Rode Reporter Dynamic Interview Microphone

The first mental image I get of a dynamic Omni stick mic is of NBC’s Al Roker trying to remain standing for a live standup during a hurricane. We always hear him just fine, even in 60 mile an hour winds. It’s been a while since anyone has taken a shot at this category of mic. How well would the new Rode Reporter compare?

FEATURES

The Rode Reporter is a classic hand-held, end-address, dynamic omni stick mic in a long-handled form factor. It comes in a designer box with zipper pouch and mic clip. The 10.7 inch shaft is three inches longer than the industry standard ElectroVoice RE50, allowing a few more inches of reach for inquisitive video journalists. A two-sided clip-on flag holder is provided for station logos. Unlike square flag holders, this requires the user to make sure the mic is held with the flag broadside instead of on edge to the camera so the flag can be seen. 

Greg Hanks BA-660 Tube Microphone Preamp aka "Monster"

Greg Hanks BA-660 Preamp/Limiter

OK, here's the deal. I've been communicating with Greg now for about a year and we have had many deep conversations, parts of which make my brain hurt. 

Yes, I do know a reasonable amount about audio engineering and manufacturing and I have good ears. Enough to hear some very subtle differences and ask questions that sometimes embarrass me and sometimes embarrass the person I'm asking. 

The only reason I ask questions is because of the reader; the person reading what I've decided to write. If I can't convey the information properly, I'm wasting my time and your time. I say this because I want you to know I'm thinking about YOU as I try to make sense of every piece of equipment.

When Greg first sent me the BA-660, there were some issues. There was something strange in the output section, the meter was a little wacky and there was fan noise from the cooling fan. He found solutions very quickly. The fan thing was a request from me. I told him that many recording environments today don't have separate control rooms and studios. Even if they do, I find  fans distracting in a control room. So, there’s a new multi-speed, temperature controlled fan that, at its lowest speed, I can't hear unless I put my ear within four inches of the BA-660. When planning where to put the BA-660, leave a little extra breathing room and the fan will run slower (and quieter).

The BA-660 is very different for a number of reasons. Yes, it's a tube preamp and limiter; nothing too different there except that it's very, very quiet and very, very clean. Greg chose tubes not for color but for capacity and how well he can get them to do what they do. For example, the preamp path has a frequency response of 7Hz to greater than 28kHz (+0/-3). 

The Line In path (so you can use the BA-660 just as a limiter) has a frequency response of 6 Hz to 36kHz. You may never need it because your mics and other sources may not have that kind of response, but it's there, waiting like a impeccably-dressed chauffeur in a yet to be imagined super car, ready to take you somewhere special.

Phantom Power (well, voltage really). While the BA-660 is designed to provide 48V DC, it can also crank out 300V DC @ 5mA for your Bruel and Kjaer mics. The BA-660 can handle balanced from minus 90 dB to +40 dB. This is possible due to a very complex input stage with relays, pads and transformer that are employed as needed to keep things under control.

BA-660 Rear Panel

The rear panel is simply laid out; IEC power connector, signal ground, chassis ground, balanced line level out via XLR, a -10 balanced Insert Send that can also be operated unbalanced, an Insert Return that runs at +4 and follows the preamp and line in circuitry, a Side-chain Input that runs at +4 balanced, the input to the dynamics control system linking multiple BA-660s, a balanced Class A floating solid state output capable of +34 dBv and will drive loads as low as 150 Ohms.

The front panel (see above) is populated by a wide-ranging input selector covering mic and line levels. The wide range is achieved by a combination of relays, resistive termination and a transformer. An input overload LED activates when the output of  either the first or second input stages exceeds +34 dBv internally. 

An Insert Bypass switch allows manual bypass of the Insert Points accessible on the back panel. These allow you to hard-wire bypass anything you may have plugged into the Inserts instead of making you crawl around behind the rack. When the jacks are unused the Insert circuitry is automatically bypassed. A continuously variable Input Trim pot allows +/- 10dB of range to establish proper gain staging. After that, the fun begins.

A Polarity Reverse switch is provided for the Mic and Line Inputs and is implemented between the Insert Return and Gain Cell. 

There are two (Three?) metering systems with the unit; LED Type Audio metering which measures the audio signal at either the input to the gain cell or at the output of the unit as selected by the input meter select described below. This meter combines VU type metering which shows up as a ‘dancing dot’ around the threshold control and Peak type metering which uses the same LED’s as the VU but shows up as a moving bar and measures in 10 db increments. 

There is also a mechanical (analog) Gain Reduction meter in the center of the front panel. A Meter Zero adjustment allows for calibration of the Gain Reduction meter. A Limiter Tip In adjustment is provided to accommodate different vacuum tubes properly. 

The Input Select switch toggles the audio meter between Gain Cell input and the final output. A Gain Reduction Bypass button provides a hard bypass of the Gain Cell responsible for the limiter.  

Not too well-versed with compressor/limiter settings? No Problem. The BA-660 has both fixed and variable presets, five of each. According to the simple but well-written manual, these presets emulate a Fairchild 660, LA-2, Neve Console Bus Limiter, SSL Quad Limiter and RCA BA-6. You can trim the attack, release and ratio of the variable presets or use the fixed values and make changes with the input level, threshold control and make-up gain control with 20 dB of gain.

The biggest dial on the front panel adjusts the threshold of the limiter from -40 to +20. There is a Gain Cell Clip LED to the right of the threshold knob. If you see it blinking and don't think the audio sounds bad, congratulations, you're a punk outlaw with no regard for fidelity. That's not a defamation, just an observation. 

Although you can adjust the attack time from 3ms to 35ms, it'll sound pretty gnarly at the fast settings. So for the second time in a few sentences, I'm saying it's not particularly difficult to make your audio sound really bad. It's a choice!

Release time varies from 45ms to 1.8 seconds. Faster is louder and pumps more. The Ratio control varies from 1:2.1 to a little over 9:1. A maximum of 18 dB of Gain Reduction is possible before the circuit behaves like a fixed attenuator. At that point many of your clients who don't care much about dynamics or fidelity will be thrilled...and probably flattened by the sheer density of the sound. This is where you, as the recording engineer, leave the room for a few minutes to protect your ears, turning up the monitors as you go, to let your clients bathe in their own reverie. Actually, it's healthier if you have a remote control for the monitors so you don't have to be in the room when you GO LARGE with the volume.

Is the BA-660 too much of a beast for you? Concerned that you're too much technology? Greg has written elegantly simple setup directions and posted them on his web site. Here they are. Not as simple as a dbx 160, but not so scary either.


Here are some links to audio clips recorded with various mics and the BA-660.

AT5040 > Greg Hanks BA-660 Kick Drum

Gibson Les Paul>FenderAmp>AT5040>Greg Hanks BA-660

D28S Martin>TLM103>GregHanks BA-660

You won't find the BA-660 at Guitar Center. As of this posting, there are BA-660s at DSP Doctor, Calistro Music and Vintage King Audio. 

For more details, reach out to Greg Hanks at Greg Hanks Design.

Technique, Inc. © Copyright 2013 All Rights Reserved

Audio-Technica AT5040 Quad Diaphragm Cardioid Condenser Studio Mic

Four capsules are visible
inside the two-layer grill

For years, Audio-Technica has brought solid, economical workhorse mics to market for broadcast, video/film and recording. If they have any cross to bear, it's that they frequently have stayed away from the spotlight. Yes, they get street, live and studio cred for many of their mics as solid performers; just not a lot of of icing on the cake. I think those days are over.

The new Audio-Technica 5000 Series has begun. First out of the chute is the AT5040 electret cardioid condenser mic and accompanying AT8480 mic clip. It's an electret. If that makes you wince, it might help you to know that on several occasions over the years, I was assured by people who had been making top-shelf mics for major companies, that there was no reason that electret mics couldn't be made as good as externally polarized condenser mics.

Sennheiser MO 2000 Industrial Optical Analog Microphone

Sennheiser MO 2000 Optical Microphone

This is not a review of a studio toy. It is, however, about audio; industrial audio. I had been hearing about a Sennheiser optical mic. Was this for studio use? Is it analog or digital? How does it work? I reached out to Sennheiser and within a week it was on my door step.

The Sennheiser MO 2000 system consists of a smallish half-rack-space box, a two-way fiber optic cable capped with an omni element. The system is powered by a wall wart power supply. There are both coarse and fine gain controls on the front of the chassis and a simple, lighted Off/On button. The omni mic element of the MO 2000 has a frequency response of 20Hzto 40kHz (+/- .6dB). 

Sony M10 Pocket Recorder - Nice!

The Sony M10 came out in 2010, or so. It deserves continued attention. It's a little thicker than an iPhone and comes with 4GB internal memory and a microSD/Memory Stick Micro™ (M2™) slot for expanded memory. It fits comfortably in the hand. 

I was able to work it immediately. After inserting two AA batteries and holding down the power button, the M10 sprang to life, indicating the sample rate and bit depth, amount of recording time left and that it was in STOP mode. Hitting the REC button put the M10 instantly into record-ready with the yellow back-lit PAUSE button flashing and meters showing level. I tapped the PAUSE button, and was recording. Nice.

Fast Facts

Applications: Recording audio anywhere.

Features: Dual, on board condenser omnis, discrete record level, easy access to most controls, multiple sample and bit rates of MP3 and .WAV

Price: $329

The Audio-Technica High Sensitivity AT 4080 Ribbon Mic

Two Audio-Technica AT4080 in Blumlein

Ribbon microphones have been in service since the 1930s. RCA mics like the 44B and 77DX are now considered vintage. You can spend $1200 to $1500 or more for one. The trick is finding one in good shape because the original ribbons are relatively delicate. Not because of age. That’s just the way they were originally designed. Or, you can try a new Audio-Technica AT 4080 bi-directional (figure of eight), dual ribbon mic that streets for about $999. Seven years in the making, it boasts a 150dB SPL level and the sensitivity of a studio condenser.

Why bother with a ribbon? Well, for one thing, it sounds fundamentally different than dynamic or condenser mics. That’s why recording engineers have continued to use ribbon mics all along. Ribbon mics use a different principle of physics to capture sound than dynamic and condenser mics. Ribbons are rectangular strips of metal, usually aluminum, in a magnetic field. 

Sescom Adapters Keep RF Out Of Audio - OR NOT!

Nothing hurts your location audio day more than cell phone warbles. You can tell clients and crew to turn them off, but more often than not, they don't until you hear THAT SOUND and have to tell the producer you can't use that take because someone's cell phone got polled from the mothership.

I have a client with an iPhone that used to cause interference. I wired a Neutrik EMC XLR on a cable and "Poof" RF-BE-Gone!

[Update: 8/31/2013 The RF was blocked going into a Millennia Media STT-1 and Greg Hanks BA-660. It was not blocked when going into my GML preamp. So soldered on EMC connectors help prevent RF from getting into your audio, but the front end of the preamp also needs to be designed to block RF.

Now Sescom has them as inline adapters; one with the filter on the male side, the SES-INLINE-EMCM, shown directly below. Before you buy, read on!

and one with the filter on the female side (SES-INLINE-EMCF). 

Two days after I got these my client came in and we tested them under the same conditions in which the XLR connectors were working. The Adapters were NOT able to block his cell phone's interference. I"m breaking away from our session right now to report this. It may be because the the shields are lifted on the adapters. I have contacted Sescom to see if they can find a solution. [Update: They seemed disinclined to take any action.]

So, RF blocking is apparently the result of soldered on EMC connectors and the design of the preamp they are plugged into.

Technique, Inc. © Copyright 2013 All Rights Reserved

Ty For may be reached at tyford.com.

Sescom TRS to TRRS Adapter for iPad & iPhone

Sescom IPHONE-ADAPT-1

If you have audio gear with an 1/8" mini TRS output, like a Rode VideoMic, that you want to get into your iPad or iPhone, how do you do that?

With the IPHONE-ADAPT-1 adapter cable from Sescom! A foot-long cable that does a simple job to get your audio from Point A to Point B.

I couldn't really write a lot about it. What is there to say about a simple piece of gear that solves a problem. You probably won't see it mentioned as a MAJOR BREAKTHROUGH, but it may be just what you need unless you're very handy with a soldering pencil.

Look for it at about $22 at all the usual places.


Here's the cable working with a Makayama Movie Mount for iPad mount with wide angle lenses, MicroPro LED light and Rode SVM. The IPHONE-ADAPT-1 allows the mini 1/8" stereo Rode SVM mic to be connected to the iPad.

Schoeps SuperCMIT DSP-steered Digital Shotgun Mic

Schoeps Super CMIT

I just started seeing the unmistakable Schoeps blue shotgun recently on TV during some media circus press event. It was probably the earlier analog version, but the point is, since no other mic has this blue metallic finish, Schoeps gets “recognition points” for daring go other than grey or black. Actually, putting out a shotgun mic, regardless of color, was some thing that Schoeps had not considered until they received solid input from the US market that one would be well received. That’s how the first CMIT came to be.

In another daring move, Schoeps released the SuperCMIT digital shotgun with a two-position, DSP circuit to tighten the pattern and lower ambient noise.