Telefunken M80 Black - Dynamic Microphone

Product Information

Jon Burton has toured with the Prodigy as their FOH engineer for over 14 years, and is currently also working with Richard Hawley.Jonathan Burton has worked with a wide variety of singers from Lulu to Beth Gibbons, Kelly Jones to Keith Flint. He is currently working with Richard Hawley and for the last 14 years has engineered for the Prodigy. USB condenser mics are two a penny these days while, for a variety of reasons, dynamic mics remain pretty thin on the ground. There are a few exceptions though, and we’ve featured a couple in this guide.

On female vocals the Telefunken M80 will shine. However, I would stay away from male vocals with them and go with an MTP 550 or SM58 instead. Female vocals are really where these mics are able to translate into a mix. The higher-frequency response on the M80 is great.” Polar ResearchPromising condenser-like performance, the Telefunken M80 dynamic microphone lets you set a new standard for high-quality live performances. Unlike the midrange-heavy tone of many popular handheld mics, the M80 employs a low-mass capsule and ultra-thin membrane to capture every nuance of your performance with amazing balance and detail. And you'll get great results anywhere you go thanks to the custom-wound impedance-matching transformer. You don't need an expensive condenser mic to get studio-quality sound on stage - you need the Telefunken M80. Telefunken M80 ไมโครโฟนแบบไดนามิคคุณภาพสูง ที่สามารถรับความถี่เสียงได้กว้างและทนแรงดันเสียงที่ SPL ได้มากกว่า ให้เสียงที่อุ่น มีรายละเอียดดี พุ่ง ปลายแหลมคมชัดคล้ายกับการใช้งานไมค์คอนเดนเซอร์ โดยที่ปราศจากการเพิ่มเสียงที่หอนในย่านเสียงกลางสูงที่เราไม่ต้องการ มาพร้อมที่จับไมค์และซองหนังอย่างดี The clever bit is the onboard sE Dynamite preamp, which can supply up to +30dB of clean gain, more than enough of a boost to guarantee clean recordings. The active phantom powered circuitry also provides two three-way tone shaping tools that, for starters, enable you to add extra warmth for thin voices, or reduce bass and boominess in small, untreated rooms. Can anyone comment on the Telefunken M80 or AKG D7 compared to any of the mics I've mentioned? Also, would a condenser be a better option? I've been considering the Shure Beta 87a, Rode S1 and Audix VX5?

A gentle roll-off of the low end from 200Hz does a good job of counteracting the proximity effect. This means you can sing right next to the grill without worrying too much about sound quality. I am not one of those engineers who has to use Brand X or Y. Sometimes, to the annoyance of manufacturers and distributors, I will move between brands. For me it’s about the artist and what suits their sound and my mixing style, not who sent me a T-shirt this week or gave me discounts! The sE Electronics V7 has been developed to sound great whatever you throw at it – or, for that matter, whatever it's thrown at. Its all-metal construction is designed to shrug-off years of onstage use and abuse, letting your vocals shine night after night.Alternatively, you can choose an active dynamic mic or one that works over USB. Cutting that rumble Who’s shallow enough to buy a recording microphone based on looks alone? OK, OK, put your hands down. You disappoint me, you lot, you really do.

The SM58 is a legend, an icon of the stage. Ask any young kid to draw a microphone and they’ll trace the shape of an SM58 for you in primary- coloured crayon. It’s that embedded into musical culture. The integrated pop shield and tight cardioid pattern enable podcasters to record or stream a ready-made sound that's well isolated and free from room noise. True to form, mid-range articulation is good, and the mic doesn’t sound overly bright in the higher frequencies. The proximity effect isn't massive, so if you want a deep, rich voice then you'll need to get in close. This is a microphone that’s been developed to bring out the very best from the human voice, but there's nothing to stop you miking up drums or guitar cabs with it, too. Drums take a lot of miking up. It's not unusual for pro studios to use a dozen or so mics on a drum kit, which takes time, money and patience – especially if things don't quite go to plan. That's why specialist drum-mic kits make a lot of sense. You benefit from having a set of the same models, made for a specific purpose, that can be relied on for consistently great-sounding results.In terms of price, the MTP 550 DM sits towards the lower end of Lewitt's range of live vocal microphones, but that’s not to say that corners have been cut. Far from it. Pay twice as much for the MTP 840 DM and Lewitt will provide you with some nice extras such as active circuitry and a low-cut filter, but they’re not essential. When working with an already established artist for the first time you usually inherit their vocal mic of choice,” he says. “They may have come to that decision through trial and error with their previous sound tech. It may be a personal choice that they arrived at through experimentation in the studio. Or it could be as straightforward as an endorsement deal where they obtain the microphone for free or at a reduced price. I wouldn’t try to convince them to change unless there was a serious issue with the sound. I have, however, had instances where an artist will want to know if there are better options out there for them. In this case I make recommendations once I’ve established the following information: their style and mic technique, the amount of noise on stage, the mic position (which will dictate build quality and reliability), and the budget.

It’s also nowhere near as gain hungry. In fact, plug it in via USB and you’ll have +35dB on tap, which is plenty for this little mic. Its bigger brother loves to be close-miked too, which can be a problem if you’re a YouTuber because it’s quite a lump to place between you and your audience. The little MV7 is much more discreet. Relatively crude dynamic microphones with limited frequency response own the stage because they’re rather good at rejecting handling noise. Unfortunately, they cannot come close to competing with the full response of a condenser mic, so audiences listening to talented singers with extensive vocal ranges risk being disappointed. Dynamic microphones are available with any polar pattern except bidirectional, but unfortunately, unlike some condensers, the patterns are fixed rather than switchable. The vast majority are cardioid or tighter, but omnis and figure-8s are also popular. More gain please

Condenser-like Performance with Dynamic Convenience

Having such a tight polar pattern also requires a specific microphone technique. You need to be positioned right in front of the mic, making sure not to stray too far, as you’ll hear this in the sound. Matt Telford is currently working with Postmodern Jukebox, with whom he has gone through a number of different mics in search of sonic perfection.Matt Telford, like a growing number of engineers today, has a foot in both live and studio camps. He has been handling both with Postmodern Jukebox for over five years and has toured the world many times. Telefunken M80 indeed seems to resemble the sound of the old trusty Shure SM58 to a high degree; they have similar curves and behave in the same way. The only strong difference here is that the response of the M80 has less low end, in fact the frequency chart shows that it starts rolling off at 200 Hz, whereas Shure has it a little above 100. Ideally, we don’t want color especially when it comes to the low end, so one could expect that a flat curve is the way to go. However, this isn’t the case here, because these types of cardioid handhelds are inevitably affected by the proximity effect. But once you get the hang of it, this sensitivity becomes an invaluable tool, as you find ways of getting extra subtleties and variations from small movements of the mic. It can really give you that performance edge.