Recording January 2022 - 16

A Family of Microphones Compared
The AKG P Series
In use, the P120 is clean and clear, with forward presence
and clarity. When Mike Metlay reviewed the USB version (which
shares the same body, grille and capsule), he pointed out that,
while billed as a cardioid condenser, the P120 capsule exhibits
more of a wide cardioid response, or in his words, really wide,
noting that, " ...at 90 degrees you hear your source nearly as
loud as you do on-axis and with very little coloration. This uncolored
wide response can be turned to your advantage, as the mic
can quite happily capture, say, a bluegrass group or small vocal
group / choir arrayed in front of it with few or no unpleasant
tonal alterations to sources nearer the sides. "
I agree with Mike's assessment. The P120 is a spacious, wide,
open-sounding microphone with very polite low-end capture, especially
at a distance. It does offer a decent proximity effect up close,
but you need to be right up on the grille to take advantage of it.
Mike found the P120 USB prone to plosives, but this hasn't been
my experience with the mic. Of course, I would strongly suggest a
good pop screen for up-close vocal work with any mic of this style,
but the low-end restraint of the P120 means low thumping bursts
should be less of an issue. Despite its 12 kHz boost, it is not a
harsh, spitty or overly sibilant microphone. Really, at $90, the P120
is a great entry-level mic that will do quite well to cleanly capture
acoustic instruments, vocals and even room miking tasks with ease.
The P120 ships in a cardboard box; a ring-style mic mount
is included.
AKG P220; $135
At a mere $45 more, the AKG P220 is,
AKG P120; $90
The P120 sets the tone for the series, and the P120, 220 and 420
all share a similar 6.49 " x 2.12 " one-pound body as described
above. The P120 is the most utilitarian and straightforward of the
family, with a black grill and silkscreened AKG logo. Stepping up
from the discontinued spartan Perception 100, the P120 offers a
-20dB pad and a steep 300 Hz, 6dB/oct. low cut filter.
Internally, the P120 is the most unique and improved-upon
P Series mic. It has a smaller diaphragm capsule (medium
2/3) than the other mics in the line. It now incorporates a
true condenser design vs. the electret capsule found in the
older Perception 100 and 120 models. It's a transformerless
mic with better sensitivity, a lower noise floor, and a slightly
different frequency response than its predecessor. The original
Perception 120 had a 4dB presence boost at 9 kHz, while the
P120 shifts this forward to 12 kHz. It has a neutral midrange
with a constrained low end that drops off at 200 Hz down to
-4dB at 100 Hz, further rolling off sharply at 50 Hz.
16 RECORDING January 2022
to my ears, a significant step up in sonic
character from the P120, but with an overall
different character. Visually, it's similar to the
P120, with the biggest difference being a
chrome grille. It also includes a -20dB pad,
and its 300 Hz bass cut filter is set at -12dB/
oct. Internally, it uses a 1 " center-terminated
single diaphragm 'K-67'-style capsule.
The P220 also makes use of an output
transformer. The mic boasts an improved
sensitivity over its predecessor and a slight
sonic variation which essentially translates
to more low-end.
The P220 sound is very much the opposite
of the polite, airy P120; words that come
to mind are rich and robust. It has a wider
3-4dB high-end boost centered just above
10 kHz, and a more neutral midrange.
While there is a quick and gentle 250 Hz
dip, the low end returns boldly with a 4dB
bump at 50 Hz.
P220 captures sound big, rich and bold,
with no tradeoffs in clarity or detail. The mic
exhibits a thick and rich proximity effect that
I immensely enjoyed on spoken word (this
is a great podcast mic), kick drum, the bass
side of a cajón, bass cab and floor tom, and
up close on acoustic guitar; the high-string

Recording January 2022

Table of Contents for the Digital Edition of Recording January 2022

Fade In
Fast Forward
Soundware Showcase: Toontrack Fields of Rock SDX
A Family of Microphones Compared: The AKG P Series
Austrian Audio CC8
Stewart Copeland: Don’t kill the talent with the technology…
Akai MPC Studio Controller and MPC 2 Software
Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Inside the Box with Joe Albano: Drum Plugins and Processing
Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Plugin Outlet: PSP Audioware Saturator
Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Soundware Showcase: Spitfire Audio Hammers
API Select T12 Tube Mic Preamp
Session Log: Frank Kimbrough tribute recording session
Audio-Technica AT2040
Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Readers' Tracks
sE Electronics V Pack Arena Drum Microphone Package
Plugin Outlet: BABY Audio TAIP
Fade Out: Both Sides of the Glass Things
Recording January 2022 - Intro
Recording January 2022 - Cover1
Recording January 2022 - Cover2
Recording January 2022 - 1
Recording January 2022 - 2
Recording January 2022 - 3
Recording January 2022 - Fade In
Recording January 2022 - 5
Recording January 2022 - 6
Recording January 2022 - 7
Recording January 2022 - Fast Forward
Recording January 2022 - 9
Recording January 2022 - Soundware Showcase: Toontrack Fields of Rock SDX
Recording January 2022 - 11
Recording January 2022 - 12
Recording January 2022 - 13
Recording January 2022 - A Family of Microphones Compared: The AKG P Series
Recording January 2022 - 15
Recording January 2022 - 16
Recording January 2022 - 17
Recording January 2022 - 18
Recording January 2022 - 19
Recording January 2022 - 20
Recording January 2022 - 21
Recording January 2022 - 22
Recording January 2022 - 23
Recording January 2022 - Austrian Audio CC8
Recording January 2022 - 25
Recording January 2022 - Stewart Copeland: Don’t kill the talent with the technology…
Recording January 2022 - 27
Recording January 2022 - 28
Recording January 2022 - 29
Recording January 2022 - 30
Recording January 2022 - 31
Recording January 2022 - 32
Recording January 2022 - 33
Recording January 2022 - Akai MPC Studio Controller and MPC 2 Software
Recording January 2022 - 35
Recording January 2022 - Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Recording January 2022 - 37
Recording January 2022 - Inside the Box with Joe Albano: Drum Plugins and Processing
Recording January 2022 - 39
Recording January 2022 - 40
Recording January 2022 - 41
Recording January 2022 - Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Recording January 2022 - 43
Recording January 2022 - Plugin Outlet: PSP Audioware Saturator
Recording January 2022 - 45
Recording January 2022 - Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Recording January 2022 - 47
Recording January 2022 - Soundware Showcase: Spitfire Audio Hammers
Recording January 2022 - 49
Recording January 2022 - API Select T12 Tube Mic Preamp
Recording January 2022 - 51
Recording January 2022 - Session Log: Frank Kimbrough tribute recording session
Recording January 2022 - 53
Recording January 2022 - 54
Recording January 2022 - 55
Recording January 2022 - Audio-Technica AT2040
Recording January 2022 - 57
Recording January 2022 - Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Recording January 2022 - 59
Recording January 2022 - Readers' Tracks
Recording January 2022 - 61
Recording January 2022 - 62
Recording January 2022 - 63
Recording January 2022 - 64
Recording January 2022 - 65
Recording January 2022 - sE Electronics V Pack Arena Drum Microphone Package
Recording January 2022 - 67
Recording January 2022 - Plugin Outlet: BABY Audio TAIP
Recording January 2022 - 69
Recording January 2022 - 70
Recording January 2022 - 71
Recording January 2022 - Fade Out: Both Sides of the Glass Things
Recording January 2022 - Cover3
Recording January 2022 - Cover4
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