Jump to content

Articles

Show all categories
  • TMV World Team
    TESTING THE EX-25 ISOLATION HEADPHONES FOR RECORDING
    In any recording environment, the elimination of unwanted noise is essential to achieving a quality recording. Undesired noise can often "bleed" or leak out of studio headphones during the recording process. Having a pair of headphones which can isolate or contain noise are an indispensable tool for any recording studio.
    ISOLATION HEADPHONES DESIGN
     
    Closed-back headphones are designed to provide more isolation  compared to traditional open-back models. The EX-25 takes this concept of extreme isolation a step further by improving upon the closed-back design to minimize leakage, as well as attenuate background noise. While some sound isolation headphones utilize active electronics to cancel out unwanted external noise, the EX-25 Extreme Isolation Headphones are a totally passive design that does not require a power source while attenuating external noise up to 25dB according to the manufacturer's specs.
    The EX-25 comes with an adjustable headband and feels very lightweight and comfortable, even while wearing them for an extended period of time. The 9-foot long cable is adequate for most applications and the cord is a non-curly, straight style. A 1/4 inch stereo adapter is included. While some headphones can be louder than others, the EX-25 features a sensitivity rating of 107dB/mW, which in the real world means they will provide more volume than you will ever need.
    ISOLATION HEADPHONES USE
     
    Although isolation headphones are predominately used by drummers who play to a click, or engineers who are positioning a guitar cabinet mic, sound isolating headphones can be quite useful in many other situations where you need to attenuate unwanted background noise. For instance, let's say you're recording a vocal track and you notice that in-between vocal phrases, your microphone picks up sounds that are bleeding into your recording. This can be frustrating to remove later, so eliminating unwanted bleed before it begins can save you a lot of time later during the editing process. In other cases, you may be working on mixing a track and your next-door neighbor is practicing on his drum kit. With Extreme-Isolation headphones, unwanted noise is eliminated allowing you to focus clearly on your mix.

    ISOLATION HEADPHONES TEST
    After testing the EX-25 in a variety of recording scenarios, I found that it does a great job at blocking sound, though it is more effective at attenuating high and mid frequencies. Low frequencies are reduced, but not eliminated, which is expected as a large amount of dense mass is required to effectively absorb low frequencies. Even though isolation headphones are not known for high-quality sound reproduction, the overall sound of the EX-25 is very good with a well-balanced low end and mid range, but slightly less clarity in the highs that you would get on more expensive open-back headphones. I had no problem using these headphones to find the sweet spot of my 4 x 12 guitar cabinet, and the sound I heard in the headphones translated very evenly to the sound of the recorded guitar played back on the studio monitors. My drummer, who normally doesn't like to play to a click, but for a song that required a very precise and steady beat, he had no problem hearing the click and keeping time while using the EX-25.
    WRAP UP
     

    In conclusion, Extreme-Isolation headphones are comfortable and provide great sound reproduction while effec tively blocking background noise, headphone bleed and distractions. EX-25 headphones are also great for everyday use, from listening to music on your stereo or MP3 player, to blocking out distractions while studyin g or relaxing. While "active-isolation" headphones can cost an arm and a leg, the EX-25 are reasonably priced at $89.95.
    http://www.extremeheadphones.com/
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.

     
  • TMV World Team
    What Are The Effects Of Singers Tea?
     
    Ask any vocalist what one of the keys to staying fresh vocally is and undoubtedly hydration will be on the short list.  While each has their own opinion as to what might work best IN said liquid, generally water remains one of the key ingredients.  As for the guy in the corner with the jug of petrol well there are of course exceptions to every rule. Now today's subject is a liquid typically served warm. This beverage has been around since the 10th Century BC.
    Tea For Singers!

    From its humble origins in early Tang Dynasty China later gaining popularity and finally fanning out to Western civilization around the 19th century, tea was, and still is, one of the most widely consumed drinks in the world.  While there is no direct proven relationship between the consumption of tea and positive health effects, tea leaves contain somewhere around 700 different compounds, some of which are in fact related to positive health effects including flavanoids, amino acids and vitamins. It then seems reasonable to say that drinking tea in moderation certainly isn't damaging to your health and may even be a good thing.
    Singer's Tea: What Is It?
    With that in mind on the chopping block are a duo of herbal tea's from Vishudda Singers Tea. Vishudda loose-leaf teas feature a proprietary blend of ingredients geared towards singers which aim to sooth and coat the vocal chords.  One thing to keep in mind with the Vishudda teas is they are loose leaf teas so you will need to equip yourself with some kind of infuser which can be purchased at most kitchen or tea stores. It's also important to note  that to avoid bitterness each type of tea has a specific steep time that will result in the most flavor and least amount of bitterness. Vishudda teas do not come with directions on the package but since they are green teas they are generally best when steeped for approximely 1-2 minutes with water that is slightly cooler than boiling (175 F ). Of the Vishudda lineup I had the pleasure to sample both the Chop-Chee-Rann and Chee-Nassah-Rann teas.

    Testing Singers Tea: Chop-Chee-Rann
    Starting with 2 minutes steep on the Chop-Chee-Rann mint tea. I was fairly impressed with the overall taste and smoothness.  The Chop-Chee is quite a nice double mint tea with wild peppermint, eucalyptus and essential mint oils  that did in fact have a subtle soothing effect in my throat that seemed to last.  In a rehearsal setting I felt the net effect of the tea over plain water did seem to contribute to my vocal chords feeling a bit more lubricated over the course of the session.
    Testing Singers Tea: Chee-Nassah-Rann
    The Chee-Nassah-Rann tea on the other hand had just a bit more bite to it but overall was just as pleasant.  I can only attribute this mainly to the ginseng and gota kola not present in the Chop-Chee-Rann tea.  Again I felt a nice minty soothing coat against my throat which in addition seemed to ease a bit of mild congestion I was experiencing.
    While there is no magic solution for fighting vocal fatigue or bringing back a hoarse voice there are things in addition to proper technique and rest that certainly won't make things worse.  One of those is keeping things lubricated.  If you choose to do so with tea then Vishudda Singers Tea is a fine option.  It doesn't hurt that they are tasty to boot. Find out more here:  www.singerstea.com

    Vishudd as Vocal Inhaler releases a vapor that is used to open the resonators for Singing.
     Web site: Singers Tea
    Facebook: SingersTea
    YouTubeChannel: SingersTea
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International. 

     
     
  • TMV World Team
    SHOULD YOU PROTECT YOUR WIRELESS MIC WITH THIS GATOR CASE?

    Wit h the sheer amount of capital tied up into gigging  gear  it goes without saying that  p ortability and protection is paramount. When wireless mic systems can cost upwards and beyond $1000 the last thing anyone wants is to have is their wireless receiver unit sitting naked on the floor waiting to be crushed when Chieko the guitarist gets a little too caught up in the moment.

    It also gets a little tiring packing around a 4u reinforced airline case that weighs 50 pounds. For those of you looking for something a little more compact which still offers a nice safe home for your wireless unit Gator Cases has a solution for you.
    GM-1WEVAA GATOR CASE: MAIN FEATURES
    The Gator model GM-1WEVAA is an ultracompact padded 1/2 U case constructed of 5mm EVA rubber foam that is intended specifically for wireless mic systems. Designed with the on-the-go musician in mind the GM-1WEVAA is constructed of durable vinyl and features hinged zipped doors on each side which open to reveal separate compartments for both a 1/2 U wireless receiver unit and wireless microphone. The rear door contains elastic straps which typically will function as cable management or bodypack/lavalier storage.For added convenience they have also built in two zips topside to allow the receiver unit to be used with antennas attached while still in the case. The Gator case also features a built-in carry handle on one side for easy transport.
    WRAP UP

    We think it's a nice little case on Gators part. Given their reputation for building bombproof products, you can rest assured this one is as well. At a street value of $59.99 the GM-1WEVAA if not a bit of a one-trick-pony represents a moderately inexpensive way to keep your wireless unit safe and negate the necessity to drag around the Queen Mary II every time you gig. On the downside, there's room for little else in the case aside from a wireless unit and mic so pack your extra cables and accessories elsewhere. Christmas is coming. Think about it next time you pop that arm back into its socket. ~TN
    GETTING IN TOUCH WITH GATOR CASES
    Gator Cases, Inc.
    18922 North Dale Mabry Hwy
    Lutz, FL 33548
    Phone: 813-221-4191
    Fax: 813-221-4181
    www.gatorcases.com
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International. 
     
  • TMV World Team
    Testing The Lampifier 711
    In a vast sea of dynamic stage mics, it's not often that a manufacturer stands out for being as practical and refreshingly innovative as Lampifier Microphones. Most microphone companies release new m odels which feature tweaked EQ responses or pickup patterns, but seldom offer something truly ground breaking. Gary Osborne, the man behind Lampifier microphones, has a very unique and refreshing vision which inspired his new microphone designs. {C}
    LAMPIFIER 711 FEATURES INTERNAL SOUND PROCESSING
    The Lampifier 711 is a uniquely cutting-edge professional dynamic mic which features an internal sound processing unit. The Lampifier uses light pulses emitted from a tiny lamp to regulate the microphone's built-in compressor. This enables the Lampifier to nicely accommodate the dynamics of a wide range of singers and instruments, as well as reduce plosives and excessive sibilance. Because the Lampifier technology does such a great job of regulating audio input (the compressors attack/release time and ratio change with the incoming signal) there is far less of a need to adjust the microphones  levels and EQ on an external soundboard. That's right, the sound is optimized entirely within the microphone itself. In addition to controlling compression, the internal sound processor also boosts the warmth and clarity of instruments and vocals while intelligently blocking low-level feedback and unwanted background noise, allowing desired sounds to cut through the mix. The internal sound processor comes pre-programmed for general use, but is also fully customizable and can be reprogrammed to suit a wide range of instrumental and vocal applications. Reprogramming the microphone is as easy as changing the order of shunts (jumper pins) inside the microphone body.
    LAMPIFIER 711: DESIGN

    At first glance, the Lampifier appears quite durable, its all metal body makes it resistant to road wear and abuse by performers and roadies. Personally, I think the 711's silver mesh grill could stand to look more unique as it appears a bit too similar to the Shure SM58. Regardless, looks are not nearly as important as functionality, and the Lampifier 711 has definitely been engineered for performance over appearance. The Lampifier 711 requires 48v Phantom Power to operate, so users will be needing to supply an external Phantom Power unit if the PA or mixer does not have it onboard.
    LAMPIFIER 711: TEST 1
    I gave the 711 an initial test run by plugging it into the PA at my rehearsal space. I first noticed how much more output it has compared to my Shure SM58, I didn't take any measurements with a decibel meter, but the 711 seemed almost twice as loud as the 58 at the same gain settings on my mixer. I was curious to hear how the built-in compressor sounded and responded to a wide variety of singing, and I was pleased to observe that it did was not at all heavy-handed or squash sounding, even as I sang as loud as I could. The compression was something that I felt more than heard, and for live singing or public speech, a compressor that is relatively invisibleâ� is something that is very important, as too much compression results in an unnatural sound that draws too much attention to itself. As far as the sound of the mic, to my ears it sounded like a cross between a dynamic and a condenser mic, in that it had more clarity and high end than the average stage mic, while still maintaining its warmth and smoothness. My first impression was very positive, and I thought I would be fun to put the mic through a much more rigorous and comprehensive test by using it as the vocal mic at karaoke night at one of the local pubs.
     
    LAMPIFIER 711: TEST 2
    This particular pub, charming as it is, has a notoriously mediocre sound due partly to the low-end PA system and speakers as well as the lack of any acoustic treatment. (Though I suppose the throng of beer filled patrons and aspiring karaoke stars could count towards some form of sound absorption.) I met with the karaoke hostess while setting up and she graciously agreed to let me use the Lampifier 711 instead of the standard SM58. I sat in the corner of the pub with pint glass in hand and listened to the results. I could hear right away the Lampifier made a marked improvement of the vocal sound as the singers voices cut more clearly through the muddy sounding room than ever before – the slight presence boost and open high end I observed really gave a heightened intelligibility and clarity that helped the vocals and lyrics be more clearly heard. Another thing I noticed is that the level changes that are caused by different singers performing at different volumes wasn’t nearly as drastic as it can be on the SM58. I wasn't able to detect any negative compression artifacts from the built-in compressor, and the mic seemed to be much more forgiving when it came to placement and proximity to its source. After karaoke was over and the bleary-eyed patrons started shuffling out the door, I spoke with the karaoke hostess who affirmed the positive effects I was hearing and jokingly asked if the bar could hold onto the mic.
    WRAP UP

    Even though I did not test this mic in every vocal situation, I'm confident that it would be ideal for use at public speaking events, due to its exceptional quality of sound and management of different voices and volume levels. Essentially, the Lampifier is not a fussy mic, which equates to spending less time setting up your external compressors and outboard EQ. The one thing that could be slightly cumbersome is that, if you do want to adjust the internal compression and noise gate settings, you will have to disassemble the microphone body and refer to the website online to see how the components need to be adjusted to change the processors' characteristics. If you'd rather not disassemble your microphone, the manufacturer also offers pre-set mics that they will adjust at the factory before shipping your order. I must congratulate Lampifier for raising the bar by introducing finely-tuned processors and expert sound management into a live performance environment. If you'd like to learn more about Lampifier models and technology, check out their website at www.lampifier.com
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.

  • TMV World Team
    When shopping around for a live vocal microphone, I had never really considered trying out a condenser mic, as the vast majority of vocal mics out there are dynamics. While I have used plenty of great sounding dynamic mics, I always thought it would be great to find a live vocal mic that could combine the sensitivity, clarity and extended frequency response of a large diaphragm condenser microphone with the feedback and sound rejection of a dynamic.  After years of using the standard Shure SM58 and similar dynamics, I was curious to see how a condenser microphone would perform in real world live singing environment.

    At my bands next show, instead of using the SM58, I decided to take the Rode M2 for a spin in the hopes that it would give me some   of those studio condenser qualities I described above.  During soundcheck, I noticed the soundman actually had to turn to me down as the Rode was noticeably more sensitive than the Shure it had replaced.  Since the M2 sounded great during   the soundcheck, I was confident that it would be a worthy choice during the show. Throughout the performance, my voice had a lot more midrange cut which allowed my singing to be even more expressive as I could hear much more nuance and detail in my vocals than ever before. The Rode enhanced sensitivity meant that I did not need to get as close to it as I would a standard dynamic, which allowed me to ride the mic more than usual and effortlessly jump between breathy whispers to full-on screams without the volume level changing too drastically. Having never used a condenser live vocal mic before, I was a little worried that there would be some distortion if I belted too loudly into the mic, but the Rode was able to handle everything I did without distorting or sacrificing clarity.

    I don't know if it was the Rode M2 specifically, or rather the confidence I felt while using it, but I received more compliments on my singing after the show than I ever have before. I was surprised that the soundman came up to me after the show to find out which mic I was using.
    While I wouldn't say that condensers are necessarily superior to dynamics when it comes to live vocal mics, I can honestly say that I love the sound of the Rode M2 and it far exceeded my expectation of bringing the sound of a quality condenser studio mic to the live stage. If you are thinking about buying a condenser mic for live vocals, there are a few things that you will need to consider.  Condenser mics do require the use of 48v phantom power, so if your PA or mixer does not have it onboard, you will have to buy an external adapter which will run you an additional $20 - $50 depending on which model you buy and how many features it has. The other important thing you will need to know is that even though Rode has an exceptional reputation for building extremely durable mics, condensers are a little more fragile than most dynamics, so you will want to take some extra care when storing and transporting this model.  Additionally, the diaphragms are susceptible to moisture so you will want to keep the mic sealed in its case with its own moisture absorbent desiccant pack whenever you are not using it. One feature the M2 has, which many vocals mics are missing, is the on-off switch, which comes in handy in situations where uncontrolled feedback is encountered, such as when someone turns the wrong knob and mistakenly cranks the PA.
    If you are currently shopping around  for a live vocal mic, you should definitely check out the Rode M2. The M2 does cost more than your run-of-the-mill standard and entry-level live vocal mics, but after putting the mic through its paces during my show, I know that it was money well spent. http://www.rode.com/microphones/m2

    Order directly from The Vocal Gear Store NOW!
     
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.

     
  • TMV World Team
    Putting The TC Helicon VoiceTone T1 To The Test
    If you were following The Modern Vocalist Journal earlier this year with the debut TMVJ Product Reviews, some of you may recall the review of the  TC Helicon D1 VoiceTone pedal.  The VoiceTone Singles series feature 7 new single function pedals designed to add professional vocal results and offer maximum flexibility and portability.  The are all stoutly built 'stomp boxes'  for vocalists that can be linked together in the signal chain with the ability to be controlled via the newly released TC Helicon MP-75 microphone - one I might add TMVJ is slated to review later this fall.   More to come.  Back to the subject at hand: The TC Helicon VoiceTone T1.
    TC Helicon VoiceTone T1: FEATURES OVERVIEW
     
    Like its singles pedal brethren the VoiceTone T1 utilizes the same durable alloy stomp box form factor. The purpose of the T1 according to TC is to "adapt studio-quality compression, de-ess and EQ to your [sic ] voice".  Sounds interesting considering the T1 features a total of 3 adjustment controls. Those consist of  rotary "Shape" and "Comp/De-ess" knobs and a "Warmth" in/out switch. Other controls are a main effect stomp switch with on/off led indicator, mic gain control with signal/clip light and Mic-Control off/on switch for MP-75 control. Labeling and layout is up to typical high TCH standards as is the quality of the controls.
    Each singles pedal features different colored accents to differentiate them. In this case the T1 sports bright yellow accents on black with a grippy matching rubber anti-skid mat. As of this writing the T1 was retailing on GuitarCenter.com for $129.00. Standard XLR in/out are provided along with fairly typical wall-wart power jack. One thing to note is the lack of a phantom power switch.  The VoiceTone pedals do in fact have phantom power that is always on.  It's an interesting design decision but ultimately I would prefer a micro-switch to disable it.  A USB port for setting tweaks and upgrades using the downloadable TC-Helicon VoiceSupport application available on both Win and Mac platforms.
    TC Helicon VoiceTone T1: IN PRACTICE
    While I never believe in writing a review before I live with a piece of gear for a while the VoiceTone T1 is on the high side of long term as I have spent nearly 4 months dealing with it on a regular basis. While mic's were swapped, effects switched in and out the T1 stayed plugged into live signal chain for the better part of that. In fact at times I almost would forget I had it plugged in at all - but not because it doesn't do anything. In a word the T1 is ultimately transparent operating unobtrusively in the signal chain.
    Right out of the box I left the T1's Shape and Comp/De-ess knobs centered out, Warmth switch in the off setting and plugged it into last link in my signal chain prior to the board  using my trusty warm yet slightly boomy EV N/D767A.  After performing some test A/B vocal passes using some of my vocal warm up material, I began to get a feel for the T1's sound. While generally speaking I'm not a huge advocate of adding compression and ultimately removing too much of the dynamics in live vocals due to how it can effect how the vocalist sings my ears tell me the average compression ratio of the T1 to be relatively low.  With only two knobs, I can only speculate what's actually happening behind the scenes but I found it to actually leave the bulk of the vocals alone while adding a little bit of beef to the low end and providing just a touch of attenuation on some of my higher belts ultimately providing a slightly smoother vocal. After dialing in my sound a bit more I finally settled on the Shape knob around 8 o'clock and Comp/De-ess around 9 with Warmth still in the off position. Generally speaking I did not find the Warmth setting to be entirely necessary in my application as I found it to add in a bit too much muddiness into the vocals however I could see this being useful given a thinner sounding microphone or singer.
     
    My vocals also benefited when using the T1 with the full band. The additi onal clarity provided gave a nice bump of extra vocal cut with a bit more sparkle on the top.  With the T1 doing the work of adding a bit of compression and EQ I was safely able to bring up the overall levels a few db's giving me a bit more girth on my lower less-powerful register without fear of feedback. While I understand the point of a minimal amount of available controls with which to tweak the sound I found myself at times yearning for a little bit more in the way of tweak-ability. It might be nice to change the compression ratio or enable/disable de-ess for example.
    TC Helicon VoiceTone T1: WRAP-UP
    At the end of the day the TC-Helicon VoiceTone T1 represents yet another solid offering from the company which has brought us the likes of the VoiceLive and VoiceWorks products.  This would be a great addition for those of us looking to add icing to the cake on our already good live vocals. Is it absolutely necessary?  No. If you're torn between upgrading to the T1 or upgrading your mic start with improving your primary signal chain first. Once you've got your other bases covered then it comes time to add in the VoiceTone.  Given TCH's class-leading reputation for build quality and from my experience so far the VoiceTone T1 is worth checking out for those of you looking for a little something extra.

    Order TC-Helicon T1 Vocal Tone and Dynamics Ef fect Pedal from The Vocal Gear Store NOW!
    Getting In Touch With TC-Helicon
    www.tc-helicon.com
    TC-Helicon Vocal Technologies
    1075 Pendergast Street, Suite 204
    Victoria BC V8V 0A1
    Canada
    (800) 565-2523
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.

     
  • TMV World Team
    Putting The TC-Helicon MP-75 To The Test
    If somehow you hadn't noticed there has been an absolute explosion over the last 5 years of excellent professional quality vocal gear designed to give the modern vocalist absolute control over his or her sound.  With the likes of EV, DigiTech, and Electro-Harmonix in the game the list is long and noteworthy.  All focus on multiple product lines supporting a broad variety of instruments. Non-focus specifically on the vocalist which is  a crown that solely belongs to TC Helicon.  Arguably they wear it pretty well.
     
    The TC-HELICON MP-75 AND MP-70: DIFFERENCES

    The same outfit headquartered in British Columbia, Canada that brought us the VoiceLive, VoiceTone, and VoiceWorks have now introduced 2 new fully in-house designed professional live microphones:  The TC-Helicon MP-70, featuring a dynamic super-cardioid capsule with neodymium magnet and MP-75 building on the MP-70 with the addition of a mic control circuit.  This switch is designed to interface with existing TCH vocal processors allowing you to control effects directly via a recessed micro switch located on the MP-75.
     

     
    TC-Helicon MP-75: DESIGNED FOR VOCALISTS
    When design started for the MP series microphones TC Helicon had never to date built a microphone.  So what did they do?   Borrow a capsule from another manufacturer and build around that? Nope. TC instead designed a brand new microphone from the ground up utilizing what are in typical TC fashion very high-grade components and top rate construction.  TC has designed what they call a "modern performance vocal microphone";  A vocal mic specifically designed for the way we as modern vocalists sing using amplification.  Vocals in modern music are much more than a mic and a PA and as an artist you deserve to have the best performance every time.  Call it controlling your own destiny. Taking that control a bit further is the MP-75.  As luck would have it TC Helicon was gracious enough to bestow upon us a fresh one to run through the paces .
     
    LIS-WHAT?
    Retailing on the street for $169 the MP-75 features what TC calls a Lismer capsule which is a proprietary design consisting of a patented Neodymium magnet structure suspended by a dual shock mount for low handling noise. Helicon is mum about construction detail specifics so all we know is the diaphragm itself consists of some type of dual material construction.
     
    TC-Helicon MP-75 CASE

    Upon opening the TCH container we find the MP-75 stored inside a padded cylindrical mic case emb lazed with TC Helicon logos. This is a tasty detail touch that is a step up from the mic "baggies" everyone else provides. While I wouldn't necessarily recommend dropping it off a building the design is nevertheless fairly beefy.  The case top unzips to reveal the MP-75.
     
    TC-Helicon MP-75 ERGONOMICS
    The  MP-75 itself is actually a rather handsome mic.  Coated in a subtle sparkle gray finish with relatively large ovoid pop screen the mic has rather nice ergonomics with a comfortably sized handle and pronounced kneck taper that fits well in the hand without fatigue.  At the base of where the taper starts up towards the mic head lies the triangular shaped purple-hued control circuit button. Unscrewing the pop screen reveals the beauty extends inward as well with what appears to be a fairly large diameter capsule similar in size to the huge EV N/D767A.  The shock mount is equally as nice with plenty of give for aggressive singers and low handling noise.
     
    USING THE TC-Helicon MP-75
    In a rehearsal environment with full band, the TC MP-75 was plugged into my signal chain consisting of a VoiceLive1, VoiceTone T1 and VoiceTone D1.  I initially set it up to control only my VoiceTone D1 doubler pedal and made sure the mic control button on the T1 adaptive dynamics pedal was disengaged as I like to leave it engaged 100% of the time.  I was initially struck as to how big and rich the MP-75 sounds. With the mixer EQ fully zeroed out I felt no need to make any adjustments as it sounded great as is with my voice being more of the Leggerio/Lyric tenor and subsequently carrying a bit less weight than that of baritone/bass singers. Some vocalists may find they need to dial back the low end slightly to avoid a bit of muddiness.  
    I found the Helicon to demonstrate and excellent amount of cut that allowed me to easily be heard over the band without being anywhere near the point of feeding back. This is where the MP-75 absolutely crushes any other live performance microphone I have used to date. Nothing I could do from cranking the PA to cupping the mic to pointing it directly at my monitors could get it to feedback. Quite honestly the MP-75 has some of  the best feedback rejection properties I have ever seen in a live mic.
    That finally brings us to the other little detail setting the  MP-75 apart from the pack - it's simple control switch. S o simple in fact that all you can do is switch an effect on or off.  For some reason,  however, that is absolutely awesome. No longer do I have to be near my pedal board when a song change is coming ready to switch. Suddenly it's also easier to switch multiple effects at once. For example now instead of using two feet to simultaneously change a setting on my VL1 and D1 I can engaged the D1 directly from the mic. It's simple yet oh so practical.
    So window dressing aside: has TC managed to create something that sets itself apart from the 99,000 other excellent alternatives out there?  I think so.  Combined with its excellent dynamics, nice cut and superior feedback rejection properties along with it currently being the only mic out there with onboard effects control TC has in my opinion effectively managed to encapsulate a true modern vocalists microphone.  It's a pretty safe bet the MP-75 is going to be my new go-to mic for the foreseeable future.  So tell us TC when can we expect a wireless version?
    The TC-Helicon MP75 Can Be Purchased at Amazon.com
     *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.

  • TMV World Team
    One problem in the experience of teaching voice technique that needs to be addressed, is the vast misunderstanding and subsequent confusion caused by students and some teachers implying that Falsetto vocal mode and head voice are the same thing, they are not.
    Falsetto is a vocal mode, characterized by cricoid tile, epiglottic funnel narrowing, vocal fold closure, wind escaping through the glottis and residing in the head voice. The popular vocal metaphor, "head voice" refers to a register. A place where high pitches are produced regardless if those notes are phonated in twang vocal mode, falsetto vocal mode or distortion. We modify vocal modes inside the head voice. Until the student of singing realizes that he/she can sing different modes in the head voice, they are condemned primitive belting, constriction and limited artistic range. Understanding vocal modes and when and where to deploy them, is one of the secret keys to truly amazing, high performance human phonations.
    So let's clarify this confusion around falsetto vs. head voice once and for all.
    This essay first published August 30, 2010 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.


  • TMV World Team
    In modern music production, auto-tuning has become ubiquitous, often hailed for its capacity to polish vocal tracks and ensure pitch-perfect performances. However, the reliance on auto-tuning as a crutch rather than a tool is a trend that deserves scrutiny. While auto-tuning can save time and money in the studio and correct minor pitch discrepancies, its overuse can detract from a performance's authenticity and emotional depth. Here's why a more judicious approach to auto-tuning is advisable.
    First and foremost, the goal of any vocalist should be to deliver as accurate a performance as possible without the need for technological intervention. Striving for excellence in one's craft means minimizing the reliance on auto-tuning to correct pitch. This challenges artists to improve their vocal skills and preserves the unique character and emotion in their voice that auto-tuning might otherwise diminish.
    Engaging in open dialogue with your producer and/or engineer is crucial. Discussing the extent to which auto-tuning should be applied, with a preference for minimal intervention, ensures that any necessary corrections preserve the natural quality of the vocal performance. Overuse of auto-tuning can strip a performance of its 'heart moments'—those instances of raw emotion and vulnerability that resonate with listeners. While slight adjustments may be necessary, they should never compromise the integrity of the original performance.
    Moreover, confronting the reality of one's untuned vocal tracks can be an enlightening experience. It offers an unvarnished look at one's abilities and areas for improvement. This self-awareness is invaluable for personal growth and a realistic perspective on one's vocal capabilities.
    Preparing for live performances is another area where over-reliance on auto-tuning can backfire. Artists must be capable of delivering live renditions that closely match their studio recordings. Relying too heavily on auto-tuning in the studio can lead to discrepancies between recorded and live performances, potentially disappointing fans and undermining an artist's credibility.
    Loretta Lynn's wisdom about not believing one's press can be aptly applied to using tuned vocals. Just as accepting one's hype without question can lead to a distorted self-image, so too can relying on auto-tuned vocals create a false sense of vocal proficiency. It's a reminder that artists should strive for authenticity and excellence, recognizing auto-tuning as a tool, not a substitute for genuine talent and hard work.
    In conclusion, while auto-tuning has its place in modern music production, it should be used sparingly and judiciously. The aim should always be to enhance rather than replace the natural talent and emotional depth of the artist's performance. By approaching auto-tuning with a critical eye and a commitment to authenticity, artists can ensure that their music resonates with truth and integrity.
    Jude Rodman

  • TMV World Team
    Telefunken Company History And The CU-29 Copperhead Microphone
     
    Telefunken has long been a name synonymous with high-grade professional audio equipment. Dating back to the turn of the 20th century Telefunken was founded in Berlin, Germany in 1903 after patent disputes arose among two different German inventors resulting in the formation of Gesellschaft drahtlose Telegraphie System Telefunken ("The Company for Wireless Telegraphy Ltd."). During WWII they were one of the primary suppliers of military grade vaccum tubes to the German military as well as being the first to develop the two-stage hi-fi amplifier of which a version was used in the recording console for the Beatles on  just about every album. 
    In 2001 ,the rights to the Telefunken name and logo were acquired by an American company in order to restore and service vintage Telefunken microphones.  As business grew this in turn led to the development of new Telefunken products known as the Diamond Series based on closely on the designs of the originals with price tags to match.  Since these were out of reach to the average project studio Telefunken yet again created an entirely new lineup known as the R-F-T series.   The R-F-T series takes all the design expertise and high quality engineering Telefunken is famous for but at a price point approachable to the project studio musician.  Which brings us to the Telefunken Elektroakustik CU-29 Copperhead:  the newest entry in the R-F-T series.
     
     
     
    THE CU-29 Copperhead Microphone Philosophy
    The CU-29 represents the least expensive offering in the Telefunken lineup.  While not exactly a budget mic at a street price of $1295 its certainly a bargain compared to its bigger T-Funk brethren some of which retail well into the 5 figure category.  According to Telefunken the Copperhead is not the result of cutting corners but instead consulting some of the best engineers in the business to design the electronics around high quality readily sourced components and NOS Telefunken tubes. T his results in a microphone that has the price point of a mass produced product but one that is high quality  enough to wear the Telefunken badge.
    THE CU-29 Copperhead Microphone DESIGN
     
    The cardioid Coppe rhead features a large-diaphragm single membrane gold-sputtered condenser capsule similar to the dual membrane version found in AR-51 and AK-47 MkII microphones.  Both unlike the CU-29 offer multiple pickup patterns. Featuring a hand-selected NOS EF-95 tube the CU-29 has a maximum SPL of 138db and a relatively low noise floor of 16 dB (a-weighted). The Copperhead comes ready to go with its own external power supply and 7 pin XLR connector.  Also included is a finished and lined wooden transport box which holds the mic but at this price point I would have liked to have seen a full carrying case that would fit the power supply, cabling and clip as well. On another minor gripe I found a power supply ground lift mysteriously absent that seems fairly common place on other studio mics costing several hundred dollars less than the CU-29.
    THE CU-29 Copperhead Microphone SOUND
    Since the CU-29  is aimed at project as well as professional studios it then fits that my tests were performed running straight into a Protools 8 MBox DAW with basic 2:1 signal compression.  While a good preamp can make even a mediocre mic sound fairly good I wanted to utilize a complete bare-bones approach.  After giving the CU-29 a 20 minute warm up period, I slapped on a pair of cans and brought the levels up.  Initially I was bothered by a significant amount of line noise but this was remedied by wiggling the 7 pin connector in the base of the mic around.  Although the cable was clipped in it seemed to have slight trouble seating properly to be noise-free. After some finessing the cable seemed to be happy and the noise dissapearred.

    I was initially struck by how quiet the noise floor was on the mic. When A/B 'ing back and forth with my Rode NKT tube mic it was instantly apparent that the CU-29 was immediately the higher end mic before even doing any vocal tests at all.  Continuing with the A/B testing I found the CU-29 to have excellent control all on its own with plosives.  Whereas the NTK is virtually impossible to use on close to medium range vocals without a pop screen the CU-29 could nearly get away without at medium range to close range with some c are. Siblant letter had a nice crispness without being overly harsh.

    In vocal singing tests I found the overall balance of the Telefunken to be quite neutral.  My voice sounded very much like I would expect it to sound without any extras.  Whereas some tube based mics in the project studio category tend to lean their response curves towards introducing some cut or character the CU-29 gives exactly what you would expect from a mic which costs upwards of $1300.  It sounds expensive and I would wager with the addition of a high-end preamp would sound even better. The highs had a smooth touch of airiness that led to a nice touch of shimmer.  Low-end was non-accentuated sounding quite natural. Even at close range I did not find much proximity effect present.
    In moving onto some lines involving some belty mid-range vocals quickly dimish ing to soft whisper-like the word control accurately sums up how the Copperhead performs.  It's a sensitive enough mic that you don't have to feed it a ton of gain before there's more than enough to handle whatever is thrown at it without blowing things out of the water.
    WRAP-UP
    The Telefunken Elektroakustik CU-29 Copperhead represents what is on the high end of studio and low end of expensive high-end mics.  It would fill both rolls well. Put a quality pre-amp behind it and your results will sound even better. Let's face it you probably wouldn't buy a $4,000 mic only to run it directly into your DAW. Same principle applies here but for less overall outlay.  My advice: If you've got the money to burn and you're in the market don't rule the CU-29 out.  It's living up the Telefunken name and in my opinion worth a listen.
     
       
     
    THE CU-29 Copperhead Microphone SPECS
    Type Condenser Pressure Gradient Capsule Single-Sided Gold Sputtered Membrane
    Frequency Range 20Hz / 20kHz
    Polar Pattern Cardioid
    Sensitivity 14MV/Pa = -37dB (0dB = 1v/Pa) -10bD
    Impedance 200 ohms stock
    SPL 138 dB
    NonLinear Distortion Less than or equal to 0.5% at 100 dyne / cm sq
    Equivalent Noise 16 dB (a-weighted)
    Tube Type TELEFUNKEN new old stock EF-95
    Power Dedicated Power Supply
    Weight 24.7 oz (690g)
    Size 8" (203.2) Length x 1 3/4" (44.45mm) Diameter
    Extras Modern Power Supply, Shock Mount, Wooden Box, 7-pin Microphone Cable
     
    Contacting Telefunken
    TELEFUNKEN Elektroakustik
    300 Pleasant Valley Rd. (Suite E)
    South Windsor, CT 06074
    United States of America
    Office Phone: 1.860-882-5919
    Office Fax: 1.860-882-5980
    info@t-funk.com
    Review by Travis North
    * This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.
    If you want to be part of the world's largest online community for singing where great professionalists will review your singing, 
    don't miss the chance and use the 50% Discount Code for "Review my singing" Forum:  TMVWorld50  



×
×
  • Create New...