Recording - October 2016 - 45

with the V13. This mic is all about personality, rather than reality. This certainly isn't
bad per se; probably the best analogy I
can offer is that if you want to know what
you really look like, check your driver's
license picture or any shot taken with fluorescent lighting. It might be reality, but it
probably won't be pretty.
On the low end, the V-13 exhibits a
smooth warmness around 200 Hz-even
more if you push the proximity effect. Be
aware that this mic is extremely sensitive to

ideal when used as a distant room mic,
while it's tough enough to stand up to closemiked timbales.
Another cool thing about the V13 is that it
really encourages users to get out of that
"always leave it in cardioid" slump. The
mic's figure-8 pattern is very consistent from
front to back, and moving a click or two
towards the omni setting (away from cardioid) created a wonderful wide cardioid
setting that was spot-on for vocalists who
tend to move around during the take.

breath noise. The mic's open grille pretty
much demands an external pop filter for
any close-in vocal work.
The midrange seems to
exhibit a slight bump-say,
2
in the +1.5 to +2 dB
range-from 2 kHz to 8
kHz, which is just enough to
add a subtle emphasis, but
without the massive presence
boost some other mics exhibit. This was perfect for female
vocals, which rarely need
that edge, while male vocals
might need a touch of EQ to
cut through a cluttered mix.
The top end provides a substantial rising high-frequency
boost, peaking about +4 dB
at 10 kHz. In most cases, this
offers a nice edge and sheen, whether on
vocals or harmonic-rich instruments like 12string guitar or acoustic piano. At the same
time, this can sound shrill on a low-cost (or
poorly played) violin or trumpet. The bottom
line? While the mic's response is far from
flat (even in omni), the net effect on the right
source can be sweet!
Interestingly, the V13 claims a self-noise
of only 13 dBA-impressive for any tube
mic. Combined with the capsule design, the
result is a transducer that exhibits a high
degree of detail and clarity. True, this mic
will capture even the smallest performance
nuances, but at the same time will bring out
piano bench squeaks, hammer noise, air
handling rumble, distant streetcars-you
name it. If you have a great recording
space, the V13 low-noise/high detail is

Final thoughts
I used the V13 with a variety of preamps, from the precision of a Millennia
Media HV-3 to the warm
funk of an Altec 1567 to an
entry-level Yamaha MG102
desktop mixer, and was
pleased with the results.
Although each was distinctly
different, the mic's character,
clarity, and detail remained
intact in each instance.
My main disappointment
was that I only had one V13
to check out. But at only
$699, that's an issue with a
simple solution. I like that.
Affordable and beautiful,
the V13 is an encouraging
start for Vanguard Audio
Labs. It will be fun to see what new mics will
join the V13 in the Vanguard line.
Price: $699
More from: Vanguard Audio Labs,
www.vanguardaudiolabs.com
George Petersen (petersen@recordingmag
.com) is the Editor of FRONT of HOUSE, a
magazine for the live sound and touring
industry, and a recording musician and engineer living and working in San Francisco.
George, and the Editors of Recording,
would like to remember Glen Heffner of
Vanguard Audio Labs, a well-loved stalwart
of our industry who died suddenly during the
writing of this review. We'll miss you, Glen.
RECORDING OCTOBER 2016

http://www.vanguardaudiolabs.com http://royerlabs.com

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