 
  A ground lift switch prevents unwanted hum if necessary


• 
  Designed and engineered in Vienna, Austria

In 2005 AKG has launched the very first Perception models – a completely new series of microphones showing legendary AKG Sound & Quality at an outstanding price level.
The brand-new Perception 820 Tube delivers real tube sound quality. It is not only the new flagship model of the Perception Series but also raises the bar in its class of affordable tube microphones.

In contrast to many other affordable tube microphones, the Perception 820 Tube delivers real tube sound quality thanks to the dual one-inch large diaphragm capsule and the sophisticated ECC 83 dual-triode circuitry.

The elegant remote control unit allows selection of 9 different pickup patterns and controls the switchable bass-cut filter and the attenuation pad. Moreover, a ground lift switch prevents unwanted hum if necessary. It comes complete with a spider-type shock mount and a metal carrying case.

AKG’s industry–leading Perception Series of condenser microphones are recognized for their outstanding quality and versatile capabilities at an affordable price.

The Perception 820 Tube raises the bar in its class – It shows real tube sound, the highest dynamic range, the most comprehensive features and comes complete with useful accessories at an unbeatable price. ($700)

MXL MCA SP-1 for $39.99

The most discussed condenser microphone on the VO Mic Test Page.
Listen to the before and after upgrade tests.
Check it out HERE at PSSL.

Will New Blue be True? USB

Blue Microphones Announces World’s First THX Certified Microphone, the Yeti USB Condenser Mic Featuring Condenser Capsules in a Triple Array, Yeti is the Latest, Most Advanced Addition to Blue’s Line of Premium USB Microphones

WESTLAKE VILLAGE, Calif.--(BUSINESS WIRE)--Blue Microphones (www.bluemic.com), a leading innovator in microphone technology and design, announces Yeti, the first THX® Certified microphone. The latest addition to Blue’s new consumer line, the Yeti is the ultimate USB microphone for professional recording.

The Yeti features:
The first USB mic to offer Blue’s premium condenser capsules in a proprietary triple capsule array for the highest quality, most versatile audio recording capability

After rigorous lab testing, THX certification affirms the ultimate in recording and playback fidelity thanks to superior design and quality

Four patterns (Omni, Cardioid, Stereo, Bidirectional) for incredible versatility and superior results in any situation

Studio quality performance and features, with zero latency, amplified headphone monitoring, microphone mute, and hardware-based gain adjustment

Yeti is the first microphone to offer the quality and range of versatility to produce the best quality recordings in a wide range of situations, including podcasts, vocals, live or event recording, interviews, broadcasts, instruments, bands and more.

“Blue Microphones recognizes THX as a benchmark within the industry for professional audio production and playback. We are honored to be recognized as their first partner for audio input,” says John Maier, CEO of Blue Microphones.

“Blue strives to provide the highest quality sound for both professionals and consumers alike and we are proud to provide such recognized quality with the new Yeti, the world’s first THX Certified microphone.”

Building upon the technology foundation established by the award-winning Snowball USB microphone, Yeti adds four distinct pattern modes, a zero-latency headphone output with volume control for direct monitoring, adjustable microphone gain control and a mute button. The Yeti’s angle can be adjusted on its custom-designed desk stand. Following suit with the rest of Blue’s desktop products, the Yeti features driverless installation and works with both PC and Mac.

“The THX Certified Yeti from Blue Microphones provides aspiring artists a recording solution that combines quality, usability and convenience for a wide range of audio applications,” explains Matthew Chrispen, director of certification at THX. “THX testing and certification ensures the fidelity of the recording always remains true to its source, allowing artists to accurately capture voice-overs, interviews and other sound elements with confidence.”

The Yeti, MSRP $149.99, will be available beginning December 2009, at Apple, CompUSA, Fry’s Electronics, Guitar Center, other fine pro-audio and consumer electronics retailers and online at Amazon.com. For complete details, visit www.bluemic.com.

About Blue Microphones
Blue Microphones creates and markets award-winning microphones and accessories for audio professionals, musicians and consumers. Founded in 1995, with headquarters in Westlake Village, California, Blue continues to lead the way with cutting-edge design and technological innovation. Our complete line of audio innovation ranges from our flagship recording tool, the Bottle, to our stylish Snowflake, the first professional quality portable USB mic. View our complete product line-up at www.bluemic.com.

About THX Ltd.
From the big screen to your screen, THX ignites your passion for exciting entertainment experiences. Founded by George Lucas and recognized by audiences around the globe, THX is synonymous with the design and certification of world-class cinemas, premium audio systems, HDTVs, and blockbuster movies and games. Products featuring THX defy convention and define quality in their class, whether in the cinema, home or on the road.

THX and the THX Logo are trademarks of THX Ltd., which may be registered in some jurisdictions. All rights reserved.

"KILLS Deadly Lipstick Germs"

I mentioned earlier about a product made for "sanitizing" microphones.
Here it is:

Video is 9 minutes long so let it load...it's a hoot.

Or you can see it on their website and get more info Here.

Marketing Mics...It's all about perception.

Is it "product placement" for the old/new generation.
Life-like images of old microphones in a new video game....!

I kinda like it.
Someone explain it to me.

Does the "Cuteness Factor" Help Your Voiceovers?

I admit. If I could work in front of a bright, shiny MXL Gold 35 mic everyday, it would probably improve my attitude and outlook of work and my presentation.

But how would these new mics LSM USB mics from Studio Projects affect your professional demeanor?

Microphone Basic Care & Theory

Have you noticed all the questions on various forums about what to do about various spits and sputters in the performance of different mics. When you invest in what you believe to be a quality instrument and it does peculiar things that just don't seem right, how do you know if it means the mic is defective or it just not the right mic for you?
Or how do you take proper care of your mic to make sound its best for a long time?
How many of us old Radio people have seen somebody spray the control or production room mics with Lysol to kill germs? (I think someone makes a product just for that, by the way.)
Here's a couple very basic tips from some folks that know:

Care & Feeding of Condenser Mics (by JP Gerard at ADK mics)

General Mic Theory of Mostly Dynamic Mics (by Bob Heil)

How to Position a Mic for Best Sound (very basic from MXL)

General Mic Techniques (by Shure, mostly for musicians)

and How the Pro's did it 10 Years ago (from Mixonline)

These are not, by far, the ultimate "last word" on the technical subject of microphone basics, but they may be a start for the newbie or a refreshing reminder for the old pro.

If you have better suggestions for resources, or you want to write some tips yourself, don't hesitate to send them to us.

Schwartz Laser Mic and More Explained

Ronans Chris Murphy gets the story directly from the AES Show.
Put on your nerd hat. It's deep.

Need a "Quiet Space?"

WhisperRoom Showcases Design Innovations at AES Oct 5, 2009, 20:10

New York, NY -- About to celebrate their 20th anniversary, WhisperRoom™, Inc., returns to the Javits Center for AES 2009. A leader in sound isolation technology, WhisperRoom manufactures sound isolation booths for the recording and broadcasting industries. Since their showing at AES, they have made quite a few design changes and innovations. The most significant change enables clients to assemble the WhisperRoom completely from the interior. While older models were equipped with straps and required space around the WhisperRoom for assembly, the new models allow complete assembly to be accomplished from the interior with hinged brackets connecting the ceiling and floor to the walls. This eliminates the need for straps and additional space.

WhisperRoom™, Inc. offers 20 different sizes as well as two levels of sound isolation: a Standard (single wall) and an Enhanced (double wall). All models are upgradeable from a Standard to an Enhanced at any time, in order to accommodate clients’ ever-changing needs. Sizes range from a modest 3.5’ x 2.5’ one-person unit to a room-size 8.5’ x 15.5’ unit. Most models are also expandable in length in various increments depending on the model. There is a model of WhisperRoom to accommodate any clients’ needs – including television networks, radio stations, universities, government agencies, and home recording studios.

Included with all WhisperRooms are basic ventilation systems with a remote switch, a door window, Auralex® acoustic foam sheets, and an interior light. A variety of optional features are also available. At AES, the MDL 4848E (4’ x 4’) will be on exhibit, which features an optional Caster Plate, a 26” x 36” Wall Window, Ventilation Silencing System, and Exterior Fan Silencer.

In most cases, WhisperRooms can ship within 48 hours of purchase and they offer a 5-year manufacturer’s warranty, the best in the industry. Educational discounts, monthly specials and GSA pricing are available.

What's Up With a New Neumann TLM 102?

Neumann TLM 102

(See the Video Here.)

The reduced overall size contributes to an exceptionally compact appearance, which unites all of the typical design components of a Neumann microphone. The harmonious proportions and gleaming grille ring ensure that even at first glance, the TLM 102 attracts attention and sympathy.

The TLM 102 is impressive in terms of sound: In the interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB, which permits the recording of percussion, drums, amps and other very loud sound sources, for example. Instruments that are not especially loud also benefit from the very fast transient response of the TLM 102. However its most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording.

Due to its price and flexible field of application, the TLM 102 is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority.The TLM 102 is available in black and nickel; a stand mount is included. An elastic spider suspension mount will be available shortly.

The TLM 102 is available in black and nickel, with a standmount, at a price of around 600 euros (less than $900 U.S.).

(..even at first glance, the TLM 102 attracts attention and sympathy.) WHAT?

Here is a Video by Neumann's Pres at "Ramble On" (make that "Rock On)

So You Want a Mic That Captures the Real You--

THE NEXT SOUND YOU HEAR: LASER-ACCURATE ® TECHNOLOGY -- THE NEXT EVOLUTIONARY LEAP IN MICROPHONE TECHNOLOGY -- DEBUTS AT THE AES CONVENTION IN NEW YORK

Laser-Accurate technology revolutionizes the very concept of the microphone, trading mechanical parts movement for the patented and incredibly precise measurement by a laser of the movement of particulates suspended in air
Proof-of-concept will be demonstrated by Laser-Accurate inventor and digital audio pioneer David Schwartz at the Schwartz Engineering & Design booth on the AES show floor

New York, New York (September 21, 2009) –- There have been several key milestones in the evolution of the microphone, from the development of the basic transducer in the 19th century, to the introduction of the condenser microphone in the 1920s, followed by FET microphones in the 1960s and the more recent multichannel microphones used for surround audio applications. The next step in this evolutionary procession will be introduced at the 127th Audio Engineering Society Show, Oct. 9-12, 2009, at the Javits Center in New York City. Laser-Accurate® technology, from Schwartz Engineering & Design (SED), the leader in optical microphone design, represents a revolution in microphone technology: instead of the conventional diaphragm whose resonance creates electrical impulses against a coil or a back plate, Laser-Accurate technology uses a laminar stream of air in a chamber in which microscopic particles are suspended. When excited by changes in air pressure, the movement of these particles is detected by a laser beam that continuously passes through the chamber aimed at a photoelectric cell opposite the laser source. As a result, Laser-Accurate will produce the most accurate and precise transduction of any sound. It is, in essence, the Perfect Microphone, capturing sound unadulterated by the mechanical motion of the diaphragm and the inevitable time lags caused by that movement. All that is eliminated by Laser- Accurate's design. All you get, for the first time ever, is pure sound.

Conventional microphone design has numerous inherent idiosyncrasies: the speed with which a traditional diaphragm can react is innately limited by its physical size and shape, and the variety of those mechanical elements inevitably adds tonal coloration – distortion -- to the sound it's recording. In the design of Laser-Accurate, the diaphragm or plate is replaced with microscopic particles dispersed in a gas-filled chamber in which the laminar flow of the gas is constant. Detection of the displacement of the airstream and particles by a laser and optical receiver creates a completely non-intrusive method by which to measure the movement of air. This arrangement means no significant mass stands between the source of the sound and the transduction of it to a recording media.

An entire professional audio culture has been built upon the colorations that various microphones bring to music. Laser-Accurate does not threaten that culture in any way; rather, in addition to providing an absolutely pristine transduction process, it also acts as the ultimate standard by which all microphones can be evaluated. David Schwartz, developer of Laser-Accurate technology and a holder of six critical digital audio patents, including one that is the basis for the MP3 file format, is himself an audiophile. "The color that certain microphones bring can be fantastic," he says. "The problem is, you can't have all of them, all of the time, meaning that all music recording is a compromise of some sort. With Laser-Accurate technology, all the tonal processing would take place after the sound is converted to a voltage, not during the act of recording it." A pristine signal offers a new world of possibilities, including the potential to create "plug-in"-type chip-based processors that mimic the characteristics of classic microphones and pre-amps, much as modeling guitar amplifiers routinely do now.

Laser-Accurate technology will be demonstrated throughout the four days of the AES Show. It will provide a completely new tool for microphone developers to create the next generation of how we capture music and sound.

Heil PR22 Tough Test

Did I tell you the story about the "rattle" that developed in my Heil PR-22. I mentioned the problem to Bob Heil in conversation and he quiped, "That mic is not supposed to have that kind of problem, we designed it to be trouble free--send it to us now!" I did...and in typical Heilsound style, it came back in quick turn-a-round good as new.
The supreme test I thought I would share with you is this video of a Cable TV bit we did under extreme circumstances.
Make sure you watch (and listen) until the end. Yes, I have used it since and it sounds even better.

Anyone Tried an Advanced Audio Lately?

Hi, Willie,

I came across the Advanced Audio's site listing for their CM-47 today and read the TapeOp review on it. Sounds like a mike worthy of further investigation.Has anyone done any testing of it to see how it sounds for VO use?

Thanks!
Graham Smith


Thanks for your note, Graham. Dave Thomas responded to an inquiry about which of his fine mics are most suited for VO. His very direct response was to recommend the CM-87 FET. He felt the simplicity of that design was most suited for voice work.
I have heard from a couple of VO users that tried his mics and all like them. Several had high praise. But I can't find any direct fanatics that brag about using any AA models.
Maybe we can take Dave up on his offer to test one soon.
Thanks again,
Willie

Finally Got Those Audio Technica Tests

Once upon a time when I was juggling between different format radio stations, our production director arranged to produce our image liners at a nearby pro recording studio (I don't know why--he thought it was a cool thing to do and it got us out of the office). From that experience he decided that if you wanted to do "high end" voiceovers, you absolutely had to use Audio Technica mics.

I appreciated his opinion (the liners did sound great) but I forbade bringing any ATs into the stations because I felt LDC mics were way to sensitive for screaming or otherwise DJs to use for general production.

So, when we started the VO Mic Test page, the first requests were for AT mics.
Now, finally, we have a couple of excellent examples from Daniel Wright.
He really sounds great on both the 4040 and the 4047 SV. I really like the sound of his voice on the 4040. I can tell the 4047 may be more flexible in different situations. Is there $500 difference? There is if you can use the ultimate capabilities of each mic.

UPDATE: We still haven't received a replacement for the ADK Hamburg II test. Nor a suggested ADK VO mic. We'll keep you updated.

Shure Introduces Three New Professional Headphone Models

The new SRH840, SRH440 and SRH240 are Shure's first over-the-ear headphones designed specifically for studio applications.

The SRH840, SRH440,and SRH240 each have a unique sound signature and offer home recordists, performing artists and studio engineers premium sound quality for a variety of uses, from active listening to critical monitoring.

Shure's Professional Headphones' closed-back, circumaural design is meant to maximize comfort during extended wear. Additional features include:

SRH840 Professional Monitoring Headphones: Optimized for studio recording and critical listening, the SRH840 features reference-quality frequency response, rich bass, clear midrange and extended highs. The model’s ergonomic fit and collapsible construction offer added comfort and portability.

SRH440 Professional Studio Headphones: Tuned to deliver accurate audio reproduction, the SRH440 is optimized for professional audio equipment, including DJ mixers, mixing consoles and headphone amplifiers. The adjustable headband and collapsible construction make the SRH440 a new option for recording and monitoring.

SRH240 Professional Quality Headphones: Calibrated for connection to consumer listening devices and professional equipment such as mixing consoles, the SRH240 reproduces full bass with detailed highs.

Pricing and Availability
SRH840: $199.99 retail
SRH440: $99.99 retail
SRH240: $59.99 retail

Shure Professional Headphones will be available this summer and will carry a two-year limited warranty.

ADK says, "Keep it Fair. Keep it Fair!"

Willie -

To Keep it Fair in reference testing, All the Mics should be going thru the SAME PRE-AMPS.
You don't mind if I cry Foul when listening to the Vocal Test of the Hamburg II-Au. It sounds pinched and nasal! Was the mic out of phase ?? It sounds AWFUL (not typical H-2 Sound at all!!!)

Not just as the founder of ADK, but as a Microphone End-User going on 50 years, I am saying the H-2Au sounds WRONG. OFF BY A MILE from the Characteristic Tone.

1) How far were you from the mic?
2) Why the Manley?

Mic Placement is more important than Mic Selection.Pre-Amp / Mic INTERMIX is the Other Key to Great Audio. MARRY THE MIC TO THE RIGHT PRE IS THE KEY TO GREAT TONE.

So please - you're doing a great disservice to your fellow Engineers and V/O Artists.

You have a Defective Mic or a really wanky gainstaging issue on the H-2Au recording at your site. I would respectfully take the blame if it is because it's a defective (or wired out of phase unit).

Most of All - the Vienna is the Dream Mic for Voice-Talent. And the Cremona-251. The Hamburg is best left to Reeds and Guitar Cabs. Too Dark for Radio or MP3.

FOR V/O You want to Emphasize the Frequencies and first and second overtones the "Speech-Intelligibility" range of the spectrum. The Vienna-Au and Cremona-251 AND NOT THE Hamburg II-Au - would be our First-Call Voice-Talent Mics !!!But what do I know? My V/O Days were Live Radio in the 70's. (Eat the Mic for Chest-Tones . . . ) So I do have a background in broadcast.

The Berlin and Hamburg would be Dead Last in my Choices - in our Custom FET's - For Voice Talent - except in rare cases. The A6 / Both Vienna's and the Cremona get the Highest Marks from the V/O Field-Tests.

In case Voice-Over was the Top Priority in your Website, we'd like to get you the RIGHT Paintbrushes. All I'm asking is - Give us an opportunity for a Level-Field Test w. the Grace Pre and also making best use of microphone technique (finding the Sweet Spot).

Thx.
IOW..Voice of Disney / NBA / CSI - Frank Montenegro Swears by ADK for Voice-Overs.

So can we at least give our small company another shot at some representative sound-files????

Respectfully,
Larry J. Villella, Founder

P.S. Nothing Against Manley or Avalon or any of the cosmetically profound audio co's. . . A Design is the Best Value, Great River Simply among the Best Ever Built. (IMHO).

ADK Microphones - ADK Custom Shop - 3 Zigma Audio
ADK Web www.adkmic.com
3 Zigma Web www.hybridmic.com
Myspace www.myspace.com/adkmic
Myspace www.myspace.com/goldeneartest

TEL 1-503-296-9400
FAX 1-360-326-1602

ADK Microphones, Inc.
4130 SW 117th Ave #442
Beaverton OR 97005-4631 USA

Larry,

Thanks for your very important note. First of all--what can I say--I agree with you 100%--on all counts.

In a perfect world...yes, all mics should be tested in exactly the same conditions every time for truly fair comparison. The mics we personally test are recorded in as similar conditions as possible. Our goal was to try and achieve a common denominator sound, not try to make each mic sound the best that money can allow. (Maybe this is a disservice, but that is what most of the everyday VO artists asked for when we started.)

You are absolutely right about matching the best preamp with the correct mic if you want to obtain the highest and best use of the tools as a professional. Your comments about preamps are most appreciated.

Thankfully, some of our VO buds have helped out by sending us their tests of new gear when they find or have a potential winner. All I asked is to send a sound-file that is as "un-flavored" as possible. I prefer neutral preamps for testing, but I have not turned down submitted tests for being "too high-end."

John Weeks submitted the Hamburg II AU test and to be candidly honest, we both were very disappointed at the results. We are BIG fans of you and ADK and hoped that this test would point us in a great direction. (Hey, I used my trusty A-51 V for a regional radio ad this morning.) I agree that there most likely may have been a defect in that particular Hamburg. That test needs to be rectified.

We also realize that ADK is one of the most dedicated companies in the world, especially to the music industry. Like I said--We are big fans--we are just still looking for the right ADK product choices for VO.

Yes, we will take you up on your offer to test the ADK models you suggest would be best for various Voiceover Artists.

Now we are excited. To know that a company the calibre of you and ADK are willing to look at the needs of the everyday, work-a-day VO means a great deal.We look forward to the next steps in finding out more about the exciting ADK line.

Thanks again,
Willie

Microphones, Preamps and Impedance--Oh MY!

Want to get technical? Why are there so many variations of sound between mics and different preamps? There's lots of reasons. Many of which we have mentioned on these pages.

But I've noticed that in talking with the master technicians, they may add a little "footnote" to discussions about matching mics and preamps--impedance matching. They mention it as an aside and almost under their breath at the very end of the talks.

I may have referred you to other papers and sources about this subject in the past, but in case you missed this one, I submit it again. It's from the Microphone-Data website in an article by Rob Jones. Check out the PDF Here.

Keep in mind that Mr. Jones worked for Focusrite and demonstrates with a preamp with adjustable impedance--one of his.

How do I feel about it? He sums it up pretty well in his last paragraph:

Most microphones can be used very satisfactorily with most preamplifiers and true “matching” is actually undesirable. However if you are seeking a particular quality, tone, colouration, character – the terms are not fixed – then picking the right combination of equipment can be very helpful.

CharterOak S700 for Voiceover?

How did we miss this one?

(and who is that dude?)

The CharterOak Acoustic Devices S700 is a front address, cardioid, solid-state condenser microphone. The microphone is delivered in a fight case, with its shock mount and is extremely well suited for broadcast applications.

The CharterOak S 700 uses the side terminated 1.00" gold sputtered Mylar S-3 type capsule, pure class-A head amplifier and a custom made output transformer. Its rich and particularly non-sibilant eq, and cardioid pick up pattern make it a perfect choice for broadcast applications. The result is clean and rich sound on the voice without harshness or sibilance. The microphone is an excellent alternative to standard dynamic broadcast microphones, as it has a more detailed sound and higher output level.

Based on CharterOak’s unique S600, the S700 employs CharterOak’s series 700 type head amplifier with the S-3 type capsule used in the S600. The S700 was designed to meet the needs of broadcasters specifically, with its robust midrange, smooth and detailed top end and internal plosive filter.

“We’re responding to broadcasters who love the sound of the CharterOak E700, but find the E700, to be a bit too bulky, and would really prefer a front address microphone” says CharterOak VP Marketing.

I really would like to hear the S700 in action.

OK! Here's a temp video....

The better quality one with the audio recorded on the Centrance Micport Pro is coming....along with a full report and the start of the mic tests.
But for now......



Again, here is the audio from this video recorded directly on the Centrance MicportPro:
(Warning! There is :10 lag on file before audio begins.)

MicPort Pro Video Test Coming...I promise.

Actually, it's done and in the can. BUT...are you ready for this.... I can't seem to upload it.
Do you have any idea how embarrassing this is? I own a video production company, a group of Cable Access TV Channels... and I can't produce this simple on-camera demo of the Centrance MicPort Pro.
Oh believe me, it is GREAT! I mean I take it out of the box, plug it in to a Sennheiser MKH-416, turn on a video camera... and let it rip. No holds barred. If it is bad, we will see and hear it. Stupid me apparently did not match up the bit rate of the recorded video with the recorded audio through the Micport Pro. That means the video and audio are out of sync.

BUT SO WHAT!! Here is the actual audio as we recorded it on the video STRAIGHT THROUGH THE Centrance:

(It's a wav file so let it load)

I will stifle my pride and get a real video producer to straighten out my mess and YOU WILL SEE THE VIDEO TEST. And you will also get my opinion of this fine unit. (Here is a hint....It passed a supreme test by saving my butt in an audio emergency overnight.) And we will test various types of popular mics on the VO Mic Test Page.

Centrance Micport Pro..or Other Preamp in a Barrel?

Well, we expected to have tested a couple of the new "preamp/digital interfaces in a barrel" or "in-line" products by now....BUT--none of them have arrived.

We were excited about head-to-head test with some of our existing VO Mic Tests to compare the quality.

There is no doubt that the convenience and economy factor is a powerful plus for these types of units. I plan to switch to this work-flow for on-site client VO's.

There are lots of units to choose from reputable companies:
MXL
Centrance
Shure
Blue
..several others.

But my question is.... Is anyone using any of these devices for their day-to-day in-studio use. Have you replaced your "preamp to USB or FW to DAW" chain? And how does it compare to your old set-up?

You can remain anonymous if you like. I understand that "gear image" is very important to some clients. Your secret is completely safe with me.

Email me now. We all will appreciate it. Our future depends on it.

Oh, and the mailing address is still:
Vocal Impact Media
220 N. Main St.
Lexington, NC 27292

No Lawson Test...Yet.

Hi Willie,

Came across a test of a Lawson LM47 on Don Capone's website. Good grief! The guy on it was someone in Dallas. Great voice, but this mike really filled it out! Has anyone thought about running a vo-mic test on one of those?I saw the one post you had a year or so back about someone who had one.What a sound!

Thanks
Graham Smith

Thanks for the note, Graham.

I asked permission from Lawson some time ago to post those test from Dallas that are on the Lawson website on our VO Mic Test page. Gene Lawson replied and apparently did not see the need to allow us to do that.

We are dissapointed not to have a chance to compare the Lawson's in the same context as our other mics.

Our friends that have or had Lawsons spoke very highly of them.

WE

P.S. I think I used to work with "that guy in Dallas."

Digital microphone technologies on the rise

Press Release 05/04/09

At the 126th AES 2009 convention Neumann Berlin focuses on special microphone technologies developed for professional systems. Besides the well-known wide product range, visitors are invited to try and compare analog microphones with digital microphone technologies.

Experience shows that Neumann digital microphones offer decisive advantages in many fields of application. Neumann will offer valuable seminars held directly at the booth providing an interesting insight on digital workflows. In collaboration with experts from Optocore, Camelot, and Sennheiser visitors will be shown the added value of digital microphone technologies based on practical examples.

As digital microphones are being put to use in numerous practical applications, the specific advantages are becoming increasingly apparent. Many production workflows are being redefined, permitting enhanced effectiveness and reliability.

With their own peripheral products, more and more companies are providing for the seamless integration of digital microphones into large networks. In workshops with our partners at the AES, we would like to share and discuss these experiences.

Kind Regards from Berlin
Georg Neumann GmbH
http://www.neumann.com

We shall see.... WE

Need to Really Quiet a Room?

Do you have really noisy neighbors? Your air-conditioner is louder than you? Just can't get your room to "sound right?"

You may need MUTE MIC.

It Blow'd Up!!

I feel so stupid. My heart is broken. I am lost. let me share what happened.
I was in the old sound booth recording a movie trailer like spot for local radio and TV. I broke out the Sennheiser MKH-416 and WOW--it felt like the good old days. I was cooking. It really sounded good.
Then disaster struck. As I turned to make an adjustment on levels, I pulled a cord and WHAM-- I pulled my favorite testing preamp off the shelf.
Boom! Loud pop and lots of flash and sparks. My heavy duty surge protector not only shut everything down, the circuit breaker clicked off.

Shock and dismay. I felt like part of my soul had been ripped out. I really liked that little preamp. I had planned to write a detailed description and review of the Rane MS-1b preamp and why we used that particular unit.

Many of you have been asking lately about what preamp we used on most of our tests and why. I did not think it would be fair to test our wide variety and diversity of microphones on something like a John Hardy M1 (unless I actually had one) and after much consultation with many experts and technicians, we decided the little plain Rane would be the most appropriate for unbiased testing on a "lowest common denominator" basis.

Still, my feelings are hurt. Should I try to send the unit back to Rane for repairs? Just buy another? Or do you suggest another brand replacement to better serve our purpose.

Console me. Let me hear what you think. I am still too much in shock, literally, to make a sane decision.

Thanks
Fumbles

New Mic Tech..Is it coming?

Microphone diaphram moved by light bounced off sound waves!!

Is it time for new technology to get the most from the golden tones? This new Sennheiser mic is NOT going to make anyone sound like the ultimate voice.
But, isn't the idea interesting.

Is Apple Distorting the Term "VoiceOver?"

Ah! We showed you the Apple "how to record voiceover" with Joe Cipriano. (or was that Microsoft?) Anyway... Apple has adopted the term for a device that pronounces the name of the song and artist as you listen on your iPod. And it seems they intentionally used a very robotic voice to convey the information. Will that be a future trend we will need to emulate?
Check it out HERE.

What MXL do You Want to Hear?

Remember the most recognizable opening line to one of the most requested Rock'n Roll songs of all time? "What song is it you want to hear...?"

Well, Roy Harper of Marshall Electronics' and MXL has thrown out the question, "What mic is it you want to hear?"

You wouldn't believe the number of questions we get about the various MXL mics, particularly the ones on the Mic Test Page. We tell them about our experience with those mics or refer them to someone we know is using a model they are asking about or relay their impressions.

To summerize most answers--A lot of Mic for the Money.

Now MXL has kicked the bar up several notches and the questions are coming in.
"Which new MXL is best for voiceover?"


For review look back at George Whittam's talk with Roy at NAMM. Or his on-site tests of a few of those mics.

Most of you have asked about the new "flagship" Genesis tube. Duh! Yeah, I would think it would sound great for voiceover, but like you, I would like to hear it for myself.

To be more specific to our goals of finding the right mic for voiceover, I believe we need to hear the new V87 and the V89 to compare to the fabulous V88 we already tested.
I would be crazy not to suggest the New Gold 35 as a deal maker. I am a firm believer that if you look good while talking--you will sound good.

All of the above mics except the V89 have the "broadcast use" icon that usually means great for the spoken word.

There's more. Many of you have asked for a while about the new MXL shotgun mics. Yes, I have selfish reasons to wonder about the high end shotgun but let's concentrate on the most likely highest and best use mics for now.
Also, many questions about the MXL Mic Mate Pro. I am a big believer in this type of product and I think we will see more of this type of interface used.

Now it's up to you. Tell Roy what you would like to hear tested and compared. Make your requests and maybe give us a reason for asking about a particular MXL mic. What have you heard. What do you want to hear?
Email or use our comment section below.

Remember, I may be an old CHEAP Turkey.... But I am not a FREEBIRD!

"Won't you fly high...Oh Freebird." Lynyrd Skynyrd

Let Me Hear From You NOW.

Want to Build Some Headphones?

So how hard can it be to put headphones together?

Sennheiser Headphone Assembly

We're Back. Thanks for your calls.

Isn't that just like it? You go out of town; get a little flu bug; and all heck breaks loose. An account conflict knocked the VO Mic Tests page off Dotster for a while. It's back!
Thanks to everyone that called and left messages and emailed me.

To update...(and not to make excuses 'cause there are none) My partners and I have taken over the Cable Leased-Access Channels we were working with and are getting lots of inquiries to expand to other markets. Be on the look-out for cheap and cheezy local-access programming coming to a small town near you.
Plus, my audio production services are back in demand (I must be too cheap) and we have contracts to produce radio ads for several new clients.

Enough about me! Let talk about what's really important--THE MICS!
No matter how busy we get, there will be time to update news and information about finding the right sound or the right deal on the right sound.

What's Coming:

I got a letter from Bob Heil of Heilsound Microphones yesterday. Look for info on Heil Service and some news on possible new discoveries and products that may blow some minds.

Micheal Joly of Oktavamod is spilling his brains about how to improve very obtainable mics to super-studio quality (remember my killer SP-1). He is even giving out FREE tips on how to do it yourself.

Our buddy Roy at MXL has gone crazy with new product. I mean MXL is SERIOUS. I think they now have too many choices. About the time we narrow in on a particular group that sounds great for voiceover, they come out with another group that specs out even better. MXL has up'ped the boogie factor in quality control.

And that promised letter from KEL mics about breakthrough new mics.

Plus, your letters, comments and tests. You guys are the real cutting edge on finding true quality at the best deals. KEEP SENDING IT...WE'RE LISTENING.

Now....Get your butt back to work!

Get a MXL-909 instead of MKH-416!!!

Will,
Hi! I really enjoy your mic tests and I have learned a lot from them. I am sending along an mp3 of a mic test I did of the MXL 909 after reading a passage in Voice Actors Guide to Recording at Home... and on the Road, in which Harlan Hogan compared the 909 to the Sennheiser 416. Picked it up out of sheer curiosity and it was only 70 bucks. I like it. Think it sounds pretty good.
Be well,
Daniel Wright
http://gravelthroat.com

Wow! Thanks DW.

You do sound great on the 909. It is a good example of knowing how to use the tools we have. Using the Sennheiser MKH-416 for voice over work requires full use and knowledge of Voiceover technique. Things like mic placement, proximity, level control, intensity, modulated inflection and much more makes getting the most out of any mic a study in style.

CHECK OUT DANIEL'S TEST HERE

Some Audio Guy Gets a New 414!

You know that feeling when you get a new mic that you like and respect? Ohh, that new mic smell; How good it feels; the weight and heft; all the things that say, "It's new and it's MINE!"

Check out The Ramblings of Some Audio Guy's Unboxing of his new AKG C414B-XLS.

Look Over My Shoulder at Some Mail....

Kelly,
Ever since you sent us the Spoken Word samples of the HM-2D and the HM-7U we've been getting inquiries and praises from voiceover artists on Kel Audio products.
Now, there are rumblings you may have another outstanding product coming soon.

All we ask is don't forget to send your Voiceover Fans a sample file of the new mics

---------------------

We won't forget. Just finishing up the final prototypes then we will announce the mic over the next few days.

Sincerely,

Kelly Dueck
Kel Audio Inc.
www. kelaudio.com

George's NAMM Video Mic Tour Continues.

Roy tells us what is hot with MXL


Neumann for Voiceover

How it's Made...Neumann U87.

Shure has new DIGITAL mics?

From SportsVideo.org

Shure Mics Make Move to Digital

Jan 27, 2009 - 2:17:44 PM
Shure microphones are moving into the digital realm with the debut of three products: the PG27USB and PG42USB side-address condenser microphones and the X2U XLR-to-USB signal adapter. In addition, Shure introduced XLR models of the new microphones, the PG27 and PG42. “Over the past several years, more and more musicians, both professional and amateur, have taken recording into their own hands at home, on the road, in their bedroom, basement, tour bus, wherever,” says Chad Wiggins, category manager, Wired Microphones. “With these new products, we’re bringing the legendary heritage of Shure microphones to every level of performer and home recording artist as the proliferation of digital recording continues.” The PG27USB and PG42USB microphones connect professional-caliber Shure microphones to any USB computer port with “plug-and-play” performance. The cardioid condenser mics feature built-in headphone monitoring with zero latency and monitor mix control, enabling users to instantly hear what they’re recording through headphones and make adjustments on the fly, which makes them excellent tools for multitrack recording. Both microphones are durable enough for everyday use and practice but sophisticated enough for advanced recording by the most discerning artists. “Now anyone can connect a Shure microphone to their computer to create their music,” says Scott Sullivan, senior director of product marketing and development. “We realized that musicians who create digital recordings are looking for three things: superior equipment to translate their sound; the ability to hear themselves ... monitoring; and the ability to accurately adjust their monitor mix. We’re delivering all of this with our new USB microphones and the X2U adapter.” The PG27 and PG42 are XLR counterparts of the USB models. The PG27 and PG27USB feature a flat, neutral frequency response for natural reproduction of a wide variety of instrument and vocal sound sources. The PG42 and PG42USB were specifically engineered to reproduce the subtle nuances of lead vocals. The large diaphragm allows for higher sensitivity to clearly reproduce refined performances. The low-cut filter and external shock-mount further optimize performance for vocals.

GW Gets Hands-on Test on Popular ADK's

George Whittam of ElDorado Recording Services took his very impressive CEntrance Micport Pro to the Winter NAMM 2009.

Listen as George tests the ADK A-51, S-51, A-6, A-7. Scroll down past the video. (I'll try to post the test here later.)

Personally, I think the S-51 and A-7 sound best with George's test. It would really sound good if he had done it in one of his fantastically designed rooms.


Oh, Here's the Larry Villella video. When are you manufacturers going to realize that we want to HEAR HOW THE MICS SOUND as well as how they look?

What the Heck is This All About?

What kind of new realm of flexibility is ADK trying to cover now?
A sound for every situation in one box? Hmmm. Let me know what you think.

Lollipops & Lipstick

You Think Our Mic Tests are Wild.......

Hey, in our efforts to present every opportnity to hear mic comparisons in spoken word, we have included a page from HowAutoTV.com. Here's a quote from the page:

This hybrid video is a shoot-out between four microphones used for voice-over work and podcasting. Secondly, the tutorial demonstrates how to get a "good" sound out of the mic for your final project. This is great video for podcasters, voice-over artists, sound engineers and video editors.

The mics used in this tutorial: Neumann U87, Sennheiser ME66 Shotgun, Sennheiser 421, Rode Podcaster and the MXL UBS .009.

Click on "watch in high quality."