EQ Magazine - August 2008 - (Page 48)

THE WORLD OF USB MICS Let’s take a look at some representative USB mics (all prices are list prices). This isn’t meant to cover Everything That’s Out There because, well, there isn’t time or space. Instead, we’ll cover representative mics that indicate the breadth of what’s available. All were tested on a Mac running OS X 10.4.11, and recorded into BIAS Peak LE 5.2. Playback was monitored through a Mackie Onyx Satellite feeding ADAM A7 speakers and Audio-Technica ATH-M40 headphones. BLUE MICROPHONES (WWW.BLUEMIC.COM) BLUE got an early start with the Snowball ($139 with desktop stand and cable), a dual-capsule condenser mic with a 3-pattern switch that selects among cardioid, cardioid with -10dB pad, and omni-directional responses. Of the two capsules, the cardioid is optimized for voice and sounds relatively neutral, while the omni-directional has a brighter, more present high end that I generally preferred. Resolution is 16-bit/44.1kHz. It works with any mic stand with a standard thread, but the package also includes a tripod desktop stand. One limitation for recording is the Snowball’s lack of any monitoring facility—and you know what monitoring through a computer is like in terms of latency. Not a huge deal, but USB mics that can monitor are very handy. The Snowball has been re-designed since its introduction, with a bettersounding chip and higher gain structure than the original (which needed some software applets for assistance). The new model is much harder to clip than the original (the –10dB pad option certainly helps for loud sources), and the higher gain makes it more useful with low-level audio source. BLUE’s latest entry is the Snowflake ($79), one of the least expensive (and most convenient) USB mics you can buy. Even if you never plan to use a USB mic, the cardioid-response Snowflake is inexpensive enough that you can have one sitting around for, if nothing else, getting better sound with Skype than the weird little mic built into your laptop’s screen. I suspect that over time, though, you’ll find other advantages of mic life in the USB lane. Like most USB mics, it offers 16-bit/44.1kHz resolution. The Snowflake weighs next to nothing and folds up in a small case that holds the mic element and even a USB cable (included). You can also pull off the plastic case back, leaving a metal clip that can hook over your laptop screen. The mic not only rotates front and back, but swivels. The USB connector is a mini-USB type, saving further space and making the package even smaller. And what about the sound? This little condenser mic exceeds expectations. It hypes the high end a bit and is subtly “peaky” in the upper mids (actually, though, that’s a good thing for voice applications); I wouldn’t record the Vienna Philharmonic with it. But for narration, quick acoustic guitar sketches, and recording rehearsals, it’s surprisingly good— and the price is right. USB FOR GUITAR Wouldn’t it be nice if you could plug your guitar right into your computer? Now you can, thanks to USB. IK Multimedia’s Stealth interface is a small USB gizmo: Plug your guitar into it (and optionally headphones), and your guitar becomes an audio source for your program of choice. You’ll still have the usual latencies caused by running your guitar through a computer, but it does have low-latency ASIO drivers and works with Core Audio. Another option is IK’s Stomp I/O, which is primarily a footswitch control for their “powered by AmpliTube” series of programs (AmpliTube 2, AmpliTube Jimi Hendrix, AmpliTube Metal, and Ampeg SVX). However, the Stomp I/O also includes a USB audio interface, so you can use it with guitar—no need for other audio interfaces. And Native Instruments’ Guitar Rig Session includes not only their Guitar Rig XE software, but also, a quality USB interface. But if you really want to cut out the middleman, there’s Behringer’s iAXE USB guitar line, which plugs directly into your computer. Granted, the $120 street price means you’re getting more of a beginner’s guitar than a Paul Reed Smith, but for laptop jockeys on the road it simplifies life: Just bring the guitar and a USB cable. And once you change the strings and set up the action to your liking (setup tools are included), it’s more playable than you might expect. Extra points: It includes low-latency drivers for Windows, NI’s Guitar Rig combo software, Kristal multitrack recorder, and Audacity editing software. 48 EQ AUGUST 2008 www.eqmag.com http://WWW.BLUEMIC.COM http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - August 2008

EQ Magazine - August 2008 Contents Talk Box Sounding Board Lyrics Born, Fink, David Kahne on Working with Paul McCartney, What a Future with no Record Industry looks like Tool Box ?uestlove Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Cakewalk Sonar 7 Apple Logic Pro 8 USM Mic Round-Up USB Mics Chameleon Labs 7720 Sounds Room with a Vu

EQ Magazine - August 2008

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