Microphones, Podcast view # 2
Despite the different comments on the first part of this review, I will go further with the implacability of the tank and try to briefly talk about the next instances. All these microphones, as well as all of the first part, are united by only one feature: they were at my disposal and I was able to make my own subjective and prejudiced opinion about these devices. Why these, and why not others you ask? So it happened at the time, but of course I don’t want to say at all that it is necessary to choose from them. However, back to our microphones.
AT2020 Cardioid Condenser Microphone - I will not repeat all that advertising nonsense that you can find on the link, regarding the “ideal for home studio” and about its special design. As the name suggests, this is a directional condenser microphone. Microphone from the lowest price category (up to $ 100). But in fact, he was pretty solidly made, and he survived at least a couple of falls, which is not very good for condenser microphones. For quite a long time, I used it as the main microphone, and it was at that time that insane thoughts about the complete sound insulation of the crews and other radical ways to reduce noise began to occur to me. In this sense, the microphone seems to me not the most suitable for a home studio and the fight against noise will rise before you here in full growth. Judging by my experience with this device, there is no pop filter or other methods of avoiding these beats in this microphone, and an external pop filter is absolutely necessary. And of course, putting him in shock, the mount also seems like a good idea, although personally I broke up with this microphone before I learned about the existence of shock mounts :)
My biggest claim to this device is how I sound into it. It is difficult to describe in words, but not like at all.
')
* Element: Condenser
* Polar Pattern: Cardioid
* Frequency Response: 20 - 20,000 Hz
* Open Circuit Sensitivity: -37 dB (14.1 mV) re 1V at 1 Pa
* Impedance: 100 ohms
* Maximum Input Sound Level: 144 dB SPL, 1 kHz at 1% THD
* Signal to Noise Ratio: 74 dB, 1 kHz at 1 Pa
* Dynamic Range (Typical): 124 dB, 1 kHz at Max. SPL
* Phantom Power Requirements: 48V DC, 2 mA typical
* Noise: 20 dB SPL
* Weight: 12.1 oz (345 g)
* Output Connector: Integral 3-pin XLRM-type
* Accessories Furnished: Stand mount; 5/8 in. - 27 to 3/8 in. - 16 threaded adapter; protective pouch
6. MXL 990 - Large Diaphragm Condenser Microphone. For me, the only advantage of this microphone is only its price. It can be found at a price of up to $ 50 sometimes complete with shock mount, which of course attracts the weak-spirited podcasters :) I was once attracted by this too and I became the owners of this very solid looking and golden microphone. I will say straight away - he disappointed me completely. Surprisingly noise-collecting and some completely vaguely sounding with absolutely monstrous proximity effect. At different stages of my podcasting career, I tried to find a use for it, but in the end I gave it, without writing anything down, that it would not be a shame to spread.
In fairness, I know one podcaster who uses this microphone as the main one and praises very much. True, he records in a quiet corner of the basement, which significantly saves from the noise absorbed by this microphone like a sponge.
* 3/4 ​​″ gold-sputtered diaphragm
* Attractive vintage body style with champagne finish
* 30Hz-20kHz frequency response
* 130dB maximum SPL
* Sensitivity: 15MV / pa
7. Heil PR-40 is a very popular podcaster microphone. According to the manufacturer, this dynamic microphone in its characteristics (latitude of the frequency range and flatness of the frequency response) is superior to the vast majority of dynamic microphones and many condenser microphones. Positioned as a professional Broadcaster microphone, especially well suited for conversational use. At one time, he was very active in the podcaster environment, and some podcasters received it as a gift or at a big discount.
This microphone I immediately caused love with the first “ear”. Very distinctive and pleasant, for my taste the sound is full and just beautiful. Continuing the series of praise I will add that of all the microphones that I have visited, this one is best with the ratio of noise to conversation in the conditions of my home studio and quite realistic gain requirements. Without any effort on my part, the PR-40 recorded the -3 signal with a noise of less than -55, and this is all in the usual un-equipped room.
At close speaking, it sounds just fine, with a noticeable but very neat effect of “close speaking”. However, in this mode, despite the manufacturer’s promises about the absence of pop problems, there are actually problems. Those. popfilter very much recommended. The microphone is very firmly made, reliable, strong and just makes you want to say something in it. As I recall, this is the longest-used of all my microphones. After acquiring more than 2 years ago, it was for a long time the main one, and recently moved to guestbooks.
The main reason for his transfer to second positions was an increase in the length of my podcasts and an increase in their number. The fact is that in PR-40 it is necessary to speak in the “right place”, i.e. located in a relatively narrow corridor of the head position along its axis. For short podcasts this is not so significant, but after half an hour it is already starting to strain. The second problem in my case was its clear and complete transmission of very low frequencies, which had to either degrade the EQ or be cut off in post-processing.
To sum up: the PR-40 is an excellent microphone, with a pleasant and characteristic sound, and with a relatively reasonable one, for a microphone of this class, priced at $ 280- $ 360
* Generating Element: Dynamic with Neodymium magnet structure
* Body: Matte Steel body, zinc die cast bottom ring
* Frequency Response: 28 Hz to 18 kHz
* Impedance: 600 ohms balanced
* Connections: Pin 1 Shield ground, Pin 2 +, Pin 3 - * Output Level: -53dB @ 1 kHz
* Polar Pattern: End fire, Cardioid, uniform front to back discrimination
* Diaphragm: Low-mass quilted aluminum
* Finish: Anodized champagne matte
8. Electro-Voice RE20 - Dynamic directional microphone, which has become the standard of American radio stations. Heavy in all senses - both in physical (more than 700g) and in the sense of the necessary amplification. Not every amplifier can cope with the RE20 and not every foot will hold it. However, the result is worth it! Beautiful, although not as recognizable as the PR40's sound, smooth, flat frequency transfer and almost imperceptible, but nevertheless very pleasant proximity effect. The microphone is equipped with a built-in pop filter and internal shock mount, although I could not refrain from external proprietary suspension - the RE20 looks very stylish in it.
I recorded all the voices available to me and the result was consistently pleased. Speaking in this microphone is a pleasure and the minimum voltage of a podcaster due to the forgiving nature of RE20. Those. it allows you to keep yourself very free, to move from the conversation line within noticeable limits, and at the same time the sound does not suffer much. The built-in cutter is low, very good help for some voices and in my case was simply irreplaceable. I used this microphone for about a year, and I can’t say a single bad word about it. Unless I repeat - he really needs a lot of amplification and inexpensive mixers and preamps in such an extreme situation can cause problems and spoil your podkastersky nerves completely inappropriate noise. I would recommend using the RE20 bundled with a vocal strip, not necessarily with expensive representatives. I listened to this microphone with a simple DBX 286A and the result was very high.
In my studio, this microphone connected to aphex 230, even with rather aggressive compression, ensured an admissible low noise level (no more than -45)
Microphone price about $ 400
* Time-tested broadcast and voiceover favorite
* Also ideal for instrument recording, especially drums and acoustic guitars.
* Studio condenser response overloading
* Large Acoustalloy diaphragm and low-mass aluminum voice coil
* Steel case and hum-bucking coil are required magnetic shielding
* Frequency response: 45 Hz-18 kHz
* Impedance: 150 ohms balanced
* Sensitivity, open circuit voltage: 1.5 mV / pascal = 1 kHz
* 8.53 ″ long x 1.94 ″ diameter (2.14 ″ at widest point)
* Net wt: 1 lb, 10 oz (shipping wt 3 lb, 4 oz)
* Includes stand clamp
There was actually no particular reason for me to switch from this microphone, except for having turned up the opportunity to receive for free more than another, but also an outstanding SM7B, but this is already in the third part of this review.
* Original notes on the Theory and Practice of Sound Recordings
AT2020 Cardioid Condenser Microphone - I will not repeat all that advertising nonsense that you can find on the link, regarding the “ideal for home studio” and about its special design. As the name suggests, this is a directional condenser microphone. Microphone from the lowest price category (up to $ 100). But in fact, he was pretty solidly made, and he survived at least a couple of falls, which is not very good for condenser microphones. For quite a long time, I used it as the main microphone, and it was at that time that insane thoughts about the complete sound insulation of the crews and other radical ways to reduce noise began to occur to me. In this sense, the microphone seems to me not the most suitable for a home studio and the fight against noise will rise before you here in full growth. Judging by my experience with this device, there is no pop filter or other methods of avoiding these beats in this microphone, and an external pop filter is absolutely necessary. And of course, putting him in shock, the mount also seems like a good idea, although personally I broke up with this microphone before I learned about the existence of shock mounts :)
My biggest claim to this device is how I sound into it. It is difficult to describe in words, but not like at all.
')
* Element: Condenser
* Polar Pattern: Cardioid
* Frequency Response: 20 - 20,000 Hz
* Open Circuit Sensitivity: -37 dB (14.1 mV) re 1V at 1 Pa
* Impedance: 100 ohms
* Maximum Input Sound Level: 144 dB SPL, 1 kHz at 1% THD
* Signal to Noise Ratio: 74 dB, 1 kHz at 1 Pa
* Dynamic Range (Typical): 124 dB, 1 kHz at Max. SPL
* Phantom Power Requirements: 48V DC, 2 mA typical
* Noise: 20 dB SPL
* Weight: 12.1 oz (345 g)
* Output Connector: Integral 3-pin XLRM-type
* Accessories Furnished: Stand mount; 5/8 in. - 27 to 3/8 in. - 16 threaded adapter; protective pouch
6. MXL 990 - Large Diaphragm Condenser Microphone. For me, the only advantage of this microphone is only its price. It can be found at a price of up to $ 50 sometimes complete with shock mount, which of course attracts the weak-spirited podcasters :) I was once attracted by this too and I became the owners of this very solid looking and golden microphone. I will say straight away - he disappointed me completely. Surprisingly noise-collecting and some completely vaguely sounding with absolutely monstrous proximity effect. At different stages of my podcasting career, I tried to find a use for it, but in the end I gave it, without writing anything down, that it would not be a shame to spread.
In fairness, I know one podcaster who uses this microphone as the main one and praises very much. True, he records in a quiet corner of the basement, which significantly saves from the noise absorbed by this microphone like a sponge.
* 3/4 ​​″ gold-sputtered diaphragm
* Attractive vintage body style with champagne finish
* 30Hz-20kHz frequency response
* 130dB maximum SPL
* Sensitivity: 15MV / pa
7. Heil PR-40 is a very popular podcaster microphone. According to the manufacturer, this dynamic microphone in its characteristics (latitude of the frequency range and flatness of the frequency response) is superior to the vast majority of dynamic microphones and many condenser microphones. Positioned as a professional Broadcaster microphone, especially well suited for conversational use. At one time, he was very active in the podcaster environment, and some podcasters received it as a gift or at a big discount.
This microphone I immediately caused love with the first “ear”. Very distinctive and pleasant, for my taste the sound is full and just beautiful. Continuing the series of praise I will add that of all the microphones that I have visited, this one is best with the ratio of noise to conversation in the conditions of my home studio and quite realistic gain requirements. Without any effort on my part, the PR-40 recorded the -3 signal with a noise of less than -55, and this is all in the usual un-equipped room.
At close speaking, it sounds just fine, with a noticeable but very neat effect of “close speaking”. However, in this mode, despite the manufacturer’s promises about the absence of pop problems, there are actually problems. Those. popfilter very much recommended. The microphone is very firmly made, reliable, strong and just makes you want to say something in it. As I recall, this is the longest-used of all my microphones. After acquiring more than 2 years ago, it was for a long time the main one, and recently moved to guestbooks.
The main reason for his transfer to second positions was an increase in the length of my podcasts and an increase in their number. The fact is that in PR-40 it is necessary to speak in the “right place”, i.e. located in a relatively narrow corridor of the head position along its axis. For short podcasts this is not so significant, but after half an hour it is already starting to strain. The second problem in my case was its clear and complete transmission of very low frequencies, which had to either degrade the EQ or be cut off in post-processing.
To sum up: the PR-40 is an excellent microphone, with a pleasant and characteristic sound, and with a relatively reasonable one, for a microphone of this class, priced at $ 280- $ 360
* Generating Element: Dynamic with Neodymium magnet structure
* Body: Matte Steel body, zinc die cast bottom ring
* Frequency Response: 28 Hz to 18 kHz
* Impedance: 600 ohms balanced
* Connections: Pin 1 Shield ground, Pin 2 +, Pin 3 - * Output Level: -53dB @ 1 kHz
* Polar Pattern: End fire, Cardioid, uniform front to back discrimination
* Diaphragm: Low-mass quilted aluminum
* Finish: Anodized champagne matte
8. Electro-Voice RE20 - Dynamic directional microphone, which has become the standard of American radio stations. Heavy in all senses - both in physical (more than 700g) and in the sense of the necessary amplification. Not every amplifier can cope with the RE20 and not every foot will hold it. However, the result is worth it! Beautiful, although not as recognizable as the PR40's sound, smooth, flat frequency transfer and almost imperceptible, but nevertheless very pleasant proximity effect. The microphone is equipped with a built-in pop filter and internal shock mount, although I could not refrain from external proprietary suspension - the RE20 looks very stylish in it.
I recorded all the voices available to me and the result was consistently pleased. Speaking in this microphone is a pleasure and the minimum voltage of a podcaster due to the forgiving nature of RE20. Those. it allows you to keep yourself very free, to move from the conversation line within noticeable limits, and at the same time the sound does not suffer much. The built-in cutter is low, very good help for some voices and in my case was simply irreplaceable. I used this microphone for about a year, and I can’t say a single bad word about it. Unless I repeat - he really needs a lot of amplification and inexpensive mixers and preamps in such an extreme situation can cause problems and spoil your podkastersky nerves completely inappropriate noise. I would recommend using the RE20 bundled with a vocal strip, not necessarily with expensive representatives. I listened to this microphone with a simple DBX 286A and the result was very high.
In my studio, this microphone connected to aphex 230, even with rather aggressive compression, ensured an admissible low noise level (no more than -45)
Microphone price about $ 400
* Time-tested broadcast and voiceover favorite
* Also ideal for instrument recording, especially drums and acoustic guitars.
* Studio condenser response overloading
* Large Acoustalloy diaphragm and low-mass aluminum voice coil
* Steel case and hum-bucking coil are required magnetic shielding
* Frequency response: 45 Hz-18 kHz
* Impedance: 150 ohms balanced
* Sensitivity, open circuit voltage: 1.5 mV / pascal = 1 kHz
* 8.53 ″ long x 1.94 ″ diameter (2.14 ″ at widest point)
* Net wt: 1 lb, 10 oz (shipping wt 3 lb, 4 oz)
* Includes stand clamp
There was actually no particular reason for me to switch from this microphone, except for having turned up the opportunity to receive for free more than another, but also an outstanding SM7B, but this is already in the third part of this review.
* Original notes on the Theory and Practice of Sound Recordings
Source: https://habr.com/ru/post/30253/
All Articles