Recording - August 2020 - 11

While on paper, the P-28 specs out
higher on the top end, the P-280 offers
a touch more clarity in its capture, which
translates sonically as more width. If
anything, the P-28 exhibits more lowmid weight than the P-280, but the difference is slight. Between the two, the
P-28 is tighter and more focused, while
the P-280 opens up the soundstage.
Peluso describes the P-280 as 'high
resolution' on its website, and this is
quite accurate. Except for a low and
wide 12k-centered bump, the P-280
is about as neutral as it gets. I feel the
need to clarify here that the P-280 does
have an extended top end capture, but
this is not a harsh or spitty sounding
microphone. If your source is sibilant,
screechy or top-heavy, the P-280 won't
obscure the sound, but unlike many
low-cost modern condensers, it won't
emphasize it either. The same can be
said for its low end. The P-280 captures
low frequencies with great depth, but it
doesn't impose any weight of its own.

Patterns and proximity

The P-280 proximity effect offers
added low end extension at 2" and
closer, but the sound of it isn't deep or
vintage-toned, although it can get close
when set to figure-8. In bi-directional
through cardioid modes, the off-axis rejection provides varying degrees of natural-sounding cutoff. Omni mode is nicely
open and transparent, but never anemic
or thin. As you move between all nine
pattern settings, the switching is silent
with zero thumps or spikes.

In use

Like its little brother, the P-280 shines
on acoustic fare, not only guitars, but on
string instruments too. My first use of the
P-280 was aimed at the f-hole of a cello,
about a foot back, recording a live indy
rock performance. I usually don't reach
for large diaphragm mics when recording cello live, but the P-280 worked well,
not only due to its neutral yet dimensional capture, but also because I could dial
in a tighter super-cardioid pattern to help
reject the sound of the other instruments.
Additionally, its smooth off-axis rejection
meant that any remaining bleed tucked
itself nicely in the mix.
Back in the studio, I used the P-280 on
the usual suspects: vocals, acoustic guitar,
percussion, and both in front of and over

a drum kit. I also tried it on an electric guitar amp and a Fender Rhodes amp. The
P-280 doesn't really lend itself to 'good
on this source / bad on that source' kinds
of comparisons; it's more interesting to
focus on setting up the mic to obtain the
specific degrees of openness and accuracy desired for the sources and situations
at hand. The P-280 may not be my first
choice as an overhead mic on a cymbal-happy punk rock or metal drummer,
but I might use it as a front-of-kit mic in the
same session to blend in clarity and room
dimension. On lead vocals, if you want to
color the voice, round the edges and thrust
it forward in the mix, then a vintage-toned
option would be better, but for backing
vocals that need to sit dimensionally in the
mix, the P-280 is a great choice.

All in the family

The last thing I want to mention is how
well the P-280 works in conjunction with
the P-28, especially on acoustic guitar and
drums, thanks to the similar tonal qualities
of each. This is a killer two-mic combo on
acoustic guitar-pencil condenser on the
12th fret / LDC just off the soundhole. I
was surprised how good it sounded swapping the two, with the P-280 aimed at the
12th fret and the P-28 by the soundhole.
In either case, dialing in the perception
of width with the polar pattern is a must.
Lastly, using a spaced pair of P-28 mics
as drum overheads, with a P-280 as a
front-of-kit mic (placed close to kick height)
offers an excellent, sonically coherent and
three-dimensional capture of the kit. Spot
mics may or may not be necessary depending on the style of the song.

Low noise

Finally, the noise floor of the P-280 is
stunning. Coupled with my super-clean
Millennia HV-3D preamp, even cranked
for testing I could discern little to no selfnoise with the P-280, which for a tube
mic is impressive.

Conclusion

If it seems like I'm pretty excited by the
Peluso P-280, I am. As much as I love
vintage-flavored fare, it's equally exciting when a respected mic manufacturer
brings something new to the table. The
Peluso P-280 is ultra-clean and clear
with no harshness, it sounds full without
being too imposing, and it pairs impeccably with the Peluso P-28.
RECORDING August 2020

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Recording - August 2020

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