Pro Audio Review - June 2008 - (Page 59) especially in the low/mid range. The closest match in clarity came from an EV RE-20, which is much more expensive, and not very practical for live vocal use. The mighty SM-57 seemed to have a similar frequency response, except — once again — the clarity of the low/mid wasn’t there. In the live shows, I found the vocals were clean and very natural sounding. The crew on the show was impressed by its intelligibility. I did find that the PR-22 had better feedback rejection if stage monitors were placed off axis from the mic. I also discovered the PR-22 tended to feedback in the monitor before most other mics did. It took considerably more work to EQ the wedge to get the vocal to a high SPL. Because of this I wouldn’t consider the mic for loud stage volumes. It would be better, in my opinion, for in-ear monitors. I found that Heil Sound’s claim of reduced proximity effect was also true in comparison to other microphones. The PR22 lost some low end, but did not get as thin and tinny sounding as other comparable mics. Not only that, but it was discovered that this microphone would be a good choice for artists who like to “cup” the mic. I found the response of the mic didn’t get honky like other mics — unless you covered the flat top of the windscreen. Handling noise was a big issue with the PR-20, and I wanted to know how the PR-22 compared to other mics I had on hand. When I listened to the PR-22 in headphones, I heard more handling noise than in a Shure SM-58. In speakers, however, the difference between the two was barely audible. I can’t comment on the claims that PR-22 exhibited less handling noise since I did not have one in hand. But during one show, the PR-22 was passed from one person to another, and there was barely any handling noise — except when the mic was pulled from the stand. The durability of the PR-22 was questioned because the grip of the mic seemed to slip through my hand, and the overly thick case made me question its ability to hold up to the rigors of the road. But in my own ‘drop durability test,’ the mic was dropped onto the cement floor several times from varying levels and positions, and the mic performed flawlessly after each drop. Seems durable to me. | SUMMARY Overall, I was impressed with the Heil PRODUCTPOINTS • Frequency response • Exceptional clarity • Reduced proximity effect • Gain before feedback SCORE The PR-22 maintains the great clarity of the PR-20 with reduced handling noise. PR22. Yes, this mic is a few dollars more than your industry standard live vocal mic, but for this price you get the improved performance and intelligibility of mics costing much more. Karl Bader is a live sound engineer based in Washington, D.C. Triple Independent A/D, D/A and Sample Rate Converter TOTALLY TRANSPARENT! DIGITAL AUDIO ADAC-2 2-Channel 24-bit/192kHz AD/DA/SRC www.atiaudio.com 154 Cooper Road, Building 902, West Berlin, NJ 08091 T: 856-719-9900 I F: 856-719-9903 I sales@atiaudio.com http://www.atiaudio.com http://www.atiaudio.com
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