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European company JZ Microphones is amongst many manufacturers that offer a modern take on vintage sound. Their Vintage 11 (V11) is said to produce very smooth sounding top end, and in theory, should be very good for voice-over work. But the concept of “modern vintage” still sounds a bit vague and lacking explanation to some. Needless to say, we got our hands on one of these mics to see what it does. When it comes to striking visual design characteristic of JZ Microphones, the V11 is no exception. This thing looks like it belongs in the interior of an expensive luxury car, perhaps as an ashtray or a compartment for your diamond encrusted smartphone. A modern take on a vintage sound The V11 is a high-performance cardioid condenser microphone with a one-inch gold sputtered capsule (JZ Microphones patented GDC capsule making technology). JZ Microphones claims that while the microphone is quite versatile it works best on acoustic guitar, vocals, and wind instruments. The frequency graph of V11 shows a noticeable bump in the lower end and suggests it is designed to deliver smooth, rich, and warm sounds. The V11 has a large diaphragm 27 mm (1,06") capsule, extra low self-noise level (6,5 dB (A)) maximum sound pressure level (SPL) of 134,5 dB, class-A discrete electronics, and gold-plated output contacts. It comes with an external specially designed shock-mount and, just like all other mics that JZ Microphones produces, is handcrafted. Noticeably above the similarly priced competition Opinions about microphones are subjective, but it has to be mentioned that V11 has caught the attention of award-winning producer Rafa Sardina (Lady Gaga, Beyoncé, Stevie Wonder). Sardina has repeatedly stated that he loves many JZ Microphones products and judging from the interviews, the V11 is one of his favorites. We tested it on both male and female singers, trying out a number of singing styles and settings.6 Other “Vintage” series mics (V47, V67) are supposedly made to bring back the sound of all time classics but with the V11 (11 stands for 2011 – the year in which the mic was launched) the company’s founder and designer Juris Zarins hoped to create a microphone that would give you a vintage vibe, but with quite a bit of modern mic-making tradition present in design and during production. The sound, however, shows why JZ Microphones is confident enough to call it the “next classic” on more than one occasion. It proved to be a true gem when it came to spoken word performances. This microphone doesn’t look the part, but it is indeed an excellent tool for radio and performs exceptionally well as a voiceover microphone. Minimal to no EQ intervention is needed, in my opinion. When it comes to singing, it is quite warm yet does not lose clarity. Also, if the bass lift is not welcome at all, you can deal with it easily. The built-in shock-mount is very simple, easy to use, and actually works. The V11’s price tag makes it fair to compare it to all other work-horses that are used for spoken word and broadcasting, and the V11 stands out with a more refined, classy sound. You can just feel that it wasn’t designed as a budget microphone meant to overwhelm the market. They’ve obviously put serious thought into it. I can’t find any problems with construction or sound. I’m going to guess that the reason for this is that the company mainly produces expensive “premium” class microphones and hasn’t really optimized the V11’s production to fit the mid-range price tag. I am pretty sure that most if not all of the high-grade components they use for their most expensive mics are in the V11 as well. After all, are there many other mid-priced microphones that have impressed the likes of Rafa Sardina? In conclusion All in all, what strikes me is the big picture. From what’s written in brochures, the big claims and peculiar marketing strategy might make some buyers confused. I’m still not sure why the whole “modern yet vintage” concept was chosen. In reality, it is simply a very good, very well built, warm-sounding studio microphone with an attractive price tag (and from what I can see, they have generous discounts very often). Someone who is operating on a budget looking for that hi-end studio sound should consider the V11. Accomplished pros have no reason to shy away from it, too. Granted, it is not made to compete with and function like more expensive studio classics, but it is so much more (I can’t stress this enough) than the price tag suggests. Find out more about JZ Microphones products.

For about ten years, a European company called JZ Microphones has made its flagship Black Hole 2 (BH2) studio microphone, supposedly a versatile, visually stunning, and beautifully sounding mic that “easily finds its place among celebrated all-time classics”. It seems that up until now critics have showered this piece of technology with one favorable review after another (to the point where it almost gets a bit ridiculous), so we thought we’d give it a try and see if it really deserves such generosity. The looks JZ Microphones present their BH2 as a “premium”, “high-end” studio microphone, but I’m sure most of you will agree that it does not really look the part. First of all, there’s a hole in the middle. The microphone seems to be rather small and thin, and it doesn’t look like it will fit in a standard spider shock-mount. It leaves you with quite a few questions when you unpack it for the first time, but let’s take a look at some important facts in the brochure. The tech BH2 is a fixed cardioid, large diaphragm 1,06" (27mm) condenser microphone with one large, true electrostatic capsule inside the compact head. Qualities that make it stand out amongst the rest of the herd are JZ Microphones’ patented capsule making technology, Golden Drop Capsule (GDC). Once this technology is implemented, it gives the microphone extra low self-noise level of 7,5 dB (A), discrete class-A electronics, maximum Sound Pressure Level (SPL) of 134,5 dB, and a unique reverberation-canceling shape. It also comes with a specially designed shock-mount and is made by hand. The sound When we decided to test the BH2 we came up with quite an obstacle course: we would use it in all sorts of vocal applications with numerous singers and different types of voices. Upon playing back the very first takes, it became clear how unfair it was to judge this microphone by its looks. The recorded voice sang to us with almost no coloration yet the sound was very flattering (especially for male vocals, as it later became clear) and seemed polished. BH2 presented itself to us in a very primal way. It was like being approached by a large wild animal: you feel its presence instantly. There was no need to analyze the sound or compare it to something else. It was clear right then and there that this mic should not be disregarded. It produces very crisp, detailed voice recordings and would probably do an amazing job with rap vocals. It performs very well both close up and from a considerable distance and captures clear recordings of multiple singers at once. Sure, it gave off U87 and C414 vibes (as often mentioned in reviews), but the amazing part that there’s a very large, dominating chunk of its own personality in there. It delivers the actual sound of whatever it is you’re recording with no apparent noise and features ridiculously low, yet beautiful coloration. This microphone is made for professionals and should be used in high-class studios. To a seasoned recording engineer, it will deliver the pristine sound that is expected of such a specialist. To a singer, it will bring out the very best characteristics of your voice. To someone who is not yet ready, it will tell it to you straight and emphasize your shortcomings. There is no disputing that putting “premium”, “high-end” (or any other fancy English words that the BH2’s European engineers can think of) on to the box of this microphone is completely justified. Although the unusual shape and origins of this microphone can leave you perplexed at first, it soon becomes clear that back in 2007 when JZ Microphones created the BH2, they came up with a whole new design for technology that recently celebrated its 100th birthday. Find out more about JZ Microphones products.

The Carbonphone by Placid Audio is a very unique microphone for anyone who is interested in experimenting with sound. Its military grade carbon granule element captures sound and creates a "lofi" sound that is naturally distorted. Creating sounds similar to scratchy vinyl or an old military radio, this microphone is perfect for anyone looking to recreate a more vintage tone or anyone looking to create something new altogether. Included with the microphone is the Tone Box which provides the current which is needed to power the microphone. While the microphone can be powered by any standard 9 volt power supply, the Tone Box can also shape the sound through a variable five position filter circuit. Each selection on the control knob offers a different frequency response, allowing the Carbonphone to be used on a broad range instruments and for various applications. Because the sound of Carbonphone has a character unlike many other traditional mics, it makes a great addition to any recording enthusiast’s arsenal of microphones. It can be used as an all out obvious ‘effect’ on it’s own or it can be paired with other traditional microphones for infinite blending possibilities. The Carbonphone is a perfect microphone for any person looking to update their studio with new sounds but it is also usable for live performances and with its high durability and great resistance to high pressure sound levels. FEATURES Military grade carbon granule capsule Fully balanced output Quality Hammond output transformer Rugged copper housing and components Powered 5 position variable filter Tone Box Tone Box doubles as a phantom power source Tone Box can be used with other microphones 9 volt power supply for Tone Box High quality Nuetrik 3 pin XLR connectors Handcrafted in the U.S.A Lifetime operational warranty Adjustable aircraft aluminum mounting bracket to fit North American style stands (will fit European style stands with common threaded adapter) SPECS Type: Carbon Polar Pattern: Cardioid Frequency Response: 100Hz ­- 10kHz Impedance: 600 ohms Output: 120 +/­ 2dB SPL @ 1 kHz Mic Dimensions: 1.75 x 5.5 inches Tone Box Dimensions: 5.25 x 4.25 x 2.25 inches Mic Weight: 1 lbs. Tone Box Weight 0.70 lbs. *The Modern Vocalist World is brought to you by The Vocalist Studio, course and training for singers.

The Chantelle Microphone by Ear Trumpet Labs is created to be the best live vocal microphone, bringing the clarity and warmth of a large diaphragm capsule to a low-profile body. In addition to a smooth high end with no harsh tones and an upper-midrange emphasis, included is also a full foam pop filter for even greater sound control.With exceptional feedback rejection, the can be used on even the loudest of stages.The microphone comes specifically tuned to handle any stage and still provide excellent feedback rejection. Chosen by performers in diverse genres, from R&B (Andra Day) to indie folk (Rachel Sermanni) to roots (Dustbowl Revival), Chantelle has a beautiful copper body and distinctive aesthetic that will inspire singers to give their best performance. Chantelle is an end-address large-diaphragm condenser with a flexible pivoting body, excellent for vocals live, in studio, and in videos. This microphone is perfect for any vocalist wanting a diverse sound with a great amount of control over feedback and tone. With a great design and a very slick aesthetic, this microphone is sure to be a great addition for any singer's arsenal. FEATURES Hand-made microphone with unique appearance Side or end address, using pivoting bracket Capsule and electronics tuned for close vocal use on the loudest of stages with excellent feedback rejection Internal shock dampers for minimal handling noise Integral silk and mesh pop filter, for effective control of plosives without loss of clarity Transformerless FET fully balanced electronics Highest quality hand-wired electronic components - film caps, precision resistors, hand tested and matched transistors, with component values tuned for the individual circuit. TECHNICAL SPECS: Transducer Type: Condenser, large (26 mm) diaphragm Polar Pattern: Cardioid Frequency Response: 20 - 15K hz (-3dB) Sensitivity: -49dB (4 mV/Pa) Output Impedance: <50 Ohm Noise Level(A-weighted): <17 dBA Power Requirement: +48V phantom power Weight: 1 lb (4 lbs cased) Dimensions: 8” x 2” x 2”; head is 2” in diameter Sku: ETL-CHANTELLE Hear The Chantelle *The Modern Vocalist World is brought to you by The Vocalist Studio, course and training for singers.

Recording plugins are some of the most essential and fun additions for any home recording. The quality and variety of recording plugins available today is simply miraculous. With the right choice of plugins, and a little bit of skill at home recording, an experienced home recording engineer can produce recordings that sound very professional! Plugins are not just for vocal effects. They are also available to simulate vintage preamps, compressors and even recording consoles like the famed SSL console system. In the world of plugins for digital audio work stations, (DAWs), there is no company that does a better job then waves. Visit www.waves.com and learn more about how you can make your home recordings sound professional! TOP RECOMMENDED WAVES PLUGINS FOR RECORDING VOCALS! CLICK HERE TO VISIT WAVES RECOMMENDED VOCAL PLUGINS AT WAVES: CLA VOCALS * JJP VOCALS * EDDIE KRAMER VOCAL CHANNEL MASARATI VX1 * BUTCH VIG VOCALS * VOCAL RIDER * HR REVERB HR ECHO REAL ADT APHEX VINTAGE AURAL EXCITER WAVES TUNE WAVES TUNE LT DOUBLER * DEBREATH DeEsser VITAMIN * RENAISSANCE VOX THE KING'S MICROPHONES AND A LOT MORE...! * Honorable Mentions... essential! Other Vocal Gear Required for a Complete Home Recording Include The Following Recommendations: A digital Audio Workstation - DAWs: LogicProX, Reaper, ProTools. A digital audio interface: We recommend the Scarlett digital audio interfaces from focusrite. A recording, condenser microphone: RODE Microphones: NT1, K2 Pearlman Microphones See The Vocal Gear Store for more suggestions. Headphones: Extreme Isolation x-29s. See The Vocal Gear Store for more suggestions. A Reflextion Fliter: SE Electronics Reflexion Filter Pro Ambience. A Pop Filter: See The Vocal Gear Store for more suggestions.

In my quest for the perfect recording setup, I was pleased to discover an audio recording solution that minimizes the amount of gear I require to produce my YouTube content. I create educational videos on an almost daily basis and having a simple and effective audio recording setup is essential to my workflow. That's why I'm pleased to have discovered the RODE NT-USB microphone. The NT-USB is a Condenser Microphone which means that it's capable of recording the human voice with far clearer quality compared to something like a lavalier or headset mic which contain a Dynamic Microphone.) There's nothing worse than listening to poor quality voice narration, so I'm a big fan of using a condenser for all of my videos. This microphone can be purchased at The Vocal Gear Store. To connect a condenser microphone to a computer requires a USB or Firewire audio interface or a soundcard that can receive an XLR microphone cable. Typically, the interface will also need to support Phantom Power for a condenser microphone to work properly. In my previous recording setup, I was using an M-Audio Firewire Audio Interface connected to an AudioTechnica AT2020 Condenser Mic. While this setup certainly does the trick, it has a lot of cables and individual parts. This Summer, I found myself doing a lot of recording outside my studio. In an attempt to keep my gear to a minimum, I tried recording ambient audio with my camera microphones. To my disappointment, all I got was a lot of noise from wind and not much ambient audio. My goal for my outdoor videos is to paint a landscape, but also to capture nature sounds like birds and leaves rustling. It was apparent that if I wanted to get a good audio recording outdoors, I would need to start bringing a condenser mic with me on my recording sessions. On each trip, I would have to carry my drawing tablet, easel, tripods, cameras, supplies and sometimes a camping chair. I didn't want the burden of transporting, assembling and disassembling a Firewire interface, so I was relieved to discover the RODE NT-USB which doesn't require an audio interface. It simply plugs in and is powered through USB. As far as the specs, it's a studio-quality microphone which means that you can use it not only for voice narration and podcasts, but also for recording vocals and instruments. As with most condenser mics, the polar pattern is Cardioid. The NT-USB's frequency range is 20Hz ~ 20kHz so it going to do a marvelous job of capturing a natural sounding human voice with clarity. It's dynamic range is 96dB and its Max SPL is 110dB. As I mentioned before, it's powered by USB 5V DC and its weight is 520g, which is a little on the heavy side, but not uncommon for a condenser microphone. The NT-USB is very well built using high quality electronic components. Its metal case feels rugged, but as with all condenser mics, their internal parts are delicate, so I recommend taking caution with this type of mic. You certainly can't toss it around like you would a handheld Dynamic mic. The kind you typically see performers singing into. Aside from a computer and recording software like Garageband, the NT-USB comes with everything you need to setup and record. It even works with the iPad as long as you have the USB Camera Connection Kit. Included in the box are a tabletop tripod microphone stand, a 20” long USB cable and a Pop Shield. I appreciate the inclusion of these accessories because having a stand eliminates the need fo r a mic stand which takes up a lot of space. The long USB cable reaches pretty far as USB cables go. And the Pop Shield is especially useful for protecting your recordings from being ruined by plosives which are the loud pop sounds you get when you accidentally breathe too hard on the microphone. Condenser mics are particularly sensitive to plosives, so a Pop Shield is essential. I must admit, everything is so nice and compact once you get it assembled. It's super portable and it takes a lot of the hassle out o f setting up to record audio. Now let's talk about some of the pros and cons of the NT-USB. I don't have much that's negative to say about the NT-USB so I'll start there. While RODE states that the NT-USB is pre-set to an optimal recording gain, I have to disagree. Not all recording setups are the same and in my studio, there is some fan noise from my computer which means I need to set my gain lower to get a good recording. The NT-USB does not have a volume gain knob, so I have to set the recording gain by opening the recording properties on my computer and setting the levels there. While that does work, it's kind of a hassle compared to just turning a knob. Why this knob was left out, I don't know, but I sure do wish it were there. As far as the pros, there are several. First, there is a handy on-board headphone monitoring feature which allows you to adjust the balance between your voice and the background audio while recording. What this means is that while singing or narrating, you can make the background music louder or quieter to make it easier to hear your own voice in the mix. As I mentioned earlier, the NT-USB is USB powered, so it only requires a USB cable to connect to your computer and record audio. No preamp, audio input box, phantom power or XLR cable required. Less gear means less time setting up to record and I like that. So if you're a YouTuber, Vlogger, Podcaster or Vocal Artist who is in the market for a great all-in-one recording device that's ultra compact and portable, but doesn't compromise on voice quality, the RODE NT-USB is a great option for you. If you'd like to learn more about the RODE NT-USB please visit RODE's website at www.rodemic.com. - - - - - - - - - - - - - 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

Singing is one of the most important means of communication that we are blessed to experience. It is the means by which we express our innermost thoughts and feelings in a language shared by the whole world. We sing songs as worship...as symbols of patriotism...as words to inspire change...to amuse...to romance....to uplift. Often, it is forgotten how integral singing is to our existence. When at play, children seem to almost instinctively sing as part of their games. These same young voices are instruments capable of producing a wide array of tones and timbres. In order to access this wide range of sounds, though, the sounds produced at play are not enough. Proper training in healthy vocal production is needed. Recently, I have been asked quite a bit about the appropriate age to begin voice lessons for children. Parents realize that their kids have either an overwhelming enthusiasm for singing or some substantial native talent that they want to properly nurture. They just wonder if formal lessons are safe for the youngster to undertake and worth the financial investment. First of all, I stress that the most important issue with kids is their attention span and not the perceived talent level. I've had some clearly gifted 7 year olds come in but they did not have the focus and maturity that is needed. Once that is explained, I relay that I believe lessons can successfully begin at age 8. I have trained a couple of 7 year olds, though, because they had the requisite focus, attention span, and teachability in addition to natural musical instincts. As long as the training is based in healthy technical habits and applied correctly to songs, there are no inherent dangers. Many people wonder what young singers can actually learn in private voice lessons. Some have believed that their physically immature instruments cannot acquire any real technical skills until their voices fully develop at puberty. But I am one of many who work with kids on a regular basis who believe that these voices can develop quite a lot of facility if guided correctly. We must remember that singing is an intricate psychomotor skill, not so different from the learning of piano, dance, or athletic moves. It's all about the systematic training of correct muscle memory which builds healthy technique that will strengthen and protect the voice. And if the goal of vocal study is establishment of good vocal habits that will carry over into adulthood, vocal technique has to be of primary importance! Of course, this must be balanced with singing good songs, but it will be difficult to expand repertoire if the instrument is limited in the sounds it can produce. The very same technical issues that need to be taught to adult singers need to be taught to kids. The building of tone production practices is essential. Child singers need to develop the ability to produce tones without undue tension and restriction. They must be taught proper breathing techniques and good body posture and alignment. Range extension is still important for kids, even though it must be applied relative to their still-growing voices. Many of the exercises that I use with my adult clients are used in the sessions with my youngsters, though sometimes with modifications. I also make sure that I introduce them to correct terminology concerning how the voice is put together and how it works. They learn about head and chest voice, the larynx, vocal folds, diaphragm, and resonance. They need to start learning a singer's vocabulary from the start of their study. We are seeing some fine examples of superstar singers who have become elite vocal athletes because of some fantastic vocal training starting at a young age- Beyonce Knowles, Kelly Rowland, Adam Lambert among others. It is a worthwhile investment to begin lessons with a child who has the love for singing coupled with a sense of focus and discipline. The teacher must have a great knowledge of vocal pedagogy and a personality that can provide a safe, nurturing environment for the young singer to embark on this great journey of singing study.