Microphones 2015 Digital by Future PLC

THE BUYER’S GUIDE

Microphones Guide 2015 In association with:

Produced by: International TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

CONTENTS

THE BUYER’S GUIDE

CONTENTS

Microphones Guide 2015

Welcome to the first of Audio Media International’s quarterly Buyer’s Guides, which we’re kicking off with an overview of the world of microphones.

In association with:

Produced by: International TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

16 Schoeps

A continuation of the popular gear-focused supplements published by Audio Media over the past couple of years, this Guide offers promotional articles from some of the biggest names in mic manufacturing and editorial contributions from a number of experienced and well-respected live and studio engineers, as well as a bumper directory of leading companies. Like pretty much other every other product type in this industry, choice of mic brand and method of use/deployment are common topics of debate among audio professionals. Some will stick to one manufacturer religiously for every application and never dream of even trying another – let alone switching allegiances entirely – but yet I regularly speak to successful users who like nothing more than trying out as many mics as possible, in order to broaden their knowledge of the almost countless options now available to them, aware of the fact that they could still be yet to discover their dream mic. So the main purpose of this publication is to present a broad selection of possibilities for those of you in the latter category, but even if you think you’re fully converted to one particular mic maker, surely it can’t hurt to see what the competition currently has in store, as you never know what might take your fancy. And to help you utilise your mic collection – whether for studio or live – in the most effective way possible, we’ve asked experts to offer some of their top microphone tips. Turn to Page 4 for a ‘Lesson in Live Miking’ from FOH engineer and audio educator Andy Coules, or flick to Page 8 to find out which models are on studio experts John Delf, Joe Dickinson and Phil Gornell’s equipment lists. So whether you’re already a live sound legend or just starting out in the recording business, this Guide is sure to have something for you. Look out for the three other Guides in our annual series coming later this year, on Theatre Sound, Monitors and Headphones, and Live Consoles.

18 Sennheiser

Adam Savage, Audio Media International www.audiomediainternational.com

4 A lesson in live miking 6 Product spotlight 8 A studio engineer’s guide to microphones 10 Audio-Technica 12 Audix 14 DPA

20 Sony

MEET THE TEAM > Commercial Director Darrell Carter dcarter@nbmedia.com

22 Directory

> Editor Adam Savage asavage@nbmedia.com

ADVERTISER INDEX

> Managing Editor Jo Ruddock jruddock@intentmedia.co.uk

Advertiser

Page

AKG

Neumann

Samson

Telefunken

www.audiomediainternational.com

> Head of Design Jat Garcha jgarcha@nbmedia.com

> Production Assistant Georgia Blake gblake@nbmedia.com

AUDIO MEDIA INTERNATIONAL Audio Media International is published by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England. Telephone: 0207 354 6001 www.audiomediainternational.com www.nbmedia.com

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether 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. © 2015 NewBay Media. All rights reserved.

April 2015 03

OPINION

A lesson in live miking FOH engineer and audio educator Andy Coules on why a detailed understanding of a microphone’s inner workings is crucial. I’ve often thought that the way we engineer live sound must seem quite odd to non-engineers. We use a multitude of different microphones to capture the various sounds being produced on stage, which we carefully place not just to isolate the individual sounds but also to remove as much of the natural reverberation of the room as possible. We then spend a great deal of time and effort subtly manipulating and combining those sounds, which we then coat in artificial reverberation so that the resulting mix sounds natural to our ears. What an odd way of working – wouldn’t it be much more logical to simply deploy a pair of microphones at the front of the stage so that the sound could be relayed to the audience as if you were standing in the sweet spot right in front of the ensemble? One of the problems with this idea is that while microphones are like our ears, in the sense that they transduce vibrations into electrical signals, no microphone exists that can match the dynamic range and frequency response of the average human ear. But even if microphones existed that were as good as our ears, deploying them in a matched pair in front of an ensemble would, of course, rob us of the ability to mix the music in real time – not to mention making it extremely difficult to provide any kind of meaningful fold-back for the musicians. The presence of fold-back speakers is one of the key differences between studio recording and live sound reinforcement; this has a dramatic effect on our microphone choices due to the spectre of feedback. That’s why dynamic microphones are so commonly used on stage – we’ve learnt to harness and exploit their limited frequency response to maximise gain before feedback. The mechanism of dynamic microphones also give us a helping hand due to the requirement of overcoming the inertia of the coil assembly, which provides a fast-acting compression that helps smooth out the transient response and enables the handling of much higher sound pressure levels. It’s interesting to note that this inherent compression acts in a similar way to the natural compression resulting from the narrowing of the ear canal, which is why dynamic microphones sound so pleasing to us, despite their obvious flaws (and explains why I’ve never been satisfied with the results of using electret condenser microphones on drums). 04 April 2015

Thus condenser microphones have traditionally been reserved for instruments not often required to be loud in the fold-back, such as cymbals, drum overheads, pianos and percussion. However, due to innovations in their design, condenser microphones are becoming much more common on stage, aided in a big way by the increasingly widespread use of in-ear monitoring. One key area in which they’re making in-roads is on vocal applications; an area previously dominated by dynamic classics such as the Shure SM58 is being challenged by offerings by all the leading manufacturers. The improvements in clarity are obvious – very few singers who I’ve tried handheld condensers on have asked for their dynamic microphone back, plus they exhibit impressive feedback rejection, which enables their use in even the most challenging of acoustic environments. PERSONAL PREFERENCE Microphone choices are a very personal thing, their use inextricably tied to the planned processing and the intended role in the final mix. I’ve always been a strong believer that if you get the right microphone and put it in the right position you shouldn’t need to apply much EQ to get the sound you want. However, it can be quite difficult to avoid the habitual use of particular microphones; you get used to the results gained from particular models, so tend to reach for what’s familiar. This is why I will always try to find the time to experiment with non-standard microphone choices (and positioning). I always enjoy that moment when you’re a week or so into a tour and you’ve developed an efficient daily routine and have the time to try a few things out; the results are invariably surprising and insightful. One final piece of advice: a solid understanding of the difference between phase and polarity can be invaluable in the use of multiple microphones on stage. While everyone should already be aware that when you deploy two microphones on the opposite sides of an instrument, such as the top and bottom of a snare, the signals captured will be of opposing polarity so the polarity invert switch should be used. However, a lot of people do the same thing when dual-miking the kick drum and are surprised when the resulting comb filtering sucks away all the bottom end. In this instance there’s a timing difference in the two signals, which is not necessarily corrected by inverting the polarity of one of them. However, thanks to

Picture: Lily Allen on tour with Sennheiser microphones (credit: Richard Minter)

the prevalence of digital desks and their ability to delay individual outputs, a better solution is now available. A delay of just 1ms on the microphone closest to the source will time-align the two signals and obviate any destructive interference, resulting in a better sound when the two signals are combined – this works particularly well if the two microphones are about 34cm apart. The use of mics is the first vital step in the signal chain so it’s crucial to give it some thought and make appropriate choices. The key, as with many aspects of live sound, is to trust your ears.

Andy Coules is a sound engineer and audio educator who has toured the world with a diverse array of acts in a wide range of genres. www.andycoules.co.uk

The International Guide To Microphones 2015

PRODUCT SPOTLIGHT

Neumann U 47 fet Manufacturer reissues legendary condenser microphone with a cardioid characteristic. The 1960s and 1970s are considered to be one of the most innovative periods in the history of music. Many sound concepts of this pioneering time are currently being rediscovered and are regarded as a great enrichment – particularly in the digital audio world. The interplay among studio technologies of different generations forms the basis of unprecedented freedom for new sound experiments. An icon of that era decisive in helping to shape the sound of the 1970s is the Neumann U 47 fet. As the transistorised successor of the U 47, it permitted the processing of very high sound pressure levels for the first time, for instance allowing positioning directly in front of loud amps. Due to this feature, and the capsule sound derived from its tube-based predecessor, the U 47 fet contributed to many legendary recordings of the time. Now the U 47 fet is back. For the new Collectors Edition U 47 fet, Neumann has resumed production of this classic mic, according to the original production documents and schematics. The Collectors Edition is supplied with a high-quality wooden case with special packaging, and an individual certificate with the serial number of the microphone. In terms of technical design, the U 47 fet is a condenser microphone with a cardioid directional characteristic and fet 80 circuit technology. Among other things this technology, also used in the U 87, is characterised by a wide dynamic range. The K 47, already employed in the U 47, is a double large-diaphragm capsule with a slight boost in the range above 2kHz. If required, a switchable low-cut filter raises the lower cutoff frequency electronically from 40Hz to 140Hz, and switchable attenuation can reduce transmission levels by 10dB. In addition, to prevent overloading of the connected preamp, the output signal can be reduced by 6dB via a switch on the bottom of the microphone.

Wolfgang Fraissinet, president of Neumann.Berlin, explained: “Today many new musical currents are defining themselves through the possibilities of digital production technology. The relaunch of the U 47 fet now provides the opportunity of using epoch-making technologies from different decades side by side. Vintage sound meets the modern world – providing ideal conditions for the realisation of new creative soundscapes.” Producers and engineers have also been full of praise for the U 47 fet, including Bruce Swedien (Michael Jackson), who commented in his book Make Mine Music: “My personal favourite of this series (Neumann fet 80) is the U 47 fet. I have two U 47 fets, very close in sequence numbers, that sound simply fabulous. I absolutely treasure these lovely mics.” The microphone is available in classic nickel. www.neumann.com

Telefunken M60 FET Small-diaphragm condenser is the company’s first FET microphone. The newly designed M60 FET (Field Effect Transistor) small diaphragm microphone is Telefunken Elektroakustik’s first non-vacuum tube, FETbased solid-state condenser microphone. Utilising a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultraclean true Class A discrete amplifier with a frequency response of +/- 2dB from 20Hz to 50kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. Designed to utilise the same interchangeable TK6X capsule systems as the TEC Award-winning ELA M 260 small diaphragm tube microphone, the M60 FET is an excellent tool for both acoustic and percussive sources. The TK60 cardioid, TK61 omnidirectional and TK62 hypercardioid capsules are offered individually or in complete sets, as well as matched 06 April 2015

pairs of M60 FET amplifiers and capsule sets for stereo recording capabilities. The M60 FET is now shipping. www.telefunken-elektroakustik.com

The International Guide To Microphones 2015

SOUND SUPERIOR.

SAMSON MTR201 CONDENSER MICROPHONE With stunning clarity, a wide dynamic range and the warmth of a gold-sputtered large diaphragm, Samson’s MTR201 brings accuracy and transparency to your recordings. Whether you’re looking to capture every nuance of a vocal performance or the full harmonic timbre of a grand piano, the Samson MTR201 is a superior choice. © 2015 Samson | samsontech.com

AN ENGINEER’S GUIDE

Mics We Like Looking for the studio microphone that will give you the sound that’s been eluding you? Three eminent engineers share the secret weapons in their arsenals. Studio recording is a precise art, and with an ocean of mics out there, finding those pieces of golden gear can prove to be a needle in a haystack affair. With this in mind, we’ve brought together three accomplished engineers to share their go-to kit for when they want results: John Delf, owner of Edge Recording Studios who has worked with the likes of Plan B, Lilly Allen and 5 Seconds of Summer; Joe Dickinson, recording engineer at Birmingham’s Circle Studios; and Phil Gornell, owner of Steel City Studio in Sheffield, whose credits include FOH and recording work with Bring Me The Horizon and All Time Low. DRUM OVERHEADS John: We always use condensers as overheads and hi-hats. We have three Neumann 184s so we generally use one on the hi-hat and a pair over the kit. In the past we have also got great results from a pair of Audio-Technica 4050s, Sennheiser MK4s and Neumann U87s. We will also dedicate a separate mic to the ride cymbal, using a RØDE NT1000. Joe: Mercenary Audio’s KM69s add a bright, but never brittle, edge to the kit. If I’ve got a drummer going overtime on super bright cymbals, then I can darken the kit by jumping into ribbon territory – something like an AEA R84 or even the R88 paired with the RPQ500; I can get the air needed from the cymbals without 6k-10k being problematic. The R88 is a beautifully natural stereo ribbon mic that performs wonderfully above the kick pointing at the snare. If I need to tame a bright kit but obtain the fast transients of a condenser rather than a slower ribbon, I’ll grab a pair of Neumann KM84s. Phil: Cymbals are intense and can be tough to tame, and input signals can get washy if engineered incorrectly. sE paired up with Rupert Neve’s design team to bring the RN17 to our disposal. These incredibly detailed small diaphragm condensers are meticulously focused and the unquestionable detail captures the attack and tails of each cymbal with ease.

skin to give a softer, more bassy, airy sound. We also use a Yamaha Sub Kick to get the real lows of the outer skin. We may put a condenser, like an Audio-Technica 4050 about 3ft away from the kick drum as a kick ambient. Joe: If I need a kick that really clicks and punches through, then a Shure SM91 might find its way into the shell paired with an AKG D12 on the front and I’ll blend the two. Phil: Lewitt’s LCT 640 is a dual capsule microphone, combining a dynamic and condenser element with a perfect phase relationship – it’s a simple, cost-effective solution without compromising quality. SNARE DRUM John: A pair of Neumann 105s help get that crack that gives the snare its power. We also use Shure SM57s on the top, and have had great results using Sennheiser 441s and Sennheiser 604s for the bottom. The great thing about Sennheiser 604s and 904s is that you can get them into really awkward spaces without the need for fiddly mic stands.

Joe: The Josephson E22S is an incredible little mic, not only in its fast and snappy sonic character, but also in its design. It can be navigated into position very quickly without clattering into cymbal stands. Phil: The beyerdynamic M201 TG has the ability to capture great 200Hz punch, and has a high-end snap similar to the SM57, but it isolates the snare without the use of any baffles/shields. Another great bonus this little beauty provides is unrivalled detail; most of the time, I don’t have a use for a snare bottom microphone when I’m using the 201. TOMS John: Our go-to mics are the Sennheiser 421s. They give a nice warm deep sound to the drums. We sometimes put Sennheiser 604s on the bottom of the toms as well and this gives them a fatness that you might not be able to get with just a top mic. We also have some Shure Beta 98s which give a very clean, crisp skin sound. Joe: Miktek PM10s are pretty great for capturing a big, chunky overall character of the drum. Joe Dickinson

KICK DRUM John: For the kick drum we use a Sennheiser 901 inside the drum, sat on a pillow, to give us a very direct, clicky thump, positioned in the middle of the drum pointing at where the beater hits. We also put a Shure Beta 52 or Sennheiser 902 on the outside, poking through the hole on the front 08 April 2015

The International Guide To Microphones 2015

AN ENGINEER’S GUIDE

Phil Gornell

John Delf

I might pick beyerdynamic 201s with their awesome midrange and hyper-cardioid pattern to help limit cymbal wash. But if I’m looking for a little more top skin clarity for pop records the E22Ss might find their way around the shells as well as on the snare. Phil: With clear batter side drum heads (Evans EC2) I’ll usually go with something from the newer Sennheiser product line. The E906 and E904 will both easily capture the fast transient information while maintaining a solid low end. For coated batter heads, Sennheiser’s MD421 is an obvious choice; a ridiculously versatile microphone, and out of all the mics I’m listing, this would be my top recommendation. ROOM MICS John: Our big room has a very warm diffused natural sounding reverb. We capture this using a single Neumann M147 valve mic and a pair of Audio-Technica 4050s at different positions throughout the room. Joe: A pair of Coles 4038s will add a whole heap of weight to anything loud. Their slow transients and darker response give the mix engineer a ton of sonic character to play with at mixdown. If I’m looking for a mic to glue a mix together when doing live takes off the floor, I’ll put out a Neumann M49. I’ll sometimes drop a pair of Avenson STO-2s in the corners of the room for a bit of natural ambience. They’re omni-directional pressure transducer mics so they have a very realistic feel. Phil: I’ve had incredible drum room sounds with www.audiomediainternational.com

a mono 57 in ‘the wrong position’ compared to a pair of Coles in ‘the right position’. We have an old Shure SM91 mounted to a wall in an adjacent corridor to the drum room to constantly feed a drum room/vibe sound.

Joe: I really love the M930 from Gefell around the 12th fret. I’ll often pair it with another large diaphragm condenser over the shoulder of the player as it catches a lot of the warm tones from the guitar body.

GUITAR AMPS John: I always like to mic guitar cabs with two identical mics positioned at the sweet spot of each speaker which can be found just slightly off centre from the middle of the cone. I use either Sennheiser 609s or Shure SM57s. The old 609s are the best, though the switches on the new 906s really make them useful and flexible. Joe: Between guitar/bass cabs I’ll use any kind of combination of a Royer R121, Neumann U87, Sennheiser MD421 or a whole host of dynamics. Multi-miking a cab can help you extract all the tones needed for your mix engineer. For a great bass sound we always combine the mic sound with a good DI box. The beyerdynamic M88 is my favourite, but we also use Sennheiser 902, Shure Beta 52 and Audio-Technica 4050. Phil: sE electronics makes fantastic quality, affordable ribbon microphones. The RN1 is able to handle some incredible SPLs, and doesn’t suffer from proximity effect like other ribbon mics.

ORCHESTRAL Joe: With a large orchestra: using a wide stereo miking technique (like ORTF), with a pair of clean, cardioid, small diaphragm condensers is a great start. If the sound source is setting the room off in a really pleasant way and I’d like to capture that with the direct sound, then I might employ two fig-8s in a Blumlein array. However if I’m seeking a tighter sound or I’m tracking fewer musicians then two SDCs in XY will rein that in a little but still give me a nice stereo image.

ACOUSTIC GUITAR John: We use a stereo pair of Neumann 184s as close mics and a Neumann M147 valve mic as room ambient to apply when required. The stereo pair would be positioned around 6-12in away from the sound hole and neck respectively.

VOCALS Joe: The ELAM 251 is a mic that really stands up to the rigours of the booth. It’s a beautifully flattering mic and is a fantastic starting point in any shootout. The U87, U47, C12 and other mics of that calibre are in every great studio because they have stood the test of time. Spend the time to select the best mic/pre/EQ combination for each vocalist. Phil: I have a clone of a Telefunken ELA M251 which is my first point of call for any vocals. If your vocalist kills it, they’re gonna sound unreal going through this mic. Pair it with a 1073 to add some warmth to the sound while keeping the highs poking above distorted guitars. April 2015 09

AUDIO-TECHNICA

The Drive For Innovation, Quality and Consistency Since 1962, when Audio-Technica was founded in Tokyo by Hideo Matsushita, the company has been driven by innovation and forward-thinking design. A passion for delivering high-performing audio products that consistently break accepted price/performance barriers has seen Audio-Technica deliver some of the world’s most widely-used stage, studio and broadcast microphones over the last 50 or so years.

In The Studio The introduction of the AT4033 – the first highquality large studio condenser microphone priced at under $1,000 – in 1992 established Audio-Technica as a leading player in the studio recording market. And the same values of excellent performance and value for money remain evident in the expansive 40 Series line-up today. There’s something for every studio application in the range today, from vocals to acoustic instruments to guitar cabinets – and many of the 40 Series models will also cope with SPLs high enough to make them eminently suitable for live duties too. Among the current favourites of the line-up is the recently re-introduced AT4060a tube microphone. It’s a big, warm, vintage-toned cardioid condenser that boasts a much wider dynamic range than other tube mics. In addition, the mic features a handselected and aged Sovtek 6922 tube for old-style tone, with modern reliability and consistency.

Audio-Technica’s flagship AT5040 features an unusual four-diaphragm design for exceptional purity and depth of tone

The Flagship 50 Series Building on the reputation of the 40 Series, AudioTechnica’s 50 Series are true elite studio mics. The AT5040 – the first to be launched – features an unusual four-diaphragm design with rectangular elements that work together to provide a large surface area that’s unachievable with standard round diaphragms. The result is incredibly detailed, realistic response that’s beautiful on vocals or acoustic instruments with a wide, nuanced dynamic range. Every AT5040 is hand-built and inspected for 100% quality control and is housed in an elegant case of aluminium and brass with grey chrome plating for durability and low reflectivity. The second model in the range, the AT5045, features Audio-Technica’s largest single diaphragm in a convenient side-address stick design. It’s a premier condenser instrument mic in recording situations – easy to place and offering more diaphragm ‘real-estate’ than most traditional largediaphragm stick mics. As with the AT5040, the AT5045 is all hand-built and is partnered by an innovative, thoroughly isolating shock-mount. 10 April 2015

The International Guide To Microphones 2015

AUDIO-TECHNICA

Audio-Technica’s premium condenser instrument mic, the AT5045, has the largest single diaphragm of all the company’s microphones

On Stage Some of the world’s biggest stars rely on AudioTechnica microphones for their arena tours and global festival appearances. Metallica, Justin Timberlake, Gwen Stefani, Alicia Keys and Lenny Kravitz (who recently used a wireless Audio-Technica AE6100 hypercardioid dynamic mic for the 2015 Super Bowl halftime show) are all long-standing Audio-Technica users, with newer British acts including Rudimental, James Bay and Deaf Havana also figuring in the company’s artist roster today. Audio-Technica’s Artist Elite series is the ‘go-to’ range for many of these artists, offering everything from handheld condensers (the AE5400) to a dual-element condenser/dynamic model (the AE2500), much-loved for guitar cabs by the likes of ‘Big’ Mick Hughes (Metallica, Slipknot) These live production mics are now joined by the re-engineered Artist Series, offering unrivalled performance at competitive price points. Among the highlights, the high-performing AT510 cardioid and AT610 hypercardioid dynamic mics are rugged, great-sounding workhorses built for smooth, natural vocal reproduction and to handle life on the road. www.audiomediainternational.com

The tube-powered AT4060a condenser microphone was reintroduced to the 40 Series in 2014

INFORMATION

The dual-element dynamic/condenser AE2500 model is one of the stars of the Artist Elite range and popular with FOH engineers around the world

Audio-Technica Ltd (UK) Unit 5 Millennium Way Leeds LS11 5AL T: +44 (0) 113 277 1441 E: sales@audio-technica.co.uk W: www.audio-technica.com

April 2015 11

AUDIX

Lytos

Commander-In-Chief

Noah And The Whale

Audix – Performance, Innovation and Excellence Year after year, Audix microphones are recognised for their innovative design, performance, quality, durability and value. Audix’s state-of-the-art manufacturing facility located at their Wilsonville, Oregon USA headquarters focuses on R&D, automation, and CNC machining equipment. This not only enables Audix to control the quality of the products from start to finish, but also allows for continual improvements and enhancements. OM Series – Pioneering VLM Capsule Technology VLM (Very Low Mass) technology, combined with a very tight hypercardioid polar pattern and aerodynamic body design has made the OM series a legend in the industry. Audix designed a proprietary capsule for the OM Series utilising VLM technology, which is based on a very lightweight diaphragm, allowing for extremely fast, accurate processing of incoming sound. The result is clear and natural sound reproduction, extended frequency response, and high SPL (Sound Pressure Level) handling. The OM5, OM6, and OM7 are the vocal microphones of choice amongst sound engineers and top touring artists such as Alanis Morissette, The Doobie Brothers, Red Hot Chili Peppers, Jimmy Eat World and other notable artists. VX5 and VX10 – Achieving New Standards In Handheld Vocal Condenser Performance Audix responded to the demand and overcame the challenges of providing studio-quality sound on stage with two outstanding condenser microphones: the VX5 and VX10. The VX5 can be used for lead and background vocals on stages ranging from singer-songwriter all the way to loud rock performances. The VX5 is an electret condenser vocal microphone requiring phantom power of 18-52 volts. Providing a very wide frequency response with rich lows 12 April 2015

and detailed highs, the VX5 will meet the most demanding requirements for a wide variety of live sound applications. The VX10 features a 21mm capsule and requires 48-52 volts phantom power for operation. The VX10 will provide unmatched studio quality sound for live broadcasts and performances.

The D Series and i5 – Compact Design, Powerful Performance Audix Dynamic VLM instrument microphones are chosen for their ruggedness, utility, high SPL handling and pattern control. Audix combined VLM capsule technology, transformerless design and precision-machined aluminum housings to achieve new performance The International Guide To Microphones 2015

AUDIX

Tower Of Power

Ani DiFranco

Leader of the Pack – Pre-packaged Microphone Collections Audix was the first to simplify the approach to selecting microphones for drum kits, percussion ensembles, piano and general studio sessions by offering an array of pre-packaged microphone collections. These signature ‘mic packs’ contain models designed to operate congruently while capturing and isolating each individual sound distinctively and naturally. All packs are equipped with a variety of clips and accessories and secured in a handsome aluminum carrying case. The Audix microphone collections provide extraordinary value and a lifetime of performance.

The Micros – Pushing the Limits of Size and Performance Representing one of the most intriguing innovations in microphone technology, the Micros are the world’s smallest condenser microphones with integrated preamp and detachable cable. The Micros also feature studio-quality sound, very low self-noise, and up to 129 dB of dynamic range. Additional characteristics of these mics include complete immunity from RF, tailored frequency response, three application-specific levels of sensitivity and a variety of optional clips and accessories. Coupled with the MicroBoom, a portable, lightweight, carbon fibre boom arm available in varying lengths of 24, 50, and 84 inches, the Micros have raised the bar when it comes to overhead choir miking applications. The M1255B features an unprecedented output sensitivity of 38 mV/Pa and operates on a minimum phantom voltage of 18 volts. It is ideally suited for distance learning and conference systems. The most recent products developed utilising this highly sensitive capsule include the M3, M40, M55 and M70 ceiling microphones, which are designed for permanent installation.

SCX25A – Destined to Become a Classic The SCX25A delivers a signature, pure, open-air sound with exceptional detail and realism. The mic has a large diaphragm capsule housed within a unique, patented internal shock mount that is isolated in an intricate machined brass ring. It has also proven to be an outstanding microphone on piano. Because of its small footprint and acoustic behavior, it can successfully be used on a short stick or in a closed lid environment – one of the biggest challenges facing any microphone. The SCX25A is also ideally suited for any acoustical application including vocals, guitar, strings, brass, overheads, woodwinds, ensembles, and room miking.

M3 – The Smallest and Most Powerful TriElement Microphone Available Redefining tri-element microphone performance and design, the M3 is the only multi-element mic available with adjustable cable lengths and a UL rated plenum box solution above the ceiling tile. The three phase-coherent hypercardioid capsules of the M3 have a tailored frequency response that optimises speech intelligibility and rejects extraneous noise, making it the ideal mic for video conferencing, distance learning and courtroom activities. In addition to these high performing products and product series, Audix continues to design, engineer, and manufacture innovative products

standards in live sound and recording. The introduction of the D Series broadened the category of dynamic instrument microphones and created new possibilities for drum and percussion applications. The D6 set a new world standard for kick drum microphones. The D2 is an excellent choice for rack toms, congas and horns, while the D4 is ideal for floor toms, djembe, baritone sax and Leslie speaker. The i5 is a well-rounded generalpurpose utility mic with outstanding results on snare and guitar cabs.

www.audiomediainternational.com

Billy Talent

that contribute to the advancement of the professional audio industry. For more information on Audix products, visit www.audixusa.com.

The Audix M3

INFORMATION

Audix Corporation 9400 SW Barber Street, Wilsonville, OR 97090, USA T: +1 503.682.6933 W: www.audixusa.com UK Distribution: SCV Distribution Unit C1, Belcon Ind. Estate, Geddings Road, Hoddesdon, Herts, EN11 0NT T: +44 (0) 330 122 2500 W: www.scvdistribution.co.uk

April 2015 13

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?

16 April 2015

The International Guide To Microphones 2015

SCHOEPS

situation. Its M/S solutions are particularly respected, as are its stereo microphones, such as the MSTC 64 U for ORTF recording or the CMXY 4U for X/Y. Schoeps stereo setups are a standard in music, film, and sports recording.

HERE ARE A FEW HIGHLIGHTS...

Multi-Channel Arrays Schoeps offers a wide selection of practical multi-channel arrays and arrangements for the professional recordist, including the Double M/S, ORTF Surround, IRT Cross, and OCT Surround systems. Due to this large variety, any application can be optimally targeted. The Schoeps engineers share their experience and competence for any music, film, documentary, sports, ambience, or live application, and help to find the proper setup.

The Schoeps V4 U

V4 U The V4 U is the studio vocal microphone from Schoeps. It unites the outstanding technical characteristics typical of Schoeps with a timeless, classic design. The look of the V4 U is based on the Schoeps CM 51/3 from 1951. But the V4 U is a thoroughly modern studio microphone. Its capsule, circuitry and mechanical construction are the result of extensive new development. Colette Series The Colette series has been the flagship modular microphone range for Schoeps for over 35 years, and the company continues to innovate and add to the range with products such as the CMR – a microphone amplifier for connecting the MK capsules to a pocket transmitter. There are more than 20 capsules with various polar patterns and six amplifier types, as well as an uncountable number of accessories like tubes and mounting and hanging devices in the Colette range. CCM Series The CCM Series of microphones is just as capable as the Colette range, but in this case it’s not a modular series. It appeals to customers who want exceptional quality in a small size, making it ideal for intricate positions, surround arrays, conference pick-up, and so on. www.audiomediainternational.com

SuperCMIT The SuperCMIT redefined the directional microphone when it was launched in 2010, and is enjoying enormous success in all its various applications. Unlike other digital microphones, the SuperCMIT actually uses two capsules and DSP inside the unit. This enables a higher order of directivity across a wider frequency range than conventional shotguns, without a change in sound colour. The higher suppression of unwanted noise is highly desired in film and documentary, sports and theatre. The SuperCMIT has been winning awards and accolades since its launch, including the 7th Annual Cinema Audio Society Technical Achievement Award for Production. CMIT 5 U The other shotgun in the Schoeps catalogue is the all-analogue CMIT 5. Otherwise known as ‘The Blue’, this mic has become well known for an incredibly smooth-sounding directionality and a balanced sonic character. Because of this – as well as being ideal for all of the traditional shotgun applications – the CMIT 5 also finds itself relied upon for critical music recording 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 recording

Schoeps Shotgun Microphones

INFORMATION

Schalltechnik Dr.-Ing. Schoeps GmbH Spitalstr. 20, 76227 Karlsruhe, Germany T:+49 721 94 32 00 E: mailbox@schoeps.de W: www.schoeps.de F: www.facebook.com/SchoepsMics US: Redding Audio, LLC W: www.reddingaudio.com UK: ioCo Limited W: www.ioco.ltd.uk

April 2015 17

Danmarks Radio used Digital 9000 for the Eurovision Song Contest 2014 (Photo credit: ralph@larmann.com)

SENNHEISER

Sennheiser – The Audio Specialists For seventy years, the name Sennheiser has been synonymous with state-of-the-art microphones. Bands, artists, live sound engineers, recording engineers, amateurs, broadcast professionals and film crews worldwide rely on Sennheiser microphones. Wireless Microphones The name Sennheiser has become synonymous with reliable RF wireless transmission, whether it’s a small gig with just a few wireless microphones on stage or a large broadcast event involving multichannel systems and complex RF environments. Targeting broadcasting professionals, (musical) theatres and high-profile live audio events, Digital 9000 is Sennheiser’s top-of-the-range system. A benchmark in digital wireless transmission, it is able to transmit completely uncompressed audio in the UHF range, artefact-free and with superb dynamics. The system has been meticulously designed for the highest channel counts in today’s increasingly dense frequency environment. Digital 9000 offers unprecedented ease of use and sound quality, with a wide range of capsules to choose from. The system includes the EM 9046 receiver, SKM 9000 handheld transmitter, SK 9000 bodypack transmitter and a comprehensive suite of accessories. On the analogue side, Sennheiser offers its renowned 5000, 3000 and 2000 Series. Large touring productions, TV shows, broadcasts, and globally active bands rely on the SKM 5200-II and SKM 2000 handheld transmitters, SK 521218 April 2015

Designed for the highest channel counts, Digital 9000 is able to transmit full, uncompressed audio in the UHF range

II and SK 2000 bodypack transmitters, and the EM 3732-II and EM 2050 dual-channel receivers, which are setting standards in multichannel capability and reliability. For more than one million users worldwide, evolution wireless is their no.1 choice for stage

and live use. Whether wireless instrument transmitters or acclaimed vocal mics, this series contains wireless solutions for almost every application. Great sound, quality workmanship, and exciting extras for up-and-coming bands, established performers, presenters, musicians, The International Guide To Microphones 2015

SENNHEISER

The MD Range of Dynamic Microphones Sennheiser’s rugged, easy-to-use dynamic microphones include such all-time classics as the MD 21, MD 421, and MD 441.

evolution wireless D1 takes the complexity out of wireless

reporting teams, and PA companies. The very latest addition to this range is evolution wireless D1, a series of easy-to-use vocal and instrument systems operating in the license-free 2.4 GHz range. evolution Series Stage Microphones Designed with the aim of providing a complete range of microphones for vocals and backline, evolution microphones were launched in 1998. Since then, they have become a standard on stages around the world, and are known as rugged, reliable tools for the live sound engineer. The evolution 600 line offers instrument microphones for the complete backline, while the 800 line are vocal microphones that cater for any stage situation. The award-winning evolution e 900 series is the pinnacle of evolution live microphones, including both vocal and instrument microphones. The range encompasses everything from dynamic drum mics (the e 901, e 902 and e 904) to the e 906 guitar amp mic and smalldiaphragm condenser models such as the e 914 and clip-on e 908. Vocal microphones are the cardioid e 935, super-cardioid e 945 (both dynamic mics) and the e 965, a true condenser, large-diaphragm stage microphone with switchable pick-up pattern (cardioid/super-cardioid). The latest model in the evolution range is the e 835 fx, which has a special effects button to conveniently control the effects units of vocal effects expert TC-Helicon. www.audiomediainternational.com

Permanently Polarised Condenser Microphones Everything from professional subminiature clip-on microphones and headset microphones for use with Sennheiser’s wireless technology to compact camcorder microphones. Among the classics are the legendary MKE 2 clip-on and the K6 Series, where the user can tailor the microphone to the recording situation by adding microphone heads of varying directivity to the basic power module. The portfolio also comprises the award-winning HSP 2 and HSP 4 headset microphones, the single-sided Earset 1 and Earset 4 mics, the MKE 400 and MKE 600 camcorder microphones and Sennheiser’s smallest clip-on, the MKE 1.

8050 (super-cardioid), MKH 8060 (short gun), MKH 8070 (long gun) and the MKH 8090 (wide cardioid), as well as the MKH 800 Twin, a double-capsule microphone whose pick-up pattern can be remotely controlled at the mixing desk and modified during post-production. Digital Microphones… …are a sound investment in the future of audio. Simply by adding a digital module, the renowned MKH 8000 series can be turned into digital microphones. Perfectly matched to the MKH microphone heads, the MZD 8000 digital module directly ‘translates’ the clear, warm, and responsive sound of the microphones into the digital world, avoiding the losses or signal disruptions to which cables are prone. The microphones can be remotely controlled, allowing parameter settings such as the low-cut filter and attenuation to be adjusted via a suitable mixing desk, a portable AES 42 interface or a standard AES 42 interface and PC.

True Condenser Microphones The affordable MK 4 side-address microphone has a warm and direct sound, and is ideal for vocals and speech but also for guitars, guitar amps, string and wind instruments, as well as drums and percussion. Its sister model, the MK 8, has been designed for the recording engineer seeking added control options. The doublediaphragm MK 8 features five selectable polar patterns to optimally adapt to the recording situation at hand, and is fitted with a low cut/ roll-off filter and pad switch. MKH Microphones The choice for recording, broadcast, and filming specialists, Sennheiser’s MKH microphones are a sophisticated class of condenser microphones, operating according to the RF principle and using a unique symmetrical push-pull transducer. They offer an unchanging acoustic impedance, extremely low distortion figures, a higher capsule output with much lower noise, and therefore a very clear signal. They are uniquely insensitive to unfavourable climatic conditions, have a wide dynamic range and an excellent low-frequency response even with small capsules. The line comprises such classics as the MKH 416 and the MKH 20 to 70 models, while the more recent MKH 8000 series includes the MKH 8020 (omni), MKH 8040 (cardioid), MKH

The MK 8 multi-pattern true condenser microphone

INFORMATION

Sennheiser electronic GmbH & Co. KG Am Labor 1, 30900 Wedemark, Germany T: +49 (0) 5130 6000 E: info@sennheiser.com W: www.sennheiser.com Sennheiser UK Ltd T: +44 (0) 1628 402 200 W: www.sennheiser.co.uk

April 2015 19

SONY

Sony – The Power to Move The history of the Sony microphone began in 1950; now over 60 years later Sony remains synonymous with the innovative development, production and distribution of high-quality professional audio products for news gathering, video production, live events and broadcast.

Sony Digital Wireless Offering superior digital sound quality and multichannel operation, the Sony DWX series offers world-leading digital microphone expertise, including WiDIF-HP codec, which captures the subtlety of analogue, but with the advantages of an all-digital architecture. The DWX series offers a new era in live stage and broadcast audio equipment, not just because it’s all digital, but because this system with userfocused technology comes in the smallest, lightest and most ergonomic packages available without any compromise to the sound quality. Using the WiDIF-HP codec it achieves low system latency, great reliability and first-class digital 24-bit AES/ EBU audio with up to 72MHz bandwidth. Unlike other systems the DWX series does not need a compander unit, which can adversely affect the sound quality. Additionally, full control of the receiver and transmitters can be gained over crossremote function via Wireless Studio 4.0 software on a PC, which means the engineer has full control of all parameters in the system. Wireless Studio can now also be controlled using a portable device using an iOS or Android app which gives the engineer even more flexibility. The DWX series determines a highly efficient use of available bandwidth, using up to 16 20 April 2015

Sony DWM-02 handheld microphone and Sony capsules

transmissions in 8MHz (one TV channel) simultaneously and unlimited upscale of sequential TV channels is also available (limited only by the available bandwidth). DWX series uses QPSK modulation (quadrature phase shift keying) – a digital modulation which is extremely robust against all types of interferences for peace of mind. With the DWR-R02D two-channel digital wireless rack mount receiver or the DWR-S02D two-channel digital wireless slot-in receiver, there is a range suitable for all applications. Paired with the DWM-02 digital handheld microphone, the DWT-B01/E digital belt-pack transmitter or DWT-P01/E 48V phantom power digital plug-on transmitter you can achieve legendary

performance in a digital wireless microphone system. The beauty of the DWX series means an unlimited number of simultaneous channels can be used (500KHz spacing). The belt-pack gives a lightweight and rugged design you can really rely on with a full body of magnesium, weighing only 125g including batteries. This can be used with miniature or headset mics or a guitar cable for wireless transmission, and the interchangeable capsules on the DWM-02 handheld microphone gives the choice of using over 50 different capsules from various manufacturers. Sony also offers three interchangeable heads for the DWM02 microphone: the CU-C31 condenser cardioid, CU-F31 dynamic super cardioid and CU-F32 dynamic wide cardioid. Wireless Studio 4.0 Remote Control Software Wireless Studio is a complete software package for controlling DWX Series receivers and wireless transmitters. It allows you to monitor and control a digital wireless system via a network and the digital wireless system can be accessed from up to six computers and allows you to set-up and initialise installation with up to 82 channels. The latest version of Wireless Studio control software provides improved control for use in The International Guide To Microphones 2015

SONY

or DSLR interchangeable-lens cameras that have an MI (Multi-Interface) shoe using the MI shoe adapter (SMAD-P3). This eliminates the need for any connecting cables between the receiver and the camera. By using the MI shoe adapter, audio signals are transmitted from the wireless receiver to the camera. In addition, the wireless receiver can get power from the camera, also eliminating the need for batteries, and the camera can control power ON/OFF of the receiver, unifying power management. As part of the UWP series a 19in modular UHF tuner base is also available, which can house up to six URX-M2 UHF tuner modules, which can then be paired to the latest UTX-M03, UTX-B03 or UTX-P03 transmitters, giving a fixed installation solution for studio work.

Sony UWP-D series components

fixed installation scenarios. There are a number of new key features which have been led by customer requests, such as ‘Group control setting function’ for all transmitter features, so you can switch a group of transmitters in one group, ‘Enabling the load setting to a device (Transmitter & Receiver)’ for building a library of your personal setups and an added ‘Muting control function’ so that with one click you can mute/unmute all outputs of a channel. Sony UWP-D Series The latest addition to the Sony audio line-up is the UWP-D wireless microphone series, which is a perfect system to be used in a wide number of applications, not only for ENG (electronic news gathering) or EFP (electronic field production), but also for live concerts, sports events, documentaries and weddings. Using Sony’s newly-developed Digital Audio Processing technology, which uses DSP (digital signal processing) for digital companding, it improves transient response performance and realises high-quality sound. The clear channel scan function searches for a channel that is not being used by another transmission. This makes it very easy to find a channel which can be used without interference. The receiver can then transfer the desired frequency to the transmitter via IR connection, which allows for a very quick and simple user setup. With up to 72MHz operating bandwidth the system also achieves great mobility and by utilising a true diversity www.audiomediainternational.com

URX-P03 portable receiver mounted on the PXW-X200 using the SMAD-P3 MI shoe adapter

reception system it achieves a highly stable reception because of its two receiving antennas, each with RF circuits. With additional features such as a headphone output for monitoring available on the portable receiver (URX-P03), micro-USB for power supply or recharging batteries and interchangeable capsule design on the handheld microphone (UTX-M03), plus compatibility with previous Sony UWP series, Freedom series and WL-800 series, exceptional performance can be achieved across a wide number of operating frequencies. In three available packages – the UWP-D11, UWP-D12 and UWP-D16 – users can choose between a handheld microphone (UTX-M03), a belt-pack transmitter (UTX-B03) and a 48V phantom power plug-on transmitter (UTX-P03), alongside a portable receiver (URX-P03). The wireless receiver of the UWP-D series (URX-P03) can also be mounted to camcorders

Electret condenser microphones Building on decades of experience in audio acquisition, Sony also offers a comprehensive choice of wired shotgun and lavalier microphones that provide musicians, broadcasters and producers with uncompromised audio for a dependable performance. The ECM-VG1 electret condenser microphone has excellent sensitivity of -33db and a low inherent noise level of less than 18db SPL, and the ECM-MS2, a compact MS stereo back electret condenser shotgun microphone has a compact and lightweight design, 137mm length and offers both stereo and mono operation, increasing the versatility of the microphone. The ECM-678, ECM-674 and ECM-673 all have flat-andwide frequency response (40Hz to 20KHz) with built-in low cut filter, and the ECM-678 also offers an extremely low inherent noise of less than 16db SPL.

Dealer Locater All Sony Professional Audio dealers can be found on www.pro.sony.eu/spss

INFORMATION

Sony Professional Solutions Europe Jays Close Viables Basingstoke RG22 4SB United Kingdom T: +44 1256 355011 W:www.pro.sony.eu/proaudio

April 2015 21

DIRECTORY ADK Microphones www.adkmic.com

beyerdynamic www.beyerdynamic.com

Groove Tubes www.groovetubes.com

AEA www.ribbonmics.com

Blue Microphones www.bluemic.com

Hebden Sound www.hebdensound.co.uk

Aevox Audio www.aevox.be

Bock Audio www.bockaudio.com

Heil Sound www.heilsound.com

AKG uk.akg.com

Brauner Microphones www.brauner-microphones.de

Holophone www.holophone.com

Ambient www.ambient.de

CAD Audio www.cadaudio.com

Horch www.horchaudio.de

AMG Electronics www.amgelectronics.co.uk

Cascade Microphones www.cascademicrophones.com

iSK Microphones www.iskmic.com

Applied Microphone Technology www.appliedmicrophone.com

Chameleon Labs www.chameleonlabs.com

JJ Audio www.jjaudiomic.com

ART Pro Audio www.artproaudio.com

CharterOak Acoustics www.charteroakacoustics.com

Joemeek www.joemeek.com

Audio Ltd www.audioltd.com

ClearOne www.clearone.com

Josephson Engineering www.josephson.com

Audio-Technica www.audio-technica.com 0113 277 1441

Cloud Microphones www.cloudmicrophones.com

JTS www.jts.com.tw

Coles Electroacoustics www.coleselectroacoustics.com

JZ Microphones www.jzmic.com

Countryman Associates www.countryman.com

Karma Mics www.karmamics.com

DPA Microphones www.dpamicrophones.com (+45) 4814 2828

Katamount Enterprises www.katamount.com

Audix www.audixusa.com (+1)503 682 6933 Avantone Pro www.avantonepro.com Avlex www.avlex.com Azden www.azden.com Beesneez Microphones www.beesneezmicrophones.com.au Behringer www.behringer.com Berliner Microphones www.berlineraudio.com

Earthworks www.earthworksaudio.com Elation www.elationmiclab.com Electro-Voice www.electrovoice.com Fostex www.fostexinternational.com Golden Age Music www.goldenagemusic.se

22 April 2015

Lauten Audio www.lautenaudio.com Lawson Microphones www.lawsonmicrophones.com LeWilson Microphones www.lewilsonmicrophones.com Lewitt www.lewitt-audio.com Manley www.manley.com The International Guide To Microphones 2015