A transparent and versatile microphone is for an affordable price.

It is very sensitive that it may pick up even the slightest sound that may cause nuisance.

AUDIO TECHNICA 4050 Review

Great Product

Audio Technica is well-known to design and manufacture a wide range of products; it includes high-performance microphones, headphones, noise- cancelling headphones, wireless microphone systems, mixers and electronic products for home and professional use worldwide. 

Specializing in Microphones, Wireless Systems and Headphones, Audio Technica designed the Audio Technica 4050- a transparent and versatile microphone for an affordable price.

The Audio Technica 4050 is one of the best-selling vocal microphones. It is ideal for use in the most demanding recording situations for it utilizes a low-noise transformerless design and multiple polar patterns. It also uses dual gold- plated large- diaphragm condenser elements for extended frequency response.  The floating construction element gives isolation from noise and vibration. Audio Technica 4050 is a multi- pattern studio condenser microphone, 48V phantom power, switchable cardiod, omni, and figure-of-eight patterns.  Includes AT 8449 shock mount, microphone dust cover, and protective carrying case.

There were some who have used the Audio Technica 4050 in their studio for recording and found that the versatility of the microphone is very impressive and the response and reproduction of any high frequency is incredibly great. The versatility of the microphone goes with its sensitivity to sound; you will literally hear everything as to every crack, pop, growl, and any other fine distinction you put into your vocals will come through exactly as you delivered it. Whether you have a voice in the higher range to sing rock music, scratchy voice, and the screams of the 80’s at times, the microphone delivers it perfectly in time. The Audio Technica 4050 is also great for deep bass or baritone voice, as well as for low vocals. Since it is versatile this microphone also works well particularly in a female voice. There was somebody who had used this microphone with good results in his project studio, on vocals, guitars and hand percussion, and actually earned a major film festival award for the music he created in that studio.

The Audio Technica 4050 is also great on all kinds of stringed instruments as it produces an excellent transparent highs and mids balanced by rich low-end qualities, and it sparkles to make acoustic instruments come to life because of the advanced acoustic engineering that guarantees extensive performance capabilities and highest quality. The clarity of the words and sounds is due to the AT 4050’s transformerless circuitry that virtually eliminates low- frequency distortion and provides superior correlation of high speed transients. As used as drum overheads in XY, they give a natural kit sound without a ton of cymbal wash.

The figure-of-eight pattern mainly offers the flattest response curve. The cardiod and omni pattern give more treble/upper mids boost which is useful for some applications. The most important factor when deciding on what to choose is the price-to-performance ratio. Meaning, as the price gets higher the quality should also be better.  But offering you the Audio Technica 4050, it will give you a lesser and very affordable price for a quality that is so remarkable. To others, there is no better, more versatile microphone in the market than the Audio Technica 4050.

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The microphone offers 3 separate polar patterns for recording, which can be used according to your specific requirements. It offers great quality when recording from the low-end of the frequency spectrum.

Does not add much coloration when recording vocals using the microphone within a studio environment.

Shure KSM44 Microphone Review

Great on the low-end

To begin this Shure KSM44 microphone review, this product is a heavyweight when it comes to recording capabilities. It sports three types of polar patterns; cardioid, omni and figure-of-eight. It is a condenser microphone that can be used in a studio environment or for live shows and is designed specifically to capture vocals. However, the Shure KSM44 microphone sports an impressive lower-end response, which means it can be used as a bass microphone or a pickup mic for the bass drum on the drum kit.

A toggle switch on the microphone’s body allows you to change between the above polar patterns or between the different filter modes: 6dB/octave cut below 115Hz, 18dB/octave cut below 80Hz, and bypass. The capsule of the microphone is shock-mounted, which helps to filter out low-frequency noise.

During recordings, the Shure KSM44 microphone provides steady high notes as well as extensive response to bass. The cardioid mode captures the sound of a single voice with much efficiency while the omni mode captures a pure open sound that is ideal for recordings of live shows.

As a conclusion to this Shure KSM44 microphone review, the device is a great choice for a multi-pattern microphone, and gives a little extra with the extended low-end response, which places it a cut above other condenser multi-pattern microphones.

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A low-budget microphone that provides great quality. Works well with acoustic guitar. Records the top end quite well, making it a good snare drum microphone.

This microphone is not good on the lower ranges. Sometimes you will have to bring it very close to the instrument to get a clear recording, which might hinder the musician's playing.

MXL 603 Microphone Review

Great top-end recording

Marshall's MXL 603 microphone is straight-ahead diaphragm cardioid model with great sound pickup on the higher ranges. If you use this microphone along with an acoustic guitar during a studio recording session or for a gig, it will blow you away with the absolutely brilliant and clear sound it provides for the instrument. Use it with a snare drum during a gig and it will give well-defined sound which will be useful for any drummer to expose his or her talent.

Customers’ MXL 603 microphone reviews describe this product as giving a clearly-defined boost in the higher frequency ranges for voice, specifically in the 9 Khz range. Although the default capsule for the MXL 603 is Cardioid, it is also compatible with the Omni capsule that is shipped along with the MXL 604.

The manufacturer’s MXL 603 Microphone review describe the diaphragm of the microphone as having a diameter of 16.77mm, and a capsule of a diameter of 20.5mm.

All things considered, the Marshall MXL 603 microphone can be the perfect solution for anyone who has a low budget but wants to get quality recordings from their instruments. This microphone will perform great for you and you won't be disappointed.

Where to Purchase:
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This microphone provides good quality for its price.  Good for recordings and for use in the studio during practice sessions for vocalists.

Acts up a bit during recordings sometimes and will give a slightly distorted output.

MXL 770 Microphone Review

Good for smooth vocals

Most of the MXL 770 microphone reviews describe this model as an everyday-man's microphone with a low price and great quality sound recording capabilities. It uses a condenser with a 20mm diaphragm to input sound and can be used effectively along with a computer recording environment or simply a studio practice environment.

Most sellers provide the MXL 770 microphone along with a mike stand and mike holder mesh, as well as a carry bag which is useful when you need to transport your mike. The most important thing about the microphone is the quality of the sound recorded through the microphone. According to experts, the best way to use this microphone is for a vocalist who will be doing their vocals on top of acoustic guitars and drums. When used in this scenario, the MXL 770 microphone will provide clear vocals which will cut through the sound of the guitars nicely to give the feel of a professional jam session.

If you are planning to record tracks using your computer, users’ MXL 770 microphone reviews are favorable in saying that this is the recording device for you. It will give crisp, clear sound that will get recorded nicely without any unwanted peaks or dips. However, you should be careful not to move your mouth too close to the microphone during recording to prevent any distortion from occurring.

One of the best low-budget microphones out there, the MXL 770 microphone will provide you with the sound recording quality you need.

Where to Purchase:
Check Out the InstrumentPro Here and Amazon Here

Dual voice means two different frequency curves, one on each side. So you basically get two mics in one. What’s more amazing is each side is its own respectable character for any number of applications. Responds beautifully with acoustic guitars, amps, vocals, or as a very warm drum and percussion room mic. It also comes with a unique mounting device.

Just use discretion when pulling up the signal in your pre because it can easily clip. That aside, there is nothing bad, at all, whatsoever.

The Gemini of Ribbon Mics

Looking to get into ribbon microphones? Look no further. The Naked Eye will blow you away.

Crowley and Tripp is part of Soundwave Research Laboratories, Inc.  They have a few divisions, spanning into the medical and scientific fields in addition to their microphones.  It’s safe to say if that if you trust a company to make coronary catheters and ultrasound gear, you can trust them to make your microphones.

Once a company adopts a philosophical platform to make medical-grade equipment, the tendency is to uphold precision in its highest form.  Soundwave Research seamlessly transferred that precision into the Naked Eye ribbon microphone.

Encased in a beautiful wooden box with the Crowley and Tripp emblem pyrographed on the front, the sleek and surprisingly small Naked Eye rests alongside a very unique mounting system.  Let’s start there.

The mount is called a Monocle Mount, (Naked Eye…Monocle…get it?).  The mount vaguely resembles the one-piece eyeglass from which it’s named.  Basically, it’s a thin metal arm with a ring at the end that holds the mic by its base.  It allows for easy positioning and minimizes vibrations.

In the words of Crowley and Tripp Product Manager Chris Regan, “By clearing away the space near the transducer, reflections are minimized, which is an issue with suspension mounts that incorporate lots of hair ties and strings and things that reverberate too close to the transducer.”

Onto the mic.  Let’s put aside numbers and figures for a minute, and pretend we don’t know shit about hertz, polar patterns, decibels or any other crackpot measurements.  This mic is a Gemini.  It has two distinct personalities: the front (A) and the back (B).  The “A” personality is a slightly darker, warm and calm tone that blends in well with the crowd.  The “B” personality is a bright, playful texture that’ll cut through a crowded soundstage.

The tonal and textural differences are due to each side’s frequency curve.  The major reason “B” is so bright is a consistent 5dB boost between 6kHz and 10kHz before rolling off the top end.  The “A” starts to roll off about –6dB/octave around 5kHz.

Both sides are active any time the mic is plugged in.  My initial thought was how to avoid bleed from one side to the other.  Luckily, the Naked Eye is beyond a Gemini…it’s downright bipolar.  The pickup pattern is a figure-8 (most all ribbon mics are), leaving the sides sharply divided.  When you’re talking to one, the other doesn’t really hear you.

The Naked Eye was designed with guitars in mind, both acoustic recording and louder guitar cabinets.  I positioned the “B” side in front of the acoustic’s 12th fret.  Listening back, it sounded like our ears were actually in the body of the guitar.  The presence was unmatched by any other mic I’ve ever used.  It was a little boomy on the bottom end, so I eventually rolled that off to make room for the kick and bass, but it was so naturally beautiful that no other tonal adjustments were made.

When it came time to track the electric leads, I switched the mic around and put the “A” side to the guitar cabinet.  The results were the creamiest tones I’ve ever drawn from that particular amp/guitar combo.  For you guitar freaks out there, my guitarist uses an original Ibanez RG550 (customized) and a Fender Hot Rod Deluxe cabinet.

Looking back, it seems I grabbed more from the amp recording than I originally bargained for.  The “A” side took the signal direct from the amp while the “B” side grabbed the sound bouncing back from the room, acting as a room microphone.  I know I said earlier that when you talk into one side, the other doesn’t react, but in this case the cabinet was louder than an acoustic guitar or a human voice, so there was a bigger chance of slap back, and we didn’t use any cabinet isolation in a medium-to-live room.

Remember the “A” side is dark and warm and the “B” side is bright and ballsy.  One would think recording acoustic would take the “A” side and recording electric leads would take the “B” side.  That proved to be the exact opposite in my case.  The “A” side on the acoustic clipped my Universal Audio pre; when I turned it down or compressed it, I lost so much volume that the signal wasn’t workable.  Same for the “B” side on the cabinet.  All its loudness was in its upper end, leaving out the body.  My point is to experiment with the two sides on any given instrument and consider the result more than the means (always, not just with the Naked Eye).

The drums in this particular track called for a mix with more room sound.  Although this situation would normally take my condensers, I decided to warm it up with the Naked Eye.  Paired in a stereo configuration with another ribbon microphone, the “A” side delivered the perfect texture and response we were looking to achieve.  Luckily the Naked Eye can handle very loud noises (up to 126dB @ 40kHz) without a whimper.  So don’t be afraid to get it close to loud transients like your snare or timbales.

In yet another application, we used the Naked Eye to track a few vocals.  We used the “B” side because we usually boost the top end for clarity.  The tracks still used a little EQ for tweaking, but were generally left alone.  After some gentle compression and a lot of Autotune, the vocals were shining through the mix.

So there it is: two ribbon mics in one.  Normally you’d drop four digits on a single voice ribbon microphone.  The Naked Eye is $829.  It’s available at SoundwaveResearch.com.

It’s all about tone! With such smooth mids, this is a great mic to capture warm vocal tracks. It comes with a regular clip and a shockmount. It also comes with an innovative pop filter.

As with any mic, it takes some tweaking depending on your vocalist’s sound. Once you have it set up, though, you’re flying high!

Groove Tubes VELO 8

Large diaphragm ribbon microphone

Back in the day when ribbon microphones ruled the earth (c. 1930s) they were called velocity microphones.  Then the condenser/dynamic meteor hit, rendering the ribbons nearly extinct.  Now the technology is being resurrected from tar pits with a new-found appreciation.  And Groove Tubes is leading the way with the VELO 8.

The main reason GT is on top of the game is their ability to make such a quality microphone for such a reasonable price.  The VELO 8 ranks in at just under $800.  Its equals can run in the thousands.

In the package, you get the mic, a smaller enclosure, a replacement ribbon, a shockmount and a unique pop filter system. 

What’s unique about the filter is it connects to the shockmount by two small magnets.  The main benefit to this is the filter will always be the same distance from the microphone, in effect eliminating a proximity variable among different sessions.   It’s also made of metal mesh, which is much more effective in disseminating air compared to traditional fabric filters.  Want to feel the difference?  Set up a fabric filter and GT’s metal filter next to each other, put your hands two inches behind each filter and blow through them as hard as you can.

The shockmount is a valuable accessory.  After markets can cost in excess of $50, so this is a well-appreciated addition to the package.  It’s a standard suspension mount that keeps the mic hanging by elastic hair ties.

A replacement ribbon is not indicative of durability and certainly not quality.  It’s simply a precautionary courtesy by GT.  The ribbon is only 2.5 micron thick (human hair is about 100 micron).  On a long enough time line, everything will break.  When your ribbon element sings its last song, you have another ribbon to give life back to the VELO 8.  Thanks Groove Tubes!  What’s even better is the microphone is designed to have its ribbon replaced by the average musician.  And it’s easy – even a drummer could do it under adult supervision.

The ribbon replacement process appeals to the Radio Shack cashier inside all of us.  The directions are annoying but clear, walking you through every step.  It took me about 15 minutes with only a Phillips head and scissors.  Pulling off the housing may stimulate your robot fetish; it reveals the intricate and beautiful architecture of the VELO 8.  Once that’s off, it’s a matter of removing four small screws and unplugging a small wires harness from a PCB.  It’s a little nerve-racking for the novice, simply because this may be unfamiliar territory, not to mention expensive.  My advice it to take it slow, be gentle, and do it stone sober.

The enclosure for the mic is a little disappointing from an aesthetic standpoint.  It holds the mic upright, which is great because ribbons can get fatigued when laid on their side for long periods of time.  But the exterior materials make me feel like I got this mic at Hot Topic.  As protective as it may be, it’s simply cold and ugly.  Call me a traditionalist, but for such a warm mic, I hope GT considers wooden casing or something more organic in the future.

A recessed knob on the side of the mic lets you choose the output impedance between 75 Ohms and 300 Ohms.  You can also select a flat frequency output or a high pass filter.  The HPF is set around 50Hz.

So how does it sound?  In short, it’s like an electric blanket for your vocals.  The VELO 8 has that classic tone, the kind from which hit songs are made.  It smoothes out the transient harshness of your performance.

For vocal treatment, I suggest using this mic with a limiting preamp (preferably with tubes, just make sure Phantom Power is off).  If you have a good live room, the back side of the figure-8 pattern will grab some nice delay and reverb.  Otherwise, I suggest throwing a fast slap (in the range of 80ms) in production.  That gives the classic tone a classic treatment.

It would be opportunities lost to limit this microphone to vocal tracks.  It can handle loud noises (up to 138dB), so try it on guitars, cabinets, percussion, piano, or virtually anything.  They will all assume a certain common texture through this mic, and mix together beautifully in production.

It’s small and inconspicuous. Sennheiser consistently puts out great products, and this falls in line as one of my personal top ten for its ability to grab the sound I want and reject the noise I don’t. It also has built-in sensitivity and bass attenuation controls.

Nothing bad yet. If I was caught in some sort of life-or-death scenario and had to make a negative comment, it would be about the price tag. BUT…that’s only in a life-or-death scenario.

A Sick Vocal Condenser

It’s perfect for performers singing around loud instruments and monitors, or for the wandering vocalist who likes to take a walk in front of the PA.

Stage sound engineers have a daunting challenge.  Their job is to balance the equation: on one side, there is the comfort of the musicians, and on the other side is the function and limit of the equipment.  This proves to be most difficult when the guitarist wants his monitor cranked to infinity, and you’re riding the fader, sweating bullets every time you hear the stock SM58 squeak feedback.  I lose sleep over this scenario.  Thankfully, there is a microphone in my suitcase that provides awesome feedback rejection and great isolation from nearby instruments.

The Shure Beta 87A has made it through more than 400 shows with my band.  My brother chose it because he is the lead singer and drummer (a la Collins, Henley, etc.).  It performs exactly how we hoped, rejecting his drum kit very well.  The only drum that bleeds noticeably into the Beta 87A is the high hat, probably because the 87’s frequency curve has a +5dB bump around 9 kHz.  It actually sounds good, though, since I don’t mic the hats on stage.

The reason the Beta 87A performs so well lies in its pickup pattern.  It is supercardioid, and has a tight area from which it picks up sound.  Further, the frequency curve provides bright tone and superb vocal presence, while rejecting the low frequencies the further away they are.  The difference is drastic: at singing distance (approximately 3/8”) the response at 100 Hz is around 9+dB.  At two feet away, 100 Hz drops to about –15dB.  The kick drum’s thump or the toms’ lower bodies are non-existent in the Beta 87A channel.  Even when his back is to a hard surface and the instruments bounce right into the front of the mic, it holds its ground by masterfully rejecting these instruments.

We use Mackie SRM350 active loudspeakers as floor monitors.  The drummer’s monitor is kept at a right angle to the kit, about three feet from the Beta 87A.  In line, we use Behringer Ultragraph Pro FBQ3102 dual channel graphic EQ with feedback detection.  Kept flat, the channel with the Beta 87A is much less offensive to feedback than the other mics on stage.

So there you have it.  This is the mic for you if you want your monitor mixes blaring or the lead singer wants to wander off stage and into the audience area.  I’m not saying you can drop the mic into the tweeter and expect a dry signal, but you’re better off than trying that with an SM58… by far.

The Neumann TLM 49 is a large-diaphragm condenser microphone that is best used in the studio. Its cardioid pattern and warm sound make it a favorite for vocal recording.

While Neumann makes a great product, it can be on the pricy side, depending on how much you have to spend on studio gear.

Neumann TLM 49

This large-diaphragm condenser mic is a favorite among studio owners, and is one of the top choices for vocal recording.

The Neumann TLM 49 is a large-diaphragm condenser microphone that is widely used in recording studios everywhere.  It’s characteristically warm sound and retro design make it a favorite for recording vocals.  The design, as inspired by the legendary Neumann M49 and M50 microphones from the 1950s, gives it a sturdy look and feel, as is typical of Neumann.  The fine matte nickel finish, along with the cardioid pattern and other sound characteristics serve to further orient this mic to the M49 and vintage U47.

The lack of transformerless circuit technology and the retro look of this mic together insure low self-noise and the use of high gain levels.  It was built especially for vocal recordings, and works well for speech and song.  In addition, it can also be suitable when miking certain instruments, but it is important to keep in mind that when doing so, it may be necessary to work diligently with mic settings and placement before the right sound can be achieved.

The large-diaphragm capsule of the TLM 49 provides a cardioid pattern, with a tendency toward supercardioid due to its special capsule construction that gives it this characteristic.  Here, high frequencies are more directional, which is one reason why it is most often used in vocal situations.  This also gives it a wide range of possibilities for other recording uses.

The front of the microphone has a red Neumann logo so it is easily distinguishable, which is a signature feature.  The TLM 49 is also equipped with the K47 capsule, which was also used on the M49 and U47.  This capsule is enclosed by a large headgrill which is acoustically very open and neutral with regard to the mic’s sound.

The letters TLM stand for transformerless microphone, where the output transformer that would be used is replaced by an electronic circuit.  Because of the wide frequency response, the TLM 49 can also transmit extremely low frequencies without coloration.  This does mean, however, that the microphone is also sensitive to wind and vibration noise in this frequency range; this is why the mic is equipped with elastic suspension and a rubber shock mount for the capsule.

These key features, along with the warm sound this mic will provide, are what make it a top choice among studio owners and musicians alike.  While the price may be considered a bit high end, it is well worth the money, and will last for a long time, providing many hours of use.  That is why Neumann combined the new with the old, and came up with a product that encompasses the best of both worlds.

The KSM is everything you’d expect a condenser to be: small, tight pickup pattern, smooth response, and pretty sensitive.

Works better on some instruments than others. I wouldn’t suggest this mic for anything that requires warmth, a really full body or great mid-low or low response.

Sure We Love the Shure KSM 109

Combined with a nice preamp, the KSM109 will sparkle. Don’t expect to get that bottom end you always dreamed of, but the tracks you record with this will most definitely shine.

Before all else, Shure is an awesome microphone company.  They have tremendous resources to push their research and development.  The result is a line of microphones that set the industry standard.  The KSM109 is part of the KSM series: finely-tuned condenser mics designed exclusively for the studio.

The Shure KSM109 has a full frequency response (20-20,000Hz), with little peaks around 4K and 10K.  On the low end, it starts to roll off around 300Hz.  This is evident in recording certain instruments.  For instance, if you want to capture the snap of a kick drum, but little of the boom, the 109 works well.  In that application, I would suggest using it in tandem with a large-diaphragm kick mic like a Shure Beta52.

The only feature on the body of this mic is an attenuation switch.  It enables a -15dB attenuation, critical for screaming horns or other loud players.

I originally bought the KSM109 as a snare mic by suggestion of a retailer.  However, it really didn’t carry a tight snare sound.  The bottom end was non-existent, and the top end was splashy, even with a gate and EQ.  I gave my snare’s heart back to the SM57, and the KSM109 sat the bench for a few tracks.  When I listened back to the snare tracks I recorded with the KSM109, the bleed from the high hat sparked my interest to try it on the hats.  Since then, I have never used another mic on the hats.

Positioned about six to eight inches over the bell, facing away from the snare towards the rim of the hats, the KSM109 consistently recorded a crystal, pristine sound.  I usually roll off the bottom end completely up to 700Hz or higher, leaving nothing but sparkle.  This might be too much shiny hat for contemporary jazz or hardcore-disco, but for reggae, world, dance and pop music, the KSM109 delivers a dynamic upper-extension of the drum kit that can’t be beat.

The other exclusive application I use the KSM109 for is recording trumpet.  With this, the –15dB attenuator is best enabled to reduce the chance of hurting the mic.  Also, since the timbre of a trumpet needs smooth curves and wide range of frequency response, I highly suggest using a tube preamp with a sweet touch of compression.

Other suggested applications by Shure for this mic are as drum overheads (need two of them), woodwinds, acoustic instruments (guitars, pianos), or as a room mic.

The Shure KSM109 is available now for under $180, making it the least expensive of the KSM series, and settles it as an incredible value among other studio condensers.

The M-Audio Solaris multipattern condenser microphone can be used in virtually any setting whatsoever. You can use it in the studio to record vocals or instruments, on stage at a small venue, or even at a large one. It outperforms other mics.

There isn’t a single bad thing to say about this microphone. I couldn’t even complain about price because for everything you get, it’s so low!

The Wicked Hot M-Audio Solaris Multipattern Condenser Microphone

This is a mic you want to take care of. It sounds great and it looks amazing both in the studio and on stage.

The sensitivity of this mic sets it apart from the others out there. It’s the super thin evaporated gold diaphragm that makes for such amazing sensitivity. I love the shape – it’s so unusual and nifty. It has a sturdy grip and the head is flat to catch all the sound you throw at it.

When using the M-Audio Solaris multipattern condenser microphone, you’ll never have more than than +/-1dB of deviation across the entire 20Hz-20kHz frequency range. The multipattern architecture is great because it provides the best versatility. You can definitely use this mic in any recording room, and in any situation; the sound will still rock your socks off. Whether you want to record vocals, your newest bass line or some wicked drum tracks it doesn’t matter because they’ll all sound perfect when recorded through the M-Audio Solaris. You can even use this mic when performing live at any venue, small or large. It’s this kind of flexibility and adaptability that’s impressed me so much.

This is a high end mic without the high end price tag. Sure, it’s not cheap but it’s not nearly as much as other professional grade microphones! I just love the selectable polar patterns and the bass roll-off filter, and I truly adore the design. If I were going on stage, I would definitely feel good about using the M-Audio Solaris multipattern condenser microphone. The same is true if I were recording in a studio. This is a killer mic, one definitely worth checking out yourself.