Recording - May 2010 - 27

crisp openness of the original, the E100S is round, full and smooth. I hate to use the term “vintage”, as that can mean so many different things to different people. In this case, I think of it because this mic exhibits none of the top-end brightness which has long characterized newer microphones. The E100S’s supercardioid pattern offers some of the best off-axis rejection I have heard in any LDC, and, coupled with its low noise floor, this microphone is ultra detailed, focused and accurate, without being in any way sterile or boring. In use While no microphone is always the best choice for everything, the E100S is always usable (and at the very least interesting) on almost anything. Vocals (male and female), acoustic guitar, electric guitar amp, and voiceovers all sounded great. Percussion such as djembe, congas, and toms were real standouts, as were flutes and drum overheads.The only source I found lacking was kick drum (something the original E100 did well) where the sound was too much pop, but no boom. The E100S does a great job of smoothing vicious hi-hats, jangly tambourines and any other heavy metals that can be hit shaken, stirred, blown into or strummed. I wish I’d had time to try the E100S on trumpet or sax as I am pretty convinced it would be a no-brainer there as well. Unique space—loves eq Thanks to the non-noise floor and tight pattern, the E100S captures the intimacy of sources in a space that is hard to describe. The sound of the source is dimensional and full, but the space around it is not. It’s really quite cool. These are drum overhead or room mics that you can almost aim. While we have all seen reviews touting mics that “needed no eq” on a given source (I am sure I’ve written some), and while that can be great, it is equally great to have microphones that take boosting and cutting of frequencies well, without becoming harsh, brittle or boomy, and the E100S is in my opinion

one such mic. Once you get used to the smoothing soothing of the E100S, it becomes quite easy to adjust, compensate and sculpt it to taste in a mix. Final thoughts On first trial the E100S may not seem to be the same sort of Swiss army knife as the classic E100, but there are few sources where I would hesitate to use it. Some users, like fans of bright modern rock sounds, might find the E100S’ smoothness a touch too rolled-off in the highs and would instead recommend the original. If you already have those bases covered, though, the E100S makes a great addition to even a well-stocked mic locker. Few mics on today’s market sound this smooth and focused. To my ears, the newer Neumann TLM 67 is similarly smooth, but is three times the price of the E100S.

Bottom line, this mic is different than anything in my collection or on the market right now in this price range, and its return to USA quality and workmanship puts it over the top. Price: $799 ($599 street) More from: CAD Audio, 6573 Cochran Rd. Building I, Solon, OH 44139. 800/762-9266, www.cadaudio.com. PaulVnuk Jr. (vnuk@recordingmag.com) is a recording engineer, producer, and sound designer living in Milwaukee. His latest project is the Continental Drift world music sound library for Sony Creative Software. Check out Paul’s sonic exploits at www.majale.com. Frequency and polar plots courtesy of CAD Audio.

RECORDING MAY 2010

27


http://www.cadaudio.com http://www.majale.com

Recording - May 2010

Table of Contents for the Digital Edition of Recording - May 2010

Recording - May 2010
Fade In.
Contents
Talkback.
Fast Forward.
Keb’Mo’ And His Home Studio.
When Your Studio Meets Your Wallet.
Pragmatic Design For Project Studios.
CAD Audio E100S.
Universal Audio UAD-2 SOLO/Laptop.
Recording’s Guitar Column.
Square State Solid State EQUALIZER model one b.
Akai LPK25 and LPD8.
Recording’s Keyboard Column.
Know Your Audio Interface.
SXSW 2010 Report.
Readers’ Tapes.
Advertiser Index.
Classified Ads
Fade Out.
Recording - May 2010 - Recording - May 2010
Recording - May 2010 - Cover2
Recording - May 2010 - 1
Recording - May 2010 - Fade In.
Recording - May 2010 - 3
Recording - May 2010 - Contents
Recording - May 2010 - 5
Recording - May 2010 - Talkback.
Recording - May 2010 - 7
Recording - May 2010 - Fast Forward.
Recording - May 2010 - 9
Recording - May 2010 - 10
Recording - May 2010 - 11
Recording - May 2010 - Keb’Mo’ And His Home Studio.
Recording - May 2010 - 13
Recording - May 2010 - 14
Recording - May 2010 - 15
Recording - May 2010 - When Your Studio Meets Your Wallet.
Recording - May 2010 - 17
Recording - May 2010 - 18
Recording - May 2010 - 19
Recording - May 2010 - Pragmatic Design For Project Studios.
Recording - May 2010 - 21
Recording - May 2010 - 22
Recording - May 2010 - 23
Recording - May 2010 - 24
Recording - May 2010 - 25
Recording - May 2010 - CAD Audio E100S.
Recording - May 2010 - 27
Recording - May 2010 - Universal Audio UAD-2 SOLO/Laptop.
Recording - May 2010 - 29
Recording - May 2010 - 30
Recording - May 2010 - 31
Recording - May 2010 - Recording’s Guitar Column.
Recording - May 2010 - 33
Recording - May 2010 - Square State Solid State EQUALIZER model one b.
Recording - May 2010 - 35
Recording - May 2010 - Akai LPK25 and LPD8.
Recording - May 2010 - 37
Recording - May 2010 - Recording’s Keyboard Column.
Recording - May 2010 - 39
Recording - May 2010 - 40
Recording - May 2010 - 41
Recording - May 2010 - 42
Recording - May 2010 - 43
Recording - May 2010 - 44
Recording - May 2010 - 45
Recording - May 2010 - Know Your Audio Interface.
Recording - May 2010 - 47
Recording - May 2010 - 48
Recording - May 2010 - 49
Recording - May 2010 - 50
Recording - May 2010 - 51
Recording - May 2010 - 52
Recording - May 2010 - 53
Recording - May 2010 - SXSW 2010 Report.
Recording - May 2010 - 55
Recording - May 2010 - Readers’ Tapes.
Recording - May 2010 - Advertiser Index.
Recording - May 2010 - Classified Ads
Recording - May 2010 - 59
Recording - May 2010 - 60
Recording - May 2010 - 61
Recording - May 2010 - 62
Recording - May 2010 - 63
Recording - May 2010 - Fade Out.
Recording - May 2010 - Cover3
Recording - May 2010 - Cover4
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