Austrian Audio OC18 Cardioid and OC818 Multipattern Condenser Microphones Review
Elegant and revolutionary; A modern classic.
Some of my all-time favourite recordings have been made with the AKG C12 (or it stereo counterpart C24), I always adored its distinctly refined sound and musical articulation. Unfortunately, these are quite rare and extremely expensive microphones, so acquiring one is out of the question.
Austrian Audio, formed by ex-AKG employees, promises to carry the much-desired sound of the classic AKG microphones to the 21st century, with outstanding engineering, forward-thinking features and a competitive price. Based around the new handmade ceramic capsule CKR12, and 100% manufactured in Vienna, the large-diaphragm multipattern condenser OC818 and its sibling, the fixed-cardioid OC18, create high expectations.
Brass-ring capsule issues
The new CKR12 ceramic capsule.
The brass-ring CK12 capsule, originally designed for the C12 and early C414 microphones, offers an excellent frequency response with even characteristics on- and off-axis but was so labour intensive and inconsistent that AKG dropped its production and moved on to a simpler design more than 40 years ago. Numerous successors have been presented, and as with all sought-after microphones, a lot of clones have tried to recreate the magic of the famous capsule. But, in the hearts of the audio engineers, the original C12s and C414s, when in good condition, are still the best sounding.
Austrian Audio measured some of the best sounding CK12 capsules available to model the CKR12 which is at the heart of every OC18 and OC818 microphone. The new capsule is ceramic and is made by hand, this design should have a similar response but with greater consistency and durability.
Classy looks
The microphones themselves look rather classy and somewhat understated with a body made of a single piece of zinc-aluminium alloy, finish and craftsmanship are impeccable. The OC818 is silver, while the OC18 is black and lacks the polar pattern selector switch and the second output on the back, but is otherwise identical. The silver finish of the OC818 looks slightly more elegant, but with one drawback; the lettering on the switches is a little to see under certain lighting conditions.
Polar pattern selector, filters and pads on the OC818.
There are 40Hz and 80Hz high-pass filters at 12dB/octave available to control low-end rumble as well as a gentler 6dB/octave at 160Hz to compensate for proximity effect. Carefully chosen high pass filters on microphones and preamps are appreciated here as it is preferable to cut unwanted frequencies before they hit the digital realm. When recording classical guitar, I pretty much have the 40Hz filter engaged at all times.
The sensitivity of 13mV/Pa is respectable, making the choice of preamp less critical. Both the OC18 and OC818 worked flawlessly with the preamps of an RME Babyface Pro FS and my AEA TRP2 external preamps. Both microphones also incorporate -10dB and -20dB pads to protect the internal electronics from very loud sources, which is never a problem with classical guitar, so I haven't tried them. On the other hand, the self-noise of 9dB-A is superb for capturing the subtle plucking sound of nylon strings, especially for very dynamic playing styles.
Dual-output capabilities
A Mini-XLR gives a separate output from the rear capsule of the OC818.
A distinctive feature of the OC818 is the ability to record the two capsules separately and blend them later during mixing with the PolarDesigner plugin to craft the perfect polar pattern. Read my post regarding the PolarDesigner plugin here. Or use the OCR8 Bluetooth dongle and choose between 255 discrete polar patterns in realtime. Unfortunately, I wasn't provided with the OCR8 to test that feature, but the PolarDesigner plugin has been excellent.
Finally, a new plugin developed by Austrian Audio called AmbiCreator makes possible the recording of ambisonic B-format signal with two OC818 microphones. I haven't tried that yet, but I like that the team of Austrian Audio is restless.
Accessories
A pair of OC818s and a single OC18 in the aluminium case.
Austrian Audio was kind enough to send me a pair of OC818s and one OC18 for testing, the microphones arrived in a compact aluminium case which is excellent for storing and transferring them. Wooden cases can sometimes be more luxurious, but an aluminium case is lighter and much more practical. I was also provided with shock-mounts and simple plastic clip mounts. The shock-mounts are compact enough and seem to work well. Saying that, I would like to see them design a more elegant mount as an alternative to match the sophistication of the microphones.
So, how do they sound?
OC818s in AB Stereo.
I first tried the microphones with the Cardioid pattern and my usual wide AB setup. The OC818s captured the articulate character of my spruce/brazilian rosewood classical guitar in abundance. Paired with my AEA TRP2 preamps and RME ADI-2 Pro FS converters, the OC818 pair delivers a gorgeous rich sound with excellent clarity. The tone is bright and defined but in a smooth way, not peaky or harsh neither hyper-realistic.
Austrian Audio OC818 in Cardioid & OC18 - Frequency Response and Polar Pattern
When tested against the Neumann TLM 193, an honest and natural microphone, it becomes apparent that the Neumann is somewhat subdued on the high-mids. And while both microphones can produce a beautiful recording, I prefer the more detailed sound of the OC18 and OC818. I've been using the Neumann TLM 193 for years so their somewhat laid back nature is not new to me, and therefore I usually chose to pair it with a brighter mic, like the TLM 102/103 for instance, to bring back some articulation.
I also tried the OC18 against the Neumann TLM 102, a microphone that I always liked for its natural response, I found that in comparison the Austrian Audio offers a richer midrange with more fluent top-end and defined low-end, thus making the Neumann sound a little hollow in the mids. Arguably, the OC18 is the better microphone, and not much more expensive.
Another microphone I had available for testing is the Gefell UMT70s, a multipattern large-diaphragm condenser built around the famous Georg Neumann M7 capsule and with the finest engineering. It appears to me though that the Cardioid and Figure-8 patterns of the UMT70s were voiced for close miking, and found them to be less desirable for solo classical guitar which benefits from more distant miking. I would imagine that up-close, the Gefell would produce juicy recordings for popular musical styles.
Austrian Audio OC818 in Omni - Frequency Response and Polar Pattern
Both the Gefell and Austrian Audio microphones sounded outstanding in Omni, albeit with a different character. The OC818 produce a more natural, true-to-life recording of the guitar in the room with even response across all frequencies and a fuller low-end, the frequency response graph shows a slightly more pronounced high-end with more gentle high-mids. The Gefell UMT70s in Omni imposes a smooth and creamy sound; juicy and delicious, but not nearly as accurate. Honestly, if I only needed an Omni microphone, I would be happy with either. The OC818 costs less though and sounds consistently excellent in all patterns.
A universal studio microphone
Austrian Audio OC818 in Hypercardioid - Frequency Response and Polar Pattern
I then switched to the Hypercardioid pattern and a slightly more distant set-up. The tighter pattern leaves most of the room out of the recording and the extra distance lets the guitar breath more freely. There is a little less body to the guitar sound but mids and highs are captured in detail and elegance; for challenging rooms, one or two OC818s in Hypercardioid would be the best choice.
For placing the classical guitar inside a denser mix, the tight pattern, and the absence of room ambience of the Hypercardioid pattern offer a vital asset. My instinct when laying down the guitar part for an Elusive Aura recording last July was to use the Omni pattern of the OC818. I couldn’t get the mix right though; the room sound pushed the classical guitar in the background, and in the low strings were fighting with the two cellos. I decided to re-record my part with the Hypercardioid pattern and voila! The classical guitar part almost mixed itself.
Finally, I tried a pair of OC818s in an M/S setup with a Cardioid Mid microphone, read my Three M/S Setups for Classical Guitar post. The truly symmetrical Figure-eight pattern and the full low-end extension should make the Austrian Audio microphones excellent in that application. After processing the Side microphone and balancing the levels, the result is a very realistic image of the guitar with a solid centre image and a polished sheen. My room, even though it's not large, it has a pleasant sound for acoustic instruments due to non-parallel walls, high ceiling, wooden floor and moderate treatment. I can imagine that the OC818s in M/S would sound impressive in a large hall or church.
Austrian Audio OC818 in Figure-eight - Frequency Response and Polar Pattern
Ambience duties
In this Bach's Cello Prelude recording, I used a distant pair of OC818s in Cardioid to pick up the room together with the Neumann TLM 193 and AEA N8 in M/S Stereo placed in the direct field. I think that the Austrian Audio captured the ambience admirably and provided the recording with detail and clarity. In that scenario, the laid back character of the Neumann and AEA combo complements perfectly the brilliance of the Austrian Audio pair.
OC18 vs OC818
I believe it is a smart move for Austrian Audio to release the fixed-cardioid OC18, as many don't need the extra patterns and can save a few hundred euros. According to Austrian Audio, the tolerances of the CKR12 capsules are so tight that any OC18 and OC818 will perfectly match and can be even used as a stereo pair. But, given how much more versatile the OC818 is, costing only (at least for the time) a few hundred more, it is difficult to recommend the fixed-cardioid version.
Conclusions
Austrian Audio OC818.
Austrian Audio are the rightful heirs to the CK12 design tradition, it doesn't surprise me in the least that they developed a new microphone that sounds so alluring. Contrary to a lot of large-diaphragm condensers that either produce a fake sense of clarity with over-pronounced high-end or a smeared response, the Austrian Audio microphones capture ample detail; yet they manage to remain smooth, never harsh or sharp.
With low self-noise, exciting yet clear sound and dual output, the OC818 has become my favourite large-diaphragm condenser for recording the classical guitar. I used the pair of OC818s in Omni for the recordings of my latest classical guitar suites "A Quiet Place" pt. I and II, and with a custom polar pattern on “Baltik Winter”.
Coda A - Apples vs Oranges
I compared the OC818 with DPA's 4006A and 4011A small-diaphragm condensers. The DPA could be my favourite sounding microphones for classical guitar; their truthfulness is unsurpassable but they suffer from a relatively high self-noise, especially the 4011A. The omni 4006A has an impressive 40 mV/Pa sensitivity and is less noisy.
This may seem like comparing apples and oranges due to the different design, but the DPA microphones are the epitome of clarity, definition and precision and I wanted to see how the Austrian Audio microphones compare. Both DPA capsules offer an almost brutally honest pick-up, with breathtaking realism; like “being there in the room”. To my surprise, the OC818 set in Omni and Cardioid respectively comes quite close; maybe not as realistic and precise, but a touch more musical and seductive in exchange.
The OC818 is a large-diaphragm condenser and might not be best suited as the main pair for orchestral recordings. On the other hand, for small ensembles and solo instruments, the noiseless operation and extra musicality can be favourable.
Coda B - Perfect for the Cello
My friend and great cellist Natasha Jaffe came over to my studio one day and we tried one OC818 in front of her Cello. We immediately loved the expressive and balanced sound the microphone captured, the Neumann TLM 193 seemed a little dull in comparison. We tried a couple of different positions to make sure that no microphone had an advantage, the results were consistent across all tests. Natasha decided to buy an OC818 for her own productions, as she felt that the sound of the Austrian Audio was "finished" and “ready”.
Coda C - Recording Debussy
Here another is a real-world example of the use of AB Stereo on Classical Guitar in a professional setting. I used a pair of Austrian Audio OC818 microphones set in a Custom Polar Pattern that combines the best of Cardioid and Omni qualities. The spacing of the microphones is 26cm. The goal was to capture the pure tone of my Angela Walter guitar together with the incredible sounding main hall of the Musikbrauerei in Berlin.
Soyuz 013 Series FET Review
An original handmade small-diaphragm condenser microphone in a see of clones
Soyuz 013 FET Stereo Pair
Soyuz is a relatively new company or alliance as the name (союз) suggests. Founded in 2013, they aspire to create "modern classics" by combining Western design with Russian manufacturing. In this time, they have released three distinct microphones, with an emphasis on bringing together Russian and German traditions into a unique amalgam.
They sent me a pair of their Series 013 small-diaphragm condensers with cardioid capsules to test them with my classical guitar.
From Russia with Love
The handcrafted hardwood box
When opening the cardboard box, I found a small envelope containing among warranty notices and stickers printed frequency plots for each capsule. But to my surprise, there is an even smaller envelope with three signed cards of the people (with pictures) who are responsible for the machining, assembly and quality control or my set. This extent of the attention to detail and that of the customer experience indicates how much love and thought they put into their products. I have to admit, it's been a long time since the last time I've been treated so nicely while opening a new product.
The 013 FET microphones themselves come in a high-quality and elegant wooden box, to keep the mics and accessories safe for storage and travelling for location recordings. It took me a minute to figure out how to open it, as the lid is held by a pair of powerful magnets on the inside. As a result, it takes some effort to open, but the benefit is that it is impossible to open accidentally.
The glossy cream finish matches nicely with the polished brass capsule
Evidence of their unique take on aesthetics is that not only the microphone preamps but also the mount clips and pads are all painted in a matching glossy cream finish, while the capsules feature a lacquered polished brass. The combination may be somewhat flashy, especially in the context a modern video production that requires making the microphones invisible, but I think that they look quite beautiful. There is an option for a black-matte finish for those who prefer something more indistinct.
Interchangeable capsules add to the value and versatility, and Soyuz provides Cardioid, Omni and Hyper-cardioid capsules for the Series 013 body. The three capsules have more or less similar frequency response, but I only had the chance to test the Cardioid capsules.
A Flattering Accuracy
Soyuz 013 Fet Cardioid Frequency Response
Although the 013 FET are handsome, the real test is how well they can capture my classical guitar. Looking at the frequency graphs, I expect relatively linear response, with subtly lean low-end and some colouration due to the transformers.
The 013 FET pair in AB Stereo
After positioning the microphones in a narrow AB setup and engaging +48v phantom power on my AEA TRP2, the first thing I noticed was how much output the microphones offer, making the choice of microphone preamps less trivial. The self-noise of the microphones at 16 dB (a-weighted) is relatively high for dynamic playing styles, but to their advantage, the high output will let them pair with any decent preamps nicely.
Listening to the recordings, the sound signature of the 013 FET is quite natural but with a thick and creamy tone. In comparison to linear microphones like Schoeps or DPA offerings that have a clean and detailed presentation, the Soyuz microphones add depth and weight to the recording but without losing definition or emphasising any specific frequency. The result is a flattering sound with a dose of healthy vintage nostalgia.
The diamond-shape logo might be a slight hint
Compared to the Neumann KM184s, which tend to be sharpish on-axis especially when positioned close to the source, the 013 FET present a gentle flavour with their non-strident character, thus a better choice for classical guitarists. Additionally, the tight cardioid polar pattern makes them ideal for use in the small-room reality of the home studio.
The top-end remains smooth and doesn't show any harshness at all, the mid-range is warm and detailed with a wonderful, almost 3D, quality. There is a good amount of proximity boost happening once the microphones get closer to the source, balancing the slight slope of the 013 in the low end, therefore the microphones need some care in positioning to achieve a perfect balance.
Against the Grain
In a market full of clones and vintage reproductions, Soyuz comes with an original design that perfectly blends the classic sound of the past with the needs of the modern producer. The 013 Series microphones offer a familiar tone, with the much-desired colour and character, and plenty of clarity. Lastly, the reasonable price for a quality handcrafted pair of microphones makes it easy to recommend for those who seek a pair of excellent small-cardioid microphones.
AEA N8 and KU5A Ribbon Microphones on a Classical Guitar
AEA N8 Nuvo Closeup
Ribbon microphones have a very long history, invented in the early 1920s by Telefunken in Germany, and have been used in countless historical recordings of all genres. An ultra-thin ridged aluminium (usually but not only) ribbon is placed between the poles of a magnet that translates vibrations (sound) to voltage.
Recordings made with Ribbon microphones sound very natural, have a full low-end, smooth mids and attenuated highs. They are never over-analytic if anything, they offer a relaxed presentation, making them excellent for instruments which mechanical sounds, like fretting or bowing, can be distracting. Furthermore, their pure characteristics and the bi-polar pattern generate a feeling of "being there" in the room with the musicians.
Ribbon microphones can be quite fragile and require a lot of attention even on how you store them; additionally, being passive they need a lot of very clean gain from the preamps otherwise the can appear noisy, especially with soft instruments and dynamic styles. The advances in HiFi recordings and playback systems, and their inherent downsides pushed Ribbon microphones out of fashion for several decades.
The last decades the trend seems to have shifted, at least partially. Musicians and engineers lust for the added warmth that Ribbon microphones exhibit naturally, and digital environments sometimes lack. For more than 20 years, AEA has dedicated its resources in developing and manufacturing high-quality Ribbon microphones that enable the listener to experience recordings as if he is in the same room with the musicians, and with the recent products, they hope to eliminate some of the inherent issues of this technology.
Nuvo N8 - Active Ribbon with an Extended Top-end
AEA Nuvo N8
Derived from the very well received and fantastic R88, the N8 is a mono version of the former with an added active circuit, meaning that it requires +48 phantom power to function and in exchange, it provides a higher output, making it less dependent on the preamp, and subsequently delivering cleaner recordings. The AEA TRP2 stereo preamp that I use, is specially designed for the AEA Ribbon microphones, and with its extremely clean hi-gain performance and high-impedance, it should deliver stunning recordings.
AEA designed the N8 to be used as in far-field applications, thus making it a better match for acoustic and classical recordings. And in contrast to vintage ribbon microphones, which can sometimes sound dark and murky, the N8, and the R88, capture plenty of high-end and present a controlled low-end.
Unfortunately, KMR Audio (AEA's European distributor) couldn't provide me with a pair to test some of the stereo arrays, like Blumlein or M/S Blumlein that Figure-8 Microphones excel, but I'm excited nevertheless.
KU5A - A Super-Cardioid Ribbon
AEA KU5A
The KU5A is a rather unique design in the world of Ribbon microphones, as not many non-bipolar Ribbons exist, and even less Super-Cardioid. The bi-directionality of most Ribbon microphones can sometimes be more of a burden than a blessing when used in smaller-unattractive sounding rooms. The KUA5 is a front address Super-Cardioid, that eliminates the room and presents the ribbon smoothness and warmth in all its glory, with the benefit of a detailed, extended top.
A high-pass filter of 6dB per Octave at 283Hz makes the AEA Super-Cardioid suitable for close-miking any instrument and the transformer-based, active electronics allow it to function perfectly with any decent preamplifier.
The attributes of the KUA5 make it a perfect choice for concert applications, both for amplifying the classical guitar along with recording purposes. Notably, if you play in an ensemble, The Super-Cardioid pattern will minimise the bleed from other instruments into your amplified sound. Ribbon microphones are also more forgiving than condensers, which can be a huge advantage in live recordings.
Lastly, A common issue with live acoustic recordings is that the Audience can sometimes be as loud as the instruments, the KUA5 will make sure that less of these distractions will find their way to your recordings.
Other Things
AEA KU5A Flight Case
AEA attaches the cables to the microphone on some of their products, and the KU5A is one of them, I'm not sure what to feel about this "feature" as it is nice to have, but makes the transportation awkward. The microphone itself is very well made, the built-it yoke is very sturdy and makes positioning very easy, and the is shipped in a very durable flight case. For concerts or location work, the flight case is undesirably big for the sole reason that it has to have space for the long cable.
N8 Case with Mount and Sock
The N8 is shipped with a durable plastic case which is very convenient for location recordings and for storing the microphone, a shock-like fabric cover to protect the microphone from dust, and a rubber mount that takes the place of a more regular spider mount and takes care of the low-end rumble and vibrations. The small size and weight of the N8 is also worth noting, as well as the standard XLR output, granting easy transportation and effortless positioning.
Conclusions
With active electronics for fewer noise-related headaches and an extended top-end, AEA carries the natural and calm presentation of vintage ribbon microphones to the demands of a modern workflow. Both the N8 and KU5A are excellent ribbon microphones that share the same DNA and are designed for particular situations.
If you want to remove the "room" from your recordings, the KU5A will do just that. While the N8, or better yer a pair of N8s in Blumlein, will put the listener directly into the hall that the performance takes place. Either way, a gorgeous sounding recording is guaranteed.
Austrian Audio OC 818 vs DPA 4011A Stereo Pairs
Austrian Audio OC818
DPA is a high-end microphone company and needs no introduction, they have been around for around 30 years (their capsule design begins somewhere around 1950 with their first measuring microphones) and their microphones have been used on countless recording sessions in the finest concert halls in the world. The 4011A is a small-diaphragm cardioid condenser, praised by engineers and musicians for its sheer accuracy and extremely low distortion.
DPA 4011A
Austrian Audio might be a new name, but the people behind it have a combined experience of over 350 years in audio engineering, or that's what their marketing team suggests. The OC818 is their first creation, a multipattern large-diaphragm condenser microphone built around a hand made ceramic capsule, made to the same critical dimensions as the classic CK12.
Apples and Oranges
Although this test might seem to compare apples and oranges, as one is a small-diaphragm condenser with a fixed cardioid polar pattern and the other is a multipattern large-diaphragm condenser, the objectives are quite clear.
Julian Bream and AKG C24
Slower transient details, colouration and the ability for a lower self-noise floor are well-documented attributes of a larger capsule, while greater linearity and accuracy are closely associated with a smaller one.
When recording a top grade, luthier classical guitar, we wish to immortalise every detail. And thus, for the last decades, the use of small-diaphragm condenser microphones have prevailed. Most of the iconic recordings that defined the sound of the classical guitar have been made with the large-diaphragm condenser and ribbon microphones though. Many of the Julian Bream recordings, for example, have been made with AKG's stereo C24.
Neutrality might not always be desirable.
DPA 4011A Frequency Response and Polar Pattern
Austrian Audio OC818 Cardioid Frequency Resposne and Polar Pattern
The act and art of recording allow for the development of personal aesthetic, as every choice would have an impact on how the recording will be interpreted and appreciated.
Following this path I want to investigate further if the colouration that is usually a characteristic of large-diaphragm condenser microphones, can sometimes be desirable when recording classical guitar.
And furthermore, try to answer the question if a single multi-pattern microphone, with all the versatility that it bears, could replace or subtitute for a collection of dedicated microphones in classical guitar recording.
Details
Stereo Sets
The recordings were done in AB stereo with a 32cm distance between each microphone, I placed each 4011A and OC818 microphones side by side, as I figured that this will bring the capsules closer together. The microphones were on axis with my guitar, at 88cm high and around 50-55cm from the spruce top. The recordings are dry with no EQ, reverb or other processing anywhere.
High-quality 320kbps mp3 streams:
If you’d like to listen to uncompressed wav files, just send me an email.
Click here for more comparisons and a full review of both the OC18 and a stereo pair of OC818.
Disclaimer: Austrian Audio and DPA sent me the microphones for reviewing without any precondition or obligation to write positively about them. This is an honest presentation, driven by a genuine interest and desire to create a classical guitar microphone database.
Austrian Audio OC18 on a Classical Guitar
Austrian Audio sent me a stereo pair of their OC818 and OC18 microphones for reviewing, so the first thing I did was to put them up against my Neumann microphones and see how they perform.
Low-cut fitlers and switchable pad.
For those of you who are not familiar with Austrian Audio, here is a little back story. When AKG offices in Vienna got closed, some of its former employees join forces and set out to create something new, true to the Viennese microphone manufacturing heritage. In July 2017, Austrian Audio was officially born.
Handmade CKR12 ceramic capsule
With their new CKR12 ceramic capsule as the centre point, Austrian Audio released their first two microphones last year. The multipattern large-diaphragm condenser OC818, and it's cardioid only version OC18 for those who don't need the extra patterns. Both are priced very competitively, considering their quality and that they are 100% made in Austria.
In a see of clones
Austrian Audio OC18.
In a see of vintage "inspired" microphones that have flooded the market the last decade, I find very refreshing that Austrian Audio, instead of releasing "clones" of the AKGs acclaimed C12 and 414 microphones, they worked two years in the development of new microphones and technologies. In other words, they were paying 22 employees for two years with nothing on the shelves to sell.
Austrian Audio OC18 vs Neumann TLM 193
Austrian Audio OC 18 Frequency Response and Polar Pattern.
Neumann TLM 193 Frequency Response.
Neumann TLM 193 Polar Pattern.
Austrian Audio OC18 and Neumann TLM 193.
In the last couple of years, the TLM193 is the microphone I've been using for my classical guitar recordings. Needless to say, I know exactly how it sounds with my guitars, and I appreciate its pure and honest character. Although I would never record in mono for any professional use, I think it is interesting to find out how a single OC18 compares at half the price of the Neumann, cardioid to cardioid.
I set them up, one on top of the other, around 55cm away from the top of my spruce top guitar, and opposite to the bride, leaning a little towards the soundhole. For the test, I used AEA TRP2 preamps and RME ADI-2 Pro FS converters.
High-quality 320kbps mp3 streams:
Austrian Audio OC18 vs Neumann TLM 102
Neumann TLM 102 Frequency Response.
Neumann TLM 102 Polar Pattern.
Austrian Audio OC18 and Neumann TLM 02
Neumann's budget TLM 102 has always been one of my favourite large-diaphragm condenser microphones for the price with its relatively low-noise electronics, small size and smooth natural capture. Considering that the OC18 is at a similar price, I wanted to see how it stands in comparison.
I set them up similarly with the TLM 102 sitting upside down on top of the OC18.
High-quality 320kbps mp3 streams:
For those who have experience with the TLM 193 or TLM 170, it should be easy to guess, which mic is which. Between the TLM 102 and OC18 it should be a little harder.
If you’d like to listen to uncompressed wav files, just send me an email.
Click here for more comparisons and a full review of both the OC18 and a stereo pair of OC818.
AEA TRP2 Microphone Preamp Review
A black canvas for your acoustic paintings.
AEA designed "The Ribbon Preamp" to guarantee the best operation for their ribbon microphones. Equipped with +48 phantom, the TRP2 can power condenser and active ribbon microphones.
Built for the desk and the road
A simple but effective layout.
With retro looks and an elegant grey finish, I think it looks great on a rack or a desktop. Housed in a lightweight half-rack aluminium chassis, the TRP2 is fairly portable though, perfectly fitting on a remote recording session.
The TRP2 has two-channels with 85dB gain for stereo capture. Each one is equipped with a stepped gain stage (+7dB to +63dB) and variable output control (+22dB) for fine-tuning. Push buttons for phase reverse, a low-cut filter (12dB per octave from 100Hz) and +48 phantom, as well as 3 led level indicators per channel, are located in the front panel.
The preamp is powered by an external PSU that is connected to the rear panel where four XLRs are located as well. Two for the microphone inputs and two for the line outputs. No quarter-inch outputs for unbalanced connections, neither a DI input are available. AEA built a high-quality microphone preamp equipped with only the absolute essentials.
Fade to black
Huge amounts of clean gain.
The sound of the preamp is remarkably transparent and natural, with a very fast transient response for excellent dynamics. With ease, the TPR2 manages to pick up unsurpassed detail out of my classical guitar, while allowing a full-bodied portrayal, with a beautiful midrange, pleasing highs and controlled low-end.
One of the most alluring characteristics of the TRP2 is the incredibly quiet operation. The classical guitar, being a soft and subtle instrument, presents a challenge to record properly. The signal path, designed by Fred Forsell, is evident, the TRP2 maintains every detail and lets the notes fade out to total silence.
The operation of the TRP2 is straight forward and a neatly written manual includes plenty of useful information. The level indicator LED are sufficient for discerning that the levels are healthy. I think that the low-cut filters are set a little too high for my uses, but other than I have no complaints.
Can you handle the truth?
Precise control.
AEA's preamps don't try to complement the source. The true strength of the TRP2 lies in allowing the microphones to capture an honest image with exceptional precision. With an impressive 85dB of absolute clean gain, the preamp ensures outstanding performance and can capture even the quietest sounds.
Alternatives
Priced a little lower, the DAV BG1 is an acclaimed preamp with a similar feature-set, low noise and high quality. In comparison, its sound is somewhat coloured, but that is neither good or bad. Lake people's MPA RS 01 is a straight-wire preamp in a similar form and function, worthy of consideration.
Cons
Low-cut filters are set a little too high for some uses
Pros
Beautiful sound, from top to bottom
Detailed, transparent, and natural sounding
Impressive amounts of gain
Very low noise
Lightweight and portable Sturdy construction
Some classical guitar recordings made with the AEA TRP2:
Line Audio CM3 on a Classical Guitar
The Swedish Line Audio CM3 microphones are the best-kept secret of the audio world, not only they sound great capturing the nuance and timbre of acoustic sources in the most natural way, but they are incredibly cheap and small!
No affiliation whatsoever, I just like them a lot!
Initial Review
Roger is the one and only person involved in the design and manufacturing of the Line Audio products, and he has been making high-quality microphones and preamps at a low price for decades; all handcrafted in Sweeden.
It is impossible to find other microphones that come close to the quality of the CM3s, both in craftsmanship and sound properties, without spending several €100s more. They are balanced across all frequencies and offer a smooth and clear pick-up, without annoying frequency boosts that certainly don't compliment a sensitive and delicate instrument such as the classical guitar.
Roger is building these microphones himself, and doesn't advertise at all; this is the reason why he can keep the prices so low, and why you don't hear so much about them.
Trevelling with the CM3s
On March 2018 I travelled to Lithuania for a month, I was commissioned to compose a solo guitar suite (to be released in March 2020). So the two tiny CM3s, in their practical plastic cases; although unnecessary for the purpose of my work there, were proven to be great tools to have.
My only regret is that I didn't get to record in this beautiful church, but with -28 degrees Celcius, maybe it was a good decision.
Here are two of the pieces that I recorded there, pluged into an Audient iD14 (read my review). The CM3s, togheter with the iD14 make a compeling and affortable pair for travelling guitarists.
Closing Thoughts
After owning a pair for about two years now, having recorded my guitar, cello, solo piano, a piano trio with violin and flute, as well as several voices and a choir; I can honestly say that I can comfortably use them in any situation. I recommend them without hesitation to beginner and intermediate recordists with a sane budget.
My only complaint would be that you need to pair them with a decent preamp as they are not very sensitive. When I compare them with Schoeps, DPA or Neumann microphone that cost 10X more, I find that they are a little less detailed especially in high-mids and highs. But, for the price, or even for microphones that cost less than €1000 a pair, I haven't found anything that comes close for recording acoustic and classical music.
DPA d:vote 4099g Microphone Review
Studio sound for the stage
Danish Pro Audio is acclaimed for manufacturing high-end condenser microphones for acoustic and classical music. The DPA d:vote 4099 is a super-cardioid condenser microphone aimed to bring a high-quality capture on the stage.
Good things come in small packages
The microphone with its accessories is packed in a neat hard-shell canvas case that is pretty light but offers enough protection, making it excellent for the life on the road. Included is a 1,8m MicroDot cable, an XLR adapter and an instrument mount. I have the 4099g which comes with the guitar mount, DPA offers a plethora of options to suit any instrument.
A 140mm gooseneck holds the miniature 4099 capsule and allows for satisfactory positioning. DPA offers a 180mm extension gooseneck, for even more precise placement and the ability to move the microphone further away from the instrument. A brilliant add-on for the studio or a relatively quiet stage, as the extra distance allows the microphone to capture more of the instrument's surface.
The condenser element is covered by a foam windscreen. Although its very light and compact, it seems super-rugged; except for the detachable cable which gives the impression that is very delicate. Maybe it is my paranoia, but I tend to be extra careful with it when I'm on stage, and you will never catch me out without a backup. Saying that I never had a problem so far.
Hearing the tones
Very easy to mount.
I have used extensively the 4099g on my classical guitar for chamber concerts, usually placing the microphone over the 15th fret and aiming slightly toward the soundhole. Depending on the room, I will adjust further to find the sweet spot. The sound is always balanced and detailed, the DPA delivers a natural and full-bodied representation of my instrument.
With a careful speaker/monitor placement, the DPA can take quite some gain before it starts to feedback. Definitely, enough to compete with a grand piano, string/wind instruments and percussion. The super-cardioid pattern helps in rejecting other instruments and noise, but it's not immune to feedback issues.
A positive aspect of having a microphone mounted on the instrument is that even if I move a bit, the sound always stays the same. Additionally, it unclutters the stage from the various stands.
In the studio, the DPA is not the most qualified performer, the miniature capsule exhibits more self-noise than what is satisfactory. I wouldn't hesitate to use it if I had no other option, but I would choose another mount though for more options in placement.
Flat frequency response on-axis, with a slight presence boost for added clarity.
Essential for all instrumentalists
Liliputian proportions, exceptional sonic quality and excellent craftsmanship, establish the DPA 4099 as a great investment for any instrumentalist. It frees us from the stand prison while rejecting unwanted sounds and still manages to deliver accurate and refined sound.
Soundcheck in Berlin - DPA4099g
Cons
Slightly noisy
The cable is too thin (maybe)
Pros
Balanced and detailed sound
Rejection of unwanted instruments/sounds
Easy to attach-remove
Keeps a constant distance from the instrument on stage
Neumann TLM 102 Microphone Review
The Neumann TLM 102 is a small, elegant and affordable condenser microphone with an open character, a silky high-end, low self-noise and a distortion-free operation.
A true Neumann for the project studio
The Neumann TLM 102 is a small, elegant, and affordable condenser microphone with an open character, a silky high-end, low self-noise and distortion-free operation.
Inspection
The TLM 102 is a large-diaphragm, transformerless capacitor microphone with a fixed-cardioid polar pattern. The lack of pad and filters implies a bare-bones design, allowing Neumann to bring the costs down without compromising on the sound.
A relatively small and edge-terminated diaphragm puts it towards the more natural Neumann microphones, and with an SPL tolerance of 144 dB, the TLM 102 is a foolproof candidate for capturing gracefully almost everything.
Neumann badge indicates the front side of the microphone.
It has a classic Neumann design available in a black or nickel matte finish. I have the nickel mic and I find it very stylish, the black one looks just as beautiful. The microphone is engineered to perfection, the chrome ring below the basket and red Neumann badge, give it a classy retro-industrial look. With a tiny size and a weight of approximately 210g, placement is a child's play.
The TLM 102 ships in a foam-lined cardboard box (another cost-cutting move from Neumann), a departure from the usual luxurious wooden box, but it securely fits snug the microphone and stand-mount or shock-mount. The box is sufficient for storage, but I wouldn't use it for travelling.
The frequency range of the TLM102 is flat up to 6kHz, where a slight presence boost kicks in. This adds a touch of brilliance without ever sounding harsh or shrill. It has a relatively low input noise of 12dBA and a moderate sensitivity, allowing it to capture with blooming detail even nuanced delicate instruments.
A high-pass filter could have been useful, as the microphone is sensitive even to the very low frequencies. Engaging one on the preamp or DAW can be sufficient though.
Flat frequency response with a slight presence boost for silky highs.
Investigation
On a classical guitar with the mic opposite of the bridge, leaning slightly inwards towards the sound-hole, and at the distance of around 50 cm. The TLM 102 sounds glorious, with full-bodied lows and mids, and a pleasing high-end, with no sign of harshness. The slight high-end boost contributes to an added clarity, but unlike many budget condensers, it doesn't emphasize unwanted mechanical sounds of playing the guitar.
Newly designed shock-mount with a cut for closer positioning.
I tried the TLM 102 on a brilliant cellist, another instrument that is quite difficult to record convincingly. The tiny Neumann retained its well-behaved nature and clear capture.
On female voices, the proximity boost in the low-mids together with the relatively natural highs of the TLM 102, bring a smoky, almost old-fashioned character. When used on male voices, the microphone provides a thick and rich timbre that allows. The TLM 102 can complement a variety of voices, it always retains its rich and full personality.
Diagnosis
The grille incorporates a dense pop screen, effectively reducing plosives.
After owing a TLM 102 for a few years, one trait remains consistent, this microphone exhibits a strikingly clear-sounding capture but shows enough temper to complement most sources. A pretty desirable attribute, especially for the project studio, as many home recordists will probably use one microphone to record almost everything.
Alternative
At the same price, the Miktek C1 offers a similar natural character with a silky high-end. The Neumann TLM 107 is an excellent alternative if you don't mind spending more, as it offers a similarly natural and smooth capture, with even less self-noise, and added versatility with its 5 polar patterns.
Pros
Full and rich character
Silky highs
Price
Size and weight
Cons
No High-pass filter
Cardboard box
Sony PCM D100 Review - A Portable High-Resolution Audio Recorder
Experiences and adventures of a classical guitarist
The Sony PCM D100 with the “wide” arrangement.
The weather is great now, and I want to spend more time outside, to explore different locations. While I have a lot of recording equipment for different situations and purposes; as a one-person band, location recording can be tricky. Lugging microphones, cameras, cables, stands, etc. make sure that everything runs smoothly, by the time we start to play, we are already somewhat exhausted.
A portable recorder makes things infinitely less complicated, but most devices that I have tried over the years come with many shortcomings. A lot of people are raving about how great the Sony PCM D100 is, but there seem to exist very few acoustic music recordings on the internet made with it (there are many recordings of trains, cars, cats and other ambiences, but I cannot draw conclusions from such examples).
So, the rarity of any real music examples and the hefty price kept me away from it, but now I decided to get on my hands and find out if the D100 is as good as many people claim.
Recording on a 700-meter altitude monument in Greece
A view from the path to Zalongo, Preveza.
First I went up to the Monument of Zalongo, 700 meters altitude mount, near my beautiful hometown Preveza, Greece.
It was a windy day, and unfortunately, the provided windjammer from Sony was not enough to protect the ultra-sensitive mics. Therefore I had to be very creative with positioning the recorder; which resulted in an unorthodox, from the sound, perspective; but less exposed to the air.
Still, most of the takes got ruined by the clipping of the microphones, but I was lucky and just before the sunset, the wind recede just enough and I was able to have two full takes without any clipping.
(Note to self: next time I will have an idea to climb up a mountain to make a recording, I should bring more means of wind protection.)
The Humid Environment of a Small Port
Twilight at Mitikas, Preveza.
A few days later I decided to visit the beautiful port of Mitikas at Preveza, equipped with and my guitar, the D100 and my camera; I recorded "Αυτή η νύχτα μένει".
If you listen with headphones, you will hear the sound of the gentle waves as they wobble against the rocks behind me. And similarly, this soft breeze was enough to cause problems with Sony's sensitive capsules, even with the windjammer on. Therefore, I had to position the recorder lower than I would have prefered.
In both of these cases, bringing with me any other setup would be hugely unpractical. I wouldn't want to carry a laptop, interface, preamps, and expensive Neumann or Schoeps microphones on a mountain. Neither I would allow them to suffer in the humid environment of the port - considering also the additional setup time that is required for that.
In this manner, the Sony PCM D100 delivers on what is promising; high-resolution, clear and detailed recordings, in a portable short-scaled unit.
A few more notes
In closing, I want to add a couple of points that are usually not talked about much.
Practical nylon case and remote control.
Firstly, I don't really how Sony does that, but since July when I bought the recorder I used it extensively. I did several tests at my home studio, recorded a couple of my concerts and a few long rehearsals, a piano recital for a friend, some scratch ideas for new compositions and the two videos on the mountain and the port. And all that with the first pack of AA batteries that Sony provides with the recorder. It is unbelievable and not at all similar to my experience with Zoom and Tascam recorders that I've used in the past.
Secondly, the accessories provided with the D100 are extremely practical. Namely, the remote control is a god-send for a one-man band as I don't have to stand up all the time to press "rec". The carrying bag is very useful, as it protects the recorder from scratches and dirt - just do not drop it! My only complaint is with the windjammer which could have been more effective.
A new project; Urban Miniatures
A new project I took on is to compose 12 miniature pieces inspired by the city; twelve Urban Miniatures. These would be recorded monthly during the following year in 12 unique locations in Berlin. I plan to use my trusty Sony PCM D100 for all of them. Here is the first.
Apogee MiC+ on a Classical Guitar
Apogee´s new USB microphone promises improved sound quality and lower noise floor from its predecessors.
Apogee MiC+ on it’s Tripod
I wanted to buy a USB microphone for some time now but the ones that I have tried in the past didn't convince me. USB microphones are usually guilty of high self-noise that can be quite problematic when recording such a subtle instrument as the classical guitar. Additionally, since they are mainly aiming for voice-overs, vocal recordings, podcast and such activities, they are usually quite bright for my tastes.
The new MiC+ is definitely an improvement over the older versions. The self-noise is audible in comparison to my normal setup but I don't find it to be a problem for non-commercial uses. It is also a little bit on the bright side, but natural enough for use with a classical guitar and other acoustic instruments.
It seems very well made and I believe it can take some beating, but don't forget it is a sensitive condenser capsule in there, so don’t drop it.
Apogee includes in the package everything you need to start recording right away; desktop tripod, microphone stand adaptor and USB Type A, USB Type C and Lightning cable. My only gripe is that the supplied cables are rather short, connecting the MiC to a Desktop or Laptop computer will be proven a challenge.
Apogee MiC+ Connections
Comparisons
A few diffefent recording options.
My next task was to see how the MiC+ compares with several different options; alternatives that have clear-cut strengths and definite uses, but I consider them to fall into a similar budget. From a tiny portable recorder (Olympus LS-P2), to a budget SDC (Line Audio CM3), to a higher priced LDC (Neumann TLM102).
Olympus LS-P2
+ the cheapest, the smallest, doesn't require any additional gear, it is stereo
- most self noise, although its mids are sweet-sounding, the sound is somewhat narrow and small
Apogee MiC+
+ affordable, comes with everything you need and it only requires a phone/tablet or computer to work, a decent headphone output
- noisier that the CM3 or TLM102, much brighter, feels cheaper
Line Audio CM3 (read my review)
+ smooth and natural sound, no colour, small, cheap, comes with plastic case
- needs decent preamps to avoid added noise, not very detailed, needs an audio interface/cable/stand (additional cost)
Neumann TLM102 (read my review)
+ clear and defined sound, nice articulation, a little bit of colour but never harsh, practically noiseless
- needs an audio interface/cable/stand (additional cost), big (actually it is very-very small for a LDC, but for the sake of this comparison), expensive
Conclusions
All in all, it is a great mini microphone and although it is not meant to replace a discrete signal chain with high end microphones, preamps and converters, having access to such equipment when I'm on the road is not usually an option and the MiC+ comes to fill the gap as it sounds better than most portable recorders and it fits in the pocket of my jacket.