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miconmac
Published on 07/28/08 at 09:33
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 https://microphone-dynamique.audix.audiofanzine.com/produits/avis/index, ProductID, 59358.html ( https://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 https://microphone-ruban.the-t-bone.audiofanzine.com/produits/avis/ index, ProductID, 110606.html ( https://microphone-ruban.the-t-bone.audiofanzine.com/produits/avis/index,idproduit,110606.html ) ). CHARACTERISTICS but its non-standard to really put the tape part.
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 https://microphone-dynamique.audix.audiofanzine.com/produits/avis/index, ProductID, 59358.html ( https://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 https://microphone-ruban.the-t-bone.audiofanzine.com/produits/avis/ index, ProductID, 110606.html ( https://microphone-ruban.the-t-bone.audiofanzine.com/produits/avis/index,idproduit,110606.html ) ). CHARACTERISTICS but its non-standard to really put the tape part.