Review / Microphone / Various: Difference between revisions

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== Quick Notes ==

I used the Sony C48 and the Microtech Geffel UMT 70S for baseline reference. These ~~are both~~ large-diaphragm condenser microphones with switchable patterns; ~~omni~~, cardioid, hyper-cardioid, and figure 8. When I had a Neumann U87 the Microtech Geffel sounded very similar (It is rumoured that they ~~all~~ use the same capsule).

I used the Sony C48 and the Microtech Geffel UMT 70S for baseline reference. These large-diaphragm condenser microphones with switchable patterns; Omni, cardioid, hyper-cardioid, and figure 8. When I had a Neumann U87, the Microtech Geffel sounded very similar. It is rumoured that they use the same capsule.

I would not recommend these for frequent live, on-the-road applications because they are probably better suited for recording given their value and relatively fragile nature. Neither is particularly suited for hand-held use. However, if you don't mind treating them with care, I would use either of these for an ensemble where you want to use a single microphone. Here, the switchable pattern (omnidirectional) might do very well.

I would probably not recommend these for frequent live, on-the-road applications because given their value and relatively fragile nature they are probably better suited for recording. Neither is particularly suited for hand-held use. If you don't mind treating them with care, I would use either of these for an ensemble where you want to use a single microphone. Here, the switchable pattern (omnidirectional) might do very well.

I have used the AKG C535 and Beyerdynamic M88 for many years, and they are old friends. So I included them in my testing to help me to "listen" to the others.

I have used the AKG C535 and Beyerdynamic M88 for many years, and they are old friends. I included them in my testing to help me to "listen" to the others.

This leaves for comparison

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The Audix OM5 sounds good, has a tight hypercardioid polar pattern, and there is a ToneMatch Preset for it.

The Beyerdynamic M88 has a slight edge for clarity over the Audix OM5 and is very close in feedback rejection. I also know the latter to be extremely rugged. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't ~~really~~ matter how good the microphone sounds under better circumstances.

The Beyerdynamic M88 has a slight edge for clarity over the Audix OM5 and is very close in feedback rejection. I also know the latter to be extremely rugged. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't matter how good the microphone sounds under better circumstances.

The Sennheiser MD 435 is perhaps the only microphone with a cardioid polar pattern I would happily use with an {{L1}}. Like its sibling the Sennheiser MD 445~~, it~~ has a vocal flattering EQ and the off-axis rejection is very good for a cardioid microphone.

The Sennheiser MD 435 is perhaps the only microphone with a cardioid polar pattern I would happily use with an {{L1}}. Like its sibling, the Sennheiser MD 445 has a vocal flattering EQ, and the off-axis rejection is very good for a cardioid microphone.

The Shure Beta 58a is a fine upgrade from a Shure SM 58 (cardioid polar pattern). However, ~~I found it more prone to feedback than all~~ the others ~~in this~~ list.

The Shure Beta 58a is a fine upgrade from a Shure SM 58 (cardioid polar pattern). However, the others on the list sound better to me.

=== Application - Hand Held Microphone - Soloist ===

@@ Line 48: / Line 48: @@
 == Quick Notes ==
-I used the Sony C48 and the Microtech Geffel UMT 70S for baseline reference. These are both large-diaphragm condenser microphones with switchable patterns; omni, cardioid, hyper-cardioid, and figure 8. When I had a Neumann U87 the Microtech Geffel sounded very similar (It is rumoured that they all use the same capsule).
+I used the Sony C48 and the Microtech Geffel UMT 70S for baseline reference. These large-diaphragm condenser microphones with switchable patterns; Omni, cardioid, hyper-cardioid, and figure 8. When I had a Neumann U87, the Microtech Geffel sounded very similar. It is rumoured that they use the same capsule.
+I would not recommend these for frequent live, on-the-road applications because they are probably better suited for recording given their value and relatively fragile nature. Neither is particularly suited for hand-held use. However, if you don't mind treating them with care, I would use either of these for an ensemble where you want to use a single microphone. Here, the switchable pattern (omnidirectional) might do very well.
-I would probably not recommend these for frequent live, on-the-road applications because given their value and relatively fragile nature they are probably better suited for recording. Neither is particularly suited for hand-held use. If you don't mind treating them with care, I would use either of these for an ensemble where you want to use a single microphone. Here, the switchable pattern (omnidirectional) might do very well.
+I have used the AKG C535 and Beyerdynamic M88 for many years, and they are old friends. So I included them in my testing to help me to "listen" to the others.
-I have used the AKG C535 and Beyerdynamic M88 for many years, and they are old friends. I included them in my testing to help me to "listen" to the others.
 This leaves for comparison
@@ Line 87: / Line 86: @@
 The Audix OM5 sounds good, has a tight hypercardioid polar pattern, and there is a ToneMatch Preset for it.
-The Beyerdynamic M88 has a slight edge for clarity over the Audix OM5 and is very close in feedback rejection. I also know the latter to be extremely rugged. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't really matter how good the microphone sounds under better circumstances.
+The Beyerdynamic M88 has a slight edge for clarity over the Audix OM5 and is very close in feedback rejection. I also know the latter to be extremely rugged. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't matter how good the microphone sounds under better circumstances.
-The Sennheiser MD 435 is perhaps the only microphone with a cardioid polar pattern I would happily use with an {{L1}}. Like its sibling the Sennheiser MD 445, it has a vocal flattering EQ and the off-axis rejection is very good for a cardioid microphone.
+The Sennheiser MD 435 is perhaps the only microphone with a cardioid polar pattern I would happily use with an {{L1}}. Like its sibling, the Sennheiser MD 445 has a vocal flattering EQ, and the off-axis rejection is very good for a cardioid microphone.
-The Shure Beta 58a is a fine upgrade from a Shure SM 58 (cardioid polar pattern). However, I found it more prone to feedback than all the others in this list.
+The Shure Beta 58a is a fine upgrade from a Shure SM 58 (cardioid polar pattern). However, the others on the list sound better to me.
 === Application - Hand Held Microphone - Soloist ===