(One of these more modern LDCs is much less noisy though, maybe 18 dB(A) for the SC400? I'll have to borrow something closer to SOTA one of these days - my room noise is pretty much swamping SC400 noise as-is, so I can't imagine it could get much better.) Should be about 22-23 dB(A) then? Turn the bass up by a hair (2-3 dB) and it starts to sound a lot like the SC400 LDC, too. The SC140 with its little 16 mm capsule is roughly on par with an old Samson CL8 LDC sporting a capsule twice the size (more low-frequency noise, less white noise, with the Samson's highs boost doing it no favors). More low-frequency noise on the condenser, but much more white noise on the dynamic.
I just got a pair of inexpensive t.bone SC140 pencil mics (a 2-pack of 16 mm true condensers for under 100€), and I would decidedly prefer the noise floor of the good one (the other is a bit of a dud, will have to return) over what my Mackie 402VLZ4's preamp (not a slouch in itself) will coax out of a Samson Q2U (600 ohm, -54 dBV/Pa). Working with dynamic mics reminds you of how depressingly good even some budget condensers are.
#Dm1 dynamite series
The AT2035 is one that I did like in the samples I've heard (the other mics in this series aren't really that exciting to me - the 2020 with its 16 mm capsule has a somewhat thin bottom end like 2000s era China LDCs, and the 2050 is rather generous in the treble area). Taking some hints from Youtubers like Booth Junkie on improvised vocal booths may, however, also prove beneficial. If you need what effectively is a broadcast / radio mic, I'd be taking a hard look at the Rode Procaster or perhaps the AT BP40 (super sensitive, quite a bit of treble peak). It's also quite neutral and unhyped up top, which with proximity effect in action in nearfield use gives it a somewhat warm tone. So you definitely have to get up close and personal with it for that reason alone. Plenty of entry-level large diaphragm condensers make it to this kind of level at 0.5%.Ĭlick to expand.If you need a super directional mic, the SM7B arguably isn't first choice - my impression is that the element is relatively far recessed, and it's a reasonably broad cardioid. The 0.02% THD at 0 dBu output (= -25 dBu input) spec of the CT-1 may not seem too impressive, but with a -59 dBV/Pa SM7B this level still amounts to about 126 dB SPL. typical Behringer circuit), while at 20-30 dB they may hit around 0.003% even at highish levels. What you want is a given low EIN (like 0.1% or even close to 0.3% beyond the 50 dB gain mark (e.g. Still, that's quite enough to bring a mediocre input (say, -120 dBu) close to the physical limits.Īs for those saying you need X amount of gain, well - that's neither completely right nor completely wrong. I would expect closer to 13-16 dB of boost in practice.
The 25 dB maximum gain spec is a bit misleading - most people have mic inputs with 2-3 kOhms of input impedance, not 10k. Not sure why the bottom end didn't seem to be affected much at all, the coupling caps couldn't be that small.? Should be less than with a FEThead though (33 kOhms or something if memory serves?). The sound coloration with the SM7B is likely down to a higher-than-usual 7 kOhm input impedance (which would be expected to result in slightly more highs and a more hefty bottom end).
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