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PAR Session Trial Large-Diaphragm

Condenserswwiitthh BBeerrlliinneerr,, BBrraauunneerr,, JJZZ,, NNeeuummaannnn,, && VViioolleett

PAR Session Trial Large-Diaphragm

Condenserswwiitthh BBeerrlliinneerr,, BBrraauunneerr,, JJZZ,, NNeeuummaannnn,, && VViioolleett

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Large-Diaphragm Condensers Our first installment in a new review series features five select large-diaphragm condensers — five proven performers for PAR reviewers in ’08

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The “large-diaphragm condenser” class of 2008 was loaded withgorgeous and innovative contenders, and we here at PAR would liketo revisit the top five “LDCs” we reviewed to compare them in closeproximity. Note that this is the first installment of our new SessionReview series —not a clinical “shootout,” per se, but parallel testingand evaluation to seek the best applications for these proven win-ners and suggest their comparative strengths in the real world.

by Rob TavaglioneWith the enlistment of some great localclients, The Lights Fluorescent (a talentedgroup with a couple of engineers for mem-bers), we configured our usual trackingsetup. Then we began adding our test sub-jects to the setup, finding where each micimproved upon (or detracted from) our“baseline.” The results were sometimes sur-

ROB TAVAGLIONE

Rob Tavaglione owns and operates Catalyst Recording in Charlotte, NC. He welcomes your comments, questions, and inquiries at rob@catalystrecording.com.

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19January 2009 | ProAudioReviewwww.proaudioreview.com

prising and hugely inform-ative, providing compara-tive info that is very hardto find under average (i.e.,rushed) studio conditions.

Neumann TLM 67The TLM 67 ($3,858 list)offers the K67 capsule,three patterns, -10 dB pad,an EA 87 suspensionmount, and case. Its big, warm soundscreamed U 67, even without a tubepresent. Ty Ford’s original review [PAROctober 08] proved to be extremelyaccurate, as we both found the 67 tohave an unhyped bottom end, smoothmids and a classic, comparativelyunderstated top end. This top end wasextended, but never strident or brittle.There was a bump in the low midresponse that proved to define the char-acter of this mic; somewhere around300 Hz, this bump was sometimesessential and other times detrimental.

The 67 excelled in drum-kit reproduc-tion with a punch in the lows, withouttubbiness and with a smoothness of

highs that needed no EQ (highly recom-mended for overheads or room mics).Electric guitar was very nice andsmooth, but that low-mid bump oftenneeded subtractive EQ; it is good for jazzor clean tones, not so good for heavydistortion or “carved out mids” typetracks.

This mid bump was interesting onbass guitar, but only for bass lines thatrequired lots of mid definition. Vocalswere similarly hit or miss. For these ses-sions, that low-mid bump made nasalvocal qualities unbearable, but providedsome thickness and body to our femalevocals — a highly recommended app.

JZ Black Hole BH-1The BH-1 multi-pattern condenser($2,295 list) has some very interestingdesign qualities, with the rectangularhole in its center being the most obvi-ous. The provided shockmount is attrac-tive, but not as effective as hoped. PARreviewer Russ Long had success with it[PAR July 08], but its use perplexed me.I never could get the mic to sit still, asminor movement jarred it out of positionand the windscreen made the ensembletop-heavy and unstable.

In our sessions, the Black Hole BH-1offered a lean bottom end and aggres-sive top. This frequency response wastoo crisp for drums, with sizzling highsand insufficient bottom. This tonalityworked better for electric guitar ampand was very nice on detailed acousticguitar work. We were most surprisedwith the BH-1 on bass guitar amp; itslean bottom allowed the perfect defini-tion of low notes without muddiness orboom with great high string detail — a

very modern, aggressive bass sound.Vocals with the BH-1 proved to be a

matter of taste. Here, its aggressive topwas simply overbearing to me (on eithermen or women), although if you likesibilance and pronounced definition forstylistically engineered vocal sounds,you may justifiably feel otherwise. Inomni, the BH-1’s qualities all becamepositive on a group backup vocal trackwith its great detail and room air.

Violet Flamingo METhe Flamingo ME ($6,990 list) is eye-catching, yes, but it was the ear-shapeddiaphragm and its “vented” gold sputter-ing that intrigued us. Cardioid only (itssole drawback), the ME has an invitingsound with a full and accurate bottom,smooth velvety top and a touch of low-mid emphasis. This response empha-sized snare and toms, while tamingcymbals and rounding out transients: Itwas beautiful.

The ME performed predictably on guitaramp, although you’ll probably need someEQ to add top and carve those low mids a

�Test EquipmentLarge-Diaphragm Condensersin a PAR Session Trial

MMIICC PPRREEAAMMPPLLIIFFIIEERRSS:: Neve 4081, Manley TNT,Earthworks 1024, Sytek MPX and True Precision 8

BBAASSIICC RRIIGG:: Soundcraft Ghost analog mixing consolewith Digital Performer 5.12 DAW clocked by Lucid GenX6-96 and monitoring via JBL LSR4328 with LSR4312subwoofer

NNeeuummaannnnTTLLMM 6677

JJZZ BBllaacckkHHoollee BBHH--11

bit. Same thing goes for bass guitar, wherethe 200 Hz emphasis may help or hinderyou. In our original review, Russ Longloved the ME on male and female vocals[PAR January 08], and I completelyagree. It may be too dark for basses ormumblers, but the ME’s tube and trans-former precisely tamed harsh conso-nants and aggressive rock yells yetmaintained definition — all this withouta touch of unwanted sibilance.

Brauner VMAOne of the costliest microphones wehave recently reviewed [PAR March 08],expectations were understandably highfor the Brauner VMA ($9,719 list). It isgorgeous in its craftsmanship, mostnotably in the cylindrical windscreen,allowing up-close singing for groups inomni or duos in figure eight. The powersupply of the VMA was particularly nicewith patterns of cardioid, wide cardioid,hyper-cardioid, figure eight, and omni —all continuously variable. The VMAemploys the capsule/electronics of theoriginal VM1 alongside a second capsule

(not just filters) for a “classic” modewith conservative top end and vintagetonality. Essentially, it is two micro-phones sharing a body; as a result, itsversatility significantly softens the blowof the price.

Across all tests conducted, the VMAwas either our top choice or veryclose to it. The reason? It offered apalpable sense of realism to itstracks, very accurate and extremelynuanced. This lack of color allowedfaithful reproduction of most anysource placed before it. Bassresponse was very extended, butwithout hype or emphasis bumps;this made the VMA my top choice forbass guitar amp. Drums via VMA werefaithful and accurate, with quick tran-sients and no discernible distortion.Vocalists of all varieties should findsuccess with the VMA; its neutral flex-ibility allows a variety of vocalsounds with some minor EQ. The onlyapp that didn’t immediately impressus was on electric guitar, where theVMA exposed some undesirable traits

in our guitar setup. Matched with theright rig, I’m sure the VMA could excel.

But the VMA “classic” mode, you ask?Yes, it is distinct, and very desirable.With its thicker bottom and sculpted,musical top, I loved this mode for leadvocals and “normal” mode for BGVs.

Berliner U77Unfortunately, the U77 ($3,495 list)didn’t make it into session evaluationin time for initial drum, bass, and gui-tar tracking. Such a shame, as person-al testing revealed an extremely musi-cal mic that was simultaneously veryflattering and yet very naturally accu-rate on most any source. Although its

classic “big 3” patterns make it versa-tile enough for many instrument apps,I’m in love with this mic for vocals.Like the Flamingo ME, original review-er Dan Wothke [PAR June 08] foundthe U77 very desirable for both menand women vocalists; that’s a rarequality, and I strongly support Dan’sfindings. Lead, BGV, or group, loud or

20 ProAudioReview | January 2009 www.proaudioreview.com

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tender: The U77 shines in most vocalsituations.

The U77 is also a first pick for ac-oustic instruments. Its inherent bal-ance, natural transients and ever-so-slight high-frequency emphasis workednicely on acoustic guitar, piano, or mostany natural source where realism isyour goal.

On VO WorkI did some commercial spots with malevoiceover artist Charles Curcio andfound something likable about all fiveof our mics. Ultimately, we chose theNeumann TLM 67 for its smooth, yetarticulate top end, with minimized sibi-lance problems. Low frequencies wereflattering without any undue girthwhile plosives were never an issue,even at really loud levels.

The Brauner VMA in classic modewas our second choice for this VO ses-sion; it was wonderfully detailed andnatural, if ever so slightly strident onhard consonants. The Berliner U77 was LL ttoo RR:: JJZZ BBllaacckk HHoollee BBHH--11,, BBeerrlliinneerr UU7777,, NNeeuummaannnn TTLLMM 6677,, VViioolleett FFllaammiinnggoo MMEE,, BBrraauunneerr VVMMAA

nearly as likable as the TLM 67, exceptfor a little missing “chestiness.” Imust say, however, that the U77would be my “best-all-around” choiceif I could buy only one mic for all VOwork. The Flamingo ME was verywarm and supple; I would prefer itwith female voice artists. The BlackHole BH-1 had the most top end ofany mic tested here — great for defi-nition on deeper voices, but too sen-sitive to plosives in cardioid. Evenwith two pop screens employed, wehad to switch to omni to get suitableresults.

Singer/SongwriterSessionsWith this collection, I also knockedout (live) singer/songwriter sessions

and predictably got some greattracks. The performer, Neil Jackson,sings loudly with an edgy quality, andthe Flamingo ME was the ideal trans-ducer for its rounding qualities. Theoriginal mode from the VMA was ourprimary choice for acoustic guitar(with its welcomed linearity), coupledwith either the U77 or the Black HoleBH-1 for some exciting sizzle. Withthe TLM 67 picking up room ambi-ence, the result was slightlyenhanced reality without a dreadfulDI anywhere in sight.

Evaluation’s EndHere, the top performer overall wasthe Brauner VMA for its incredibleaccuracy, “dual mic” flexibility, andsupreme package of accessories.

Russ Long gushed about the VMA,calling it “stunning,” and I definitivelyagree. The Violet Flamingo ME was anunexpected favorite with smoothreproduction and a sonic qualitygeared for the environment of digitalrecording. The Neumann TLM 67 wasvery impressive, with its own smoothsonics and a lack of harshness,although its mid bump proved to beproblematic in some apps. The Ber-liner U77 offered the most overallflexibility and was simply stellar onvocals and acoustic instruments.Finally, the JZ Black Hole BH-1 is anextremely desirable transducer hin-dered only by a questionable shock-mount and an overstated top end,which many may find more desirablethan I do.

“Results were sometimes surprising and hugely informative, providing comparative info that isvery hard to find under average (i.e., rushed) studio conditions.”