Recording - May 2012 - 38

B Y PA U L V N U K J R .

Earthworks makes mics known for their distinctive looks and their pristine and accurate sonics— “stay-out-of-the-way”, hi-fi, ultraclean. Most models in the Earthworks catalog lean toward a focus on instrument recording, but recently, in our February 2012 issue, we took a look at what Earthworks calls the world’s first High Definition Vocal Microphone, the SR40V, a robust hand-held condenser with a phenomenal 30 Hz to 40 kHz frequency response... and a $1000 street price. Earthworks’ other mic with vocal aspirations, the SR20, started life over a decade ago as the SR69. Although it shared the famous tapered Earthworks look and sonic signature with other mics in the line, what made it unique was a special screw-on metal sleeve enclosed in a foam windscreen that allowed it to perform not only as a top-notch instrument microphone but as a full-on handheld vocal mic for studio and stage as well.

While 90% of Earthworks microphones are finished in a shiny brushed stainless steel, this mic—since its SR69 days— was at one time offered in multiple colors. The current production model comes in a matte black finish that is slightly textured, most likely to diminish handling noise. When coupled with its windscreen attachment, which is just shy of 2" across at its widest point, the mic grows to a full 9" in length. I was never a fan of the original windscreen found on the previous models, and I like that the SR20 now looks like a traditional handheld; from a distance it reminds me just a tad of Shure’s SM87, only in black. The metal grille makes it much more durable, especially since foam windscreens like the old one tend to wear and tear easily over time. The SR20 has two windscreens in one. The first is as described above, and made for vocal work, however the head basket unscrews to reveal a thick inner foam windscreen that hugs the mic more tightly; this is handy when used on instruments in a drafty environment like a stage, or on instruments played by heavy breathers, for example next to a violin’s f-hole. The SR20 ships in a foam-lined hard plastic box and comes with a traditional mic clip. Normally I don’t see the need to discuss mic clips in a review, but while I appreciate how snugly this one holds the mic in place, I did not like that it is so tight that there is no way to get it on or off the mic without scuffing up the microphone’s finish. Specs After countless reviews of mics with “20 Hz to 20 kHz” frequency responses, I find the SR20’s honest 50 Hz to 20 kHz response refreshing. The capsule is touted as being a “pre-polarized first-order cardioid” (it does require 48V phantom power) coupled to a transformerless output. It has a 10mV/Pa sensitivity, a 145 dB MAX SPL level, and a 22 dB noise floor. Normally I would describe the various frequency peaks and dips, but in the SR20 all you need to know is one word—flat!

Earthworks

SR 20
This month we look at the current SR20, with a newly redesigned metal grille windscreen attachment as well as its new fit and finish. It’s more approachable for smaller studios than the high-end SR40V might be, and its dual character lets it provide a surprising range of useful applications. Form and function of the SR20 Without a screen, the SR20 is similar to most of the other Earthworks models. If anything, its tip is a tad chunkier than those on some of the company’s upperend models, but only slightly. Without the screen attachment, its 81/2" aluminum body weighs in at a scant 0.3 lbs. Its base is 7/8" wide, and just over halfway up it tapers down into the 1/2" tip that’s typical for Earthworks mics with their tiny capsules.
38
RECORDING MAY 2012

The flat-to-infinity Earthworks sound in an affordable multipurpose mic
A tale of two vocal mics I received this mic for review at the same time as the SR40V that was reviewed for our February 2012 issue. Initially I was so wowed by the SR40V that I quickly relegated the SR20 to instrument duties that I will detail below. But once I got past the shock and awe of its big, expensive, and expensive-sounding sibling, I was able to hear that that on many levels the differences between the two SR mics, while still present, were not as vast as I was expecting. Whether live or in the studio, both microphones are of course ultra detailed and share a similar sonic weight in a mix. If you solo them, however, their differences become clearer. Since the SR40V’s range is extended in both directions, it has a touch more weight and air, and it is a microphone that a skilled singer can really play to and finesse; however, in my review I did notice that if you have a loud singer who eats the mic it will sound as if the



Recording - May 2012

Table of Contents for the Digital Edition of Recording - May 2012

Recording - May 2012
Fade In
Contents
Talkback
Fast Forward
Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Kel Audio HM-7U amd HM-3C Microphones
Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
AKG Perception 120 USB Microphone
Miking Instruments: The Lost Art
Earthworks SR20 Microphone
SXSW 2012
Radial Engineering MC3 Passive Monitor Switcher
Readers’ Tapes
Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Miking A Symphony Orchestra For A Commercial
Audio-Technica AT4050ST Stereo Microphone
Alclair Reference In-Ear Monitors
RME Fireface UCX
Advertiser Index
Fade Out
Recording - May 2012 - Recording - May 2012
Recording - May 2012 - Cover2
Recording - May 2012 - 1
Recording - May 2012 - 2
Recording - May 2012 - 3
Recording - May 2012 - Fade In
Recording - May 2012 - 5
Recording - May 2012 - Contents
Recording - May 2012 - 7
Recording - May 2012 - Talkback
Recording - May 2012 - 9
Recording - May 2012 - Fast Forward
Recording - May 2012 - 11
Recording - May 2012 - Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Recording - May 2012 - 13
Recording - May 2012 - 14
Recording - May 2012 - 15
Recording - May 2012 - 16
Recording - May 2012 - 17
Recording - May 2012 - 18
Recording - May 2012 - 19
Recording - May 2012 - 20
Recording - May 2012 - 21
Recording - May 2012 - Kel Audio HM-7U amd HM-3C Microphones
Recording - May 2012 - 23
Recording - May 2012 - Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
Recording - May 2012 - 25
Recording - May 2012 - 26
Recording - May 2012 - 27
Recording - May 2012 - 28
Recording - May 2012 - 29
Recording - May 2012 - 30
Recording - May 2012 - 31
Recording - May 2012 - 32
Recording - May 2012 - 33
Recording - May 2012 - AKG Perception 120 USB Microphone
Recording - May 2012 - 35
Recording - May 2012 - Miking Instruments: The Lost Art
Recording - May 2012 - 37
Recording - May 2012 - Earthworks SR20 Microphone
Recording - May 2012 - 39
Recording - May 2012 - SXSW 2012
Recording - May 2012 - 41
Recording - May 2012 - Radial Engineering MC3 Passive Monitor Switcher
Recording - May 2012 - 43
Recording - May 2012 - Readers’ Tapes
Recording - May 2012 - 45
Recording - May 2012 - Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Recording - May 2012 - 47
Recording - May 2012 - 48
Recording - May 2012 - 49
Recording - May 2012 - 50
Recording - May 2012 - 51
Recording - May 2012 - 52
Recording - May 2012 - 53
Recording - May 2012 - 54
Recording - May 2012 - 55
Recording - May 2012 - Miking A Symphony Orchestra For A Commercial
Recording - May 2012 - 57
Recording - May 2012 - Audio-Technica AT4050ST Stereo Microphone
Recording - May 2012 - 59
Recording - May 2012 - Alclair Reference In-Ear Monitors
Recording - May 2012 - 61
Recording - May 2012 - RME Fireface UCX
Recording - May 2012 - 63
Recording - May 2012 - 64
Recording - May 2012 - Advertiser Index
Recording - May 2012 - 66
Recording - May 2012 - 67
Recording - May 2012 - 68
Recording - May 2012 - 69
Recording - May 2012 - 70
Recording - May 2012 - 71
Recording - May 2012 - Fade Out
Recording - May 2012 - Cover3
Recording - May 2012 - Cover4
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