Earthworks SR314 Handheld Vocal Condenser Microphone - Stainless Steel

Product Information

The SR314’s frequency response is flat, but don’t let that lead you to think that the microphone lacks personality. No issues with feedback, dials in easily (didn't even touch the gain), just send it phantom and you're good to go. The Earthworks brand has long been associated with the production of high-quality condenser microphones designed for use not only in the studio and on stage, but for measurement purposes, as well. The SR314’s 145dB SPL handling and an extended 20Hz–30kHz frequency response further enhance the versatility of this incredible mic, making it as useful for high-fidelity capture of instruments as it is for vocals. The rejection of sources at 180 degrees is superb, and it still offers a reasonably wide sweet spot to allow the vocalist a good range of movement without drastic changes in sound quality.

It delivers uncoloured rejection of off-axis sound, ensuring a high-quality sound at all times that highlights your voice and nothing else. It put across all the nuances of quiet passages, without ever becoming screechy or nasal when the time came to belt out the chorus; and it was always articulate without exaggerating sibilants. Engineers are unencumbered from the necessities of heavy corrective EQ, compression and de-essing, and constant vigilance against feedback.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. I’ve been burned by overly-sensitive condenser microphones on stage in the past, a lesson all engineers learn sooner or later. The microphone was designed to produce a uniform frequency response out to 90 degrees off-axis, and a consistent low-frequency response even when used at varying distances.

The first of these was the SR40V, a back-electret stage vocal mic that was reviewed back in SOS December 2011. I've yet to put it through its paces on recording other than voice, but I can imagine it doing very well on cello, flutes and other melody instruments.

There is literally no reason not to use the 2028 live once you have it unless you can't use a phantom-power supply. Over the years, I've tried half a dozen studio capacitor mics with no success at all, and had ended up using a ribbon mic on the basis that 'a bit too dull' was easier to work with at the mix than sibilant, thin and harsh.