Friday, December 29, 2017

Heil PR-40 Mic Review

Heil PR-40 Mic Review


While appearing on a couple of radio shows at two different studios, I found myself amazed by the sound of my voice through a well-known broadcast mic: the Shure SM7. It sounded full and rich on my voice, without a hint of boominess. I was well aware that these stood in high regard in the pro audio world as well, and figured that one of these days, I’d have to get one for my home studio.
It was while trying to decide between the two that I found out about the Heil PR40. Heil’s answer to the SM57 has gotten some positive attention from the online recording community, and I wondered if the larger mics in the line might sound good too.

The PR40 is good. It arrived in a small cardboard carton; inside was the “beautiful cherrywood box” Heil promised the mic would ship with. As it happens, this box arrived in pieces courtesy of UPS. (New mics are now sold with a sturdy aluminum flightcase.) Luckily, the mic itself is extremely sturdy and heavy, and is around the size of an SM7b. It looks a lot like a large-diaphragm side-address condenser. It comes with a basic mount, which I swapped for a shockmount I already had.
Heil makes some pretty extreme claims on their website — one is that the mic is “the absolute quietest microphone... ever.” I don’t know about that, but the mic’s self-noise is indeed outrageously low. Any noise you hear is likely to be from your preamp, as the mic does require a fair amount of gain; 40 dB or so did the trick for me.

Another claim is that “the dynamic Heil PR40 looks like, feels like, and acts like a condenser in every respect.” Well... it doesn’t. That’s why I bought it! It does, however, sound great. The party line on this mic is that it has an unusually rich low end for a dynamic, and so I expected the lows to be hyped. They’re not. But they are there, and they are clear and musical. The mids are thick and accurate, and the highs, once again, are unhyped but present. Overall response feels almost totally flat, but not at all dull. I’ve tracked several songs with it, the vocals ranging from hushed and close to quite loud, and they really do sound drastically different from the ones I tracked with a condenser; it’s more of a “vintage” sound, strong in the mids, and not crowding out the entire spectrum the way a lot of modern rock vocals seem to. I also did some handclaps, and they sound awesome - meaty and crisp. You might like to try this mic on high transients - tambourine, maybe - and though I haven’t given this a shot yet, I think it would flatter the hell out of a guitar cab.
Heil PR-40 Microphone

At the moment, the PR40 is my main vocal mic; nothing I have sounds better on massed, multi-part harmonies. I’ve also recorded some spoken word stuff I was doing, and as you might guess, it really excels there too. If you’re in the market for an SM7, RE20, or MD 421, definitely consider the Heil as well… it’s right in that price range and should give them all a run for their money.

Wednesday, November 15, 2017

Audio-Technica AT2020 USB Microphone for Podcasters Review

Based on Audio-Technica's hugely popular AT2020 XLR microphone, this USB version has the same outstanding build quality, high SPL handling, and unique low-mass diaphragm as the original, with the addition of a USB output for connecting directly to your computer -- no audio interface or preamp required. With its built-in analog-to-digital conversion, this mic delivers 44.1 or 48 kHz 16-bit audio directly to your recording software. There's a headphone jack directly on the front of the mic, with a Mix knob so you can monitor your performance blended with playback from your recording software.

With the cardioid Audio-Technica AT2020 USB+ mic, you get plug-and-play USB functionality and studio-quality articulation and sound all in one affordable mic. Drawing on the design of the much-loved AT2020 cardioid condenser mic, the AT2020 USB+ has the same killer transient and frequency response, ranging from 20Hz to 20kHz. Though there is an AT2020 USB mic, the + designates an additional headphone jack that comes with monitor control as well as no-latency monitoring.
Audio-Technica AT2020 USB Microphone

Features


•Experience AT2020 USB. Plug it in and transform your sound.
•Side-address studio condenser with USB digital output (Windows and Mac compatible)
•Crystal-clear, natural sound for podcasting, home studio recording, field recording, and voiceover use
•Custom-engineered low-mass diaphragm provides extended frequency response and superior transient response
•Cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source
•Low self-noise - perfectly suited for sophisticated digital recording equipment.

Specifications


•ELEMENT Fixed-charge back plate, permanently polarized condenser
•POLAR PATTERN Cardioid
•FREQUENCY RESPONSE 20-16,000 Hz
•POWER REQUIREMENTS USB Power (5V DC)
•WEIGHT 13.2 oz (374 g)
•DIMENSIONS 6.38" (162.0 mm) long,
•2.05" (52.0 mm) maximum body diameter
•OUTPUT CONNECTOR USB-type
•ACCESSORIES FURNISHED Pivoting stand mount for 5/8"-27 threaded stands; 5/8"-27 to 3/8"-16 threaded adapter; soft protective pouch; tripod desk stand; 10' (3.1 m) USB cable
•BIT DEPTH: 16 bit
•SAMPLE RATE: 44.1 kHz
•Stand and USB cable included

The AT2020 USB Plus Mic: Audio-Technica Quality For Your Desktop
Plug the Audio-Technica AT2020 USB Plus condenser microphone directly into your computer, and capture your performance with Audio-Technica quality. With this USB mic, there's no need for a separate preamp or audio interface - the microphone records directly to your recording software at 16-bit, 44.1 kHz or 48 kHz resolution. A built-in 1/8" headphone jack lets you monitor your performance, with a Mix knob to blend the signal of the microphone with pre-recorded audio in your headphones. With a cardioid pickup pattern and 20 Hz to 20 kHz frequency response, this USB condenser mic is a great choice for narrating YouTube videos, recording podcasts, or capturing quick demos of your music.
Extended Frequency Response and High SPL Handling

Audio-Technica's original AT2020USB microphone had a more limited frequency response, but this "Plus" version extends the highs to 20 kHz, allowing you to capture more detail and accuracy from vocals and instruments. And with a maximum sound pressure level rating of 144 dB SPL, the AT2020 USB is a solid choice for tracking loud sources, like drums or guitar amps.

What makes the AT2020 USB microphone such a solid choice for home needs? Flexibility is key. Audio-Technica's innovative back-electret capsule design means an exceptionally thin, responsive diaphragm that's great at capturing the fast transients of acoustic guitars or cymbals. Of course, as a cardioid large-diaphragm condenser, the AT2020 USB wouldn't be the home-studio hit that it is without the ability to deliver detailed vocals. Add in the USB output, and this mic's flexibility makes it a serious value.

Podcasters love AT2020 USB for it simplicity in connecting and ease of use. It doesn't need a mixer or DAC so just plug in and there you go. Great sound for Skype talks - every listener will experience that WOW emotion when hearing you via AT2020 for the first time. It outperforms jsut about any headset, including pricey gaming headsets that cost twice as much yet include cheepish low quality mics.

Friday, September 29, 2017

Behringer QX1002usb Desk Audio Mixer Review


The Behringer XENYX QX1002USB mixer is made to handle live gigs, and provide you with the tools necessary to capture professional-quality recordings. Along with its built-in USB/audio interface, "one-knob" mono channel compressors and KLARK TEKNIK FX engines, the XENYX QX1002USB mixer comes with enough recording and editing software to turn your computer into a complete recording studio. The QX1002USB is a 10-input, 2-bus mixer with XENYX mic preamps and compressor, and a range of built-in FX, it's just the right size for medium-sized gigs or home studio applications. RCA CD/Tape I/O comes standard on all XENYX mixers.

KLARK TEKNIK FX


BEHRINGER  is proud to incorporate custom-engineered  KLARK TEKNIK  effects into the QX1002USB. Featuring 100 world-class presets to choose from including reverb, chorus, flange, delay, pitch shift and many other amazing effects,  KLARK TEKNIK  created the 24-bit, studio-grade effects engine for  BEHRINGER  – to give your performance that truly professional finishing touch.

XENYX Mic Preamps


All XENYX mixers have one thing in common; great-sounding, high headroom XENYX mic preamps. XENYX preamps offer 130dB of dynamic range with a bandwidth that extends from below 10Hz to well above 200kHz. As a result, XENYX mixers can reproduce a cleaner, transparent performance.

British EQ


The British consoles of the 1960s and ˜70s changed the sound of rock and roll. Without them, the British Invasion might not have even happened. Those legendary mixing desks soon became the envy of engineers and producers all over the world. The channel EQs on all XENYX mixers are based on that very same circuitry, allowing you to saturate signals with warmth and character. Even when applied generously, these equalizers exhibit forgiveness and superb audio quality.


USB Audio Interface


Modern technology has put personal recording well within the reach of virtually anyone with access to a computer. But how do you get all that music flying around your brain into a computer? Thanks to the built-in, bi-directional stereo USB audio interface, you can connect directly to your PC or Mac computer via a single USB cable. Now any signal source connected to the mixer can be recorded straight to your hard drive.


Features
  • Analog mixer
  • 10 channels - 2 mic/line, 4 stereo
  • 2 XENYX Mic Preamps
  • Compressors with easy one knob control and led control indicator
  • KLARK TEKNIK FX processor with 100 presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects
  • Built-in stereo USB/Audio Interface to connect directly to your computer. Free audio recording, editing and podcasting software plus 150 instrument/effect plug-ins downloadable at behringer.com
  • Neo-classic "British" 3-band EQs for warm and musical sound
  • FX send control per channel for internal FX processor and/or as external send
  • Main mix outputs plus separate control room, phones and 2-Track outputs
  • 2-Track inputs assignable to main mix or control room/phones output
  • FX to control room function helps to monitor effect signal via headphones and control room outputs

Sunday, August 20, 2017

Shure SRH-940 Hi-Fi Headphones Review

The SRH940s ship in a smart, padded case. Both cable and earpads are detachable, and the package includes spare earpads and a choice of straight or curly cables. These terminate in a 3.5mm mini‑jack with a screw thread allowing a quarter‑inch adaptor to be fitted, while the other end uses a smaller, 2.5mm mini‑jack with a plastic barrel that twists half a turn to lock into place. The phones themselves appear to be solidly built from a firm grey plastic, and the frame and earcup mountings incorporate plenty of flexibility, allowing the cups to be rotated in every conceivable direction, and probably some directions that are not readily conceived of.

The construction arrangement means that the cups exert slightly more pressure on and around the ear than some phones, but they are well padded and comfortable enough for long listening sessions, and this pressure ensures that isolation from external sounds is pretty good. For me, the only suggestion of discomfort came from the top band, which has a tendency to load the entire weight of the phones onto a small point on top of the head instead of spreading it out, but I suspect that has as much to do with the shape of my head as with the design of these phones. With an impedance rated at 42Ω and a sensitivity of 100dB SPL/mW, the SRH-940s shouldn't require any sort of esoteric headphone amp to drive them.
Shure SRH-940
Shure SRH-940 Headphones

Shure SRH940: Sound quality. The first thing that strikes us about the SRH940s is their immediate fidelity.

They’re a fast, energetic listening session, and open and revealing with it too – which goes slightly against the grain of their closed-back DNA. The rich synths of the track are conveyed explicitly, and there’s oodles of detail in the low-fi hi-hat part.
The mellow melody is nicely rounded, and the whole frequency range sits together really well, with nothing standing out too far or sitting too far back in the mix.

Shure SRH940: Verdict


Cons? Only a minor one: there’s a very slight spike near the top of the treble, which can occasionally stray into thinness during lean-sounding recordings, but it’s not a deal-breaker by any means.
Various adjectives come to mind to describe the sound preciseness of the SRH-940's, among them 'beat', 'crystal clear' and 'well-projected'. They seem to have a broad lift in the mid‑range, from perhaps 1‑3 kHz, which brings out the snarl of an electric guitar or the ring of a snare drum without over-emphasising sibilants or making crash cymbals leap out of the mix. They're perfect for rock music, or indeed anything else where the main focus is mid‑range impact and excitement. Transients are well represented, and the high frequencies seem balanced.

If there's a down side, it's that the bass is arguably a bit too tight. Whenever I turned to electronica, or indeed any mix that leaned on a heavy bottom end, I was struck with a gut feeling that something was lacking. It's not that bass and low mids are absent or inaccurate; rather, they are slightly overshadowed by that prominent mid range, in a way that sometimes robs them of 'oomph'. If you like bass to be an emotional experience, these are not the phones for you.
Shure SRH-940
Shure SRH-940

The SRH-940 will play at reasonable volume levels with portable devices such as most cellphones, iPods and so on. The straight cord feels strong enough to withstand some abuse, and with the earcups pulled all the way down and rotated against my chest, I can have the headphone around my neck all day long without it getting in my way when I'm not listening to it. It also comes with a coiled cord. Neither cord has an angled plug unfortunately. The other good news with the cord is that it's detachable. The other less-than-good news is that the detachable end is partially proprietary. The detachable plug is a standard sub-mini plug (next size smaller than a 1/8 inch mini-plug), but the plastic fitting behind that plug locks into the jack on the earcup in a way that would require DIY'ers to take the earcup apart if they want to use a different cable without the proprietary connector.
The earcups of the SRH-940 completely surround my ears, and it's a close fit. The internal space for ears in each oval earcup measure 2-5/8 by 1-7/8 inches. I find the fit very comfortable, but people with much larger ears may feel very cramped. The carrycase that comes with the SRH-940 is fairly large, and would take up a lot of space in a carry-on bag for airline travel. If this is your situation, I'd recommend carrying the SRH-940 around your neck when boarding, or just wrap it in something thin to place in a suitcase, to give it minimal protection. The entire headphone seems to be plastic except for the velour earpads, and Made In China means they optimized the SRH-940 for lowest production cost. The good news is that it seems to be very well made, and given the sound quality, a real bargain at the usual prices. Isolation from external sounds is good even when not playing music. When playing music, I can't hear the telephone ring from 3 feet away, and the ringer is the old-fashioned kind - very attention-getting.

The SRH-940 have an extended high-frequency response with incredible detail - so much so that upon first listen, you might think their response puts too much emphasis on the highs. For example, one of my colleagues commented that the SRH-940 were too sibilant when he first listened to them. On the contrary, I feel that the high-frequency response is actually exceedingly smooth. Yes, there is a small bit of high-frequency lift to my ears, but it's a very smooth rise, and to me, what I hear is the opposite of sibilance. There isn't any harshness in the 7-12 kHz range, which is where I find the most offensive energy in regards to sibilance. Moreover, the SRH-940's midrange is as neutral as any headphone I've ever heard. Vocals, for example, translate well between the SRH-940 and various listening-environment and speaker combinations throughout my studio and home - in terms of both relative level in the mix and harmonic content.

Compared to the Sennheiser HD800, which up until now were my favorite studio headphones, the SRH940 actually have less sizzle at the very top end, but the SRH-940's upper mids are a little more prevalent. The gentle lift in the HD800's lower mids isn't there in the SRH-940, so if you're using the Shure headphones for mixing, you might not try so hard to clean up what "muddiness" might be in your recording. And perhaps because of the more clinical-sounding lower mids and upper lows, the SRH-940 seem to exhibit less bass in general during casual listening, but the extreme lows are definitely there when you are listening critically, with a tightness that is astounding. With that said, I think that listeners who are accustomed to an overabundance of bass volume in their cans will definitely find the SRH-940 inappropriate for their needs, but I find the low-frequency clarity refreshing. Plus, transient response throughout is amazing.

The SRH940 come with a semi-rigid, multi-compartment carrying case that's too large for carry-on air travel, but it does protect the headphones well. The SRH-940 have hinges in all the expected locations, and they can fold up asymmetrically such that one earcup backs into the other (as opposed to the earcups facing each other). Once collapsed, they take up as much room as any other full-size folding headphones, but one advantage to this asymmetric arrangement is that there's less likelihood for pressure on the cable where it exits from the earcup. Speaking of the cable, you'll find two in the case - one straight and one coiled. Thankfully, the straight cable is just the right length for working at a console; you'll need to extend it if you plan to hand these headphones to a guitarist during tracking. The cables lock into the left earcup with a twist. You'll also find a second pair of velour ear cushions in the case.

The headphones are surprisingly light, and they're comfortable for extending wearing. The only caveat worth mentioning is that I found that the orientation of the SRH-940 on my head had a greater effect on the sound than with other headphones. For example, I can hear the bass levels go up when I rotate the earcups a bit so that the headband is just above my forehead - in fact, I get the most neutral-sounding response with the headphones positioned this way. Also, if I take off my glasses, the ear cushions seal better, and again, I get better bass response.

That said, we all know that reproducing sound to give maximum enjoyment is a very different business from reproducing it in a way that is useful to the mix engineer. And for most studio purposes, I think the frequency balance of these phones, with its ruthless absence of hype at the low end, is much more a blessing than a curse. Most mixes stand or fall on the mid-range, and you quickly appreciate the detail and clarity that these phones bring to that region. After a lot of listening, I even began to feel that my beloved Sony's V-150 were sounding muddy and veiled by comparison. I wouldn't want to make dubstep on these, but for any sort of guitar‑based music, they're hard to beat, and the good levels of comfort and isolation make them ideal for tracking as well as mixing.  

Thursday, July 27, 2017

The Blue Yeti USB Microphone Review & Specs

The Yeti USB Microphone is hinged, which means you'll be able to adjust the angle to find the best position to record, or folded out of the way when you're not using it.
The Blue Yeti Mic Specs

The Blue Yeti USB Microphone is a popular choice for home podcasters


When it comes to quality, Blue Yeti would be undoubtedly one of the first choices among any other USB microphones. The truth is, nowadays USB mics are being stamped by all and sundry manufacturers. Logitech would be an excellent example. Specializing in computer accessories, they produce great keyboards and mice, and even sound systems but when it comes to standalone mics, they simply don’t have enough expertise. The best what they can do is some fancy-looking devices, mainly oriented for gaming use and web-conferencing. For such needs, although a bit overpriced, they may indeed perform great, but that’s about it.

Blue Microphones, on the other hand, is the company that works on enthusiast-grade, quality mics. Blue Yeti is also such mic. Excellent sound pattern, with the only difference is that it’s being connected through USB unlike most high-end recording devices. For those who never held professional mics before, without exaggerating, this will be a sensation. The good news is it also has a very moderate price tag, comparable to more like computer accessories rather than a professional studio-recording device. The best price for the quality is what we believe makes Blue Yeti such a terrible rival.

The Yeti USB microphone from Blue may look like a whimsical toy, but it's actually a very useful tool for the serious home recording enthusiast. If you want to record voiceovers, podcasts, interviews, or even acoustic solo performances, the Yeti is an excellent way to capture high-quality audio with a minimum of fuss. Most computers will recognize this distinctive-looking mic right away, with no drivers to install. All you have to do is pop the Yeti on your desk with its custom stand, plug the included 10-foot USB cable into your computer, and start recording.

If you never had a studio mic before, this device may seem a bit large, and yet its dimensions are kind of fair: 4.7 x 4.9 x 11.6 inches for width, depth and height respectively. That’s including the stand. Contrary to what most users expect when they look at the pictures, Blue Yeti is made of a solid metal and has a very firm build overall. On the other hand, the control buttons have somewhat flimsy feel and should be used with caution. Looks like these buttons are the only things that can actually break or wear out, so in order to prolong the life of your device we advise to use them only when necessary.

Now it’s time to go deep in its specs. Blue Yeti has two ports. The first one is of course USB that powers the device and sends the digital signal to computer. This model has a standard sampling rate of 16 bit at 48 kHz. The USB cable of around 6 feet long is also included in the package. The other output port is a 3.5 mm headphones jack, allowing you to hear exactly what’s being captured. Both ports along with a shock mount thread are located underneath the device; however, the shock mount itself is not included in the package and we’ll get to that later.

At the face side, it has a mute button and a volume control. At the back, there is another control for gain and a four-position pattern switch. You may choose between cardioid, bidirectional, omnidirectional & stereo picking patterns. This is achieved by combining three condenser capsules, whose signals are processed in different ways. Considering that the vast majority of traditional microphones use only single capsule, Blue Yeti will and does sound different. This can be especially noticeable in the cardioid mode; however, it’s not a necessarily bad thing!

Using Blue Microphone's proprietary tri-capsule technology, the Yeti can record sounds that range from the barely audible to the deafeningly loud - all without a loss of fidelity. Depending on what kind of sound you are recording, you can choose from four distinct pattern modes:

Stereo mode: The stereo mode uses both the left and right channels, and is ideal for capturing a realistic, general sound image.Cardioid mode: Well-suited to podcasts, sung vocals, and other voice work, cardioid mode records sound sources that are directly in front of the microphone. It delivers a rich, full-bodied sound.
Omnidirectional mode: Omnidirectional mode picks up sound equally from all directions. It is best used in situations when you want to capture the ambience of "being there"--like a live recording of a band's performance.
Bidirectional mode: Bidirectional mode records from both the front and the rear of the microphone. It is ideal for capturing the nuance of a musical instrument, or recording an interview between two people.

Yeti sounds surprisingly rich for its cost. It is a sensitive mic so be prepared that it will be picking up both wanted and unwanted sounds alike. However, a proper positioning along with right picking pattern can help to achieve a good level of noise cancellation. For instance, if the source of noise is behind the mic, you may use a cardioid pattern; if the noise is coming from sides, a bidirectional pattern will be handy. This is where its functionality turns out very useful. If you play an acoustic guitar, you’ll especially like the stereo mode, which can make it sound much more natural.

The main advantage Blue Yeti boasts over its competitors is the THX certification. In fact, it was the first microphone that actually earned it. THX warrants for sound quality and guarantees the whole frequency range is delivered just the way it should – and this is indeed so. On the other hand, many other mics will often deviate from the natural pattern, coloring some frequencies and muting the others. Depending to the pitch of your voice or whatever you record those individual peculiarities can be both destructive and beneficial; however, any deviation greatly narrows the purpose of such device and more than often works as a disadvantage.

Although THX certification makes it hard to complain about Blue Yeti’s sound precision, this mic is still not devoid of some shortcomings. Condenser mics are generally capricious when it comes to environment noise, and even though this model offers a great deal of cancellation, for some uses this may not be enough. The thing is vibrations will also travel through the microphone stand, which you’ll hear, for example, if you place your mic at the table and try to do some typing. In order to eliminate such noises, people would usually use a shock mount. Yet, much to the surprise of the users, Blue Yeti has non-standard dimensions, thus many available shock mounts simply won’t fit.
To sum it all up, let us draw the line and say who and why should consider getting this particular microphone. Blue Yeti is made to handle things like podcasting & voiceovers, working great for any conference calls, and of course singing and playing instruments. You’ll get all that with near professional quality and simplest possible setup. Unlike other studio mics, you won’t need any special equipment like preamplifiers, etc. That makes it very easy to use with any computer or even laptop, as all you have to do is just plug it on and you’re ready to go.

Direct headphone output is also a very useful feature. It is still possible to hear yourself without it; that is by mapping the microphone through your PC back to your headphones or speakers, but that method is highly impractical. This seemingly unimportant feature will help you save from buying another piece of equipment that does exactly that. Then again, if you’ll use the pattern switch often, this will save you from buying three different mics. Overall, Blue Yeti would be both a great choice for any practicing singer and a perfect all-in-one budget solution for a home studio.
The Yeti requires no complicated drivers to operate; simply plug it into your computer's USB port with the included USB cable, calibrate it with your operating system, and you're ready to record. The microphone is compatible with Windows 7, Windows Vista, Windows XP, and Mac OS X, and requires a minimum of 128 MB of RAM.

Friday, June 30, 2017

Yamaha MG16Xu Mixer Series

The new MG series from Yamaha, feature their incredible sounding D-Pre's represent a very solid choice for even the most discerning live sound engineer.
The Legendary Yamaha durability and daily dependency combined with quality effects, fantastic sounding pre's in a 10 XLR (8 Mono, 2 Stereo Channels) format makes this an easy to justify mixer for small to medium sized gigs.

Yamaha always delivers with their mixing consoles and the upgraded MG series is no exception. The 16 channel format features 10 channels of XLR input with 3 channels of stereo 1/4". Onboard compression is a added bonus rarely seen on mixers is this price range, not to mention the built-in SPX digital effectsunit has been an institution in the effects processing game since the 80s. 4 band EQ and 4 AUX inputs really get you dialed in and rockin and rollin all night!
Equipped with a USB audio interface & state-of-the-art SPX Digital Effects, the Yamaha MG16XU gives you the tools you need to produce high quality sound that is uniquely your own.

When was the last time you heard a guitar without EQ or a completely unprocessed vocal on one of your favorite songs? Probably never. Yamaha mixers are famous for their flat response and sonic purity, but it often takes more than a perfectly-captured instrumental performance or vocal to achieve a professional-sounding mix.

24-bit /192kHz 2-in/2-out USB Audio Interface Function

MGXU Series mixing consoles feature flexible digital connectivity for quick and easy high resolution playback of digital content. Simply connect to your PC via USB, or to your iPhone / iPad (2 or later) using Apple's Camera Connection Kit / Lightning to USB Camera Adapter. The USB protocol uses asynchronous data transfer. Audio data is transferred based on highly precise audio clock signal from the MG, for high quality recording and playback.
Yamaha MG16Xu
Yamaha MG16Xu Live Mixer

Built-in SPX Digital Effects

For musical and non-musical applications alike, effects processing adds polish and professionalism to the mix. The MG16XU models feature Yamaha's acclaimed SPX digital multi-effect processor, offering a comprehensive suite of 24 editable digital effects perfect for enhancing your mix, whether adding depth to a speaking engagement or breathing new color and atmosphere into a live band performance. In particular, the high-quality reverb and delay expand the spatial quality of the sound with remarkable realism and naturalness. You can even connect an optional FC5 foot switch for effect on / off control.

D-PRE (Discrete Class-A Mic Preamps)

Delivering fat, natural sounding bass and smooth, soaring highs, with very low distortion, D-PRE preamps possess an impressively wide frequency range that allow them to handle signal from any audio source without overly amplifying any specific elements of the sound. Having such a pure sonic platform to build on will ultimately save you time and effort by eliminating the need for excessive EQing or additional effects processing in order to "fix" your mix.

EQ and High-pass Filters

The Yamaha MG16XU benefits from Yamaha's unparalleled experience in designing pro audio gear, featuring 3-band equalizers on all mono channels for precise control of your sound. High-pass filter allows you to eliminate unwanted low-frequency noise, for a smoother, cleaner mix.
Switchable Phantom Power & PAD Switch
The input channel with PAD switch accepts MIC to line level of inputs, PAD Switch attenuates high input signals that often accompany mic'ed instruments during performance, avoiding the clippingthat can seriously affect your mix.

Cubase AI

The MG16XU comes bundled with Downloadable Steinberg’s Cubase AI software. As one of the most advanced, comprehensive DAW suites available, Steinberg's Cubase has led the charge, providing users with a powerful and flexible platform for music production. Cubase AI offers these same core technologies and interface that have won Cubase worldwide acclaim.

Rack Mount Kit Included
Yamaha MG16Xu Mixer

Easily adaptable to a diverse range of installed and portable applications, the 16- and 20- channel models of the MG Series includes rack ears, giving you the option of a rack-mounted or desk-top configuration. Extremely durable, their sleek design makes safe, stable placement of your console hassle-free, keeping setup time and effort to a minimum.

Built to last

The Yamaha MG mixers feature a rugged, impact-resistant, powder-coated metal chassis, offering an unrivalled level of durability. With a sleek design contoured for optimal convection cooling, the internal layout separates the power supply from the analog circuitry for superior noise reduction, and further extends the life of the components inside. To further ensure reliable performance, knob control placement above the surface of the chassis diverts any impact or pressure on the knobs to the chassis itself and not the circuit board or components underneath.

Features:
•16-Channel Mixing Console
•Max. 10 Mic / 16 Line Inputs (8 mono + 4 stereo)
•4 GROUP Buses + 1 Stereo Bus
•4 AUX (incl. FX)
•“D-PRE” mic preamps with an inverted Darlington circuit
•1-Knob compressors
•High-grade effects: SPX with 24 programs
•24-bit/192kHz 2in/2out USB Audio functions
•Works with the iPad (2 or later) through the Apple iPad Camera Connection Kit / Lightning to USB Camera Adapter
•Includes Cubase Al DAW software download version
•PAD switch on mono inputs
•+48V phantom power
•XLR balanced outputs
•Internal universal power supply for world-wide use
•Rack Mount Kit Included
•Metal chassis
•Dimensions(W×H×D): 444 mm x 130 mm x 500 mm (17.5" x 5.1" x 19.7")
•Net Weight: 6.8 kg (15.0 lbs.)

It's so convenient to have 16 channels that can be run via usb. I've seen this used for recording at a couple venues, and the recordings always come back on point. The built in effects also help you in trying to capture an array of sounds while recording. A great mixer that can capture alot and still maintain clairty while doing so.

When it comes to Yamaha mixers, there's no question as to the sound quality you will get out of it. The only question is "what options does this awesome Yamaha model come with?". Let me tell ya, the MG16XU has it all, especially when it comes to effects processing.
With 24 fully programmable digital effects, you have a lot of options in choosing what kind of sound you're looking for. You can add a larger tone and depth to a speaking voice, great sound effects to a band's live performance. The reverb and delay features are the best of the best, and can even be controlled with an optional foot switch. Professional made easy.

Samson L2000 20-Channel Sound Mixer

The Samson L2000 20-Channel Live Sound Mixer


The Samson L2000 20-Channel Live Sound Mixer is a feature rich audio console that expands on the success of Samson's L series sound reinforcement mixers. The L2000 delivers intuitive mixing and pristine audio quality for small clubs, houses-of-worship, bars, restaurants and more. A total of 20 input channels provide 16 mono and 2 stereo channels; all with balanced XLR microphone inputs.
Samson L2000 Live Sound Mixer

Four bus outputs provide flexible routing to monitors, external recording devices, additional mixers, etc. In line with the Samson L series, is the USB connection that enables direct audio integration with both Windows and Mac computers. Channel signals may be routed to the USB connection for completely different results between the stereo analog audio signal and USB audio signal.
Additional features include a 24-bit DSP effects processor with up to 100 variable presets, and a 9-band graphic EQ for output signal contouring. The L2000 is more than suitable for touring bands, small PA applications, project recording and more.

20 Total Channels The L2000 features a total of 20 channels that are comprised of 16 mono, and 2 stereo input channels. All channels feature 3-pin XLR microphone inputs. USB I/O Connection The USB I/O provides flexible integration to Windows and Mac based computers. 24-Bit DSP Effects Processor The internal 24-bit effects processor provides up to 100 variable effects. 9-Band Graphic EQ A 9-band graphic EQ section delivers final frequency contouring on the stereo output bus.
The 20 Channel Samson L2000 4 bus USB mixing console gives small clubs and gigging bands all the features of a large console, but with a small footprint and pricetag. The L1200 features several outputs: USB, 1/4", and XLR, giving end users versatility, while features like large, backlit Mute buttons give users functionality. The Samson L2000 20 channel 4 bus USB mixing console also features:

•20-channel / 4-bus professional mixing console engineered for live sound
•16 mono mic/line channels with studio-quality microphone preamps and 3-band swept mid EQ
•2 stereo line channels with microphone preamps and 4-band EQ
•XLR and 1/4" stereo main outputs
•XLR mono subwoofer output with low-pass filter
•Insert points for mono mic/line inputs, group outputs, stereo main outputs
•60mm faders on all channels, groups, and main mix
•24-bit DSP with 100 preset effects
•9-band stereo graphic EQ on master output
•3 aux sends plus EFX send
•Assignable USB digital I/O for computer recording and playback
•Oversized backlit mute switches
•Two large 12-segment LED meters for main mix and PFL/Solo

Saturday, May 6, 2017

Electro-voice ND767/A Dynamic Vocal Microphone

Electro-voice ND767/A Dynamic Vocal Mic


Overall, I'll start by telling you that I tried 5 Mics before I settled on this one. I've been singing professionally for over 15 years and have performed in all types of places from small coffee shops to 3000 seat venues. I was using a Beta58 for most of my career up until now. I wanted a change and started looking to see what else is out there. I'm really glad I did because after I tested a bunch of other Mic's, the Beta58 came in dead last in sound quality. My favorite thing about the 767 is how it sounds "live" compared to everything else. It sounds very "present" verses the other Mic's sounding to polished and sterile. Non of the other Mic's have the 'life' the EV gives you. It's also very warm and rich and I could hear details in my voice I never heard before. Especially when singing soft passages of a song. Another characteristic where other Mic's fell short. If you have a strong voice (like I do), this is your Mic. If you have a thin, weak voice then I highly recommend the Heil PR35 which is also sold by Musicians Friend. The PR35 is the highest amount of gain I've ever heard, but doesn't have the warmth of the 767 which is the only reason I didn't go with the Heil PR35. However, if you're on a budget, the Heil PR35 will cost you more than double verses the 767. So if you want something inbetween, my 3rd favorite Mic is the Sennheiser 835. The best description for the 835 is that it's very, very smooth. To smooth for my tastes and that's another reason I picked the 767. In my humble opinion, you really can't go wrong with the 767 and it sounds far better than a Shure Beta58 which I'm mentioning because it's the most commonly used Mic.
Electro-voice ND767/A Dynamic Vocal Microphone

My last bit of advice is to try 2 or 3 EV 767's at the same time. My ears are super picky and I could hear the slight variances between all 3 and then picked the one that sounded best to me.
The features of this Mic are pretty straightforward. Plug it in and start singing (or screaming if that's your thing). The only "feature" I can comment on is what EV calls VOB which increases bass as you get closer to the Mic. I like this feature but all Mics get bassier as you get closer to them.

The quality of if the Mic delivered by SETI Systems is acceptable. I hope it stays that way. It's my first EV Mic so I hope it lasts for years and years. It feels very solid in my hand and has excellent "handling noise".
The value of this Mic is exceptional. Out of everything else I tried, this gave me the most bang for my buck. Be a smart shopper and shop around. You may be surprised what prices you'll find on this Mic.

Do yourself a favor and pick up one of these babies. They are not only one of the best vocal mics you can buy, but also sound unbelievably similar to an Audix D6 and can handle high sound pressure levels.

Warning: while they can handle high SPL's, if you tend to beat the crap out of your bass drums (I mean REALLY crush the drum), I can't say with absolute certainty that this mic will not distort. However I tend to play really hard, and it has worked beautifully for me thus far. So, I would say this microphone should be more than fine for the vast majority of drummers. It can't be beat in it's price, and I really cannot say that this mike has any flaws at all, except for maybe an on/off switch? Who cares, nobody uses those anyway.

It comes quite close to perfection. Everyone but the most picky sound engineers or vocalists (and even those guys really) will find no microphone that they can say are better (although some may prefer another mic). Some may prefer other microphones to this one simply because of the way in which they prefer to mix. But in my humble opinion, this microphone simply outclasses every microphone I have ever heard in it's price range. It rivals and often surpasses MUCH more expensive microphones).
Electro-voice ND767/A Dynamic Vocal Microphone

Even if you tend prefer another microphone (which is totally understandable if you just like the reputation of quality and durability for something like a Shure), you really should add one of these to your collection. While I have heard nothing about it's durability, I have used this mic for 7 years and have yet to have even a minor problem. The sound quality speaks for itself.

If you are looking for your first mike for either recording or live, you simply can't go wrong with this one. It is highly versatile, and is totally worth the extra few bucks over slightly cheaper mics. It can produce a high quality sound from virtually any instrument (from vocals/guitars to kick drums and basses). It absolutely demolishes Shure's similarly priced mikes at lower frequencies and I like it better for vocals, but Shure products are the standard for a reason.

Slightly more expensive than say a Shure SM58, but the price difference is negligible given this microphone's superior all-around versatility. I've never tried to hammer a stage together with one of these, but I would bet a lot of money that it could be done quite easily.

Friday, April 21, 2017

A Podcasting Studio DIY Set-up

A Podcasting Studio DIY Set-up


A good DIY studio doesn’t have to burn up all of your cash! Especially for beginners, it’s all about getting a good deal and if necessary: upgrade later!  I will provide you with Tips & Tricks to building the perfect studio to fit your budget. Remember: You’re not defined by your equipment, it’s the show you can produce with what you have. Alright let’s do this! This will all be equipment that I own and use for my podcast studio.

1. MICROPHONES


I found that starting out you do not need to spend more than $100 bucks on your mic. With a good mixer and editing software you can really make a decent mic sound much more 'expensive' than it is! I would recommend trying to find a mic within the $60-$80 range but if you must tip it off at 100 bucks.
Dynamic Mics – Take your pick!
Dynamic mics are great to have in your studio. They are much cheaper (usually under 50 bucks) and you can get them to sound great. In this price range, there isn’t a whole lot of difference between brands. I suggest doing what you can get on sale or even in a bundle. Some of these mics come in 3-packs! They are great to have around the studio for when you might have some extra guests.

2. MIXING CONSOLE

Behringer XENYX X1832 USB Mixer

I believe this is the most important piece of equipment in your studio. Your mixer powers and controls every source of audio you want to incorporate on your show. Having a good mixer will take a lot of the stress out of producing your podcast. Also the more elements you can run through your mixer, the less time you have to spend in post-production.
This mixer does everything I need it to do! It can handle up to 6 XLR mics plus a variety of different audio inputs. It let’s me run audio from my laptop into the mixer and still gives me room to add other audio sources. This model offers a compression knob that allows me to get the sound I want. Also with this model, I can run everything LIVE during recording and not have to go back and do any real post production. The mixer does all the work!

 

3. SOFTWARE


Audactiy – That’s all you really need! It’s a free sound editing software that’s available for PC and Mac. You just load it up and hit record. Then you can go back and do your editing all within this software. There are a good amount of helpful tools to clean up all of your recordings and then export it as an Mp3.
Soundbyte – This software allows you to play sound clips during your show. You can load up a page on this software with all of your saved sounds and all you have to do is click and play. The good thing about this software is that it allows you to color each individual button so you can form groups that are easy to navigate. There are also some helpful settings that you can configure to fit how you need clips to fit your show. (PC and Mac)


4. ACCESSORIES


This is the area where you can definitely score some deals! These things won’t affect the quality of your audio so you can be a little more lenient and take the better deal!
Headphones – There are so many different kinds of headphones! Some look cooler than others but really they all do the same thing! Just go with a pair that fit right and you feel comfortable with wearing! You DEFINITELY DO NOT need to get some fancy designer headphones. They won’t in any way effect the sound of your podcast! They’re just there so you can monitor your audio during your show and also when you edit in post production.

Headphone Amp – This is VERY IMPORTANT to have if you have multiple people on your show! Your mixer will only have ONE headphone output. If everyone needs to hear you’re going to need a way to split that signal while boosting it at the same time. This does exactly that! It also allows each person to adjust their volume to the way they like it.
Cables:

For MicrophonesShure PG27 USB. It’s OK to save some money here. I went with the cheapest option for all of my cables. These cables don’t really move around much so there’s no wear and tear on them.
For input and output – Hosa Stereo Y-Cable Mini Male – 2 1/4″ Mono Males
You use these to run audio from your mixer into your computer. Also any sound you want to run from your laptop through your mixer (music, clips, etc.) will be sent through this cable. Get at least 2!
Headphones and Additional Inputs – Hosa 3.5mm TRS to 3.5mm TRS Stereo Interconnect Cable 3 Foot

This are cables you’ll need to run audio from your mixer into your headphone amp. They’re also just good to have around the studio as needed. They can be used to input sound from a laptop/iPod or to patch together an audio source between devices. Have a couple handy at all times!
Headphone and Cable Adapter – Hosa Stereo Mini Female-Stereo 1/4'' Male Adapter
These will always come in handy! They can be the difference between a connection working and failing. They’re cheap and can save you a headache so there just good to have around. What’s you get to setting everything up, you’ll see why!

PRO TIP: Use PROMO codes and take advantage of any sale you might find online or at a music/electronics store near you! Many online retailers offer free shipping  on almost all of these items. They usually have some kind of promotion you can take them up on to save some cash. I did not pay full price on anything that went into my studio.

An Internet connection that has an upload bandwidth of at least 64kbps is sufficient, 256kbps is preferred if you wish to stream higher quality audio.
The Behringer Podcast Studio Bundle, which includes a microphone, headphones, and mixer unit.
Windows XP/Vista/Windows 7/10.


The Broadwave Audio Streaming Software


For recording podcasts: The WavePad Audio Editor Software and MixPad Audio Mixer Software.
1.Using the supplied instructions, setup the Podcast Studio Bundle, connect all the equipment together, and connect the USB Audio Capture Device to the computer. Connect an RCA cable from the CD/Tape output on the mixer to the Line In on the Audio Capture Device.

2.Download and install the Broadwave Audio Streaming Software. The software will automatically open after installation.

3.Talking Live: After the software has run through the initial network setup process, click on the 'Streams' button in the main screen, and in the window that appears, select the listed stream 'Broadwave Live 1', and click on 'Edit Stream' to edit it.

4.Ensure that the correct sound device is listed in the 'Stream Input Settings' window that appears - note that the USB Audio Capture Device appears as its own sound device.

5.Once this is completed, go back to the main screen and click on 'Connect'. This will take you to a webpage where you can find the http links to your live stream. Once you publish these on the Internet (either publish this page directly or copy the information somewhere else), then users will be able to listen to your live audio stream.
Recording a Podcast: After you have connected the equipment, and connected the USB Audio Capture Device to the computer, download and install the MixPad Audio Mixer Software.

6.Go into the Options (Preferences on Mac), and in the 'General' tab, ensure the correction audio device is selected - note that the USB Audio Capture Device appears as its own sound device. You may need to restart the software after changing the device.

7.In the 'General' tab, select which output device you wish to use for playing back your recordings.

8.Back in the main MixPad screen, click on the 'A' button for the first track, and select the appropriate recording channel in the window that opens. Now you can commence your recordings.

9.If you need to mix in other audio files or recordings in to your podcast, simply add more tracks into MixPad.

10.Once you have completed your recording, click on the 'Audio Files' button in the main screen of Broadwave. Once you locate your file it will be added into Broadcam. Clicking on the 'Connect' button will take you to a webpage where you can find the http links to your podcast.

Solid State Logic XLogic Alpha VHD Preamplifier Review

Solid State Logic XLogic Alpha VHD Preamplifier


Solid State Logic XLogic Alpha VHD Preamp
4-channel analog preamp rack 1 unit, no converter built.
I / O mic / line XLR rear and front to Z by Jack High instrumentals.
Minimalist settings on the front, for front:
- Input gain coupled with a color indicator in the On / Off button (see doc SSL for colors and levels)
- VHD knob to harmonic distortion
- Switch high impedance (HiZ) to use the preamp as a DI of instruments.
- Switch 48V
There is no adjustment dynamics or EQ.
Solid State Logic XLogic Alpha VHD

Use more than simple impedance is adjusted according to what is returned in (microphone or instruments) you set the gain, saturation harmonics and roll my chicken ...
The On / Off contains a diode that takes three colors to the input level: green, yellow and red. we know that saturates ... when the LED changes from yellow to red, too late!

This is an SSL preamp very clear, no heat as one might find on a Neve type preamp, Focusrite. It provides the perfect for transitional batteries, also great for acoustic guitars with crystalline KM184.
I also used with Neuman M149 for male voices! ... it gives a very detailed and clear. You can add a little saturation harmonics on acoustic guitars to soften the sound somewhat.

We tested also with a AKG4525 ribbon microphone, with 65dB of gain, the preamp ensures no problem with this type of microphone. The whole set of MESA transplanted with saturated fat gives her a brutal slamming crillarde without distortion in the treble.
In short, wherever you need a clear and detailed sound inception, Solid Logic State doesn't disappoint in the slightest.
The heat brought by the VHD circuit does not completely natural compression or "heat" of a lamp! For it is to be preferred to the universal audio.

I have 2 years and uses mainly acoustic drums and guitars, I used it a few times on fretless bass for games in the treble melody of the instrument ... great!
I regularly use the following preamps: Focusrite ISA, Universal Audio LA610, 6176, 710, Avalon 737, Manley, Neve

Bonus: SSL sound light and airy
The least: no view, just an LED that turns red when you clip ...
One of the cheapest preamp channel price with excellent quality.
We need a clear and detailed preamp like this in his park, I would do this purchase again.

Monday, March 6, 2017

The Audio-Technica BPHS1 Broadcast Stereo Headset

The Audio-Technica BPHS1 Broadcast Stereo Headset
BPHS1 has been designed for monitoring and speech capturing for news broadcasts, direction, sports commentary and more. The BPHS1 features a closed-back circumaural headset that minimizes outside ambiance and provides high intelligibility. The attached boom microphone features a frequency response tailored for speech capturing. Its cardioid polar pattern minimizes off-axis noise and feedback. A 1/4" phone connection is featured for the headphones, and an XLR connection is provided for the mic.
The Audio-Technica BPHS1 Broadcast Stereo Headset

Microphone features polar pattern and frequency response tailored for natural, highly intelligible vocal reproduction
Closed-back circumaural ear cups help seal out crowd noise and other background distractions
Neodymium magnets in microphone and headphones for high output level & detailed sound reproduction
Rugged design with user-replaceable cable and ear pads
Cardioid pickup pattern of the dynamic microphone rejects off-axis sounds
Boom-mounted microphone can be positioned on the left or right side
Adjustable cushioned headband and lightweight design for long-wearing comfort
3-pin XLRM-type connector for microphone, 1/4" phone 3-conductor for headphones.

Great gaming headset and amazing quality! I use this to play and other games and the sound is very good, if you want to use "surround sound" with it you should know the ear-piece with the mic is considered the "left" ear. I've had this pair for a little over half a year and it has survived many bangs and accidental drops. The cabling is strong and long, and the mic (with the assistance of a mixer) is amazing. My voice always come through clearly and I can quickly change the sensitivity so my breathing / ambient noise isn't picked up. I use the Behringer QX1202USB Xenyx Mixer with it (its a USB to PC mixer), super simple to setup and play with to get the volumes just right. If you're tired of "gaming" headsets made from garbage materials and are ready for some serious gear, get this headset.
The audio quality of the headphones is spectacular. On a par with the Bose headphones I have had, and I have had several versions of those as well as the Sennheisers and other brands as well. The bass is fat, punchy and exceptionally clear. Highs are brilliant and shimmering. Balance overall is among the best I have ever heard, The microphone is quite good, too. It is a dynamic mic, so it does not require phantom power.
The Audio-Technica BPHS1 Broadcast Stereo Headset

It is very simple to use and well suited to a wide variety of applications. The headphones are comfortable, but not like the Bose, and of course they are considerably heavier... because they are built like a tank, which is a very GOOD thing. There is absolutely nothing flimsy about these headphones. They are the best built headphones I have ever owned.These are expensive headphones, but I am well pleased with my purchase. I will be using these live on stage (for singing) and I have no doubt they will work well for that because the quality is evident all the way around, sound-wise, build-wise, everything-wise. I don't jump around a lot on stage, but if I did, I would certainly have to come up with some additional way to secure these things to my head, but that would be easy enough to do. The ear cushions could be a little softer, and that would make them more comfortable, I suppose... but they are comfortable enough and in return for their comparative 'stiffness' I am sure there is some extra durability that comes from that. I can't stress the build quality enough. These are Military Specification and in fact it would not surprise me if they are actually used in Army Tanks. They just have that kind of "feel" to them. But there is n noise reduction. On the other hand these headphones will get very VERY loud before distortion sets in. So if you're in a noisy environment you can just crank them up. They a maintain their clarity and a good balance throughout their volume range. They sound good soft or loud or anywhere in between. I think they are very accurate sounding. You can hear all the highs and lows. They sound very 'saturated'.
For what it's worth, my head is quite large and so are my ears (think of Bigfoot) and there are some headphones that just don't fit me very well. But I find these quite comfortable, although I would not want to wear them all day, but an hour at a time would be no big deal.

Monday, February 6, 2017

Beats by Dre Executive Headphones

We are now several models into the Beats by Dr Dre line of headphones and speakers, and as ever, you know what you’re getting with this range – namely, an intense and heightened bass response. Therefore, audiophiles and purists are not likely to be interested in the latest Beats by Dr Dre offering, a good looking Bluetooth headphone pair that offers powerful audio, along with bass response that's extremely boosted. The headphones are aesthetically pleasing and well made, but the price is a bit on the high side at the $250 mark.

Beats does branding better than most, and you immediately know what you're looking at. The headphones boast a shiny plastic band and "b" logo, combined with either white or black frames with grey and red highlights. The black, supra-aural (on-ear) earpads for the Beats Wireless are plush and comfortable, and though they sit on the ear, they are almost (but not quite) large enough to enclose it like a circumaural pair would.

Most headphone pairs with well-cushioned earcups also have well-padded headbands, but the interior of the Beats Wireless headband employs a thin, rubbery cushion that offers very little in the way of comfort. For short listening periods, you're unlikely to notice, but wear these for an hour or so, and it can start to feel like it's pressing on your skull a little too much.

No one will accuse Beats of not including enough controls on its Bluetooth headphones. The right earcup has a Power/Pairing button, a Play/Pause control, along with Track Forward and Backward buttons, and Volume controls. Though it can take a while to memorise the position of each, they are thoughtfully covered with Braille-like bumps so you can feel where to press.

Included with the headphones is a USB charging cable, a 3.5mm audio cable with phone controls, a cleaning cloth, and a padded zip-up carrying case that the headphones fold into. Both cables (and the cloth) are the trademark Beats red. The inclusion of the audio cable is a thoughtful move – one that manufacturers often skip. This allows you to use the headphones in passive mode, without depleting the battery (or when the battery has already been depleted).

If you were to take a quick visual survey of high-street headphone fashion, you’d notice two brands appearing again and again: Apple, with its trademark white earphones; and Beats, with models such as the Beats Executive we have here.
The company, co-founded by former N.W.A. rapper Dr Dre, has a solid track-record of producing desirable, stylish and punchy-sounding headphones, but the Executives mark its first move into the high-flyer market.
We mean that literally, too, for these are noise-cancelling cans – and are hoping to turf the Bose QuietComfort 15s right out of their seat in First Class.

The Beats Executives make a cracking first impression. Open the box and you’re presented with an attractive and sturdy carry-case, two 3.5mm leads (one with a one-button remote/mic unit), batteries, an aeroplane adapter, 6.3mm plug, a cleaning cloth, and the usual manuals and marketing materials.
Plus the headphones, of course. And what a pair of headphones they are. Flawlessly constructed from stainless steel and aluminium alloy, they drew admiring glances from all in the office – and equally enthusiastic ‘oohs’ and ‘aahs’ when people tried them on.

The magnetic battery-compartment cover on the left earcup is a particularly nice touch. Not only does it look nice and work well, it’ll probably last a fair bit longer than the usual plastic-catch mechanism you find on these things.

On the right earcup is the on/off switch and a mute button. Push the big ‘b’ logo and the Executives are muted (and the noise-cancelling disabled) for the duration of your press – handy for hearing that last-call-for-drinks announcement before landing. It doesn’t pause whatever you’re listening to, though…
Before running in, we check out the Beats’ noise-cancelling abilities. Which brings us on to our first two gripes: like many such designs, the Executives won’t work at all without being switched on (so if your batteries run out, that’s not only the end of your noise-cancellation, it’s the end of your music too); and when they are switched on, there’s an annoyingly constant hiss.
Audiophiles and purists tend to prefer headphones with flat responses or less exaggerated bass response, and are not likely to enjoy the Wireless Beats. These headphones have serious low-end, to the extent that classical music such as John Adams' "The Chairman Dances" can occasionally sound almost comical, with the already ominous, intense presence of lower register strings, brass, and percussion boosted to the point where they sound more like massive synthesisers rather than acoustic instruments, overpowering the rest of the mix with added rumble and resonance.

If the world were only for audio purists, though, what a boring world it would be. The Beats line works best, generally, with modern mixes for pop, rock, and hip hop, where deep, sub-bass frequencies are often par for the course. Not only can the Beats Wireless reproduce intense low end, like the electronic synth beat at the opening of the Knife's "Silent Shout" without a hint of distortion at maximum volume (on both the sound source and the headphones), but it sounds good doing so.
It may not be the most accurate reproduction of sound, but it can feel as if you're in a club or at a concert when playing Jay-Z and Kanye West's "No Church in the Wild" or Lower Dens' "Brains." If the intense thump of the kick drum or rumble of a bass line is what you're looking for, who cares what audiophiles say? The Beats Wireless delivers the rest of the frequency range with a reasonable enough level of integrity so that you can enjoy being a bass fiend without sacrificing too much clarity, though some mixes can lean towards the muddy end of the spectrum.

While this Beats by Dr Dre offering looks great and offers powerful audio, it is a tad pricey, and cost-wise it pushes into the realm of headphones that are usually more devoted to accurate audio reproduction. When you pay for Beats, you are paying for powerful audio, but also for looks and Dr Dre's implicit endorsement.
However, there’s no doubting that this is an excellent wireless choice for the target audience of bass lovers, with its distortion-free, thumping sound, not to mention passive/wired functionality. But I can't help feeling it would have been nice to see these headphones pitched a bit lower than the £200 mark, as opposed to over it.

Anyway, the show must go on. We give the Executives a short listen, pre-run in, to get a measure of their character.
These cans don’t shy away from giving low-frequencies their full attention – but they don’t have quite the same attack as other models in the company’s range. The treble is pretty sweet-sounding, though, and there’s nice detail to snare drums and cymbals.
After a good 24 hours (and a battery change), the sound settles down into itself. It’s more cohesive, but still lacks that punch and zing we were hoping for. The bass is as weighty as ever, but still isn’t tight enough to really help the music move along – and that’s a shame, because the midrange is quite pleasing.

There’s decent detail to percussion, the leading edges of snares and toms, and vocals have a nice, natural sound.
Crank them up and the treble hardens quite a lot, with hi-hats and crash cymbals becoming rather harsh and brittle. Listening to mellower recordings mitigates this, but the Beats really seem built for pop - so it’s wise to keep the volume under control.

Overall, though, it’s a slightly flat, tired-sounding performance – one that’s at odds with the rest of the Beats we’ve heard. We want more agility at this price; more pep, more attack and more in the way of dynamic range. There’s a lack of light and shade here, which masks some of these cans’ real skills. There’s such a thing as too easygoing, and that’s the case here.

We can forgive the Executives’ lack of neutrality, however.. They don't have the airiest or most natural sound compared with the Bose QuietComfort 15s. And neither do they stack up to the Logitechs or PSBs in the ‘fun’ stakes - both of these will have your toes tapping away with their more assured performances.