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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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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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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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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…

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The amazingly portable LITTLE electret mic that can slip in your shirt pocket!

I’ve been calling (and bugging) people on Skype all week with this gem. We have a very cool interview coming up in the next few days with a radio/voiceover legend. I thought; why not do the interview on Skype using the GoMic?

Coming very soon…

Samson GoMic Street Price at Post Time: $59 USD

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Mark Jensen & Laura

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Every once in a while, a piece of gear really surprises me. Most everything that makes it to the virtual airwaves of NewMediaGear is good stuff, but there are stand-outs.

USB mics. I have mixed feelings about them. A USB port can only supply a small amount of current, which generally results in a compromised large condenser microphone. A real time headphone amplifier only draws more power away from the exciter.

When I noticed the Shure PG27USB model (there is also a PG47USB available), I had to try it out.

In flat black, with white trim, the PG27USB looks very professional. Except for the low profile level controls and headphone jack on the side and back, it looks identical to the PG27, which is the XLR version. In the box, you’ll find a leatherette pouch, base mount (for attachment to a stand or boom) along with a generously long 3 meter USB cable and manual. No drivers are needed for connection to Windows XP (or above) and Mac OS X.

A quick trip around the capsule reveals the small volume, mic gain and monitor pots. As well, a 3.5mm headphone jack and 20db pad are very discrete as you look at the side address 27USB. Everything is very tight. Fit and finish is classic Shure.

I fired up Sound Forge, checked that “Shure Digital” was my input and output device and that’s it. What really caught me by surprise was the mic sound and clarity of the headphone amp. This mic is ultra-crisp, tight and smooth all at the same time. It reminded me of my 416, and that’s quite an achievement. Soon, I was working in both Sound Forge and Audition, voicing tracks and listening to the playback – all through the PG27USB. The monitor is a ‘mix’ that allows you to sample the mic, your computers audio output, or a mix of both. There is plenty of mic gain and adjustment. Most surprising, is the sheer quality usability of the headphone amp. I sometimes forgot I was working completely in USB.

By far, the PG27USB is the most ‘usable’ USB mic I have ever tried. Everything comes together with great sound, zero latency monitoring and (did I mention) great sound. Have a listen for yourself and let me know what you think?

Shure PG27USB Street Price at Post Time: $199 USD

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In a sea of inexpensive large diaphragm condenser microphones, you need to stand out. In the $150-$250USD range, there are many makes and models to consider.

Besides visual flash – bright colors or chrome trim, some microphones simply succeed on their reputation. Rode is in a unique position to offer an affordable studio microphone with better-than-average quality.

At first glance, the NT1-A looks like a thousand others. No glitz factor. However, a few key things stand out. The NT1-A has the traditional extra heft and solid feel. Once shipped with a clamp-on universal shock mount, the NT1-A CRS adds a re-designed, custom shock mount, with a mount of its own to hold the (included) blast filter. The new shock filter is a vast improvement on “the clamp”. The blast filter is an added bonus.

The CRS (Complete Recording Solution) simply means that you get the updated shock mount plus blast filter. In addition, you get an instructional DVD and 20′ of good quality mic cable.

Most important is how the mic sounds. This is where consistency counts. The NT1-A is not shocking or surprising in any way, although it does have a sonic character. Many describe it as ‘bright’. I had a hard time deciding.

All in all, this cast is made possible because I bought an (older run) NT-1A and decided I couldn’t do without it over the years. …never regretted the purchase

Street Price at Post Time: $229

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