The iconic Shure SM7B dynamic microphone needs no introduction. Neither does its infamous ‘inadequacy’ – a notoriously low output. For many, the SM7B’s demand for a huge amount of clean gain was a dealbreaker. Not many prosumer audio interfaces and podcast recorders can supply enough gain to record softer material without hugely raising the noise floor. For everyone else using the SM7B in spoken word or other low-SPL applications, it generally needs to be paired with a high quality preamplifier, or an in-line gain booster like a Cloudlifter. 

Besides its low-output snafu, the SM7B is a legendary microphone. A tight polar pattern with excellent rear rejection makes it perfect in the studio for vocals, guitar cabs, or even snare drums. In the podcast studio or voiceover booth, the SM7B excels in reproducing a natural and warm vocal tone on pretty much any voice. The lengthy grille is among the most effective in its class at stopping plosives without the need for a separate pop filter. The manoeuvrable Y-mount allows for flexible positioning and the adjacent XLR connector feeds a cable tidily along the mic stand. Ask recording engineers, radio presenters, podcasters, musicians – not many will have a bad word to say about the SM7B.

POWER UP

Big news. Shure has listened to its users, addressed the low output niggle with the SM7B, and built a solution right into the mic. Meet the SM7dB. It’s aptly named, because this revamped version gives you a bunch of free gain. 

Like a Cloudlifter, the SM7dB’s built-in preamplifier needs phantom power to work. A switch on the rear lets you boost the output by 18dB or 28dB –more than enough to pump a juicy signal into even the most pedestrian of preamps in a mixer or audio interface. 

I like having the two gain options. Some people sing, speak or rap louder than others. For the quiet ones, +28dB is the go. Pair this with clean gain from a nice preamp and you can capture even whisper-quiet sources with ease and clarity. In fact, it opens up a whole new horizon of recording options. Normally I wouldn’t think to record an acoustic guitar with an SM7B. But with the SM7dB? Even the most delicate fingerpicked parts can be captured noise-free. 

For the most part I found myself sitting on the +18dB setting as it’s just enough to boost the signal to the input level of a typical condenser mic, but not so much that you’re nearly clipping after adding a touch of preamp gain. For louder sources in the studio you can bypass the preamp altogether and run passive.

An adrenaline shot for live vocals

In 2016 Aston shook up a stagnant studio mic market with a range of game-changers which have already become modern classics. Now it’s launching their first stage mic, with the same goals in mind; real change, real innovation, and awesome sound. Aston Apex promises to rise above the current crop of dynamic clones by offering the power and flexibility the live engineer community has been asking for.

Firstly, there’s a choice of two voices, derived from the TEC Award-winning Aston Stealth. These are discrete signal paths, with no EQ presets or modelling in sight. You get a choice of two world-class mics without having to swap them out.

Secondly Apex operates in passive or active modes;  a built-in Class A preamp engages automatically when 48v phantom power is present, providing 20dB of super-clean boost to ensure live vocals cut through the mix live, just as they do on the studio recordings. An aerodynamically tuned head further enhances on-axis focus.

Apex is set to redefine how a handheld can, and should, perform. Once they’ve tried it, vocalists won’t want to let this mic go.

• Dual Voice, Active/Dynamic handheld microphone
• Fully balanced & floating discrete class A preamp for 20db ultra-clean gain boost
• Dual-voice tech from the award-winning Aston Stealth
• Phantom power auto-detect
• Tamper Proof Voice Switching (TPVS)
• Ultra-quiet preamp with a noise figure of only 3.8 dBA
• Acoustically streamlined design for a focused,
  mix-ready vocal
• Available in 3 finishes, ‘Storm’, ‘Void’ and ‘Glass’

Check out the Aston Microphone website here.

Audio-Technica Australia introduces the next generation of dynamic microphones for content creators, the AT2040USB. The new AT2040USB microphone features a dynamic design for excellent voice capture with added USB connection. Combining the broadcast-quality performance of the AT2040 dynamic podcast microphone with plug-and-play USB functionality makes this the ideal microphone for podcasters, streamers, and other content creators to achieve professional results.

Ensuring a natural frequency response with rich, powerful lows and crystal-clear studio sound, this dynamic microphone also touts its quality with a highly directional, hypercardioid pickup pattern that helps eliminate common ambient noise, like the hum of a computer fan. 

With a narrower pickup angle than a cardioid design, the AT2040USB provides focused vocal capture, which is ideal for creators and gamers who stream and chat with followers. Additionally, the microphone’s robust metal body includes an integrated shock mount to minimise unwanted noise and vibration, while its internal pop filter protects against harsh spoken sounds.

The AT2040USB is equipped with a built-in headphone jack for real-time audio monitoring with no latency. It also features a quick muting function using a silent touch-sensitive mute button. When the mic is recording, a blue ring lights up, which turns red when it is muted.

Features:

• Hypercardioid pickup
• Multistage foam mesh windscreen
• Integrated shock mount
• Built-in headphone jack with high-output amplifier and volume control
• Mix control – silent soft-touch mute button with light indicator
• High-resolution AD convertor with 24-Bit/96kHz sampling rate
• Switchable low-cut filter
• Professional-grade metal body
• Mounting clamp and USB-C to USB-A cable (with USB-A to USB-C adapter) included

To prevent noise, shock, and vibration that may be transmitted through a mic stand, boom, or mount users can purchase the AT8458a shock mount separately.

The Audio-Technica AT2040USB is now available in stores and online, and is priced at RRP A$299.

Audix has introduced the PDX720 professional dynamic studio microphone, a top-notch addition that expands its current studio microphone portfolio. The PDX720 is designed for the most demanding studio recording engineers and producers, vocal recording, high-end home studios, professional podcasting and voiceover.

The PDX720 excels on lead and backing vocals, and spoken word applications. Its sound signature finds its roots from the AUDIX distinctive ability to produce natural, smooth vocals with great low-end extension, even without active filtering.

The microphone’s standard default gain level eliminates the need for preamp boosts or cloud lifters. The PDX720 also features two unique three-position switches that enable users to quickly modify sound by adjusting the low cut and presence boost, minimising the need for complex sound mixing adjustments.

“My favourite setting was with all the switches in the ‘off’ position, vocals sounded more natural and it gives you a great template to mix, very smooth on the top, great low-end extension without being boomy; it’s very pleasant sounding, “says JC Fredrickson, Audio Engineer/Theatre Technician.

Beyond its excellence in vocal recording, the PDX720 is also a natural choice for drum and instrument recording, with its warm low-end tones and clear, defined highs which produce great clarity without sounding harsh. The versatility of the PDX720 make is a must have for studio professionals and home recording applications. “Having one microphone that excels in many sources is a plus,” adds Fredrickson. 

Features
Transducer Type: Dynamic
Frequency Response: 50Hz – 20kHz
Polar Pattern: Hypercardioid
Output Impedance: 280 ohms
Sensitivity: 1.9mV / Pa @ 1k
Maximum SPL: ≥135dB
Power Requirements: None
Connector: 3-pin XLRm
Polarity: Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector
Materials / Finish: Aluminium / Black / Gold Finish
Weight: 869gm
Length: 212mm

The new PDX720 is designed, machined, assembled and tested by Audix in Wilsonville, Oregon, U.S. The mic fully reflects the Audix philosophy of using the highest quality components and premium solid materials to ensure reliability and avoid any compromise to always provide exceptional sound quality. The PDX720 is the latest addition to an already brilliant set of AUDIX Studio microphones such as the recently launched A231 condenser vocal microphone. 

The PDX720 will be available to purchase from the beginning of May in the US and will be opened to the rest of the world in July.

NAMM 2023 Booth #14702

One glance at the Universal Audio SD-1 and you know its design inspiration comes from a certain blacked-out counterpart. And, even though at this point of me writing this review I haven’t actually heard how the mic sounds, I dare say the SD-1 attempts to mimic more than merely the aesthetic of the esteemed Shure SM7B. Considered the gold standard microphone for speech-related applications, the SM7B nails that delightful sweet spot of producing a natural and un-hyped vocal tone: the tight cardioid pickup pattern yields a focused sound that ignores spill and reflections; the dynamic capsule beautifully tames harsh sibilance; and its long grille catches and eradicates pesky plosives. Add to that, the SM7B features switches on the rear for making useful tonal tweaks, a right-angle cable connection which pairs neatly with broadcast boom arms, and a slick aesthetic loved by YouTubers.

But there’s a couple of downsides. Firstly, the SM7B needs a lot of gain. Secondly, at around AU$700, it isn’t exactly a steal.

LOOK & FEEL

Meet the Universal Audio SD-1 dynamic microphone. For starters, let’s acknowledge the fact that UA is now making mics – it has been for a few years now. With other similar companies, that might be reason to raise an eyebrow. But with Universal Audio’s proven pedigree and proficiency in both audio hardware and software design, I’m actually rather excited by the prospect of a no-frills workhorse dynamic mic coming from UA’s direction. 

The SD-1’s form factor gives the immediate impression of a broadcast microphone but Universal Audio assures us it’ll sit comfortably in a recording studio in front of sung vocals and instruments too. Technical details on the UA site are sparse: the SD-1 has a stated frequency response of 50Hz–16kHz (-3dB?), a cardioid polar pattern, internal shockmounting, and a couple of tonal adjustment switches. Physically, it’s a bold yet sleek design with no sign of manufacturing corners cut. Everything from the yokemount knobs to the XLR connector feels rugged and ready for action. The beige paint job will match any environment.

SOUND

The big question: how does it sound? In short, and as expected; it sounds excellent. 

‘Tight’ and ‘clean’ are the words that come to mind. This isn’t a bottom-heavy mic with blossoming low end. Rather its frequency response gently draws attention to the upper mids of a voice where prime intelligibility lives. There’s a definite high fidelity characteristic to the SD-1. Trebles are more present than I expected but not in a way that makes it a ‘bright’ sound. There’s simply lots of detail; be it in a quietly spoken word or phrase or extended high end response on a musical instrument – sources never present as muffled or muted. I couldn’t detect nasal or muddy low mids dirtying things up like so many other dynamic mics tend to do. A further high/mid boost can be engaged with a dip switch on the back of the mic which creates a noticeable push forward in the forthrightness of a sound. I’d see myself using this only when a soft and placid source calls for it.

Because the SD-1 isn’t inherently boomy, proximity can be utilised to great effect. You’ll also get the best signal to noise ratio with the mic close to the presenter’s mouth.