Recording - May 2013 - 64

B Y PA U L V N U K J R .

CAD Audio Acousti-shield 32
A handy solution for mic isolation in the small studio
may sound like a slam on the unit, it actually means that the AS32 is nowhere
near as heavy, clunky and bulky as some of the competition, making it easier to
use and set up; it is still heavy enough that I would recommend a decently constructed and well-balanced tripod-style mic stand at the very minimum.
Out of the box, some assembly is required. The unit sets up with three
large mounting screws that attach the backsplash to a sliding bar that lives
between a pair of threaded mic-mount adaptors. This design allows you to
adjust the distance of the mic in and out of the half-circle shell by moving
the mount back and forth while the microphone stays put on the stand. This
is in stark contrast to a few competing designs where the shield attaches to
the stand and the mic is on a separate moving bracket.
How does using the AS32 sound? For what it is, it is really nice.
Meaning, no it won’t replace a good, treated studio room, but it does a
respectable job of drying up the sound of an untreated bedroom, office
space, etc.. What impressed me is that it does what it advertises without
sounding too dead or claustrophobic. This alone puts it in league with the
more expensive versions on the market. I actually prefer it to your average
closet-sized vocal booth, which I usually find too dead and boxy.
In addition to its use on vocals and voiceovers, the AS32 makes a great
instant, unobtrusive instrument gobo for everything from acoustic guitar to
hand percussion, and is also nice for flutes and trumpet if improved separation and lessening of bleed is a goal.

The CAD Audio Acousti-shield 32 is the newest entry
into the world of portable vocal booths. While similar to
much of the competition in what it sets out to do, its differences lie in its design, construction and price point.
According to the folks at CAD, “The Acousti-shield
32 is constructed from a high-quality 16-gauge perforated stainless-steel shield mated to 53mm high-density micro-cell acoustic foam.” Its goal is to reduce room
reflections and environmental intrusions and improve
the clarity and intimacy of a recorded source by drying up the space around the microphone.
I have demoed a number of similar products over the
years, and in build and design the AS32 falls nicely in
the middle of the spectrum. It doesn’t feel as flimsy or
cheap as some low-end models, nor is it as overbuilt
and robust as some high-end ones. While that last part
64

RECORDING May 2013

In session
I have been using the AS32 in some capacity in most of my sessions since
the day I received it. Even though my room is treated with bass traps,
absorption panels and such, I still find it a highly useful tool. A main use is
for deadening vocal parts that I want to sit front and center in my mix, or
that I know I will add my own depth and space to later with delay or reverb.
This is especially true for the way I like to do voiceover work, where I
want the vocal as dry as possible but still clear and open. My current
favored setup for this task starts with my Brauner Phantom, which is a mic
that is notoriously unforgiving of bleed and room anomalies, but also famed
for being clean, clear and realistic. On the Phantom I place the large bulbous foam windscreen that came with my Shure SM7, and then I seat the
mic back about 2" from the rear of the AS32. So far the results have given
me the perfect combination of clean and controlled sound that I require.
Above I also made mention of the AS32 as an instrument gobo. I do a lot of
sampling and sound design, both of which require that I capture a source cleanly, as it will most likely undergo a fair amount of post processing and manipulation. Here again the AS32 has been fantastic for heightening the isolation of
flutes, recorders, and ocarinas as well as shakers, tablas, bells and more.
The last thing I have been finding it handy on is for adding a touch of isolation
and definition to instruments in group tracking sessions, in my case bluegrass and
folk. Here I have found great success in front of acoustic guitars, violins, and especially mandolin, which is typically not the loudest instrument in the world.
Why not?
At $129 street it sells for a price similar to much of the low-end competition,
but the Acousti-shield 32 performs like models costing twice its price. This one
is staying with me, and for instruments I just might pick up a few more!
Price: $129 • More from: CAD Audio, www.cadaudio.com


http://www.cadaudio.com

Recording - May 2013

Table of Contents for the Digital Edition of Recording - May 2013

Recording - May 2013
Fade In
Contents
Talkback
Fast Forward
Jim Anderson Records Patricia Barber
Lewitt Authentica LCT 940
PreSonus Eris Series High-Definition Studio Monitors
How To Record Great Vocals At Home
Audio-Technica AT5040 Studio Vocal Microphone
Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Moon Professional 3500MP 2-Channel Microphone Preamp
DPA Microphones d:fine Series Headset Microphones
Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Plug-in Outlet: iZotope Nectar Elements
Blue Spark Digital USB Microphone
Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Readers' Tapes
Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
CAD Audio Acousti-shield 32
Advertiser Index
Fade Out
Recording - May 2013 - Intro
Recording - May 2013 - Recording - May 2013
Recording - May 2013 - Cover2
Recording - May 2013 - 1
Recording - May 2013 - 2
Recording - May 2013 - 3
Recording - May 2013 - Fade In
Recording - May 2013 - 5
Recording - May 2013 - Contents
Recording - May 2013 - 7
Recording - May 2013 - Talkback
Recording - May 2013 - 9
Recording - May 2013 - Fast Forward
Recording - May 2013 - 11
Recording - May 2013 - 12
Recording - May 2013 - 13
Recording - May 2013 - Jim Anderson Records Patricia Barber
Recording - May 2013 - 15
Recording - May 2013 - 16
Recording - May 2013 - 17
Recording - May 2013 - Lewitt Authentica LCT 940
Recording - May 2013 - 19
Recording - May 2013 - PreSonus Eris Series High-Definition Studio Monitors
Recording - May 2013 - 21
Recording - May 2013 - 22
Recording - May 2013 - 23
Recording - May 2013 - How To Record Great Vocals At Home
Recording - May 2013 - 25
Recording - May 2013 - 26
Recording - May 2013 - 27
Recording - May 2013 - 28
Recording - May 2013 - 29
Recording - May 2013 - 30
Recording - May 2013 - 31
Recording - May 2013 - 32
Recording - May 2013 - 33
Recording - May 2013 - Audio-Technica AT5040 Studio Vocal Microphone
Recording - May 2013 - 35
Recording - May 2013 - 36
Recording - May 2013 - 37
Recording - May 2013 - Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Recording - May 2013 - 39
Recording - May 2013 - Moon Professional 3500MP 2-Channel Microphone Preamp
Recording - May 2013 - 41
Recording - May 2013 - DPA Microphones d:fine Series Headset Microphones
Recording - May 2013 - 43
Recording - May 2013 - Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Recording - May 2013 - 45
Recording - May 2013 - Plug-in Outlet: iZotope Nectar Elements
Recording - May 2013 - 47
Recording - May 2013 - 48
Recording - May 2013 - 49
Recording - May 2013 - Blue Spark Digital USB Microphone
Recording - May 2013 - 51
Recording - May 2013 - Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Recording - May 2013 - 53
Recording - May 2013 - Readers' Tapes
Recording - May 2013 - 55
Recording - May 2013 - 56
Recording - May 2013 - 57
Recording - May 2013 - 58
Recording - May 2013 - 59
Recording - May 2013 - Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
Recording - May 2013 - 61
Recording - May 2013 - 62
Recording - May 2013 - 63
Recording - May 2013 - CAD Audio Acousti-shield 32
Recording - May 2013 - Advertiser Index
Recording - May 2013 - 66
Recording - May 2013 - 67
Recording - May 2013 - 68
Recording - May 2013 - 69
Recording - May 2013 - 70
Recording - May 2013 - 71
Recording - May 2013 - Fade Out
Recording - May 2013 - Cover3
Recording - May 2013 - Cover4
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