BeyerDynamic M 500 N user reviews
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- The BeyerDynamic M 500 N is a dynamic ribbon microphone that is best suited for use in the studio. The mic has a hypercardioid pick up pattern and boats a frequency range that starts at 40 Hz and goes up to 18 kHz. I don't know too much backing information about the M 500 N, as it isn't one of BeyerDynamic's most well known microphones. It's been a little while since I used this microphone, but still have some fond memories of it and hope to get a chance to use it again in the future. The mic also features an on/off switch.
- Overall Opinion
- The BeyerDynamic M 500 N is overall a very solid microphone that can be used for a number of different purposes. I've personally only tried it for a few different things, and haven't actually used the microphone in a few years as I'm no longer working at the studio where they had it. The last session that I used it on was for recording some percussion. I was told before hand by one of the house engineers at the studio that the mic was great for congas and the like, so we tried it out on some percussion and the results were fantastic! You could hear all the detail in the sound, but it wasn't overly distracting as the sound was still whole and cut through very well. If I remember right, we used it for some shaker, tambourine, and conga tracks. I also once used it on an electric guitar cabinet, which I also thought sounded pretty great. I don't think it would be too easy to find one of these to buy, as they are no longer made and don't seem to be all that readily available. There are definitely some comparable and similar BeyerDynamic mics, so if you can't find this one check out some of the others they've got...
User reviews in other languages
- if you have a nickel, you are the king of miking snare!!
- Overall Opinion
- a grain and a directivity ideal!
- The Beyer M500 microphone scne the silent "atitrquot; of Frank Sinatra from the 70s. S'arrter l could not ;-)
It looks like an ordinary hand-held dynamic microphone sm58 ... but it is really a micro motor specially design for the ribbon scne. He does Designed to minimize the problem of Feedback: Hypercardioid, while most of its bi-directional ribbon (figure 8), it has a quality of rejection and tolrance the proximity effect which distinguishes it radically from those congnres. The low output level is made against any of the typical micro-strip: pramplification a "muscle" is ncessaire. But on the song, or any other capture the M500 proximity is logically less demanding in dB: in gnral, 15dB more from an sm58 will be sufficient.
Like any band, it is necessary to avoid supplying 48V: a dtruira do not blow sr (if the microphone is connected to the table and not XLR TRS, if the 48V is switched APRS connection, if the cblage XLR is correct ....) but if ppin, it will be difficult to do srement rpar except by returning home mre ...
- Overall Opinion
- THE FIRST thing that strikes when you sing for the 1st time in a Beyer M500 is its neutrality: with him, no bumps that favor certain mediums or any other portion of the spectrum. Ms. pasting the grid, we hardly exacerbate the serious: the effect of proximity is somewhat insensitive to this micro prs.
It's so diffrent a microphone singing "current" one feels in a few ... dboussol ;-). A musician who sang for years in a eta58 (or SM58) suddenly loses all his back, looking unconsciously find it rode the bumps, or peaks between which he had learned to slalom.
I thought the Audix OM7 (see http://microphone-dynamique.audix.audiofanzine.com/produits/avis/index, ProductID, 59358.html ( http://microphone-dynamique.audix.audiofanzine.com/produits/avis/index,idproduit,59358.html ) ) linear but relatively silent compared to Beyer, is a monster characters ;-)
So much so we ended up asking him if he does not fail, even when it's a little trick-M500 ....
At Providence, and even if the tapes are rputs "dark", it is useless to seek any weakness in the treble. Because it has a micro rponse in the high-frquences frle to perfection. Nothing to do with the brightness a little "stress" of certain micro electret scne: Beyer with everything going on, but everything goes smoothly. It was so much air that a top is breathtaking.
The mids are silky down and earn trs brightness gradually as and when it goes to the top. No holes, no dents, no acidity frquence any whatsoever. But further down and the microphone rponse will fade. To 200Hz, I think we're too down to avoid some DCEL .... deficiency in the bass.
Compared the OM7, I finally found that the lack of seating Beyer and depth. On my voice in any case, I feel that the bass is dsagrable drobent instead of itself as the Audix. That said, it might be my voice that lacks solidity as it is true that a weakness in the lower is unexpected for a microstrip.
But if we compare the M500 with a conventional micro-strip like the AEA R84 or even the simple Tbone RB100 was indeed a serious ct prsence and an exceptionally deep and the other a relatively low end tasteless. For cons, the M500 incorporates a clear advantage at the top of the spectrum, taking also against all other up-tape I've heard: if the goal of ingnieurs Beyer silent reverse the natural tendency of the engine by transferring tape excellence bass to treble, it reached 150%.
A legalization of quality will give at least the lower body to Beyer. But we will lose this homognit and transparency that are the charm of this microphone.
At Providence, you should use this microphone for its exceptional quality intrinsques.
In my opinion, should be an artist who has an excellent matrise of his voice and wants his microphone just to reproduce the most Fidler possible. A nice bass or baritone bnficiera srement this lightweight in serious withdrawal to gain lgret mix and form a fairly soft one imagines, pleased t jazzy old'school ...
On scne (in voice), it is not a micro size for a big sound "rock", which may be too repisse to be used on a noisy scne.
In the studio, the Beyer M500 will blow sr rubanophiles of happiness because we found the perfect "paw" inimitable sound (see http://microphone-ruban.the-t-bone.audiofanzine.com/produits/avis/ index, ProductID, 110606.html ( http://microphone-ruban.the-t-bone.audiofanzine.com/produits/avis/index,idproduit,110606.html ) ). CHARACTERISTICS but its non-standard to really put the tape part.N / AN / A
- Hyper-cardioid ribbon
sensitivity: 1.2 mV / Pa!
It is a micro phnomnal. For the micro tape rponse is amazingly tight. A single ribbon of 0.00034 grams of pure aluminum is super lightweight and super rsistant transients rpondent of Manir unexpected. It's high standards. Thus the curve is stretched rponse 40-18000Hz. Still further, one can take this micro hand and the prs lvres no problem to pop or other noise mcaniques. Designed to t he a. The cash normment, 130dB! He has not the fragility of conventional tapes.
- Overall Opinion
- The sound is sweet and Retailer of hand RCA 77 and others that seem dark ct.
This is not the same Aesthetics. It is more versatile, voice, electric guitar, sax and percussion. It is a hyper-cardio and as such does not affect Submitted by proximity. Sound like an M260 plutt of the same brand with over dtails, air and level. Personally, although the sound of the M260 is attaching trs I prfre the M500. It's easier every way, taking as the mix. Once we keep the master tape with her sweet just enough to prsence more. Another advantage, he hyper-immune and cardio the proximity. free of a problem rsonance of the room. And above all it is used on scne. Much less fragile than a normal tape and cons related feedback. Without be certain, I think he had to be Designed for a. It is not necessary to Galise anything. As with the M260, keep the sound as it is. This is a micro intrt lgance with typ.N / AN / A