The pattern tightens up a bit around 6 kHz, and then becomes more omnidirectional at frequencies above roughly 8 kHz. Like the SV33, the SR314 is an end-address mic that uses a small-diaphragm cardioid capacitor capsule; and, again like the SV33, its design is optimised not only to pick up the wanted audio with optimum clarity and faithfulness, but to reject off-axis audio evenly through the frequency range. You can then choose which finance term you'd like to apply for, and change your deposit if you wish. I've watched many reviews with in studio use and it seems to shine on a variety of sources so it's not a one trick pony.

Being a sound engineer in small venues in the UK is a thankless and depressing enough job that I could certainly see myself becoming a depressed confrontational alcoholic if I had to do it for long enough! We use a Zoom L20 Additionally, we never had this issue with the other vocal mics we use (shure beta 87A, shure sm58 beta, telefunken m80). There is no polar response data supplied for frequencies below 400 Hz, but I suspect that the pattern is wider at lower frequencies, making it more susceptible to feedback in the low end (that’s probably also the reason why the off-axis response is so uncolored). I purchased this hoping it would pick up where my Neumann KMS105 leaves off and that it does in grand fashion. Sweetwater's Sales Engineers are regarded as the most experienced and knowledgeable professionals in the music industry, with extensive music backgrounds and intense training on the latest products and technologies.Other thing: I also play using nylon string guitar and steel string guitar, and they sound really different. When the SR40V first came out I loved it so much that I outfitted my whole live wireless system with their capsules. I don't have a "GREAT" ear to hear all the differences and the knowledge to know which of them would be "the one" for my vocals. It’s not often that you find a practical and attractive design in a microphone intended for live use.

I'd go so far as to say that this is the best-looking stage mic I have ever used, and it never failed to attract positive comments from musicians. Especially in the studio, if you close your eyes it's like if you listen directly to the person behind the mic without anything in between. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. For example, when used for a vocalist who was also playing an acoustic guitar, leakage of the guitar into the vocal microphone was minimal, as was any evidence of bleed or feedback from the wedge monitor.Over the past 30 years I've used or owned pretty much every vocal mic out there - starting with the old workhorse - the Shure SM58 - and most recently, as mentioned, the Earthworks SR40V. I found this characteristic an attribute on one male vocal, but it made a different male singer’s voice sound too thick. This shouldn’t be an issue with any professional mixing console, but it wouldn’t be a bad idea to make sure that the preamps in your desk can accommodate the current requirement. It has a way of melting away and allowing myself to just focus on getting the song, the phrases, the emotion across. The only slight con is that due to the plosive and sibilant sensitivity you must master your mic technique.

The Earthworks SR314 is designed from the ground up to meet both the expectations and desires of a modern live performance environment. A highpass filter set around 150 Hz with a steep slope (18 dB/octave) helped reduce this thickness; that filter frequency was much higher than I’d normally use on this particular singer. The SR314 features a distinct, tapered housing with a brushed-silver finish that somehow makes it look retro and contemporary at the same time (the microphone is also available in a black finish with stainless screens, or black finish with black screens).Well, the next day when using it at home, it worked fine for about 30 minutes before it suddenly got muffled sounding.