Earthworks SR314 Handheld Vocal Condenser Microphone - Stainless Steel

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Maybe, with the steel string, the 441 could be nice, but with the nylon, it might be lacking a little bit of the highs in the total tonal balance, if compared with the condenser microphones. Especially since you're not a quiet singer in a loud rock band, trying to scrape as much GBF from the mic. Audiences experience vocals that sit comfortably and easily in the mix, with every detail and nuance bridging the gap that so often separates live music from recordings. It looks incredible, sounds excellent and is potentially as valuable in the studio as it is on stage, and if you are in the market for a high-end capacitor stage mic, you'd be foolish to omit it from your shortlist.But you have to deal with those people when playing small venues, so understanding and empathy go a long way in making them work for you rather than against you. you may want to consider a mic which either has switchable pattern control (mostly ldc) or switchable capsules (sdc) - i can recommend the tlm107 (or 170) or schoeps. Used up close, the on-axis frequency response is flat within ±3dB or so from 20Hz to 30kHz, with small dips at 4 and 8 kHz and a couple of bumps at 10 and 15 kHz. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. From broadcasts and podcasts, to voiceovers, stage performance and studio work, this mic will thrive in a tonne of different auditory situations.

While some microphones tend to get a bit clinical sounding if they’re heavily focused on accuracy, the SR314 does an excellent job of providing a musical and vivid sound. When you move the mic 90 degrees off-axis, the timbre changes, and you can hear the high-frequency response start to drop off. When they got to the front of the queue, the SR314 was also something of a sonic revelation for vocalists used to beaten-up SM58s. I also used it for another musician who I ran sounds for and with zero gain on the board channel and no compression, her levels were perfect.One glance at the SR314 won't be enough for most people, in fact, because this is a stunningly good-looking microphone. In the USA, for example, it costs the same as rivals such as the Neumann KMS 104 and 105 and the Shure KSM9, and is considerably more affordable than DPA's d:facto.

If you sing directly into it too close, it will pop on plosives, but with decent technique you can eliminate that. It might be a bit of a shock to some vocalists, especially those who are used to gigging with beat-up dynamic microphones, but the SR314 instantly struck me as bringing studio-quality sound to the stage.The supplied frequency plot shows a polar pattern that is impressively consistent through the entire spectrum: it's almost perfectly cardioid at 400Hz and 6kHz, with a small rear pickup lobe developing between these points and a slightly greater tendency towards omnidirectionality from 12kHz upwards. it's not correct to compare a powered speaker without having plugged anything in to a fully rigged system. It's a welcome and inviting sound that allows me to add some body to my tenor voice without losing the EW window of clarity.

I literally had a woman with a KMS 105 complaining it didn't work with her new Behringer portable PA speaker. The SR314 features a distinct, tapered housing with a brushed-silver finish that somehow makes it look retro and contemporary at the same time (the microphone is also available in a black finish with stainless screens, or black finish with black screens).Like the SV33, the SR314 is an end-address mic that uses a small-diaphragm cardioid capacitor capsule; and, again like the SV33, its design is optimised not only to pick up the wanted audio with optimum clarity and faithfulness, but to reject off-axis audio evenly through the frequency range. It has a slight coloration in the lower-mids that’s flattering to vocalists who need a bit of help in that region, and the microphone is capable of producing plenty of mojo in the low end, particularly when used up-close (within a few inches).