Why Are Some A-B Stereo Arrays Angled Outwards? Take a listen to the new PreSonus drum mics in solo and in a mix! Condenser vs dynamic, budget friendly vs. moderately expensive, who will prevail? I’m usually quite partial to the look of Audio-Technica’s microphones. In this corner is the legendary Audio-Technica AT2020. Audio Technica BP40. Sign up for our All Access newsletter for the latest news, exclusive deals, giveaways, and more! We shot out lots of microphones with the new PD-70 broadcast mic from PreSonus! The former has a similarly strong presence peak, whereas the latter is much more linear, and more like the smooth-sounding AKG D224E. I wasn't expecting it to give me the depth, presence, or intimacy that an expensive condenser mic can, but in many situations (e.g., loud rock singer, or singer with poor mic technique) a broadcast mic can lead you to a better end result for what you are doing. The Audio-Technica BP40 is much more scooped, with that built-in high-mid boost and a healthy response around 100Hz that makes a slight, lopsided smiley face. The bass response of the BP40 can be a nice feature. Although the mic is supplied as standard in a padded, zipped leatherette bag, with a removable mounting ring-clamp, I was also provided with the optional AT8484 cat’s-cradle shockmount (pictured) for this review. Most presenter broadcaster mics tend to have a relatively tight polar pattern, and the BP40 is no exception. We will be using a Cloudlifter CL-2. It is about the same length and gun- metal black/gray color as an SM7, with the signature venting of the RE20. Don't forget to subscribe and let us know which mic you liked the best! It’s hard to beat the SM7 on vocals, it’s a classic for a reason. A humbucking coil placed directly above the diaphragm rejects interference from external magnetic fields, too. Is that a square capsule? I avoided talking right up on it to keep plosives to a minimum, and it maintained its commanding richness even when I positioned myself off the mic a bit. I first encountered the large-diaphragm dynamic mic at Studio X in Seattle, in between Pearl Jam studio dates. The instructions supplied with the optional cat’s-cradle shockmount advise the reassembly of this removed mounting clamp “so no pieces are lost” — always a good idea! Additionally, they're designed to deepen the voice while maintaining speech intelligibility. A mic’s polar pattern refers to the sensitivity of the microphone with regard to direction. Is that a ribbon mic? Listening back to both tracks though, I tired of the layered BP40 more quickly but felt the SM7B version could do with a little more presence. Take a listen to these two new broadcast mics. What is a "hybrid" audio interface anyway? To help provide samples for multiple use cases, the test is run 3 times – once with the raw audio, another with some enhancement by the DBX286, another with the raw audio and compression added in post-production and another with the DBX286 enhancements plus compression … The Shure SM7 and Electro-Voice RE20 are now classic versions of this type and have been joined by the likes of newer mics from Heil Sound, RØDE, and others. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. The two mics sound completely different; the Shure SM7B is a very flat mic, with a slight low-end shelf cut that gives a full vocal sound without being too muddy. Broadcast mics are typically large-diaphragm dynamic mics, tailor-made for announcers and DJs. It has a multistage windscreen and a switchable 100 Hz high-pass filter for rumble and plosive attenuation. If you’re looking for a mic that excels at speech intelligibility, Audio-Technica’s new broadcast model may be just what you’re after. The Audio-Technica BP40 is much more scooped, with that built-in high-mid boost and a healthy response around 100Hz that makes a slight, lopsided smiley face. It held up quite nicely in both scenarios, and although each track was EQ'd and treated differently, the source material the mic captured in both situations was solid. Heil PR40. It’s part of the beauty of Shure’s Unidyne design that no one’s really matched. But this review is not about the SM7 or RE20. The first place I thought to use the BP40 was on vocals. The scooped sound gives a more finished quality to some voices, but isn’t as much of an all-rounder. The high end rolls off steeply above that point, reaching -20dB at 20kHz. The BP40 is technically designed to be a broadcast vocal microphone, like the Shure SM7 or the (equally ‘ugly duckling’) Electrovoice RE20. First Look: Pro Tools | Carbon. That included vocals, backing vocals, acoustic guitar, electric guitar amp, bass amp and kick drum — all places I’ve used an SM7B before. Terms of Service apply. You have seen and heard this mic on countless podcasts, radio shows, voice overs, hit songs and more. Optional shockmount rattles and appears too stiff. Does the Beyer M 160 even need a review? It is about the recently released Audio-Technica BP40. Fitting or removing the mic in or from the cat’s-cradle shockmount is, thankfully, a rather easier task. It used to be that you couldn't get a large-diaphragm condenser mic for under two grand, and there weren't that many choices anyway. While it typically doesn’t wheel out the super-fine mesh work and gold inlay — the gorgeous AT5040 aside — I’ve always found its condensers struck a healthy balance between wanting to use them and admiring their looks. Is it worth it for me to go through the work of install... One Synth Challenge V - The Filter Strikes Back! They have extra shielding and are typically cardioid or hypercardioid, with good rejection in the null of the pattern. We shot out lots of microphones with the new PD-70 broadcast mic from PreSonus! Surely everyone knows by now that this is the mic Andy Johns used to record John Bonham's drums on "When The Levee Breaks". The nominally hypercardioid pattern is well controlled across most of the frequency range, with stable rear nulls, and the pattern only really opens out around the frequency range of that high 4kHz presence peak. The BP40 is also hypercardioid, while the SM7B has a cardioid pickup pattern. The standard ring-mount locates in the largest groove near the base of the mic body, and attaches to a mic stand or angle-poise mount using a pivoting hub with a standard 5/8-inch thread (a 3/8-inch adaptor is included). The Shure’s lower output helps it handle the occasional Howard Stern- esque outburst, but it does require a decent preamp to gain up the quiet bits. Burl Audio, under the direction of owner/designer Rich Williams, has developed some of the best new recording equipment over the last eight years. Win! A standard male XLR is provided at the base of the mic body for the output signal, while the Audio-Technica name and model number are printed around the bottom circumference of the mic body. The mics can then be lowered into place inside the mount, whereupon the top rotating section is turned clockwise, forcing the four balls inwards to locate in the wide groove of the mic body, effectively trapping the mic within the mount. Not so with the BP40. The AT2020 has a frequency response of 20Hz to 20Khz and has a price tag of $99. Paraphrasing the manufacturer: The BP40 is a large- diaphragm dynamic mic with a hypercardioid polar pattern. I was expecting to find a serial number here as well, but there isn’t one, and it turns out that the serial number is actually found on a label on the internal support column directly below the capsule. The original NT1 was a big deal when it hit the market. The SHURE SM7B has a frequency response of 50Hz to 20KHz and a price tag of $399. Above 1kHz, though, the response rises progressively to a prominent peak of +10dB at 4kHz, after which a series of gradually diminishing HF peaks return the sensitivity back unity by 15kHz.
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