AudioMedia - December 2008 - (Page 21) Berliner | U77 During my time at Masterfonics, there were many days where I found myself locked down in the shop with a vintage, high dollar tube mic disassembled on the bench while I tried to track down various problems. Whether testing and replacing tubes, fixing cold solder points, or testing the components, I became quite familiar with the build and quality of vintage German microphones, and even the latest high dollar microphones. Here, I decided to put that experience to work, taking apart the Berliner microphone for a look under the hood. Inside, the mic looks similar to many of the classic mics with hand crafted point-to-point wiring accompanied by two easy to follow circuit boards. Clear Plexiglas dividers separate the diaphragm from the electronics and reinforce the construction of the microphone. The Raytheon NOS military-grade tube is hard wired due to the power requirements of the tube. This tube is known for its low noise and long life span, and is similar to the original M tube, the AC K. The capsule is hand-built and skinned by ex-Neumann engineer Siegfried Thiersch, one of the original builders of the M capsule. The U is built exactly the way he built the original M – the Berlin double ring type – with the exception of using Mylar instead of PVC, which deteriorates over time and is subject to environmental conditions such as heat or moisture. According to the manufacturer, PVC components are one of the reasons why the original M sounded slightly different from one to another. Even the U ’s case was designed with excellence in mind; it utilizes and higher denier nylon, DuPont Cordura, highest quality ¼ to ½-inch plywood, high-quality vinyl, polyester, and leather, with complete protection against humidity and other elements. Although I was not brave enough to try, it is claimed that the case can be fully immersed in water without the mic even getting damp. API and Millennia, a dbx for compression and, occasionally, the A-Designs’ Hammer HM EQ tube EQ for added colouration to taste. Regardless of the chain, the results were excellent in each instance. So far, the U was really proving itself to be a great mic to have on hand for all applications. A testament to that was the violinist – a mainstay in the Nashville recording community – had such high affection for the results that he inquired about how he may acquire a U for his personal collection. This unsolicited endorsement spoke highly of the microphone capturing the body and fullness of the violin. to find the best microphone for the desired result. For a facility where only one high-end tube microphone is an option to have on hand, the U is an admirable choice that would not disappoint as the primary go-to mic. In the “put your money where your mouth” is department, that is just what we did at our studio: we made the U our primary microphone for spoken word, vocals, and a plethora of instrumentation – and have not once regretted the decision. ∫ I N F O R MAT I O N Like all microphones, the Berliner U has a character and colour all of its own. Whether or not it sounds like the M capsule is up for debate, as I have heard M capsules and many other vintage mics that don’t sound like each other due to age and wear. The selling fact for this microphone is that I would not hesitate to line it up with its vintage and modern counterparts in a shootout Summar y £ US$3,995.00 A Berliner Microphones, USA, 4599 Parkbreeze Ct, Parkway Center, Orlando, FL 32808 T+1 888 642 8447 F+1 928 752 3303 Wwww.berlineraudio.com My first test for the U was a female vocal on a song that ranged from low and raspy to high and, if not careful, ear piercing high-mids. I tried a few other low to mid-priced condenser microphones on this particular vocal, and each time I was fighting to calm down the sonics. The signal chain was the U to a Summit BAdialled completely into the solid state circuitry, followed by a dbx XT compressor set to just barely grab the loudest points of the vocal. After listening to a dry run, it was decided that no external EQ was necessary. The intimacy in the lower part was beautifully captured with the U . Proximity really exposed the vulnerability the singer was imparting when the pop filter was ½-inches away from the microphone. The true test was when the belting started in the higher ranges. The U ’s character really shone, as what are usually offensive frequencies were naturally smoothed out; not dulled in any way, but more like the harshness was rounded off. This was also the result with a male singer with more of a baritone/alto range; the mic was superb in capturing the performance while naturally rounding out what are often troubled frequencies without the assistance of equalisation. The mic was lent to another engineer to use on some overdubs consisting of banjo, acoustic guitar, and violin. The basic signal path included the U into a combination of mic pres from I n Use AUDIO MEDIA DECEMBER 2008 21 http://www.berlineraudio.com http://www.seelectronics.com http://www.sonic-distribution.com http://www.sonic-distribution.com
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