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mem69 « Tame »
Published on 12/27/10 at 23:47data 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! -)
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! -)