Often when looking for audio production gear, it’s easy to get lost in the glitz, the hyped-up low end, the glamour, forgetting you first set out to find tools — effective, trustworthy gizmos that bring a functional sound out of the source.

As far as sources go, the human voice is the most familiar, and recognition of this voice is so hard wired into our brains that getting it’s recording a little wrong will put us off, pull us away from the content being spoken or sung. Podcasts must have that radio sound — close miked dynamic, a little boost in the top end for clarity — otherwise we lose interest.

THE MIC

Zoom’s ZDM-1 microphone ticks all the important broadcast boxes. It’s end address, dynamic (rather than condenser), comes with a windshield, which reduces plosives and includes a solid, screw-on mic clip. It has a confidence-inspiring weightiness due to an all-metal chassis, and feels like a tough mic. Even the XLR connection seats with a solid ‘click’. The stand is nothing special, though, and could do with more elevation to allow users to get right up to the mic where it performs best. I used the box the mic came in.

The microphone sounds good — very good. Zoom quotes a broad boost centring around 5kHz, and a gradual roll-off from 100Hz downward, which treats my male voice very well. A little sparkle for clarity, and slight warm up in the lower-mids, but not too much. It’s articulate down low, but not linear. ‘Warm and rich broadcast sound’ is not inaccurate, especially when ran through some compression. 

The mic demands quite a lot of gain to get the kind of output I’d like into a recorder. Zoom’s PodTrak products offer up to 70dB of gain, but with an audio interface sporting more like 55dB, you might be stretched if your guests are quiet and you prefer inputs hot like I do.

Austrian Audio has made a name for itself in recent years with its unique Open Acoustics technology. This makes exceptionally open and transparent sound possible. Now the authentic Austrian Audio OC Sound is accessible to even more artists with the new OD505 WL1 and OC707 WL1 Wireless Microphone Capsule for Shure radio systems.

Specifically tuned to the human voice, the OC707 WL1 provides great volume and allows all the subtlety and detail of the vocals to stand out in the mix without anything being overemphasised. The microphone’s proximity effect has been optimised so that it can be used to the singer’s advantage in any performance, retaining the character of their voice at various distances from the mic and with changes in mic technique.

Advantages of the Open Acoustic Design:

• Perfectly formed supercardioid over a wide frequency range
• Superb feedback characteristics
• Reduced susceptibility to pop noise thanks to the innovative pop noise diffuser
• No change in the sound and in the feedback behaviour when gripping directly on the microphone head grille
• Excellent control over the proximity effect

The OD505 WL1 is a great performance partner for any artist, whether lead or backing vocals. It’s natural tuning and strong signal quality provide a solid foundation to bring out the strengths of any vocalist with minimal tweaking required. In many live situations, ambient noise is a big problem. That’s why a supercardioid was chosen as the directional characteristic for the OD505. This focuses on the voice, so drums or other loud instruments on stage are not additionally amplified through the vocal microphone.

Prices:
OD505 WL1 – EU249/GBP229/US$299 RRP
OC707 WL1 – EU399/GBP359/US$479 RRP

Austrian Audio introduces two new microphones that are optimised for use on instruments. The OD5, an active-dynamic microphone, and the OC7, a true condenser microphone. Both mics are handmade in Vienna and subjected to strict quality assurance processes. The OC7 features the OCC7 small diaphragm capsule, also handmade in Vienna. As to be expected from Austrian Audio, these mics come with some special features.

Most noticeable is the ‘Swivel Joint’ mechanism. Musicians and sound techs are familiar with the problem of microphone stands that are screwed on too tight. Once you finally get them loose, they lose their position completely which makes fine adjustments to microphone angles difficult.

Austrian Audio’s engineers have developed a swivel system for the microphone basket that allows a 220° rotation of the field. The microphone can easily be aligned to the sound source or according to personal sound preferences without having to adjust or loosen the microphone stand.

The OC7 and the OD5 use Austrian Audio’s well-known Open Acoustics technology: the ‘linear cardioid’ polar pattern captures sound from the front, the rear, or from the side. This ensures that crosstalk from other instruments doesn’t degrade the main source.

In addition to their shared attributes, the OC7 and the OD5 each have unique features. The OC7’s condenser capsule is protected by the microphone basket and can be positioned in places where the microphone might be subjected to knocks. The OC7 is equipped with a 2nd order high-pass filter with an operating frequency of 40 or 80Hz. There is also a -10dB pad, which results in lower sensitivity by reducing the capsule voltage. This allows it to be used in front of the loudest sound sources. With an 154 dB SPL (>160dB SPL with pad), the OC7 is resistant to overload.

The OD5 features the active-dynamic circuit; the same one featured in the OD505 vocal microphone, meaning that long cable runs have no impact on the signal. In addition, the active-dynamic design allows the integration of a high-pass filter. In the OD5, a CAB (Cut & Boost) filter is applied at 80Hz, which is well suited for use with guitar amplifiers. This removes the unusable low frequencies, and increasing pressure in the bass range. The second position at 120Hz is a common 2nd order high-pass filter.

Another feature of the OD5 microphone is the pad switch. In the zero position the active dynamic microphone has a sensitivity usually found in condenser microphones, but it’s almost impossible to overdrive. The -10dB pad is ideal for protecting downstream mic preamps from clipping when they have no pad capability themselves. The versatility of the OD5 makes it a workhorse with many applications. An optional custom mount makes it suited to use on various drums. It’s also great on guitar amplifiers, as well as in front of wind instruments.

The small diaphragm OCC7 capsule in the OC7 gives it open, transparent sound reproduction making it well-suited to instruments that have particularly lively transients. This includes percussive instruments such as snares and toms, but also piano and acoustic guitar. The open, silky sound also lends itself to use on various string instruments.

Pricing:
OD5 – US$299/EU249/GBP229
OC7 – US$519/EU429/GBP379

Until now, this outstanding sound has been exclusively reserved for top-end live sound and broadcast productions – now, Sennheiser is bringing the sound of its dynamic MD 9235 capsule to a wired vocal microphone. The new MD 435 large-diaphragm microphone brings accentuated presence, sparkle and pleasant detail to every voice.

“With the MD 435 cardioid high-end microphone, even soft voices will effortlessly assert themselves,” says Kai Lange, senior product manager with Sennheiser. “Singers will not only cut through the mix, their voices will also retain that natural quality and detail that the MD 9235 is so famous for.”

The MD 435’s lightweight aluminium-copper voice coil ensures fast transient response, resulting in a very detailed, nuanced and transparent sound, especially in the treble. The large-diaphragm microphone features very wide dynamics of 146 dB(A) and can handle sound pressure levels of up to 163 dB/1 kHz. The outstanding acoustics come with a mechanical design created to take on the rigors of life on tour: The MD 435 features a metal casing and has a shock-mounted capsule to protect it from structure-borne noise. A hum-compensating coil protects the microphone against electromagnetic interference.

The cardioid MD 435 features a very pleasant proximity effect and the microphone is very tolerant of sound hitting the capsule at different angles. It reproduces vocals clearly and confidently even in loud live settings.

For use with Sennheiser’s wireless transmitters, the capsule of the MD 435 is also available as the MM 435 microphone head. Benefitting from an improved production process, it will soon replace the existing MD 9235 capsule. The MM 435 features Sennheiser’s standard capsule interface, ready for use with Sennheiser wireless series ranging from the evolution wireless G4 and 2000 series to Digital 6000 and Digital 9000.

The MD 435 microphone and MM 435 microphone head retail at $799.00 AUD / $899.00 NZD each.

MD 435 Technical Data

Transducer principle                        dynamic

Frequency response                         40 – 20,000 Hz

Pick-up pattern                                cardioid

Diaphragm diameter                        25,4 mm / 1”

Sensitivity (free field, at 1 kHz)        1.8 mV/Pa; -54.9 dBV/Pa

Max. SPL (at 1 kHz)                          163 dB

Equivalent noise level                       17 dB(A)

Dynamic range                                 146 dB(A)

Nominal impedance (at 1 kHz)         245 Ω

Min. terminating impedance             1 kΩ

Connector                                         XLR-3M

Dimensions                                       ⌀ 47.5 mm x 181 mm

Weight                                               350 g

The stage is incredibly loud, with the instruments seeming too acoustically close in on the vocalist… – these are challenging environments for which the new MD 445 from Sennheiser was created. The audio specialist’s large-diaphragm, dynamic stage microphone combines a direct, head-on sound with a tight super-cardioid pickup pattern, providing not only maximum isolation from other on-stage sound sources but also an extremely high level of feedback resistance. With the high-rejection MD 445, vocalists can effortlessly assert their presence even in the loudest of environments.

“The MD 445 is the most powerful microphone in our MD range,” says Kai Lange, senior product manager with Sennheiser. “If its sister model, the MD 435, is the beauty, the MD 445 certainly is the beast. It effortlessly cuts through loud stage sound and establishes an audibly greater proximity to the vocals. Its direct, high-resolution sound gives vocals a totally new richness, intensity and assertiveness.”

The acoustics of the MD 445 have been tailored to modern stage set-ups with B stages and runways in front of the PA. At the core of the acoustic design is a newly developed voice coil made of lightweight aluminium-copper. Its fast transient response ensures a very detailed, nuanced and transparent sound that is complemented by rich mid-range and bass. The sound is acoustically close, intimate and open, irrespective of how loud the instrument soundscape may be.

Thanks to its high-rejection, super-cardioid pick-up pattern, the MD 445 has enormous gain before feedback. Dynamics are wide at 146 dB(A) and the microphone can handle sound pressure levels of up to 163 dB/1 kHz.

The outstanding acoustics come with a mechanical design that’s built to withstand a life on tour: The MD 445 features a metal casing and has a shock-mounted capsule to protect it from structure-borne noise. A hum compensating coil protects the microphone against electromagnetic interference.

For use with Sennheiser’s wireless transmitters, the capsule of the MD 445 is also available as MM 445 microphone head. Fitted with Sennheiser’s standard capsule interface, the MM 445 can be used with Sennheiser wireless series ranging from the evolution wireless G4 and 2000 series to Digital 6000 and Digital 9000.