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The Blue enCORE 200 on-boom at Studio1A.

In Studio1A, we’ve been having a lot of fun lately with Blue microphones. The latest offering from Blue is the enCORE series, featuring 4 models. The most intriguing to me is the 200, which hits a nice balance between performance and price.

What sets the 200 apart from other stage microphones (Blue does list Broadcasting as an application as well)?

This is a dynamic mic that cleverly uses 48VDC phantom power. The 200 has a transformer as well as active electronics needed to boost amplification. This unique design allows for a very low impedance of 25 ohms. A feature of the enCORE 200 is that it tolerates long cable runs better in this configuration. I wasn’t able to test this, since our longest in-studio run is about 75 feet.

The 200 sounds a bit like a hybrid, having punchy mids and plenty of gain (almost condenser-like) while using the Blue aria dynamic element. I think the real beauty of this mic is it’s proximity effect; not allowing things to get boomy, but ultra-smooth.

Physically, the body of the mic extra tough, with a small LED that lets you know 48 volts has arrived. The laser engraved capsule area and large grille ring add to the unique look.

The enCORE 200 is supplied with a carry pouch and mounting clip. As we recorded this show, street prices were about $150USD. Have a listen to the Blue enCORE 200 and let me know what you think?

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As promised in the Tube MP audio cast, here is a video showing the device in use.

This time, I utilized a condenser (Blue Mouse). As expected, the 20db pad (and phantom power) came in handy. The audio-only program was recorded with our Electro-Voice RE-27ND dynamic.

Hope you enjoy a look. There’s a lot of value in this sub-$100 box.

The Studio V3 Tube MP at BSW.

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For many years, the little ART microphone preamp, with it’s small but alluring analog VU meter has caught my attention. A tube preamp, analog VU meter and limiter for under $100. That is likely the combo that kept my interest going.

A few nice touches are both TS and XLR (in and out), variable input output and a 20db gain (rather than a 20db pad …these are positive thinking engineers) switch. The prerequisite 48VDC phantom power is present, and you can even switch balanced polarity if needed.

I really liked how the VU meter reacted to the limiter. Speaking of the limiter; it’s not bad at all. This little preamp won’t compete with big players, but it doesn’t have to. The current street price for the Tube MP is $75. Use it for voiceovers, as a DI box or just have some portable fun with your guitar.

Have a listen to the Studio V3 from ART!

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Randy is such an audio idiot he refers to mix/minus as PLUS/minus. You should know he’s a hockey guy. In hockey there’s a stat called plus/minus. That explains it. He’s a funny guy, but here’s proof that he’s not an audio pro – and great sound doesn’t require anybody to be a pro!

I think you’ll enjoy his insight and thoughts. Randy can be found at Remarkable Retail.

Meanwhile, on the East coast, Laura and I are readying a few audio-only shows. Until then, we hope you enjoy this cast. Talk soon!

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Silky smooth Voiceover Microphone from Blue. The Mouse is here.

Don’t let the Mousy stature of this mic fool you. The Blue Mouse delivers killer low-end; about as smooth as it gets for vocals and speech.

The Mouse is a condenser, but handles like a world-class dynamic. The capsule rotates on the stout body giving the Mouse its unique look. The included shock mount works well. I was actually able to adjust the capsule smoothly without making a (noticeable) sound. In the large box, you’ll find the mic cradled in a rosewood finished, velvet lined case. Fit and finish is immaculate.

Besides the shock mount, standard threads on the mic body allow it to be mounted from the bottom.

The sound? Deep and rich, allowing you to roam a little off axis without throwing things off. Even with all the lows, proximity and plosives were never a problem. The Mouse isn’t inexpensive, but delivers with amazingly big sound and equally strong quality. It stands up to the best of them in this price class.

Have a look and listen to the Mouse and let me know what you think?

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A fearful, legendary name for a practical, friendly looking microphone.

With a name like ‘Yeti’, visions of the mythological Himalayan snow creature disappear at the site of this Blue USB microphone. Looking at the mic, those thoughts are replaced with visions of a stretched out R2D2.

The Yeti is Blue Microphones latest USB offering; as unique in form and function as its name. This microphone is big and the desktop stand is hefty. However, boom mounting is no problem thanks to the recessed threads at the base.

Feature-wise, the Yeti offers zero-latency monitoring through the adjustable gain headphone amp. A handy mute switch is on front. The back reveals a gain pot above the pattern switch. The Yeti has plenty of gain. The sound is good, but very different depending on the pattern. Four patterns, three 22mm elements. This mic excels at being versatile. The stereo pattern allows voice imaging or instrument separation. The cardioid was a favorite of mine for speech. The figure eight would work fine for interviews and the omni opened things up with an airy sound.

As with most USB mics, the nice part is simply plugging the device in a compliant (1.1 or greater) port and recording. See the Blue microphone site for detailed requirements.

The Yeti is a great value and very versatile. Have a look and listen!

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In the USA, we have a handful of broadcast classic microphones, used on-air for radio/television. The Sennheiser MD 421 is definitely among the broadcast elite.

The Sennheiser MD 421 recently celebrated its 50th birthday. As with all classic microphones, minor tweaks have been made along the way, but the same classic 421 sound remains unchanged. For a dynamic, the 421-II sounds nice and bright. The very aggressive 5-step low-pass filter allows for a dramatic change in sonic character.

In this Vidcast, I take the MD 421-II around the block in Studio1A, demonstrating the filter, its bright sound and unique mounting bracket. All these things make the Sennheiser MD 421-II a trusted studio staple.

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This video pits the Rode ProCaster up to the famous Electro-Voice RE-20 and RE-27. Is the Rode a contender as a broadcast standard?

The very loyal following of Rode fans have requested this video.

The ProCaster is a great broadcast dynamic microphone. At record time, it is a bargain too, coming in at almost half the price of (what I consider) its broadcast peers; the Electro-Voice RE-20 and RE-27.

Have a look and listen as we put the ProCaster up against the RE-20 and RE-27…

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This show was going to be just about the Rode ProCaster dynamic mic. But then, the wheels started turning. Rode has a very devoted following, but the ProCaster is a relative newcomer to broadcasting. Here in the USA, the Electro-Voice RE-20 or RE-27 can be found in many broadcast control rooms. Rode is offering a broadcast alternative at almost half the current price of the 20/27.

Since I have a new RE-20 on boom 3, why not compare them “on-air”?

The basic shape of the Rode and EV RE-20 have a lot in common …but, that’s where there similarities end.

Classic grilled ports tell you right away it’s an RE-20. Squint your eyes and it could be mistaken for the newer, higher output (and brighter – in look and sound) RE-27ND.

Both the Rode and EV are no-nonsense microphones. You won’t get cherry-wood, velvet lined cases. The RE-20 comes packed in a plastic (I mean space-age polycarbonate) case with foam lining. The Rode is held in place with heavy box lining and comes with a leatherette pouch. Both mics offer basic mounting, but the larger (optional) shock mounts actually help keep hands off the mic and on the mount.

I’ll let you decide. Have a listen…

PS: Don’t forget to “like” the NewMediaGear page on Facebook! I’ll be posting there between shows.

Studio1A BlueMax Lighting by full spectrum solutions…

Drop me a line with comments, thoughts and suggestions:
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