AudioMedia - February 2009 - (Page 60)

02|09 AM comparable in price to a and-held condenser mics have never been more popular for live vocals. Generally speaking, they sound better than dynamic microphones; they have thinner diaphragms for better transient response, and display less sonic colouration. Their use on stage as a handheld vocal mic is a relatively recent phenomenon. It’s only been since modern designs addressed their sensitivity to handling noise, susceptibility to feedback, relatively high cost, and delicate construction that condensers have been of any practical use in the live arena. How times have changed. These days, live condensers are made by all the big-name manufacturers, and generally they sound great. Unfortunately, most of them are still very expensive when compared to your classic dynamic standards. Apart from the worry about these costly condensers getting dropped (or stolen) during the course of a gig, they’re simply beyond the budget of many musicians, vocalists, and small PA owners. A hand-held condenser that’s standard dynamic? Now you’re talking, says MARK WOODS. H as mics become more affordable, and that’s okay, I’d carry my own mic too if I was a singer. The downside is that mics often have different output levels and frequency responses to the settings of the system they’re plugging into. Sometimes it’s not practical to re-tune the system to these mics, so it’s helpful when the new mic is roughly compatible with the existing settings. Many PAs and foldback systems are tuned around the standard Shure vocal mics (inevitably) and plugging the M into a system tuned for these mics revealed a relatively dark sound, with none of the usual presence peak, and a slight tendency to feedback at around Hz. It also has a hotter than average output – not a problem if you’ve set your system to suit, but if it replaces another vocal mic, the level could be too high and may cause feedback, particularly if the system is being operated at normal rock level (full). Tuning the system to suit the M resulted in a fairly flat tuning. All is required was dB of cut at Hz and around dB at Hz. The frequency response was very flat across the midrange, with full low-mids and a smooth top end. RØDE M2 Hand-held Condenser Microphone With an affordable street price, the Røde M solves this problem. The M is a budget-priced hand-held condenser microphone specifically designed for live vocal use, although it’s also – as I discovered during the review – no slouch in the studio. Designed and manufactured in Australia, the M looks good in its dark grey regalia, and feels solid thanks to its all-metal body. It’s priced to directly compete with the world of dynamic microphones, and makes the choice between the two styles more about sound quality than cost. The M comes supplied with an embossed soft case and mic clip, and while this modest package is more than ample, given its equally modest asking price, the clip seems a little fiddly when you’re wrangling the mic into position. Having said that, it certainly holds the mic securely enough. Without destructive testing it's difficult to assess robustness conclusively, though Rode's ten year guarantee suggests a certain amount of confidence. Inside, the rubber capsule suspension strands looked quite thin, so if the vocalist likes to throw the mic on the floor before jumping into the crowds, maybe a dynamic would be more suitable. Enter Stage R ight The M displayed a strong proximity effect when used up close, and this was easily controlled when required using low EQ or preferably a variable high-pass filter. Handling noise was about the same level as a good dynamic mic, and not noticeable in normal use. One of the best features of modern vocal condensers is their ability to handle plosives and pops, and the M controls these with aplomb. At the other end of the frequency spectrum there was also good handling of sibilance, something often exaggerated by dynamic mics sporting presence peaks. Overall, the M produces a nice, smooth sound that may need to be sharpened up to cut through a mix but is very resistant to feedback in the usual - kHz region. A competent and good-value live vocal mic, the M will appeal to a wide range of singers with its smooth sound and ease of use. Some of them will also be happy to use the same mic for recording in the studio, which is a bonus. PA owners and operators will find them useful as a general-purpose vocal/instrument mic at an appealing price. A version of the same mic offered without an on/off switch would widen its appeal even further. ∫ I N F O R MAT I O N Conclusion THE REVIEWER MARK WOODS is a well-known Australian audio person with over 30 years experience as a live sound mixer and recording engineer. Live credits include Men At Work, Tina Turner, Midnight Oil, Crowded House, and Concrete Blonde. Currently living in Central Victoria he owns Bald Hill Music Studio, has a live PA, is the house sound mixer at the Castlemaine Theatre Royal, and mixes at annual events including the Harrietville Bluegrass Convention, and the National Celtic Festival. Turning my attention to the mic itself, the first thing I noted was the presence of an on-off switch that was apparently lockable. The lock is mentioned in the manual’s list of features but there’s no description of its location or operation. It’s actually a small plastic slot embedded in the bottom of the slider mechanism, which, when turned clockwise degrees, prevents the mic from being switched to the ‘off’ position. I must confess, I’ve always been wary of mics with on-off switches. Having said that, a singer with a self-operated sound system is a valid part of the market Rode is catering to with the M , and if there is a demand for such a switch, then this is probably the way to go about it. Is This Thing O n? £ GB£120.87 (exc.VAT) A Rode Microphones (International), 107 Carnarvon Street, Silverwater, NSW 2128, Australia T +61 2 9648 5855 F +61 2 9648 2455 W www.rodemic.com E info@rodemic.com A UK Distributors – Source Distribution, Unit 6, Pembroke Buildings, Cumberland Park, London NW10 6RE It’s interesting to note that singers carrying their own mics to gigs is becoming more and more commonplace Tonal Compatibilit y T +44 (0) 208 962 5080 F +44 (0) 208 968 3218 W www.sourcedistribution.co.uk E sales@sourcedistribution.co.uk 60 AUDIO MEDIA FEBRUARY 2009 http://www.rodemic.com http://www.sourcedistribution.co.uk

Table of Contents Feed for the Digital Edition of AudioMedia - February 2009

AudioMedia - February 2009 Contents Recording News Post News Broadcast News GEO Focus: USA What's Up UK NAMM Review For the Record Project Profile: Hallelujah HHB CDR882 KORG MR-20005 Chandler Germanium Brauner Phanthera Final Cut: Lesbian Vampire Killers SE Electronics RNR1 The Royal Opera House Fairlight XYNERGI Limiting Loudness Product Sampler: Studio Consoles Video Guide AMSR News Stone Temple Pilots Fly Again Rode M2 Yamaha IM8 Series

AudioMedia - February 2009

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