Earthworks SR314 Handheld Vocal Condenser Microphone - Stainless Steel

Product Information

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. It delivers uncoloured rejection of off-axis sound, ensuring a high-quality sound at all times that highlights your voice and nothing else. I found that the SR314 provided the most natural-sounding response when a vocalist worked the microphone from around 8 to 10 inches away from the microphone grille.

Whether she’s working in country or pop, Dolly has built up a remarkable collection of hit songs that transcend genre, including “Jolene,” “9 to 5,” and “I Will Always Love You. Almost every time I've been in either situation there has been small-but-noticeable white noise coming directly out of the drivers no matter what the situation, even at reasonable gain levels. The polished steel finish is very classy indeed, and there's a sense of balance and proportion to the whole thing that just works. Protected within its steel exoskeleton is a studio quality small diaphragm cardioid condenser capsule coupled with a Class A amplifier circuit that leverages Earthworks’ patented and proprietary technologies to deliver one of the fastest mics on the planet.I finally got a chance to use it recently at a gig I played and the guy running the sound came up to me afterwards and asked me all about it saying it was one of the best mics he has heard and worked with.

Along with all of her other ventures, she has firmly established herself as a trailblazer in popular culture. The SR314 stepped in where the likes of U87s and C414s had failed, and delivered a balanced sound with no fuss at all. Regarding the original question - I used the Neumann all the time when doing "live in the studio" acoustic gigs, but they tended to be stand mounted, where you want the profile of a stage mic but the response of a studio condenser. i admit that phantom power was occasionally an issue back in the late 80's and i therefore either carried a symmetrix preamp or a neumann phantom power unit quite regularly). I was a bit worried about running into bleed issues with cymbals on stage, but it never created any issues for me.I can sing pretty well have albums to my name with Warner, BMG etc (mostly mellow pop, jazz, torch song, cross over stuff) . I see no other reason for the hiss that happens in either a power amp plugged into a passive speaker, or an active speaker when turned up, even though the input is at line-level, and either nothing is plugged into it, or a perfectly-working XLR cable is plugged from the input to a mixer that is turned off. Studiocare Professional Audio Limited is authorised and regulated by the Financial Conduct Authority, registration number 778381. If I was in a band, I would probably go with the 441, but since I'm mostly doing wedding cerimonies and private events, I think that maybe a condenser would be nicer to bring more detail in the vocals.

unless of course you're doing something wrong - and i haven't come into the situation in which i couldn't get phantom power in more than 30 years!When a singer moves within about 4 inches, proximity effect starts to gently emphasize the low end; any closer than that and proximity effect is clearly noticeable. It's quite tragic that we keep having these problems with them, unless we are doing something wrong or there could be a compatibility issue? 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. I’ve used a pair of omnidirectional QTC40 mics in the studio for years, in a variety of applications.

There are slight peaks around 10kHz and 15kHz, a slight dip around 4kHz and 8kHz, and a gentle roll-off below 100 Hz. It's a philosophy which has won their omnidirectional studio mics many admirers, especially among engineers who favour a natural drum sound, and it's one that Earthworks have carried through into their range of vocal mics. People were actually making a point of it, including stopping my wife on her way into the venue to say how great it sounded.Even though it’s designed for live use, I was very curious to throw the SR314 on a stand in the studio and track some acoustic guitar with it. The mic performed beautifully capturing everything from the smaller intimate moments to the big rocking high energy moments of the set. You should note that the pickup pattern of this mic is very tight which will require the singer to stay on axis for consistent performance and as such it is not the best microphone for ambient duty in my opinion. It's startling in how close it gets to what I think is my real voice (just straight into the desk at a live gig or straight into my RME in my studio, with no EQ or effects). Earthworks precision-engineered their SR314 handheld condenser microphone to offer a fresh approach to miking live vocals.