Earthworks Audio includes a 3/8" screw thread attachment with the Ethos, saving me from digging around in boxes of miscellaneous accessories.

The sensitive supercardioid pattern picks up sounds from farther away than some competitors, so you don't need it so close to your face. I have both the SM7 and the RE20, and use them all the time in many recording applications such as voiceover, vocals, guitars, etc.

If you're planning to record narration exclusively, you could happily connect this mic to a basic XLR mixer without boosting or live effects and edit recordings later. Here at Gearnews we get sent a lot of press releases and see a lot of music gear; it’s therefore massively refreshing when we see a new and unique product. Right now, the marketing focus is almost evenly split with streamers, an audience that often prefers an out-of-the-box functionality. One person’s “accurate transient capture” is another person’s “extended high‑frequency response”, so it’s no surprise that Earthworks claim a frequency response of 20Hz to 30kHz for the ETHOS. The lows are rich and full-bodied, even when the vocals are backed off the mic a bit – I liked the ETHOS's overall sound with most sources at a distance of four to six inches off the front of the mic.

I’ve only ever encountered a similar mount on one other mic, an obscure Pearl model from the ’70s, and it’s a genius idea that deserves to be much more widely used. The key comparisons here, however, are made with the broadcast mics I began this article discussing. Without the presence peak that many large‑diaphragm mics have, it comes across as quite restrained by comparison; and in fact, if you were to move from something like an SM7B to the ETHOS, I think you’d notice the difference as one of refinement and openness at the top end, rather than a night and day contrast in character. If you're planning to attach this microphone to a somewhat simpler arm mount, this extra degree of freedom is magnificent.Earthworks ETHOS-B Includes: ETHOS Broadcast Microphone Foam Windscreen M2-R Ball Mount 3/8” Thread Adapter Earthworks ETHOS-B Features: Professional supercardioid condenser microphone Ultra-fast 11. The Ethos is a different type of microphone because its designers claim it has a fast response time that can capture a voice in a way that makes the recording sound more like how we hear ourselves. The frequency curve seems really tuned to VO work, with a slight deemphasis in the 'ess' regime which is really nice. Whether financing your gear is for business or pleasure, optional or a necessity, Front End Audio has a financing plan that will work with your needs. I've been using an MD-441 for voice work for many years, after previously trying a SM-57, SM-7, MD-421, TG-88 and then an RE-20.

In this way, consumers give each other guidance and give us the opportunity to continuously improve. My voice had a weight, presence and crispness that was in sharp contrast to anything I’d used before. I used one in a studio for my Janet Jackson story in Volume 15, and the producers of the first story (about "stroads") and the last story (about hutongs) in Volume 16 both recorded with one at home.It’s this incredible sensitivity, and the impeccable design, that lends it such fantastic transients. In particular, the level of detail present in the initial transient is responsible for much of our sense of content, meaning, and frequency balance. You can remove the foam shield for a peek at the inner workings, screwing it apart for any required maintenance, but there's no sign of loose parts causing issues here. The Earthworks ETHOS isn’t your average microphone, and that makes sense because Earthworks isn’t your average audio company.

There was virtually no room ambience on the recording, despite there being a hard wall only a foot or so behind me. Ich arbeite in meinem Studio mit unterschiedlichsten hochwertigen Mikrofonen und freue mich über das Earthworks Audio Ethos und es wird auf jeden Fall bei mir für Broadcasting/Podcast - Aufnahmen zum Einsatz kommen und die erste Wahl sein.Even recording vocals while holding the mic produced very little, if any handling noise – likely due to its heavy steel body. Its realism and clarity just trumped every other microphone in my collection, including heavy-hitters like the Audio-Technica AT4040 or Blue Microphones Bluebird . The main goal of a pop filter is to catch plosives – loud burst of air into the microphone – much like transients. The included Triad-Orbit M2-R ball-joint microphone adapter allows for precise placement and adjustment, and is ideal for pairing with a heavy microphone boom or tripod. Our tendency to put up a U87 or even an SM7B ahead of a KM84 when a singer walks into the live room is probably driven as much by habit as by genuine sonic preference — or perhaps by the unconscious expectation that a large and imposing mic will deliver a large and imposing vocal sound.