Recording - May 2017 - 30

3 ZIGMA AUDIO CHI Microphone System
pattern and a 20 Hz to 20 kHz frequency
response. Screwing one of these onto
the HA-FX or HA-TLII turns them into
lollipop-style microphones.

Options and kits

Purchasing a 3 Zigma mic is pretty
open-ended. You can grab bodies and
capsules a la carte, or there are numerous
boxed Tool-Kit options containing multiple
head amps and capsules... even
instrument-specific sets. The three Tool-Kits
mentioned on the 3 Zigma website are the
Studio 1 x 3 Tool-Kits with one body and
three capsules (one Lol and two SD); Studio
2 x 6 Tool-Kits with a pair of bodies, two
Lols, and four SD capsules; and
Master 4 x 10 Tool-Kits with four bodies,
four Lols, and six SDs.
Single mics come in a foam-rubberlined wood box with a tight clamp-style
shockmount. Larger collections come in
bigger wood boxes accommodating
all chosen bodies and capsules, with a
shock mount for each body.

In use

For this review, Larry sent me a Master
4 x 10 Tool-Kit plus an additional a la
carte mic with a third TL-II. This way I had
all the bases covered, with at least one
of each capsule (the Master Kit had two
each of the SD Cardioid and Omni-D).
The first thing I noticed is that while the
different combinations yield different noise
specs and SPL levels, overall these mics
are very clean and quiet. Regardless
of capsule choice, the transformerless HA-TL-II is very open, offering a fuller
sonic picture with deep lows and clear
highs. The HA-FX reels in the deep lows
a touch, but adds a gentle low punch as
well as slightly rounding the highs while
also filling them out. Of course capsule
choice does factor in too, especially with
the Lol models.

Small and mighty

Since I was in the middle of acoustic
guitar tracking when the mics arrived, I
started with the SD capsules. Unlike the
Lol series, the SD models are voiced with
a similar overall sound signature that
changes gently and consistently based
on polar pattern and body choice.
30

RECORDING May 2017

Doing side-by-side comparisons with
each body and a matching SD capsule
allowed me to experience the full open nature
of the HA-TL-II, and compare it to the gently
thicker HA-FX, which gave my vintage KM
84 a run for its money and sounded almost
indistinguishable in the mix. Impressive!
[JP says that the SD Cardioid was voiced
to be a broadly-useful midpoint between
the Neumann KK 84 capsule in the Neumann and the well-known Schoeps
cardioid capsule.-Ed.] You might think,
then, that the transformerless HA-TL-II might
be a bit more like the KM 184? While
equally clean, it's actually a touch less stark.
I admit I have never used or compared
F and D type omni mics. It was fun to
move the mics back a few feet from a
source, in this case an alt-percussion kit
of cajon, shaker, and foot tambourine,
and hear how the two mics altered the
perception of the source in the room. I
am honestly not much of an omni guy,
but having this choice could easily
change my mind on room mics as well
as for drum overheads. Note that the SD
capsules are, like many small-diaphragm
condensers, very prone to plosives, especially
with the HA-TL-II, so you'll want to have
pop filters and foam windscreens handy
when needed. They're also so sensitive
that they will easily pick up the breathing
of an acoustic guitar player.

OMG LOL

Once I had my bearings on the bodies'
different tones from comparing them with
identical SD capsules, I moved on to use
the Lol capsules on vocals, acoustic guitar,
percussion and front of a drum kit. I am
quite familiar with most of these capsules
and have heard and reviewed them all in
various ADK models over the years, with
the exception of the C-Lol-12.
In every ADK review I have done in the
past two years, I usually remind both readers
(and Larry!) of my love for the Z-MOD
Z-67, but this time I may have found another favorite in the C-Lol-12 on the HA-FX
body. The C-Lol-12 is the brightest capsule
in the bunch, but the gentle rounding of
the transformer coupling gives it a pure,
open, and "real" sound that is "roughed
up" just enough by the transformers to
give it a gentle classic edge.

On the flip side, I liked the 251 capsule
best with the transformerless body. On
paper it appears that it should be brighter
than the 12, but it has an equally forward
5 kHz peak that balances out its brightness
and yields a very nice slice of reality
with a crystal smoothness.
Moving to the Neumann homages,
here the 49 was the most bulbous-sounding
and blunt. While I liked the clarity of the
TL-II body, I was torn, as the highpass
option on the HA-FX was also great for
giving it a very nice forward punch.
The C-Lol-47 was a tossup for sound preference between the two bodies, and is perhaps the most classic sounding of the group.
I was surprised by the C-Lol-67 capsule, my
previous favorite. I was sure I would prefer
it on the transformered body, because, well,
transformers rock. However, the full unrestrained sonic range of the HA-TL-II really
shows off how full and creamy this capsule
can be. Another tossup for which is best!

In summary

I would be lying if I said I had even
scratched the surface of what this whole
package is capable of, and what sources
it sounds good or doesn't sound good on...
and that's the point. The 3 Zigma CHI line
covers so many bases and is so open-ended
that the possibilities for discovery are endless.
In an issue dedicated to all things instrument
miking, this package is a real winner.
Pricewise its not an inexpensive investment, with single mic combos running $600
to $700 all the way up to the most wellequipped Master Tool-Kit hitting $3200.
However, when you realize that at the top
level you're getting four mics of incredible
quality that you can quickly adapt for all kinds
of uses, it's not a bad investment at all!

PRICE: Vary according to choice
of body and capsule. Single mics,
$597-$697; matched pairs
available on request at no extra
charge. Studio 1 x 3 Tool-Kits,
$897-$947; Studio 2 x 6 ToolKits, $1897-$1997; Master 4
x 10 Tool-Kits, $2997-$3197
MORE FROM: 3 Zigma Audio,
www.hybridmic.com

http://www.hybridmic.com

Table of Contents for the Digital Edition of Recording - May 2017