ProAudio Review - January 2009 - (Page 20)

Violet Flamingo ME bit. Same thing goes for bass guitar, where the 200 Hz emphasis may help or hinder you. In our original review, Russ Long loved the ME on male and female vocals [PAR January 08], and I completely agree. It may be too dark for basses or mumblers, but the ME’s tube and transformer precisely tamed harsh consonants and aggressive rock yells yet maintained definition — all this without a touch of unwanted sibilance. Brauner VMA One of the costliest microphones we have recently reviewed [PAR March 08], expectations were understandably high for the Brauner VMA ($9,719 list). It is gorgeous in its craftsmanship, most notably in the cylindrical windscreen, allowing up-close singing for groups in omni or duos in figure eight. The power supply of the VMA was particularly nice with patterns of cardioid, wide cardioid, hyper-cardioid, figure eight, and omni — all continuously variable. The VMA employs the capsule/electronics of the original VM1 alongside a second capsule (not just filters) for a “classic” mode with conservative top end and vintage tonality. Essentially, it is two microphones sharing a body; as a result, its versatility significantly softens the blow of the price. Across all tests conducted, the VMA was either our top choice or very close to it. The reason? It offered a palpable sense of realism to its tracks, very accurate and extremely nuanced. This lack of color allowed faithful reproduction of most any source placed before it. Bass response was very extended, but without hype or emphasis bumps; this made the VMA my top choice for bass guitar amp. Drums via VMA were faithful and accurate, with quick transients and no discernible distortion. Vocalists of all varieties should find success with the VMA; its neutral flexibility allows a variety of vocal sounds with some minor EQ. The only app that didn’t immediately impress us was on electric guitar, where the VMA exposed some undesirable traits in our guitar setup. Matched with the right rig, I’m sure the VMA could excel. But the VMA “classic” mode, you ask? Yes, it is distinct, and very desirable. With its thicker bottom and sculpted, musical top, I loved this mode for lead vocals and “normal” mode for BGVs. Berliner U77 Unfortunately, the U77 ($3,495 list) didn’t make it into session evaluation in time for initial drum, bass, and guitar tracking. Such a shame, as personal testing revealed an extremely musical mic that was simultaneously very flattering and yet very naturally accurate on most any source. Although its Berliner U 77 classic “big 3” patterns make it versatile enough for many instrument apps, I’m in love with this mic for vocals. Like the Flamingo ME, original reviewer Dan Wothke [PAR June 08] found the U77 very desirable for both men and women vocalists; that’s a rare quality, and I strongly support Dan’s findings. Lead, BGV, or group, loud or Brauner VMA 20 ProAudioReview | January 2009 www.proaudioreview.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - January 2009

ProAudio Review - January 2009 Contnets Technically Speaking New At NAMM: Studio Opinion: Studio Sense Feature: PAR Session Trials: Large-Diaphragm Microphones Review and Second Opinion: McDSP TDM Emerald Pack III featuring FutzBox PAR Contributor Of The Month Review: Audio-Technica AT2050 Multi-pattern Condenser Microphone Review: LaChapell Model 583s Microphone Preamp & Model 583e Microphone Preamp/EQ Review: RNDigital D4 Plug-In Mini Review: MXL Microphones V88 Large-Diaphragm Microphone Mini Review: Solid State Logic Mynx New at NAMM: Live New Live Products Opinion: Worship Audio PAR Recommends: Portable PA Options for 2009 Mini Review: Fishman SoloAmp Review: AKG D 40 Instrument Microphone Installation Profile: 9:30 Club, Washington, DC Single Slice

ProAudio Review - January 2009

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