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Teste com o TritonAudio FetHead no preamp da interface Behringer Xenyx 302 USB.

O Phanton Power provido pela interface é de APENAS 15V, mas foi suficiente para alimentar o Triton FeTHead!

SPECIFICATIONS Xenyx 320 USB:

Microphone Input: Type: XLR/1/4 " combo connector, electronically balanced

Mic E.I.N. (20 Hz - 20 kHz)

- @ 0 Î source resistance -130 dB / -133.1 dB A-weighted

- @ 50 Î source resistance -128 dB / -131.5 dB A-weighted

- @ 150 Î source resistance -127 dB / -129.8 dB A-weighted

Frequency response: (“1 dB) 18 Hz - 40 kHz

Frequency response: (“3 dB) < 10 Hz - 75 kHz

Gain range: +15 dB to +55 dB

Max. input level: +12 dBu @ +10 dB Gain

Impedance: 2 kÎ

Signal-to-noise ratio: 98 dB / 101 dB A-weighted (0 dBu in @ +22 dB Gain)

Distortion (THD+N): 0.013%

Frequency Response (Mic In, Main Out)

18 Hz - 40 kHz: +0 dB / -1 dB

10 Hz - 75 kHz: +0 dB / -3 dB

Stereo Line Input

Type: RCA jacks, unbalanced

Impedance: 6 kÎ

Gain range: -ˆž to +20 dB

Max. input level: +20 dBu

2-Track In

Type: RCA jacks, unbalanced

Impedance: 20 kÎ

Max. input level: +20 dBu

Headset Mic In

Type: 1„8" TRS mini jack

Impedance: 6 kÎ

Max. input level: +22 dBu @ Gain Min

Equalizer

Low: 80 Hz / ±15 dB

High: 12 kHz / ±15 dB

Main Outputs

Type RCA, unbalanced

Impedance: 470 Î

Max. output level: +22 dBu

Phones Output

Type: 1„8" TRS mini jack

Max. output level: +7 dBu / 150 Î

System Data (Noise)

Main mix @ -ˆž, channel fader @ -ˆž: -96 dBu / -101 dBu A-weighted

Main mix @ 0 dB, Î channel fader @ -ˆž: -80 dBu / -85 dBu A-weighted

Main mix @ 0 dB, channel fader @ 0 dB: -80 dBu / -85 dBu A-weighted

External USB Switching Power Supply

Mains voltage: 100-240 V, 50/60 Hz

Power consumption: 0.9 W

Power connector: USB, type A

USB

Connector: Type B

Converter: 16-bit

Sample Rate: 48 kHz

Size/Weight

Dimensions (H x W x D): 1.8 x 4.5 x 5.4", (46 x 114 x 136 mm)

Weight 0.83 lb., (0.38 kg)

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TritonAudio FetHead Specs:

Ultra low noise Class A JFet amplifier

27dB amplification (@3 KOhm load)

4 matched jFets

Z-in 22KOhm

24-48V Phantom Power

For Ribbon & Dynamic microphones

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Shure SM57 (from WikiPedia):

The Shure SM57 is a low-impedance, cardioid, dynamic microphone made by Shure Incorporated and commonly used in live sound reinforcement and studio recording. It is one of the best-selling microphones in the world. It is used extensively in amplified music and has been used by every U.S. president since its introduction in 1965.[1] In 2004, honoring its four decades of "solid, dependable performance", it was inducted into the first-ever TEC Awards TECnology Hall of Fame.[1]

Background

The origin of SM57 may be traced to 1937, when Shure engineer Benjamin Bauer developed the first single-element directional microphone, the Unidyne, which had a cardioid pickup pattern.[1] In 1959, another Shure engineer, Ernie Seeler, advanced the art of microphone design significantly with the Unidyne III.[1] Seeler torture-tested the Unidyne III during three years of research and development and thereby, produced the SM series of rugged and reliable Shure microphone capsules.[1] The "SM" stands for Studio Microphone;[2] Seeler was an aficionado of classical music and expected the SM57 to be used for orchestras. Because he "despised" rock music, the TEC Foundation said that it was "ironic" that the microphone has become "a mainstay of rock music."[1]

Characteristics

The SM57 uses the same capsule as the popular SM58. Like the SM58, the SM57 is fitted with an XLR connector and features a balanced output, which helps to minimize electrical hum and noise pickup. According to Shure, the frequency response extends from 40 Hertz (Hz) to 15 kHz. The SM57 is manufactured in the United States, Mexico, and China.

The Shure A2WS is an accessory windscreen for the SM57 that attenuates wind noise and plosives ("pop" sounds), and protects the microphone capsule.

Use

Shure SM57 microphones with A2WS windscreens installed on the lectern of the president of the United States. The microphone kit (two SM57 microphones, windscreens, microphone stands, and black right-angle XLR cables) is referred to as the VIP/high-profile microphone kit.

The SM57 is a popular choice of musicians due to its sturdy construction and ability to work well with instruments that produce high sound pressure levels, such as percussion instruments and electric guitars. The School of Audio Engineering (SAE) recommends the SM57 (along with other makes and models) for four roles in a drum kit: kick drum, snare drum, rack toms, and floor tom.[3] The cardioid pickup pattern of the microphone reduces the pickup of unwanted background sound and the generation of acoustic feedback. SM57s have also been a staple when reinforcing the sound from guitar amplifiers.

Every U.S. president since Lyndon B. Johnson has delivered speeches through an SM57.[1] It became the lectern microphone of the White House Communications Agency in 1965, the year of its introduction, and remains so.[4]

Due to its popularity, the SM57 has been counterfeited frequently by manufacturers in China and Thailand.[5] Shure Distribution UK reports that the SM57, SM58, Beta 57A, and Beta 58A are their microphones that are most commonly counterfeited.[6] In 2006, Shure mounted a campaign against the trading of counterfeit microphones.[7]

Specifications

Type: Dynamic

Frequency Response: 40 to 15,000 Hz

Polar Pattern: Cardioid

Sensitivity (at 1,000 Hz Open Circuit Voltage)

−56.0 dBV/Pa (at 1,000 Hz)

Impedance: Rated impedance is 150 ohms (300 ohms actual) for connection to microphone inputs rated low impedance Connector: Three-pin professional audio connector (male XLR type)

Produced: 1965–present

Teste do legendário microfone dinâmico Shure SM57 com o High-end in line microphone Preamp Triton FetHead. O microfone foi testado no preamp da Universal Audio Apollo Twin com 13 dB (com FetHead) e 45dB (sem FethHead) de ganho.

Características do FetHead:

Boost your microphone

FetHead is a low-noise, high quality, in-line microphone preamplifier. It provides improved sound for Ribbon and Dynamic microphones. The electronics are housed in a robust metal chassis with a balanced 3-pole female XLR input and a balanced 3-pole male XLR output, rugged enough for use at home, in the studio or on tour.

Which microphones benefit

In short, we noticed an improvement on all tested microphones. A Shure SM57 for instance, sounds more responsive over a broader frequency range. When mated with a high-end dynamic microphone like a Sennheiser MD441, or Shure SM7 FetHead really shines. Ribbon microphones benefit greatly too because of a much better impedance match, which lessens the load on the microphone, giving it better transient response characteristics. FetHeads high quality, low noise signal amplification also extends the usable range of a ribbon microphone, making it more suitable for recording softer passages.

Protects the microphone

Some ribbon microphones do not tolerate phantom power. FetHead's circuit uses 48v phantom power but shields it from the microphone, so the microphone is protected.

Ultra low noise Class A JFet amplifier

27dB amplification (@3 KOhm load)

4 matched jFets

Z-in 22KOhm

24-48V Phantom Power

For Ribbon & Dynamic microphones

Amostra do microfone Electro-Voice RE320 plugado no gravador portátil e interface Zoom H5 com a utilização do Mic Booster Triton FetHead.

Questão que não quer calar? O FetHead tem coloração própria?

Teste do Microfone Samson Q2U e suas saídas analógica e digital, capturadas via pré-amp do Zoom H5 e iPad/iOS, via camera connection kit. O microfone foi testado com o áudio puro e com aplicação plugins de equalização e compressão.

Features

- USB/XLR handheld dynamic microphone-

- Ideal for podcasting, live sound and music recording applications

- USB output for connecting to any Mac or PC device

- XLR output for connecting to any mixer/PA system

- On/Off switch controls both USB and XLR audio output

- 1/8" stereo headphone output with level control for zero-latency monitoring

- Dual-color Power/Clip LED

- Plug-and-play, no driver installation required

- Compatible with most computer-based digital audio workstation software

- USB bus powered via Mac, PC or iPad

- Solid, die-cast construction with heavy gauge mesh grille

- Includes mic clip, tripod stand, tripod stand extension, USB cable (2.25m) and XLR cable (3m)

- Samson Sound Deck Noise Cancellation Software (Mac OS X/Windows) available for purchase

Specifications

Element Type: Dynamic

Polar Pattern: Cardioid (unidirectional)

Frequency Reponse: 50Hz–15kHz

Sensitivity: -54dBV/Pa

Max. SPL: 148dB SPL

Bit Depth: Up to 16-bit

Sample Rate: 44.1kHz/48kHz

Digital Output: Mini USB

Analog Output: XLR

Headphone Output: 1/8" (3.5mm)

Microphone Switch: On/Off (USB and XLR audio output)

Product Dimensions: 7.5" (190mm) x 2.2" (55mm) diameter

Product Weight: 0.7lb (0.32kg)

Music by Ethan Meixsell

Pequeno teste comparativo entre os microfones clássicos dinâmicos de padrão cardióide, Shure SM57 e Electro-Voice RE 320, ambos plugados via XLR na interface Universal Audio Apollo Twin. Audio raw e aplicação de equalização e compressão (plugins Neve 88RS, LA2A e 1176 da Universal Audio).

https://www.youtube.com/watch?v=y5JCCofpEsw&t=425s

Teste do microfone condensador de cápsula pequena, padrão supercardióide, Sennheiser E865.

Independente de baixo ou alto, de longe ou bem perto: o e 865 faz cada som valer seu peso em ouro. A entrada na classe dos condensadores pode ser ouvida de imediato. Um membrana de alta sensibilidade capta as mais suaves nuances vocais e mesmo os sons mais fortes levando-os na cadeia de sinais com facilidade.

Mesmo se os lábios estiverem a alguma distância da cápsula, o e 865 proporciona qualidade sonora consistente. Combina as opções profissionais de uma cápsula do tipo condensador com a forte construção das séries 800. Por um lado: som de estúdio mesmo para uso ao vivo. E de outro: uma classe especial de moderadores e falantes para reprodução sonora precisa, mesmo para plosivos.

CARACTERÍSTICAS

Microfone condensador supercardioide para fala e voz

Reprodução natural com ênfase na presença

Qualidade sonora consistente (a distâncias variadas, movendo-se fora do eixo)

Reprodução livre de distorções mesmo sob alta pressão sonora

Excelente rejeição a feedback

Alta rejeição de sons de manejo

Construção forte em metal

INFORMAÇÕES TÉCNICAS

Dimensões Ø 47 x 193 mm

Conector XLR-3

Frequência de resposta (Microfone) 40 - 20000 Hz

Peso 311 g

Sensibilidade em campo livre, sem carga (1kHz) 3 mV/Pa

Impedância nominal 200 Ω

Min. impedância de terminação 1000 Ω

Phantom power 12 - 48 V

Nível máximo de pressão sonora (ativo) 150 dB

Peso sem o cabo 311 g

Comparativo entre os microfones dinâmicos Audio-Technica ATR2100 e Samson Q2U e suas conexões XLR e USB.

Pequeno teste comparativo entre os microfones clássicos dinâmicos de padrão cardióide, Shure SM57 e Electro-Voice RE 320, ambos plugados via XLR na interface Universal Audio Apollo Twin. Audio raw e aplicação de equalização e compressão (plugins Neve 88RS, LA2A e 1176 da Universal Audio).

https://youtu.be/y5JCCofpEsw