The pattern switching mechanism utilizes two controls. The left control allows selection of three patterns: omni, cardioid, figure-of-8; when set to cardioid, a second switch controls the directionality (standard or hypercardioid). Thanks to Vincent West for the use of his microphones, Stewart Henderson for his guitar playing and Josh White for use of the recording facilities and great coffee! Der Klang ist sofort typisch Neumann, erdige Mitten, seidige, aber nicht überzogene Höhen. Dies führt zu einem sehr direkten Klangbild, das sich wie aus einem Guss präsentiert. Für beide Stimmen passt das TLM 102 gleichsam, es ist kein Klangformer, sondern hat seine Stärken darin, Schallereignisse möglichst detailgetreu aufzuzeichnen. 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.

The recently released one-inch dual-diaphragm, multi-pattern sE Electronics 4400A was developed – without Mr. Neve’s involvement – as a mid-level all-rounder suitable for professional or personal recording. According to sE, over a year was spent testing the mic in studios and with broadcasters before settling on the final capsule tuning. The supplied statistics of the finished product quote the boundaries of the 4400a’s frequency response as being 20Hz and 20kHz (no surprises there), with a maximum SPL of 130dB (at 0.5% THD) and a quiet 17dB equivalent noise level. 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.

Durchführung des Vergleichstests

The Shure SM81 is a directional microphone, helping limit sonic competition from surrounding noise. The microphone is also touted for its high end construction, with an all metal frame providing nice weight. While the microphone is excellent for all sorts of classical guitars, rooms, and playing styles, a decent preamp is sometimes needed to get the best sound out of this microphone. The microphone also can sound a bit stiff in smaller rooms.

m sure I prefer the Se´s when it comes to full mixes where the piano has to cut through. Basically the typical place where you would use a c414. A three-way high-pass filter offers bass cuts at 60Hz and 120Hz. A three-way pad offers 10dB or 20dB of attenuation, with a maximum SPL of 140dB. 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. 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? While the SM81 is extremely versatile when it comes to playing style and guitar type, it is not particularly good at longer distance miking, and does not thrive in multi-instrumental applications. For these reasons, there are better microphones for classical guitar if you want to mic up further away or multiple classical guitars.The microphone is sturdy, with the all-metal build easily able to withstand consistent use, stage time, and travel.

Small size and a choice of polar patterns make this mid‑priced, large‑diaphragm mic a very versatile performer. I found that acoustic guitar was handled without problems by the mic, which delivered both the depth and woodiness of the body sound, and the transient detail of the strings. I also managed to coax a very sweet, woody sound out of a mandolin when the mic was positioned about 12 inches from the sound hole. The SE4400a sounds good on hand percussion too, including bodhran, so it should work as a drum overhead or general percussion mic too. Because the response is pretty flat, with plenty of low‑end extension, there's no reason not to expect a stereo pair to turn in good results on piano, although I didn't have the chance to try this during the review. Neben dem Mikro findet sich eine funktionale Spinne und ein Windschutz im Koffer. Für derzeit 290,- Euro eine gute Ausstattung. sE 4400a Studiomikrofon During the test recording’s both pairs of microphones were set up in an ORTF formation, around one metre from the guitar, with the centre position close to the 12th fret. The mic’s were fed into a D.A.V. Electronics Broadhurst Gardens 2 pre amp, enabling identical gain setting for each mic. The output was then fed into the line inputs of a MOTU 1248 interface, recording into Logic X 24 bit at 88.2kHz. These were bounced out as dithered 16bit, 44.1kHz stereo files. They have not been normalised so you may wish to turn the volume up a little.The 4400a is the latest in a lineage of mics started 6 years ago with our sE2200a. Based on the same capsule tuning, but with a dual capsule to give multi polar pattern function, this mic is a rarity… a true all-rounder. Das TLM 102 bietet echtes Neumann Design in verkleinertem Gehäuse. Um ein Produkt in dieser Preisklasse anbieten zu können, hat die Berliner Firma auf einige Ausstattungsdetails verzichtet. So sind weder Pad noch LowCut verfügbar. sE presents the mic as capable of detailed high-frequency reproduction, due to the responsiveness of the titanium diaphragm.

Overheads are usually safe, though, and my first test of the sE 4400a was above the drum kit for a live band. Like most large-diaphragm condensers, the 4400a isn’t really designed as a live mic but for me it’s a good way of getting a first impression of a microphone’s overall performance. Placed fairly high above the drummer’s head, the 4400a provided a clear view of the whole kit with bright cymbals and plenty of body from the toms. It was also used on percussion with Slava Grigoryan and the Band of Brothers when I mixed them live recently, and here the 4400a contributed nicely to the performance with a sound that was detailed, appealing and dynamically accurate. There are switches for -10 or -20 dB pad, for very well chosen 60 and 120 Hz low cut filtering, and for polar pattern selection, from omni to figure of eight, through cardioid and hypercardioid. Mükemmel bir all-arounder! Birçok mikrofon bir şey yapabildiğini iddia ediyor, ama bu gerçekten yapabilir! SE Electronics 4400a, bir çığlık tüpü amplifikatörünün önünde olduğu gibi bir bateri kitinin üstünde evdedir ve hala vokal veya akustik enstrümanlar gibi daha hassas sondaj kaynaklarını işleyebilir. İki diyaframlı tasarım, değiştirilebilir kutup desenleri, iki bas kesimi ve yastıkları kullanarak, bu güzelliği hemen hemen her şeyi yapmak için kullanabilirsiniz. Düz önlü sE4400a, ön taraftaki ses için bir ızgara bezin üzerine çıkmanızı sağlar.Continuing my demo period with offerings from the SE line card, I had an opportunity to work with a stereo pair of 4400a's. A few things stood out... The sE4400a is a multipattern FET condenser in a compact, familiar form factor — it looks a lot like AKG’s C414. Using the T2 on vocals it does a great job, probably better with spoken word and male vocalists. When comparing it to the richness of the sE Gemini II, it just couldn’t compete with a female vocal… And, even if 60 and 120 Hz of low cut frequency are a lot more useful to me than the 75 and 150 Hz on the older AKG 414 models, an additional middle ground choice of say 90 Hz would have been most welcome (AKG have apparently listened up through the years, and the new 414 XLS series now feature 40, 80 and 120 Hz low cuts). While I believe the clean tone of the KSM 141 sounds bright and natural, some believe the flat frequency response leads to less tonal warmth in the sonic reproduction. This is not a problem per say, but is something to keep in mind. If you’re looking for a microphone to provide more warmth, the sE Electronics SE 4400A is a fantastic option.