Broadcast Microphone Heil Sound PR40

Large-diaphragm Dynamic Microphone with Wide Frequency Range, Supercardioid Pickup Pattern, Minimal Proximity Effect.
A Dynamic Mic with the Frequency Range of a Condenser!
The Heil PR 40 puts the accuracy of a condenser into a dependable, high-SPL-handling dynamic mic!

Heil Sound PR40

Description
The Heil PR 40 represents completely new dynamic microphone technology designed for a wide range of professional applications such as sophisticated recording, live sound, and commercial broadcast. Producing the widest frequency range available in a dynamic microphone, the PR 40 outperforms most condenser microphones, and can withstand huge amounts of SPL. At the same time, it maintains the 25 year Heil Sound tradition of superbly natural voice articulation. Since 1982, Heil Sound has been the leading manufacturer of communications microphones and has a paramount understanding of phasing. When properly applied, this knowledge creates outstanding cardiod patterns with unbelievable rear rejection that removes unwanted sounds that try to enter from the off axis rear. The pattern control of the Heil PR 40 is outstanding. This exceptional performance is achieved by using the ideal combination of materials for the large low mass diaphragm and a special mixture of neodymium, iron, and boron that gives the PR 40 the strongest magnet structure available. These features allow the microphone to achieve magnificent dynamic range. A unique screen system using two different diameter mesh screens and an internal breath blast filter allow
the user to talk closely to the microphone with little worry of pops or excessive sibilance. The large diameter dynamic element is mounted in a unique sorbothane shock mount atop a non-resonant fixture, decoupling the element from the massive steel body. This body and the internal hum bucking coil removes any worry of using the PR 40 near monitor screens or noisy lighting fixtures and controls.

The new technology of the Heil PR 40 has redefined the dynamic microphone with superior wide frequency response, the lowest presence of noise in the industry, flawless design, and elite quality expected by an innovator and leader in the field. Welcome to the new standard. A high performance microphone shall bring new large diameter technology to the industry. It shall have a personality in it’s wide frequency response of 28 Hz. to 18 kHz. at the –3 dB points. The traditional Heil Sound ‘bouquet’ of mid range articulation will be featured which will bring gorgeous speech and instrument reproduction without the use of outboard equalization. A high degree of phasing plug assembly shall reduce the rear rejection typically at –18dB or better. A large 1 1/8” diameter low mass voice coil assembly with a specially treated diaphragm that can create large dynamic levels. A special blend of neodymium, iron and boron will produce the strongest of magnet structure for this high performance microphone. Nominal impedance shall be 600 ohms. The proximity effect which is present in all cardiod microphones will be properly eliminated in the design of this new microphone. By controlling this bass boost effect, this microphone will be the most ideal microphone for use inside kick drums, for close up guitars and will be the summit for tight vocals and broadcast studios. There shall be a hum bucking coil to eliminate hum and noise when used near a cathode ray tube monitor or around high EMF levels. The case will be created in steel, finished in anodized, nonreflecting champagne matte color. The microphone shall have a maximum diameter of 2 1/16“ with a length of 6 11/16”. A cast zinc adjustable 5/8” – 27 stand adapter lined in Teflon will be supplied .

(Above: Heil Sound PL2T Felxi Table mount)

Users Comments ( gathered by AudioBridge ) :

• Picking up lesser back ground, air-con, PC noises compared with all my other "expensive" condenser microphones.
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  - Sounds great!
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  - Can take loud voices!
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  - No pop filters or foams required!
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  - Not the cheapest mic but value for money. Save all my worries and $$.

Try out this PR40, our best selling Broadcast microphone, before you make your final decision!

High Defination Microphones

What is a High Definition Microphone™?

It is a microphone that will pick up sounds with far greater accuracy and fidelity than conventional microphones. The difference you hear is like the difference you see when comparing a standard television picture to a high definition television picture. It is that dramatic!Today’s recording systems and recording media (DVD, SACD) are getting better and better with higher sample rates and increased bit rates that provide extended frequency response, lower noise and greater dynamic range. The question is, are microphones capable of picking up sounds with increased bandwidth, lower distortion and with far greater detail? Most microphones available today only have high frequency responses reaching between 15 kHz to 20 kHz and are also not fully capable of supplying the increased detail and dynamic range.

The DK25/L is for “Live Performance” and has three SR25s: two for overheads and one for kick drum, a KickPad™ and a windscreen.The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback. The DK25/L is also ideal for use with multi-miked drums (four or more mics) in either live or studio applications. In such cases it is recommended that two SR25s are used for overheads.

The DK25/R is for “Recording” and has two TC25 omnis for overheads, an SR25 cardioid for kick drum, a KickPad™ and a windscreen. This model is ideal for use in an enclosed acoustic environment or a drum room/booth. For live performance or “multi-miked” drums using four or more mics in a studio application, the DK25/L is recommended

Earthworks cardioid microphones are unlike all the rest, as they have patented near-perfect cardioid patterns. The sound across the entire front hemisphere is remarkably uniform and is flatter at 90 degrees than most microphones are on-axis. This results in uncolored off-axis rejection for recording and greater gain before feedback for live sound. They effortlessly handle up to 145dB SPL while simultaneously revealing subtle details that other microphones mask. All SR models are a superb value and will provide excellent results for both live performance and recording applications.

The TC series (Time Coherent) is designed for recording louder sources such as drums, percussion, amplified instruments and loud sound effects. Microphones in this series allow recording of louder acoustic sources without overloading the preamplifier. They effortlessly handle high sound pressure levels up to 150dB SPL while simultaneously capturing subtle details. The TC series provides all of the same attributes as the QTC series in impulse response, diaphragm settling time and extended frequency response. All models in the TC series have an exceptional flat frequency response and are time coherent, so they sound natural and uncolored. All models are available in matched pairs.

Just plug the KickPad™ into the mic line feeding your favorite cardioid kick drum mic and you will experience an incredible “instant kick drum sound” that is exactly repeatable, every time. This is a real time saver that will work with any cardioid microphone that is used tor kick drum. The KickPad™ is a passive device (requiring no phantom power) that can be used with either condenser or dynamic cardioid microphones. It will provide fantastic results for both “recording” and “live sound” applications.

visit: http://www.earthworksaudio.com/ for their Piano, Choir, Overheas, Measurement microphones etc.

Stereo and Surround Microphones

Stereo Shotgun Microphones

Audio Technica AT835ST ( BP4029)

At 9.29" (236.0 mm) in length, the AT835ST provides broadcasters, videographers and sound recordists professional quality stereo audio in a microphone that resembles a monaural shotgun mic. That means the AT835ST is easy to use with standard camera mounts, shockmounts and windscreens. Engineered for long-distance pickup in broadcasting and film/TV production, this compact M-S stereo shotgun features internal matrixing innovations that allow for stereo audio with or without an external matrix. It also features switchable low-frequency roll-off and independent line-cardioid and figure-of-eight condenser elements.
Designed for broadcasters, videographers and sound recordists
Compact, lightweight design is perfect for camera-mount use
Independent Line-cardioid and Figure-of-eight condenser elements
Switchable low-frequency roll-off
Switch selection of non-matrixed M-S mode and two internally-matrixed left/right stereo modes
Includes a 24" (0.61 m) cable (5-pin XLRF to two standard 3-pin XLRM connectors)

Sennheiser MKH418s

The Sennheiser MKH 418S professional stereo shotgun microphone incorporates the Mid / Side (M/S) technique, yielding a high degree of directivity and focus while reproducing signals with extreme accuracy to their perspective placement, within the Left / Right Stereo field

Made in Germany

Sanken CSS5

With 3 modes (mono, stereo and wide) for a wide array of applications in location and studio recording. Mono mode provides high directivity over a wide frequencey spectrum, especially below 500Hz. Excellent for noisy environments. Low proximity effect.

Sanken CMS10/ CMS10MS- Switchable Stereo/Mono Shotgun Microphone

The Sanken CMS-10, the world's first cameramount Stereo Shotgun microphone, was developed in conjunction with NHK for HDTV broadcasting of the Nagano Winter Olympics. Since its world debut, it has become the new industry-wide standard microphone for use with HD cameras. While compact and lightweight, the CMS-10 provides extremely high-resolution audio to match today's advanced picture quality.

Includes camera mount, ideal for HDTV digital camcorders.

Length: 210.5mm

Wt: 170g

Made in Japan

Sanken's WMS-5- is a 5-channel surround microphone self-contained in one mic body. The mic uses extensive M-S stereo research conducted with Japan's NHK Science and Technical Research Laboratories, and is geared for on-location multichannel audio recording.
Features include five outputs (L, C, R, Ls, Rs) from one microphone, light weight (8.3 ounces), compact size (9.25 inches), precise phase-coherence M/S/M capsule design, matrix circuitry in mic body and a complete line of accessories.

Holophone H3-D

The H3-D is a powerful tool for engineers, content producers and artists on all levels to craft realistic and exciting surround sound tracks.
World's most inexpensive Professional Surround Sound Microphone.
Breaks the price to performance barrier for all surround capture needs.
Takes the guesswork out of recording 5.1 Channel Surround Sound.
Designed from the ground up to be a simple, cost effective tool for single point-source capture of three-dimensional audio.
Eliminates the need for complex, expensive and time-consuming multiple-Microphone Surround set-ups.
Hassle-free set-up. Super easy to use. Includes 5.1 microphones in one device.
Based on patented Holophone Surround Audio capture technology, popularized by the highly successful Holophone H2-PRO Surround Microphone.

Holophone H2 PRO

The only patented microphone system to capture natural and discreet multi-channel surround sound: up to 7.1 channels (left, center, right, left surround, right surround, center rear (EX and ES), and top (IMAX).
Takes the guesswork out of recording surround.
Lightweight and inexpensive solution to instantly capture live surround sound for professional recording or broadcast.
No mixing, signal manipulation or processing is required, direct and discrete signal path from the mic to the monitor.
Easy set-up, point and shoot operation with plug and play capability.
Compatible with all eight-channel mic preamps, location recorders and recording consoles providing phantom power.
Compatible with all surround sound encoding/playback formats (Dolby, DTS, Circle Surround, IMAX etc.)
Rugged design for outdoor environments

Mixers and Recorders

Cooper Sound CS306 Six Channel Laptop Mixer

FEATURES
REAR PANEL
Internal Power: Eight ‘AA’ cells
External Power: 4-pin XLR (10-18V DC)
Power Consumption: <>

Weight ( without batteries): 9.5 lbs / 4.3 kg Size: 11.5” x 10.8” x 4.0” (292mm x 274mm x 102mm) Specifications subject to change without notice Made in U.S.A

SPECIFICATIONS
• Multi track outputs-six prefade & two mix bus outputs on a standard
Dsub25 connector
• Flexible routing. All six channels may be independently assigned
to any combination of the four outputs.
• Meter bridge with highintensity LEDs and illuminated switches that
easily identify critical input settings
• Two monitor outs (with private line)
• Highest quality components: P&G faders, sealed
potentiometers, durable, weather resistant all metal chassis with deep
image labeling
• Ergonomically laid out for operator convenience and ease of operation

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Cooper Sound CS208v2 Professional Audio Mixer

Standard Features:
• 8 modular input channels (also available with 6 channels, same chassis)
• 6 busses-4 main & 2 aux.
• 2 remote rolls (For Nagra, HHB, Fostex & other compatible systems)
• 2 stereo tape returns
• 3 monitor outs (with private line)
• New mic preamp design - even lower noise
• 4 high quality analog meters (PPM/VU/Nordic)
• Lower current consumption
• Compatible with all quality analog & digital multi-track recorders
• All connectors on front & back panels-fits on rack shelf.
• Jensen transformer coupled inputs & outputs for sonic purity and reliability
• Very flexible output connector configuration
• Highest quality components: P&G faders, Sifam meters, sealed plastic potentiometers
• All metal chassis with durable weather-resistant coating & anodized, deep image labeling
• Ergonomically laid out for maximum convenience & easy operation

Optional Features:
• Stereo modules with M/S decoding
• 8 balanced,+4 dBu outputs,pre or post fader, on a Dsub25 connector
• Internal A-D converters and AES/EBU outputs for the four main outs
Specifications:
Internal batteries: 12 ‘D’ cells
External DC: 12-24 v
Weight (no batteries): 19 lbs (8.6 kg)
Size: 16.5" x 15.2" x 5" (419 x 386 x 127 mm)
THD + N: .003%
EIN (150Ω 20-20 k): -129.5 dBu
EIN (150Ω ‘A’ wt’d): -131.2 dBu
(All specifications in this brochure are subject to change without notice.) Made in U.S.A

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Sonosax SX-ST8D 8 Channel Audio Mixer

Key Features
• Compact and fully modular construction
• Un-compromised choice of components
• Ultra-low noise mic preamps with +48V phantom power available on all input channels
• Electronically balanced, transformer less inputs and outputs
• Wide bandwidth10Hz to 200kHz, suitable for SACD and next converters generations
• High dynamic range and large headroom
• Direct Outputs selectable Pre-EQ, Post-EQ or Post Fader
• 8 Groups individually selectable Pre or Post Pan
• 4 Auxiliaries individually selectable Pre or Post Fader
• Limiter on each input channel
• High quality conductive plastic linear fader
• Dual peak meters on each input for Pre and Post Fader level indications
• Triple Monitoring section with 2 Private Lines for communications
• Large scale level-meter indicators switch able to level and phase correlation meter
• Internal 8 channels of high quality A to D converter ( optional )
• Integrated 8 track Hard disk and Compact flash Card recorder ( optional )
• Compact size and low weight
• Low consumption

All specifications subject to change without notice Made in Switzerland

Aaton Cantar X2

Inputs
Nine simultaneous analog inputs on XLRs:
Five low noise mic preamps with isolation 10dBU very high quality transformers (Zin = 2KOhm each with its own 48V Phantom supply (40mA distributed to the five mics), analog HP filter (60 to 240, -6 and -12 db slope, plus LFA) and analog domain limiter. Two gangable pairs (gain, limiter, and filter).
Four analog line inputs, G = +15dB, max level +22dB. Zin = 4.4KOhm.
Eight AES inputs, each pair with its own sample rate converter.
Mixer and outputs
All 18 inputs can be mixed and routed to:
One to 8 tracks
Stereo 1/4" headphone (automatic MS decoding). 65mW (70 Ohm), 140mW (32 Ohm), 560mW (8 Ohm).
Two symmetrical analog line (XLR-5).
Two asymmetrical analog wireless IFB (mini-jack).
Eight AES with sample rate converters
Advances in the field recorder domain
all routing and physical configurations are memorized and can be recalled.They can also be stored in a PDA or laptop for instant programation of a new machine.
Built-in, dustproof and waterproof six linear fader mixer (patent pending) for comprehensive 'dynamic' control of the two track mixdown. Individual gain values are stored using XML syntax as a guide for the final sound- mixing stage.
AutoSlate automatically stamps a TC on the detected clapsticks.
Ready to print PDF sound-report.
Metering
Dial shapped modulometers with 1 dB increments with peak, clip and limiter-in-action indicators.
User-selectable ballistics.
High contrast LCD displays highly visible in direct sunlight. Adjustable back-lighting.
Swivelling display panel optimizes visibility for shoulder strap and cart.
Timecode
1ppm Tcxo reference internal clock, eight hours before re-jamming.
Dual Smpte and AatonCode jamming.
Timecode i/o through Lemo-5.
Power
Aaton's operating system insures low power operation: 500mA in test with all inputs activated, ultra-fast cold start-up (<5>

All specifications subject to change without notice Made in France

Season's Greetings

To all viewers,



Wishing you a Merry Christmas and Happy New Year!
( Picture of my daughter, Joelle, on a Korea-English Lifestyle Magazine December edition)

Sanken Microphones

We might be familiar with brands like; AKG, AudioTechnica, Beyerdynamic, Sennheiser, Neumann, which make microphones for filming, broadcast, ENG.
Sanken microphones might be new to you but not to the local field location sound recordists at all. Originated from Tokyo, Japan, Sanken microphone are gaining its popularity here due to their superior sound reproduction, built and reliability.
Sanken CS1 (Left) Sanken CS3e ( Right)

Sanken CS1, CS3e and COS11 are one of the most common microphones used here by our local field recordists. I wouldn't claim 100% of them owns them but i would say something close to this figure and it is always growing. But i believe that 99.99% of them have tried on any of these microphones.

Other than these mono microphones, Sanken makes fine quality stereo and surround microphones for all purposes, which requires good audio reproduction without colouration.

• A Local Studio recordist, whom owns the Sanken CSS5, World's first Stereo Shotgun- 3 operation modes is happy with this microphone and with no regrets owning one.



• Owner of a Sanken CMS-10, Stereo/ Mono Shotgun for HDTV camera, a mountain climber, recording as hobby, is glad to have this microphone mounted on his camera during his travelling. Not only due to its length, weight but it extreme high audio resolution.

COS11 has been an all time favourite lavaliere microphone for our local audio crew. Slim and miniature microphone in design makes it easy for them to "plant" their microphone on talents. This microphone gives a " close to human voice" audio reproduction and that is the reason for being accepted locally to blend with their microphone systems.



NOTE: We are open to comments and interested customers, users or organisations, please email: audiobridge@yahoo.com.sg to arrange for walk-in A/B test namely on their mono microphones ( CS1, CS3e and COS11). If you have and existing microphone and has doubt about these microphones, feel free to bring it down and we test it out.
PS: Bring your "S+11" with you. You wuldn't want to go back without a Sanken in your rig!!





WMS-5- Surround Sound Microphones (L)





Remember: Buy from Authorised Local Sanken dealer only.