ProAudio Review - November 2008 - (Page 40)

studio review by Rob Tavaglione Sontronics Sigma PhantomPowered Ribbon Microphone Although limited in sonic scope, the Sigma is recommended for its solid performance, affordability, build quality, and striking good looks. Another phantom-powered ribbon mic has come to our attentions. Is this one of those “really cheap” ones or one of the “really cheap, but good” ones or one of the “not quite cheap, but really good” ones? Actually, it’s something completely different. It is the Sontronics Sigma, the “British-designed, artsylooking” one, the one that the Queens of the Stone Age guy uses. Sure, I may joke about the crowded ribbon mic market we find ourselves in today, but all in all, it's a good thing for engineers. Digital recording and super-aggressive mixing/mastering techniques make smooth-sounding ribbons like the Sigma a very useful tool for modern production, especially with active electronics (requiring 48V phantom power, resulting in hotter output and than typical ribbons) that open up some additional applications. Full disclosure, the Sigma has been around for nearly three years now, offers its US distributor FDW Worldwide; at the time, it was only one of two phantom-powered ribbons on the market. But for many of us, it’s still a fresh and alluring option in professional ribbon microphones. Features The Sigma comes in a sturdy aluminum case—combination-lockable and velvet lined with cutouts for mic and shockmount. That shockmount deserves mention not so much for its function as its form; with its large, arced arms supporting the engraved and vaguely Art Deco body of the mic, every single performer at the studio commented positively about the Sigma—hopefully upping their game from the inspiration! The Sigma lists frequency response at 20 Hz to 15 kHz (with the high-end roll-off beginning at about 5 kHz), impedance at less than 150 ohms, max SPL of 135 dB (at 0.5% THD at 1 kHz), a symmetrical figure of 8 pattern, self-noise at 14 dB (A-weighted). In Use The Sigma arrived just prior to a drum-tracking date, so I first tried it out for drum room ambience with a loud, powerful player. About 10 feet behind the drums and six feet off the ground, the Sigma picked up the entire kit nicely, but with pronounced distortion in the low mids. I wish it could have handled the high SPL, but after a lo-mid scoop at the most distorted frequencies, a rolloff of the lows with a shelving filter, a slight high-end boost and some compression, the room sound was nicely gritty and added some rock attitude to the mix. As expected, the Sigma was ideal on tambourine, with pleas- Rob Tavaglione owns and operates Catalyst Recording in Charlotte NC, you can reach him at rob@catalystrecording.com. 40 ProAudioReview | November 2008 www.proaudioreview.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - November 2008

ProAudio Review - November 2008 Contents Technically Speaking First Look 2008 PAR Excellence Awards New Studio Products Studio Sense Review: Solid State Logic Matrix Review: Arsenal Audio by API R24, V14, and R20 Mini-Review Review, Second Opinion, and Benchtest Review: A-Designs HM2EQ HAMMER Review: Sontronics Sigma Phantom Powered Ribbon Microphone Analog In The Studio: Nostalgia Ain’t What It Used To Be New Live Products Worship Audio Review: Community VERIS Series Loudspeakers Installation Profile Single Slice

ProAudio Review - November 2008

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