The MD 445 microphone and MM 445 microphone head retail at $799.00 AUD / $899.00 NZD each.

MD 445 Technical Data

Transducer principle                          dynamic

Frequency response                           40 – 20,000 Hz

Pick-up pattern                                  high-rejection, super-cardioid

Sensitivity (free field, at 1 kHz)         1.6 mV/Pa; -55.9 dBV/Pa

Max. SPL (at 1 kHz)                           163 dB

Equivalent noise level                        18 dB(A)

Dynamic range                                  145 dB(A)

Nominal impedance (at 1 kHz)         245 ohm

Min. terminating impedance             1 k-ohm

Connector                                         XLR-3M

Dimensions                                       ⌀ 47.5 mm x 174 mm

Weight                                               329 g

USB Podcasting Microphone

NATURAL DYNAMICS

I was dazzled by the first recording I made with the MV7. Spoken word is conveyed very naturally. The lack of hype or exaggeration makes a voice sound ‘real’ in a way that’s easier for the listener to connect with, and it’s undoubtedly a sonic nod to the beloved attributes of the SM7B. Sibilance is kept under control thanks to the dynamic capsule and the Y-mount helps keep it unobtrusive in front of your face. The mic does a fantastic job rejecting noise and room sound thanks to its tight pickup pattern. The MV7 is fairly sensitive to proximity, and the closer you get the more pronounced plosives become. Back off about 10cm for a more consistent level and less pops and booms.

Speaking of consistent levels, the MV7 uniquely offers an Auto Level Mode which acts as a real-time gain setter which adaptively responds to the loudness of your voice. Select ‘Auto Level’ instead of ‘Manual’ in the ShurePlus Motive app and you’re presented with a few basic controls – Mic Mute, Monitor Mix, Mic Position (Near or Far) and Tone (Dark, Natural or Bright). It’s all you need for a set-and-forget approach, and the automatic gain does a commendable job maintaining a consistent level, even when I tried to surprise it with sudden bursts of SPL.

Shure’s choice of both EQ and compression settings are very tasteful and clearly designed to enhance spoken word. Dialling up heavy compression with a presence boost/HPF resulted in a convincingly forward and punchy ‘hard sell’ sound while lighter compression settings gave more transparent level control well suited to conversational recordings.

‘NORMAL’ MODE

The MV7’s XLR output basically shouts ‘I’m not a toy’ and it’s what I love most about this mic. Shure hasn’t relegated the MV7 to the consumer USB mic bracket. That XLR output lets audio engineers see the MV7 as a studio-ready addition to any mic arsenal.

Does it perform? It Shure does (sorry).

Jokes aside, the Shure logo plus the ‘SM7B-inspired’ marketing raised my expectations of the MV7’s sound and it doesn’t disappoint. Vocals are its strong suit and recorded tracks took both real-time interface DSP and plug-in processing nicely. A high shelf boost helps it sit nicely in a thick mix and I can see the MV7 as a great option for rock or hip hop vocals where a dirtier, meatier sound is the go.

Personally, I couldn’t resist tracking acoustic guitar through it. Again it yielded a very natural, ‘true to the room’ sound not unlike a ribbon mic. However, it also revealed the MV7’s slight lack of detail in the highs, as well as a noise floor which becomes noticeable with soft sources like fingerpicked playing. Probably not your go-to instrument mic but it’ll get you out of a bind, if necessary.

SEVEN SIGNS OF HAPPINESS

There’s no doubt the Shure MV7 ticks all the podcast boxes: simple USB setup, warm and natural tone, minimal sibilance, great off-axis and noise rejection, flexible positioning, and easy EQ and compression enhancements on tap. The ability to go between a one-cable USB setup and a fully-fledged studio gig is invaluable and markedly broadens the MV7’s appeal. If I got to keep this review model, I’d use it everyday.

One to Rule Them All

Whether you are into Analog synths, Eurorack semi-modular synths, Digital drum machines, or do everything on your DAW with digital plugins, the SQ-64 will give you instant and precise hands-on control of each and all of these.

The SQ-64 has 64 beautifully LED-lit Step button pads that not only let you see the whole picture at once, but also allow for super-fast and satisfactory editing with its encoder knobs and dedicated mode buttons that will simplify and speed up your workflow. Each step has graduated lighting; the higher the modulation value, the stronger the button lights up to give you a clear visual on what’s going on in the sequence.

The OLED Display is crystal clear, bright and visible from any angle, so you can have access to all the information you need no matter whether you are making music at home, in the studio or playing live!

The 3 melody tracks include a MODULATION output, so every step on your sequence can be creating complex modulations on your gear of choice, greatly expanding your options and possibilities for sound creation.

It has never been easier to create polyphonic chords patterns, melodies, complex poly-rhythms and modulations on the fly and record them as data on each of the 64 project slots available.

Real-Time Control

The SQ-64 won’t just allow you to create incredible sequences; it packs several features and modes that will let you edit on the fly and play any of your gear real-time.

The 64 pad Matrix can be also be used as a Keyboard, allowing for several layouts to be used for maximum flexibility (several scales can be assigned to any of these and a number of other parameters can be easily changed)

• Keys: Your traditional piano layout.
• Isomorphic: the notes are displayed symmetrically in rows, you can easily transpose the same chord pattern up and down without changing its shape
• Octaves: one scale displayed in 3 different octaves on each row

Go Deep

With its powerful built-in Arpeggiator you can easily bring to life and create interesting patterns out of any of your soft plugins, analog or digital synths, for immediate inspiration.

Break free with 4 alternative sequence playback modes! Reverse, Bounce, Random, and Stochastic can be selected independently and on the fly to each track to add variety and intrigue.

All your patterns can also be freely chained and looped, making this the ultimate device for machine live!

Sleek, Rugged Design

Despite its wide array of features, controls and connections, the SQ-64 is just 18mm thick (38mm including the knobs and rubber legs) and is housed in a highly portable and elegant yet robust solid aluminium body that will provide years of reliable service.

Powered through USB or external 9V DC adaptor, a choice of power options offer both versatility and flexibility.

Free Software Bundle

The SQ-64 comes with a diverse variety of music software from Izotope including “Ozone Elements” which lets you not only create songs but also master them using AI, “Skoove” which will help you improve your keyboard playing skills, “Reason Lite” DAW software, as well as software synths from KORG and other brands.

In other words, the moment you get your hands on this sequencer you’ll have a variety of tools to help you take your music to the next level.

Software for Mac/Windows

• KORG Collection – M1 Le (synthesizer sound module)
• UVI Digital Synsations (synthesizer sound module)
• AAS Ultra Analog Session (synthesizer sound module)
• AAS Strum Session (acoustic guitar sound module)
• AAS Lounge Lizard Session (electric piano sound module)
• Propellerhead Reason Lite (DAW music production software)
• Skoove free 3 month trial of Skoove Premium (online piano lesson)
• KORG Gadget 2 Le for Mac (DAW music production software)
• iZotope Ozone Elements (Audio Mastering Plug-in Software)

Specifications

Sequencer:

• 64 step sequencer with 3 melodic tracks with up to 8 note
• polyphony, and 16 monophonic rhythmic tracks
• Tempo: BPM30.0 – 300.0

Inputs:

• MIDI IN connector (φ3.5mm stereo mini-phone jack, use a type-A MIDI converter cable),
• SYNC IN jack (φ3.5mm monaural mini-phone jack, 20V maximum input level)

Outputs:

• MIDI OUT1, 2 connector (φ3.5mm stereo mini-phone jack, use a type-A MIDI converter cable),
• SYNC OUT jack (φ3.5mm monaural mini-phone jack, 10V maximum input level),
• CV GATE output A/B/C jack (φ3.5mm monaural mini-phone jack, 10V maximum output level),
• CV PITCH output A/B/C jack (φ3.5mm monaural mini-phone jack, 10V maximum output level),
• CV MOD output A/B/C jack (φ3.5mm monaural mini-phone jack, 10V maximum output level),
• TRIG output 1~8 jack (φ3.5mm monaural mini-phone jack, 10V maximum output level)

IMMERSIVE AUDIO

The show’s audience area fills an elliptical space in among the four aircraft. Buchan quickly determined that the show would best be enjoyed when the audience are on their feet. The show is brief enough to not be fatiguing for most people and it means the young and the short of stature can move about to be guaranteed of good sightlines.

But to truly immerse the audience, the show needed a truly immersive audio system.

Buchan asked Design Stage to lead the audio design and procurement, while Josh Wilkinson took care of the sound design.

“The brief was for a 360° surround sound system that encompassed the audience viewing area, as well as overhead speakers for special effects as well as general public address duties,” reports Design Stage boss, Phil Viney.

After investigating a number of premium loudspeakers Phil Viney and the team decided on Meyer Sound.

“One of the key reasons behind the decision is the Meyer’s use of low-voltage power. Meyer pioneered the use of powered loudspeakers in live sound. A Meyer PA would use one cable to run power and audio. But rather than running 240V cabling plus audio, which can give you some segregation issues and interference, they came up with a system where they run a 48V DC power rail and balanced audio down the same cable.”

Meyer’s MPS-488HP IntelligentDC Speaker PSUs provide 48V DC power and full range signal down a single cable, which addresses any safety concerns by running low voltage cables in public areas — an issue Phil Viney was alive to.

Some eight speaker positions mark the perimeter of the viewing area, comprising a Meyer UP-4XP full-range loudspeaker and a MM-10XP sub. The two loudspeakers are housed in a custom-designed tailfin-like chassis.

Overhead, Phil Viney spec’ed four pairs of Meyer Sound UPJuniors. “They sound huge during the flyover effects,” observes Phil Viney. “They’re an amazing-sounding loudspeaker.”

A pair of Meyer’s Galaxy processors provide all the DSP and matrixing. Meyer’s new Spacemap Go immersive mixing tool wasn’t quite ready in time for this project. Instead, Josh (the sound designer) and Dan (the control programmer) ‘baked in’ the audio aspects of the show. That said, the Galaxy processors are only a firmware upgrade away from being ready to use with Spacemap Go on a show.

“The design allows for the use of the new Milan AVB protocol,” explains Phil Viney. “It’s early days, and the MOTU AVB interface isn’t quite on the same page as the Milan version of AVB, so the show is currently using analogue lines but that will change. The MOTU 16A interface provides 16 additional inputs into the system which we’ve made available on a patchbay. It’s designed for visiting crew to use their own audio mixer.”

MORE ON THE SOUND DESIGN

Josh Wilkinson reflects on the job of designing an arresting sound track in one of the world’s most unusual immersive audio arenas.

Josh Wilkinson: “From the onset Buchan made the soundtrack a priority. Which isn’t always the case and made the project a real pleasure.

“My brief was to create something that would really blow people away… that they wouldn’t expect.”

Josh built the tracks in Reaper, with an Ambisonic panning plug-in, mixing down key elements like the voiceover, aircraft sounds, music and ambience into subgroups.

But given the bespoke nature of the immersive audio setup, there was no way to have the mix ready for the space without being in the space. Josh spent a number of solitary nights sitting in the middle of the audience area mixing his work for the system.

“There was no substitute for being in the space. For example, the overhead speakers are a key element but they track the length of the roof span, which is 70m or so long. The furthest pair of Meyer UPJuniors are 50m from the listening position! It’s very hard to predict what a pan might sound like until you’re there hearing it. It turns out that you can let the natural delay do most of the work for you.”

The audio focus of the presentation changes when the projections move from the 747 to the other aircraft. In fact, it’s the panning of the voice over audio that shifts the audience focus as they turn and face the aircraft that’s the focus of the commentary.

Everyone on the project noted Josh’s talent and there’s little doubt this project is a feather in his cap.

HAMMER’S TOOLS

“Equipment wise, I wanted to keep it minimal,” continues Dave. “We’d already knocked out the drum recordings so we really only needed a couple of lines at a time at the farm. But I wanted something super solid: a couple of BAE 1073s, a couple of API preamps, along with a Retro 176 compressor, and a Moog delay.

“I brought a Shure SM7 mic and we had a Wagner 47 for vocals — Gunther Wagner is actually a family friend of the Leimbach’s, so we borrowed Gunther’s personal 47.”

GUT INSTINCT

Recording in a draughty farm outhouse might sound romantic but it comes with the standard challenges that remind you why bespoke recording studios — with acoustic treatment, sound proofing, reliable power, and an easy commute to a Jaycar — exist.

“I spent a lot of time trying to figure out what what I was actually hearing,” admits Dave Hammer. “I was pulling sounds rarely knowing what I was actually getting, but just trusting  my instinct and trusting that, creatively, we’re doing something fun and exciting. We needed to lean into those musical decisions… we had to — the lime Cordiale  success story is based on that sort of attitude.”

FROM RABBIT TO WORM HOLES

Oli and Louis like rabbit holes. They descend down musical rabbit holes often. Sometimes they turn into wormholes. They’re always explored to the full. The brothers depend on Dave to take the red pill, wave goodbye to reality and go with them.

“Very often one of the brothers will have an idea and want to completely rewrite something or remove a part that could well be one of my favourites,” explains Dave. “The challenge is to explore what they’re hearing and help them see that idea out before we pass judgement. It might end in a really good place or might end up in a really confused place. But when you’re in that moment of deconstructing something and trying something fresh, it’s important to not judge it on the spot. You’ve got to flesh out the idea, make it exist and then pass judgement on it, often with the benefit of a night’s sleep as perspective. As a producer, I’m a supporter to the artist, as well as an independent pair of ears — sonically, musically, and from an arrangement perspective.”

PRODUCTION PHILOSOPHY

The Lime Cordiale sound is evocative. It’s collision of new school/old school sensibilities that give a Lime Cordiale track instant familiarity along with radio-ready freshness.

“They definitely lean towards hearing analogue-sounding gear,” confirms Dave Hammer. “For example, I remember one time when we got hold of an EchoFix Tape Echo. Louis and Oli just lost themselves in that box. 

“Another favourite toy was the MoogerFooger Cluster Flux — an analogue chorus pedal — which responds well to being driven hard. 

“And I brought along a box of pedals for the brothers to play with, which I think were used on vocals more than guitars.”

HI FI & LO FI

Creating the Lime Cordiale aesthetic isn’t all about putting Oli and Louis in a ‘sandbox’ of analogue curios, for Dave Hammer it’s about the judicious combination of the hi- and the lo-fi.

“Sonically, I definitely have a tendency to get high-end equipment and abuse it,” reveals Dave.

“It’s about pushing things and breaking some rules. Sometimes you might get a hi-fi sound then juxtapose it against something lo-fi that adds to the character and the flavour.

“As an example, we used a ribbon mic on piano because with thought a darker tone would work better. But after recording it I dialled in some top end to give it back a little more sparkle; which in turn introduced a bunch of noise. But we liked the noise; it reminded us of the sonic vibe of tape. So from there on, that’s how we recorded the acoustic piano: with a ribbon and over-accentuating the highs.”

MIXING: HAMMER TIME

Dave Hammer likes to mix as he goes. He packed a Bricasti reverb in the bush recording survival kit for some extra fairy dust in the mix but is mostly happy with what he can achieve in the box. After the recording sessions he’ll have time to complete the mix but that’s after the brothers have effectively signed off on the sound.

“For Oli and Louis, they get to the point where they’ve explored their ideas and they’re comfortable about moving on,” explains Dave Hammer. “They’ve effectively signed off on the production and it’s a case of ‘let’s get that mixed and finished’. It means the mixing process is not as intensive. I mean, it’s intensive for me, but not so much for them.”