Earthworks SR314 Handheld Vocal Condenser Microphone - Stainless Steel

Product Information

Unless you go big enough, any problem is the sound engineer, any success is the musicians or the gear. The first of these was the SR40V, a back-electret stage vocal mic that was reviewed back in SOS December 2011. Glad you have the personal skills to get them on your side - they usually end up getting upset at any suggestions and just ruin your sound even more. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice.

There is no polar response data supplied for frequencies below 400 Hz, but I suspect that the pattern is wider at lower frequencies, making it more susceptible to feedback in the low end (that’s probably also the reason why the off-axis response is so uncolored). The well-rounded response carried through to the midrange, which sounds evenly balanced and accurately represented. I was a bit worried about running into bleed issues with cymbals on stage, but it never created any issues for me. But you have to deal with those people when playing small venues, so understanding and empathy go a long way in making them work for you rather than against you. Its stainless steel body is expertly sculpted through precision machining yielding an instrument that is beautiful to look at, balanced in the hand and sensibly engineered for life on the road.Add to this the fact that we are running both mics through the UA 4-710D and then into a Behringer X32 rack finishing with Bose F1 model 812 with sub fronts, we have a pretty awesome sounding duo. One glance at the SR314 won't be enough for most people, in fact, because this is a stunningly good-looking microphone. Being a sound engineer in small venues in the UK is a thankless and depressing enough job that I could certainly see myself becoming a depressed confrontational alcoholic if I had to do it for long enough! As a result, the SR314 picked up quite a bit of spill from the instruments on stage, as well as from the rear wall and ceiling. Also, a dodgy mic lead will often pop loudly if intermittent, since some mics pop loudly, and even turn off for a few moments, even with very short cable drop-outs.

This shouldn’t be a problem because most vocalists won’t be singing into the mic at a 90-degree angle.Being capable of reproducing sounds down to 20Hz and below, it demands some respect from singers, and although the grille incorporates pop protection, strong plosives still get through when used up close. After using the SR40V wired and wireless versions for so many years and then trying the 314 I was like…WOW! Studiocare Professional Audio Limited is acting as a credit broker offering finance products from Omni Capital Retail Finance Limited. I'm sure I'm not alone in finding that this can be a very unforgiving source, and one which is often poorly suited to the SM58 and other classic stage dynamic mics. This was followed last year by the SV33, another end-address vocal mic but one intended primarily for studio recording.

If I was in a band, I would probably go with the 441, but since I'm mostly doing wedding cerimonies and private events, I think that maybe a condenser would be nicer to bring more detail in the vocals. Even if you google, say, “441 Stevie Nicks,” you’ll see that she nearly always leaves it on the stand. While some microphones tend to get a bit clinical sounding if they’re heavily focused on accuracy, the SR314 does an excellent job of providing a musical and vivid sound.

The SR314 has perfect clarity and smoothness making it easy for it to cut in a mix and sit on top without overpowering any other elements in the mix. Please give us the reason for your assessment in the following text box and – if possible – your e-mail address for further questions. Andertons Music Company acts as a credit broker and not a lender and only offers credit products from Secure Trust Bank PLC trading as V12 Retail Finance.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Maybe that's because the 441 needed a lot more gain to achieve the same level as the condenser microphones, but it surprised me!This microphone provides uncoloured rejection of sounds off-axis and yields more gain before feedback than conventional vocal microphones. There is literally no reason not to use the 2028 live once you have it unless you can't use a phantom-power supply. On-axis sound is remarkably clear and balanced, with only gentle proximity effect and no tendency to harshness or sibilance. It has a slight coloration in the lower-mids that’s flattering to vocalists who need a bit of help in that region, and the microphone is capable of producing plenty of mojo in the low end, particularly when used up-close (within a few inches).