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A New Year brings New Gear. We got a glimpse of the new stuff at this years NAMM and CES shows. Most would say these are the top shows of the year, when manufacturers show off their new goods. The scope of pro-audio gear grows every year.

Far back in podcasting history, it was common for shows to trade (and “air”) audio comments, thoughts and suggestions from listeners and fellow podcasters alike. That tradition seems to haved faded.

As we ready the Studio1A console, let us know what type of studio gear you want to hear. Microphones, processors, mixers/consoles …and the list goes on.

After a video hiatus, I fired up the cam again and created this video. It’s not pretty, but we’re still shining up Studio1A. The YouTube Channel momentum never slowed down, and the 10 minute barrier has been lifted. Now, we are able to pack more gear talk into each Tube.

Drop me an email with that MP3 file as we ready the studio for a great 2012!

@markjensen

Sponsored by BSW. Voiceover, Broadcast, Podcasting, Pro-Audio and New Media Gear is here…

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Speaking of the New Year – I recently found a gem of a microphone from JZ Microphones. Receiving the box straight from Latvia, I found a very unconventional looking mic with a rectangular ‘hole’ in the center! The unconventional bead mount works great and looks …different.

The most important aspect of this microphone is that it’s designed, ground up, as a condenser vocal mic. True to form, the audio was velvet smooth. You can hear the sound and decide for yourself.

Besides that smooth vocal sheen, I thoroughly enjoyed what was not included. The BH-2 has no attenuation switch; no alternative patterns. I enjoy simplicity and the BH-2 just works well, without the need for care or adjustment of any kind. The cardioid pattern allowed for a nice bit of off-axis leniency while drastically tightening up on the back side.

Included is a nice cherry wood finish case and shock mount. There is a custom (and very cool looking) blast filter available as an option. Instead, I utilized the Studio1A-standard Stedman filter. Working the microphone closely slickened (is that a word?) up the sound, while backing off made things more transparent. …just a hint of proximity effect

In the world of boutique microphones, you never know what might come along. I can say that my time with JZ microphones has been time well spent. The BH-2 is well made and, as advertised, offers great vocal performance. But – don’t take my word for it. Listen in and hear the Black Hole 2 for yourself.

At publish date, street prices are hovering at $1099 …subject to change.

Listen in and let me know what you think?

@markjensen

Sponsored by BSW. Voiceover, Broadcast, Podcasting, Pro-Audio and New Media Gear is here…

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The team at Blue Microphone still know how to get a reaction. The ‘reactor’ is a radical, albeit functional offering, bringing to mind visions of a Fringe alternate reality episode.

This mic is hefty. Arriving in a handsome, padded flight case, a nicely crafted ‘orbital’ shock mount and rare earth magnetically affixed blast filter are on-board.

Unconventional as it appears, I found the lighted, large and magnified rotary pattern switch to be a treat! Just by a glance, you’ll know which pattern is selected and how to reach the others. The blast filters magnets attach it to the capsule, but a quick twist below the filter allows you to alter it’s position; left/right, near/far.

Being an externally charged, large diaphragm condenser; the reactor requires 48 volts phantom power. After lighting it up, the reactor treated me to a full, crisp sound. This one, indeed, would make a fine voiceover microphone. The omni pattern was very pleasing, as it didn’t pull up the noise floor.

Reasonably priced and a great performer (not to mention a head turner), I found this one from Blue to be a sonic gem.

At publish date, street prices are $499.xx.

Listen in and let me know what you think?

@markjensen

Sponsored by BSW. Voiceover, Broadcast, Podcasting, Pro-Audio and New Media Gear is here…

The ‘UNFLASH’ Link, just for our Apple Listeners!

You’ve likely noticed that the BSW/NewMediaGear coupon code …and page is missing [gasp!]

Not to worry. Our friends at BSW are simply constructing, from the ground up, an even more enjoyable way to acquire that great professional audio gear. As you read this, a new BSW podcasting area is being constructed. The banner link will be restored shortly, so stay tuned!

@markjensen

Sponsored by BSW. Voiceover, Broadcast, Podcasting, Pro-Audio and New Media Gear is here…

The NewMediaGear Holiday Product Roundup is Here!

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Amazingly small, incredible room filling sound. Jambox rules …and everything is better with BlueTooth!

An iPad dock? Inexpensive and sounds great.

My “go-to” source for quality radios and accessories. Check out the “Witness” at C. Crane.

Winner of the “Coolest Gadget”, the iStabilizer steadies your SmartPhone. …great for videos on the go

My iPad lives in the Tech Series, rugged case from Gumdrop.

Don’t just drink water. Drink ZeroWater.

@markjensen

Sponsored by BSW. Voiceover, Broadcast, Podcasting, Pro-Audio and New Media Gear is here…

Acoustical treatment DOES make a difference!

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As I listened back to the audio from this show, it was very apparent that more work needs to be done. It really is difficult to squash audio reflections in a square area.

First – hear the Electro-Voice RE-20. I selected the RE-20 because it is a broadcast standard …and because of its mellow mid-low characteristics. Switching to a large diaphragm condenser makes a tremendous difference, which you can easily hear.

Next stop, more mics as they queue up in the awaiting lockers.

The build out continues.

…stay tuned!

@markjensen

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mark at newmediagear dot com

Sponsored by BSW. Voiceover, Broadcast, Podcasting, Pro-Audio and New Media Gear is here…

It’s a work-in-progress, but the new broadcast studio is coming together!

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Yes – the audio you hear on this podcast is less than stellar. Acoustic treatment should arrive today for the new Studio1A, which is now a great echo chamber.

I am excited about the new space, with extra rooms for mic lockers, a true iso booth (claustrophobic, but effective), video production stage and the most important space of all; the on-air studio.

After a LOT of soldering, most everything is electrically connected. After sound treatment, we’re back in the pro-audio saddle.

…stay tuned!

@markjensen

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mark at newmediagear dot com

Sponsored by BSW. Voiceover, Broadcast, Podcasting, Pro-Audio and New Media Gear is here…

The little microphone with a big voice. The Heil PR-31BW large diaphragm dynamic.

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Always at work, developing new sounds for his fans. I spoke with Bob Heil about the latest at HeilSound. It’s always a pleasure to speak with Bob because he is so passionate about his work. It’s downright inspiring compared to trading emails from ad agencies. Not that there’s anything wrong with that, but HeilSound is a large presence in the microphone world that still takes time to listen when their customers talk.

The PR-40 started the phenomenon at just the right time – as podcasting and new forms of media broke ground with amazing speed. Following the PR-40, with its ultra-smooth low-end dynamic sound came the PR-20 and the unsung hero – the PR-30. While the PR-40 continues to be a guiding light, the PR-30 made quick inroads to television and live sound. The 30 was a little easier to tame in live venues and behaved well on (comparatively) noisy television sound stages. In a broadcast booth, the full sounding PR-40 is king, although it too can be found on-stage.

When a well known customer came to Bob with a request, it wasn’t long before the PR-31BW emerged. While the PR-30 filled a sonic void, it was a bit large for drum placement, under cymbals and sometimes even in front of a guitar amp. The PR-31BW was born; the “BW” referring to FOH engineer Bob Workman. Bob Heil went to work, “chopping” the PR-30, retaining its character while turning it into a shorty. The transformation worked quite well, and I’ll let you decide how it sounds. The only thing I would add to this little/big dynamic is a shock mount. The SM-2C works fine. In placing a large element in a small capsule, the laws of physics just won’t bend.

Join me for a sonic peak at the PR-31BW and the latest from HeilSound.

More to come …stay tuned!

@markjensen

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mark at newmediagear dot com

Sponsored by BSW. Voiceover, Broadcast, Podcasting, Pro-Audio and New Media Gear is here…

A worthy add to any project or voiceover studio. The Telefunken Copperhead.

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An intimidating name for a silky microphone. …no bite here

A while back, I tried the AK-47 from t-funks R-F-T line and was quite enamored with the sound, style; and yes, admittedly the Telefunken badge it wore.

Makers of a wide selection, the R-F-T line offers an affordable option to own a newly designed Telefunken. As well, the company makes historically accurate reconstructed mics from original plans. If you look into a classic from their Diamond series, be ready to pony up serious cash. History comes with a price. But, back to the Copperhead.

The relatively slim body of the CU-29 is quite attractive, sporting a matte brushed ‘coppery’ head and trim. A slimline power supply, wood presentation case and cable (mic to power supply) are provided along with a nicely done shock mount.

Inside the Copperhead sits an EF95 NOS tube. Most vacuum tube mics in this price range sport a 12AT7 or 12AX7. Tubes are tricky because there are a myriad of substitutions and designations. After burning the mic in for a few days, I gave it spin. Connected to our voiceover chain, the mic you hear has some (single band) compression and no eq, unless you count the 25hz high-pass which is always in place. A trend I’m seeing is back to smooth, which the Copperhead delivers, without giving up too much ‘air’. Let’s face it, some mics are just TOO accurate for their own good, unless you enjoy spending your days in an isobooth …or can afford a spring-floor mega dollar recording room. Like me, most of us are probably somewhere in the middle with a nice accurate studio. The Copperhead played very well in Studio1A, even without a noise gate. Note that there are breathes in the recording. In the broadcast chain, we can do a lot with real-time processing, but I wanted you to really hear the microphone – as is.

Of course, the first microphone you hear will be our “Reasonably Priced Microphone”. I enjoyed the comparison because after reviewing the contrast, my ears heard something different than during the recording. You’ll probably notice that the Copperhead opens up more while remaining mellow and handling the low end very well. But, before I tell you too much about the sound, it’s probably better to listen in and let me know what YOU think?

@markjensen

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mark at newmediagear dot com

Sponsored by BSW. Voiceover, Broadcast Recording, Pro-Audio and New Media Gear is here…

Sporting stereo XLR or USB inputs, the Yeti Pro is a versatile contender.

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First, there was the Yeti USB microphone from Blue. The ‘original’ Yeti broke the ice for a lot of people curious about USB microphones. It had the sought after features of a first class USB mic, such as zero latency monitoring and separate gain/phone volume controls. There was even a nicely padded mute button in front.

It seems the folks at Blue have one-upped their own original with the new Yeti Pro.

Dressed in stealth black accents, the Yeti Pro looks otherwise identical to its sibling with a hefty and unconventional base. However, a glance at the body bottom reveals not only a mini-USB and headphone jack but a strange 5-pin connection as well. Integrated into the body are threads to mount the Pro on a boom of your choice. The Yeti Pro body is large enough for improved digital capture resolution of 24-bits at 192kHz and the plumbing to bypass USB conversion and deliver stereo analog via a pigtail XLR jumper. Offering stereo X-Y, omni, cardioid and figure-8 patterns via a rotary switch, a single XLR wouldn’t work. The Blue people decided on a small jumper split into 2 XLR male connectors. It’s important to note that audio connection is via USB OR XLR. The Pro is not designed for USB and analog connections concurrently.

The Yeti Pro performs and sounds about the same as model one. I did notice that the front and back controls were much tighter than the original (that had just a little wiggle room). Also, I could use the Yeti Pro with my processing chain!

The Yeti Pro is, like most Blue microphones, one of a kind. How does the versatile Yeti Pro sound? Listen in as we try the Pro on its own terms (USB) and then tame it with the Studio1A processing chain

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Drop me a line with comments, thoughts and suggestions:
mark at newmediagear dot com