RECORDING August 2022 - 37

before feedback on stage), the dead quiet
cut-off of the super-cardioid OD505 is
stunning. For fun, I tried it as a spoken
word/podcast mic with the air conditioner
running and the rejection was stellar.
Rejection and clarity on the OC707 are
handled by the company's proprietary
Open Acoustics
Technology.
This approach
allows sound to enter the capsule
freely and equally on all sides, with little
reflections and smearing of the sound.
While the cardioid patterned OC707
does not have as tight off-axis rejection as
the OD505, its design helps off-axis tones
to remain neutral and transparent with no
unnatural resonances or muddiness.
The Third Dimension
Another bespoke Austrian Audio design
on the OD505 is dubbed the 3D Pop noise
diffuser, which more or less eliminates
plosives and thumps on the mic. I have
no idea what science is employed on the
OC707 beyond its mesh windscreen, but
it is also darn near plosive free.
Stage and Studio Vocals
Both models excel as vocal mics, each
offering a different sound that is well suited
for the stage but also great for the studio.
The OC707 is, as it says on the tin,
a handheld vocal mic with a studio
condenser sound. Despite sharing the
same capsule, the OC707 takes the
smooth neutrality of the CC8 and adds
a firm, smooth 3-5 kHz boost of 5dB
to help vocals sit strong and forward in
a mix, along with a gentle 12 kHz air
boost for clarity.
The OD505 exhibits a bolder, unapologetic,
wide, mid boost from 1 kHz to
10 kHz, centering at an 8dB peak of
3-4 kHz, with a rounded 12 kHz rolloff.
Like many dynamic vocal mics, its
upper-mid thrust is nicely tempered by a
gently controlled low end. This mic will
allow vocals to dominate a mix with authority
conveying rich, robust tonality.
And More
In addition to vocals, I put each mic
to use on a drum set with the OC707
as a mono overhead and the OD505 on
a snare drum. The OC707 did a great
job and held its own alongside my usual
overhead pencil condenser, capturing
cymbal work and the kit with great
upper-mid clarity in a live setting. The
OD505 was exemplary on a 14 " Ludwig
Black Oyster snare. I appreciated its bold
punch and tight pattern that helped reject
some of the hi-hat and adjacent toms.
Both mics also did well capturing
acoustic guitar. The OC707 highlighted
the clarity and jangle of the strings,
while the OD505 was bolder, vibey and
perfect for in-your-face acoustic rhythm
tracks that need to make a statement.
Conclusion
So far,
I have not met an Austrian
Audio mic that I have not liked and both
models worked well for the stated task of
handheld vocal duties. The OD505 is an
excellent choice for a vocal mic with a
solid forward tone and superb rejection
of stage noise and instruments, especially
in a rock or pop or jazz context. If you
are after a handheld mic that can capture
the nuance of the voice with fullness and
clarity, similar to a studio condenser, the
OC707 is your choice. The OC707 is
also versatile enough to be a great choice
for gigging vocalists who also want a
pro-quality mic at home for
capturing
instruments and percussion. Austrian
Audio is doing its Vienna legacy proud.
Price: $299 OD505; $479 OC707
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