sE4400a Large Diaphragm Multi Pattern Condenser Microphone

Product Information

Das Audio-Technica zeigt, wieso es seit Jahren eine feste Größe in den Tonstudios ist. JZ Microphones BH-2 As with other large-diaphragm condensers, omni mode is not truly omnidirectional; the frequency response does change as you rotate the mic. But when switched to omni, the sE4400a excels at bringing out the "air" at 10 kHz and above, without being icy in the 5-7 kHz range. Therefore, for drum overhead work or even as a drum room mic, the mic can help cymbals come to life without making them overly trashy. And as a room or booth mic for adding real depth to vocal recordings, omni is the way to go. By turning the mic, you can "EQ" the room. Auch die Kapsel ist etwas verkleinert, Angaben macht Neumann zur Größe nicht, da das TLM 107 aber als Großmembran beworben wird, sollte sie zumindest 3/4″ betragen. A frequency response of 20Hz‑20KHz is quoted. On its own, this means relatively little, but the frequency plot is somewhat more revealing and shows a nominally flat response, but with a gentle presence peak at around 10kHz. This type of response tends to produce a largely natural sound, but with an extra sense of clarity at the high end, making it suitable for a wide range of acoustic instruments from piano and acoustic guitars to drum overheads. The sensitivity of 14.1mV/pa‑34 (±1dB) puts the mic's output in the same ball‑park as most other similar studio mics, and although its equivalent noise level of 17dB (A-weighted) isn't outstandingly low, it is again pretty typical for this type of microphone, and certainly quiet enough for most studio tasks. A maximum SPL for 0.5 percent THD at 1kHz is quoted as 130dB, but I suspect that this is extended when the pads are switched in. The Shure KSM 141 SL is a fantastic offering from one of the best microphone brands in the business. The KSM 141 is Shure’s most versatile microphone for classical guitar, and works superbly for a variety of playing styles in all environments.

The microphone is built to last (and for the price you pay, it should be!) All metal, the microphone can handle drops, stage life, and even the messiest gig bag. Next we have two Bass cuts where you can choose a 60Hz or 120Hz cut, or of course, no cut at all. Very useful if you want to remove rumble or take out the unneeded frequencies while recording vocals. T]he frequency plot is somewhat more revealing and shows a nominally flat response, but with a gentle presence peak at around 10kHz. This type of response tends to produce a largely natural sound, but with an extra sense of clarity at the high end… Its presence peak gives it a slightly flattering, larger-than-life vibe, but in a pretty subtle way that doesn’t make things sound too harsh, and the low end gains useful support from a little added warmth… Nun aber viel Spaß beim Lesen, Hören und Vergleichen der Studio-Gesangsmikrofone für Einsteiger. Die besten Studio-Gesangsmikrofone bis 750,- Euro

JZ Microphones BH-2 Studiomikrofon

Anmerkung: Das Blue Baby Bottle wurde vom Baby Bottle SL abgelöst. Dieses verfügt zusätzlich über einen 100 Hz Hochpassfilter sowie eine -20 dB Pad-Schaltung.

At the heart of the microphone is a dual‑diaphragm, one‑inch, centre‑terminated capsule made in sE’s own factory in Shanghai. The mic covers the frequency range 20Hz to 20kHz (‑3dB) and like most mics of this type, has some lift in the presence region. However, most of the HF lift occurs around 10 to 12 kHz, giving roughly 4 to 5 dB of lift in cardioid and omni modes, which avoids giving excessive boost to the potentially harsh upper mids. In figure‑of‑eight mode the presence hump is focussed around 5kHz, peaking at around +4dB, though the general sound matching between the three patterns is pretty consistent. The sE2300 manages a sensitivity of 24mV/Pa (‑32.5dBV) and in conjunction with the pad can accommodate SPLs up to 146dB. Its A‑weighted noise figure is a healthy 9dBA. In Use

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Yes, what I've just described above means that the sE 4400a is NOT a “character” instrument. It's more like a sibling of a very high end measurement mic converted to spoken voice, sung vocals and instruments duty – it does the job, but shows no particular passion.

The capsule of the sE Electronics 4400a has been specially tuned after almost 2 years of pre-market tests with professional studios and broadcasters, to really be something that very few mics can; the true all-rounder. Where the Shure KSM 141 SL is clean, the SE 4400A is warm. Boasting tremendous depth and fullness, the warmth of the SE 4400A is rich, classy, and grand without sounding out of place or imbalanced.Unlike vintage mics designed for the tape era, the sE4400a was specifically calibrated to work well with digital gear. I liked the detail in the top end, which was present but never harsh. sE presents the mic as capable of detailed high-frequency reproduction, due to the responsiveness of the titanium diaphragm. The handy 100Hz bass cut filter also means that you can reduce the proximity effect and cut out any "rumbling" that can occur with movement of air when a mic is placed close to an instrument or sound source. This is also a big help when recording outdoors or in a windy environment. Because of its small diaphragm build, the DPA 4011A is equally excellent at miking classical guitars in both close range and longer distance applications. Detail is excellent, and the natural response of the microphone makes it a viable option for any playing style, room type, or classical guitar.

sE Electronics 4400a Condenser Microphone with four polar patterns - a truly versatile all-rounder.

This guide has been created to help you navigate the microphone market, give you a better understanding of what to look for in a microphone for acoustic guitar, and provide some trusted recommendations. What Are The Sonic Elements of a Classical Guitar? For the more learned audio enthusiast there is an Impedance of ? 50 Ohms and a Noise floor of 17dB(A weighted). I know what these mean, but I have no idea what it means to me