All user reviews for the Beyerdynamic Opus 89

Micro chant, hypercardioid, dynamic

OVERALL OPINION

I've had six months and it is wonderful!! Nothing to do with Sennheiser or Shure, no special color commme the shhure j'appprécis and especially what he can pop an anti not to take any external sound even close to the microphone he did capture the voice and makes it perfectly without faults or grésillment I use it for the singing, because I began a career as a singer and it's perfect, reinforced in the high serious and that there have not saturation.zero Feedback, but when I said real zero c Feedback not like the so-called anti Senheiser Larsen dice kon approached some of the amps parte Larsen endless
Brief no reproach be a little bit fragile but once in hand they never left it's body covered with a non-slip extremely pleasant to the touch
in short a perfect microphone wired for the best voice I hate to put myself in hf !!!!!!!
Here it's really buying the super no défaults
I pay € 185 in Germany pity he is not better distribute in France

Hypercardioid dynamic microphone, called instead for rock, pop and R'n'B.

OVERALL OPINION

I just invest in the micro (buy from Thomann to € 185) which comes into direct competition with the Sennheiser E945. I tested it on LIVE last weekend.

I am a drummer singer, and I bought this mic to replace my Beta 54 (micro electrect headband), which has just fallen down and that I must return Shure :-(

I did a performance with the Shure SM58 (since my beta 54 is out), but I preferred to invest in a good squarely micro hand, as I sometimes do solo with benefits soundtracks.

The advantage Thomann (in addition to attractive price) is that we are 30 days money back guarantee and 3 years, so I took the test, and I can tell you that I will not return to Germany, but I keep it with me! !

The design is quite successful, it is really pretty, with a metal grille blue ring: beautiful. It is rather heavy in hand, heavier than the TGX60et TGX80 home Beyer.

This microphone is perfect for me, I'm in a band ball, and I sing all (mostly rock and pop all the same), I am a tenor, and I have a range of three octaves.
Compared to the Shure SM58 is the day and night, shure seems bland and neutral in this micro color, lots of gain, a good seed, and especially a potato! ! ! It really takes all its dimension when one "face" it: awesome! When I tried to keep the settings we had the shure SM58, what a slap when I started to say "one two, testing micro ".... without touching the EQ curve, I had much more grain and color, and too gain it took down a big hit!

I find it a bit more color and detail that the TGX80 (which is already an excellent micro). He has a good presence in the treble and bass, Shure SM58 is the next medium, and my beta 54 lack a bit of serious proportion.

I find it nothing to envy to the Shure Beta 87 (microphone electrect high end), it is almost as clear and precise and that it has more gain, and above all it costs almost half the price!

It is a hypercardioid microphone so little about the feedback, but I have not tested since we are in-ear monitor.

A € 185, the price / quality ratio is well respected, and this is in the same segment as the Sennheiser E945 with which I hesitate in my choice.

I could not compare the E945 with its competitor, but I do it again the selection of Beyer Opus 89 and I unhesitatingly recommend it highly! !

PS: the orchestra is the fourth Beyerdynamic (2 80 TGX, TGX 1 60, and of course Opus 89)

EDIT May 2009:
Still happy with this microphone, it is always as accurate and tough, I sold it recently to a friend who was torn between the Shure Beta 87 and opus, and after testing two microphones, he preferred the album because not require phantom power. I replaced with a Sennheiser EW 165 G3 capsule with e 865 (electret) and it is a mistake! The Sennheiser is a great microphone, but for me as I am drummer / singer and is so sensitive that transplanted me back my battery and loops in his returns. In contrast to pure song (without my being to the battery) there is nothing wrong with the excellent microphone and recording all the more so versatile. I regret in the sense that the album took up little or no battery and suddenly was cleaner.

Micro vocals, dynamic, hypercardioid
Bandwidth: 35 - 18 000 Hz
(So ​​far nothing very original but wait later ^ ^)

OVERALL OPINION

I use it for 2 months

What I like most is his great strength Larcen, precision, response curve that can fit easily into the mix

What I like least: I would say the fragility of the cell (compared to an SM58 which is a real tank), so as not to everybody's hands, but if one cares There's no problem! Oh, also found near the store, Beyerdynamic mics are too little known for my taste.

Before buying it I tried: Shure SM58, Shure Beta 58 (competitor Shure) SENNHEISER E845 (not able to try the e945, which is the direct competitor Sennheiser).
I do not like too much Sennheiser dynamic so I hesitate with BETA58. Tried alone, the beta 58 is nice because in the very medium through against a mix there to play around with the EQ to bring out the song (in a rock band or playing it safe, for the folk acoustic that is less problematic I think).

Opus 89 "embellished" the least votes in the first listening, but is much more accurate in reality it is close to a static level made (accuracy and neutrality), without the disadvantages of condenser microphones => c ' is the microphone that has the best resistance Larcen I know, you win a pack of more decibels compared to Shure or Sennheiser (and God knows that the singers of rock bands will appreciate).

I paid 180 euros Thomann, a few dollars more than the BETA58 and same price as the e945. The value was excellent for me => the others are either expensive or it is not!

I do it again this choice without hesitation, for the first Larcen, it changes life can bring sound without fear for his ears and speakers. It does not transplanted ambient sounds (not want to re-sound with guitar / bass / drums with my microphone, as will a static).

In short almost a static quality sound without the drawbacks (phantom power, capture of birds and the washing machine ...)

It gives me the microphone singing ULTIMATE dynamic stage (each voice is different, for whatever against the voice, it's not necessarily Larcen plaisiiiir). It may also be appropriate in home studio for voice if you can not pay you a large static membrane correct.

I put 9 in the fragile compared to other even cheaper, but if you take care of your equipment do not hesitate to go for it!

data sheet:

Transducer type. . . . . . . . . . . . . . . . . . . . . . Dynamic
Operating principle ". . . . . . . . . . . . . . . . . . . Pressure gradient
Frequency response
Close miking. . . . . . . . . . . . . . . . . . . . . . 35 to 18.000 Hz
Distant miking. . . . . . . . . . . . . . . . . . . . 125 to 18.000 Hz (Measured at 1 meter)
Polar pattern. . . . . . . . . . . . . . . . . . . . . . . . Hypercardioid
Rear attenuation at 1 kHz. . . . . . . . . . . . . 25 dB at 110 °
Open circuit voltage
at 1 kHz (0 dB = 1V/Pa). . . . . . . . . . . . . . . . 3 mV / Pa = -50 dB
Magnetic field suppression. . . . . . . . . . . . . 20 dB at 50 Hz
Nominal output impedance. . . . . . . . . . . . 280 Ω
Load impedance. . . . . . . . . . . . . . . . . . . . . ≥ 1000 Ω
Diaphragm. . . . . . . . . . . . . . . . . . . . . . . . . . Makrolon ®
Case / finish. . . . . . . . . . . . . . . . . . . . . . . . . . . Die casting, matte black
Connection. . . . . . . . . . . . . . . . . . . . . . . . . . 3-pin XLR male
Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . Length:
205 mm
Head diameter:
50 mm
Weight Without Cable. . . . . . . . . . . . . . . . . 345 g

OVERALL OPINION

A very good sound engineer advised me Beyerdynamic, I hesitated a moment between the Opus 89 and the TG-X 80. My choice is focused on the OPUS, who seems more solid.

Having experienced the SM58, I was initially very destabilized by the OPUS 89. For me, it is the antithesis: the Shure swells mediums ignoring the rest, beyer the opposite way and ultraviolent. Where I was digging or swell slightly on the trail of shure, I must make adjustments in the other direction and so twice more pronounced with the beyer.
Well, it's a little nag, but effective. A real sound engineer should be able to do wonders with this microphone.
Once the proper setting is found, it's a real pleasure. My voice is like finally something! My highs and my bass (mine, not those of the preamp) are there, no need to cheat downstream.

It is hypercardoide, and I want to say hyperdynamic too. It took me some time to learn to sing in a 58, here again, things are different.
Glued to the microphone, it gives the impression of singing in the ear of the listener, to 10cm, you're already at 30m behind in the mix. Impressive. Vraimment but boring at first.
Within hours I finally get used to it and, like the response curve, I'm not disappointed in the end not by the "dynamism" of the microphone.
Advisories singers / instrumentalists: review your choreography.

I use it for only two weeks and despite my disappointment (limit hysterics) of the first day, today I am ecstatic.
Take time to tame it, it will reward you! -)