Device Comparison (audiobook)

Priceless Equipment at work

Priceless Equipment at work The main characters

Specification Conclusion

Important terms for the purchase Audio samples - Index

Sensitivity Conrad Sinn 7

Transformers AKG C4500 B-BC AKG

Large or small diaphragm AKG C 414 B-XLII

Transistor or tube Brauner Phanthera

Attenuation, rumble filter, directional pattern Microtech Gefell M 930

Channel Strip Microtech Gefell MT 91 S

Microtech Gefell M 92.1 S

Neumann TLM 103

Neumann U87

Neumann U 87 (Ownership)

Peter Eder Verlag - Marker

The Studio – Recording Space

Audiobook Production – Questions and Answers

Equipment - Audio Book Production

Workflow „in Extenso“

The Two-Part Production

Tests – MP3 Player, Headphone

Linkpartner – Audiobook Narrators, Sound Engineers, Editors, Publishers

(The latest innovation are only on the main page - 18.07.2010)

 Priceless Equipment at work

All those who deal with the production of audio books / radio plays, have a veritable problem:
how to reach the best possible quality? There is a wide range of the most varied equipment
of various price ranges. And since most of the devices were designed only for music
production, are not all suitable for the audio book / radio play production.

Therefore, it would be nice if there was a comparative test where various equipment parts
would be tested on the same narrator space. This test is for all enthusiastic audio book /
radio play-makers, in order to have some help when buying. And they need too! The high-
quality equipment of a respectable narrator place, can devour several thousand euros (dollar,
pfund, mussels, ...).

The recordings were made in a studio by B & E Design; exclusively designed for voice
recording for audio books / radio plays. The recordings were narrated by my friend
G.S.Bolkonskij. I chose a classical text by William Shakespeare (Hamlet).

About the record is to say: the example of the RME converter was recorded (without
compressor) directly into the DAW; MKII Mindprint EnVoice and SSL Mynx with the
appropriate settings (preamp, compressor) also with the RME Fireface; the Conrad Sinn 7 I
have attached only as an example of low-price segment's (excavated).

These recordings was made with all the microphones (with and without SE Filter). The
processing on the mastering/editing PC was in the same way of working (see workflow "in
extensa") like a regular publishing production.

The raw wave files to serve as an example. ("Two-Part Production" - before delivery)
 Specification

When I started this test I just wanted to compare the Neumann TLM 103 with the Neumann
U 87; do publish a few recordings. Expertise microphone technique? - Very little! What are
the technical values, types, properties, prices? - There must be answered!

AKG 4500, AKG 414 XLII, Brauner Phanthera, Microtech Gefell M 930, Microtech Gefell M
92.1 S, Neumann TLM 103, Neumann U87 – Such microphones can test to require a great
purse! When the mammon is not present are necessary some useful tricks: 1. Borrow, 2.
Demo version from the manufacturer, 3. Buy (test and return). Because I run a business
yourself and know that the purchase method, in spite of all the service of the seller, can not
be ideal and it is too expensive, I pushed the first two points.

Before such a test can be made, it is imperative a well-designed recording room (very quiet,
good sound-absorber-concept, not too small). If the recording room built, it needs a Class-A
signal path. To test high-end microphones with the model Micro-Interface-PC, relying on a
cheap interface would be sh ... counterproductive - just a good narrator room, then a very
good signal path (preferably multiple channels and a high-end converters), and then test the
microphones. An expensive speaker microphone can be tested properly only with a lot of
experience. For the record served an average laptop with Firewire (interface) and VGA
(recording monitor) port. Why not a PC? A laptop can be better soundproofed.

Also very important is a reasonably experienced narrator. The one or the other microphone
must be procured for a rental (daily rates). And one can not simply use a dilettante –
because of the short test times. We do not need a "Brückner", but at least one "Bolkonskij".
Here is a brief comment, which is intended for all microphone manufacturers: >> Please
make enough demo mics available. This supports the sales! <<

The result is a fairly comprehensive test of many well known microphones, especially
suitable for voice recordings (audiobook / radioplay). In addition, two different channel strips;
and two different environments. Of course, a detail test on several productions would be
more substantial; a first impression you get for sure! The extended test, I make then with the
supposed victors.

I think every speaker who is interested in recording-technology-direction-production, and

does not want to rely on the possibility of a future professional studio production, should copy
the test and, together with his producer, or just alone, to listen the best microphones at work.
A budget of three to four thousand euros should be enough really. In general, you will want to
buy "your" own microphone only once. Heckling, which discourage the own narrator-place,
should not be taken seriously. That's a part of the narrator training; at any rate, if you will be
more than a little "drone" which is conducted by sound engineer and producer. A studio
production with many experienced actors is certainly not as prone to error as a self-
production – but economically it is not. And is there enough professional narrators? Certainly
not!
 Important terms for the purchase

Sensitivity

Probably the most important technical value is the sound field strength (sensitivity),
expressed in mV / Pa. This value decides the play, which is given at the recording.

On admission, it is essentially important that, first, a loud signal, in second, with the lowest
possible level (preamp), come out. A loud sound signal (-24.00 to -26.00 dB RMS average)
can be mastered better than a quiet (from -30.00 dB RMS average) – and the lower the level
(preamp), the less space is recorded.

Much and little space (extreme shift to the zeroline [Wavelab])

Logically, one is here with a microphone best served, that is very sensitive. You will probably
already guessed what microphones are most sensitive – correctly, in the most expensive.

AKG C 4500B-BC - 20 mV/PA This selection includes the most sensitive

microphones, which are to be had. Typically,
AKG 414 B-XLII - 23 mV/PA microphones have a sensitivity of 10-20 mV/PA –
under 20 mV/PA should not microphone are
Brauner Phanthera - 28 mV/PA purchased! The sensitivity value restricts the search to
a very small circle. Of course, only for narrators
Microtech Gefell M 930 - 21 mV/PA
(audiobook) - vocals, advertising or radio plays are
Microtech Gefell MT 91 S - 12 mV/PA running a little louder and not fall into this field. A
cheap mic with a simultaneous high sensitivity would
Microtech Gefell M 92.1 S (Röhre) - 19 mV/PA be the Audio Technica AT4040 (25.1 mV/PA) from
Japan. It is in pop sounds (sssschschsch) be quite
Neumann TLM 103 - 23 mV/PA vulnerable. I stand to the quality work from Austria and
Germany (as long as it will not be outsourced).
Neumann U87 - 28 mV/PA

But back to the play. With "play" I understand the variable working distance (little space is
recorded and the signal is loud enough). With sensitive microphones is this greater than with
insensitive microphones. With a sensitive micro can possibly, a distance (mouth - micro)
achieved is much greater (up to 40 cm). The combination of quiet narrator and insensitive
micro speaker made then maybe only one play 10 to 20 centimeters. Why is this important?
The closer the narrator on the mic is, more bassy and popluty (ssssschsch) the mic. Higher
distance (from 20 cm / good sounding room) = better quality recording.

↓
With a larger play you get a large amount of narrators under one roof. The best "own" micro
is therefore most likely to find among the most sensitive - correctly, in the most expensive.

Transformers

I would like to describe the example of Neumann microphones. This manufacturer offers two
product groups relevant for us: TLM (Transformerless Microphone), U (Uebertrager -
Transformer). Now you might say, the more expensive (U87) is automatically the better; and
in my subjective opinion defined (the test), it is so. A microphone with transformer produced
by the direct method and the in-house planning the better, finer and clearer sound; as if to
run only at the preamp the first transformer. In any case, a built-in micro transmitter, to plan,
is much more complicated: It is expensive, bulky and technically demanding. The sale of the
TLM series would also not run as good, if any micro would cost one hundred percent more.
The transformer is probably only necessary when sensitive microphones to be used for silent
recordings. The singer uses in his rather short assignments a higher volume than the
narrators. When buying you should therefore pay attention to sensitivity and transformers.

Recognize a microphone with transformer? Usually only by the sensitivity, size and price -
because it is not always described so brilliantly simple, as in the manufacture Neumann.

AKG 414 XLII (Could be one - but no transformer) Brauner Phanthera

The transformerless also provide an excellent quality! The Neumann TLM 103 or the
Microtech Gefell M 930 microphones are highly recommended for speech. But the special
something find you rather in the Uuuus. The U87 is not for nothing the most widespread
microphone for voice recording - and also in all other areas. Each audio producer will named
this, at first!
Large or small diaphragm

One need not necessarily take the big diaphragm. If you have time and money for many
experiments, so test all types of microphone (and publish!); at the end it is only the excellent
sound important. The most common microphones for voice are the Neumanns, AKGs,
Brauners and Geffels with big diaphragm.

Transistor or tube

If we look at the price, it recommends are only the transistor microphone. The tubular usually
cost one hundred percent more than their brothers. Recordings of transistor mics are clearer,
less noise and require no separate power box. This provides the tube with power (the tube
swallow far more power than transistors - that's why the own box). So also, the signal path is
even greater: micro - power box - preamp - converter - pc. I will keep this rather short. At the
price we are anyway all on the same wave.

Attenuation, rumble filter, directional pattern

Special settings are not absolutely necessary. A damping is only needed for very loud
signals (opera singer, advertising spokesman, [Führerimitators]). The cut filter is the channel
strip and it is not needed twice. And the obligatory built-in pattern is for the mono-voice
anyway ideal.

Channel strip

Here I have found no clear line. Whether tube, transistor, or both? Although I believe, here is
the pure voice with transistor technology a little better. If something sound coloring, then after
the shoot. At the end, only the good sound is important! - rather than the means that lead
there.

An important selection criterion is the low cut filter. The frequency should be adjustable; in
many low-budget channel strips there is only one fixed filter.

An EQ is not needed; unless one wants after the recording session, the A / D conversion
and the cut, turn back (D / A conversion) and make the mastering with analog devices. Many
Professionels of the old school work so - but is not necessary, today, with both signal path
can a good result be achieved. The ideal recording channel is therefore equipped with pre-
amp and compressor. A few examples: Amek PurePath CIB, Avalon VT-737SP, Focusrite
ISA (220, 430), Millennia STT-1, Rupert Neve Designs Portico 5015, SSL Mynx (XR 627, XR
418).
 The main characters

AKG C4500 B-BC – Was my first notable microphone. Here, the capsule sits in the head;
thus it has an unusual audio way. With the C4500 can you work very close (5 cm) - the
proximity effect plays no significant role. I use it like to create a very specific tone (close
miking - very bassy): speaking directly in the micro-head.

AKG C 414 B-XLII – My first real studio microphone. It's incredibly cheap, for the equipment
with which it is delivered. Attenuation, rumble filter, characteristic – only is the crux of the
whole that we need no additional gadgets (audio book production): Pure micro, built with the
highest parts and a high sensitivity value mV/PA.

Brauner Phanthera – Looking at the price, the winner! An excellent mV/PA value! Supplied
with a shockmount and a first-class micro cable (Vovox - 5 m). And all this from the tube-
micro-producer! Coincidence? No. For tube mics a built-in "Transformers" is mandatory
(Symbiosis of tube and clarity). And than the firstly pure tube manufacturing, planned a
transistor micro, they also have built into the Phanthera. I for one am very grateful for that - if
it was a coincidence, or not.

Microtech Gefell M 930 – The M 930 is an incredibly compact micro. When I heard it for the
first time I thought, this is it. Later, I realized that other equally good sound and with more
sensitive. The relatively low 21 mV/PA, disturbing not so strong, because the M 930 has no
great proximity effect.

Microtech Gefell MT 91 S – I liked it, despite the lower sensitivity. But since I just bought a
Neumann U87 and tested it through its paces (the other was just a second hand, and only for
a day), I must confess that a lot louder, more transparent, clearly works.

Microtech Gefell M 92.1 S – It is for voice recording (audio book) too low. Tube!?

Neumann TLM 103 – Is sound compared with the U87; only with 23 mV/PA bit quieter. Nice
detail on the edge (for AKG customers): it fits in the standard shockmount used by AKG.

Neumann U87 – Is quasi "the" standard for audio book recordings. Unfortunately, it is also
the most expensive! Neumann is to recommend to bring a smaller version, similar to the
Brauner Phanthera, on the market; then, I will, someday, get a U87 - and then I do not want
to pay excessively more. Sonically considered, the U87, the first and best choice for
audiobook's business; need you a mic for vocals, advertising or radio play, the TLM 103
ranges.

Conclusion
My test produces two putative winner. Actually, the best micro because of price and
performance and the important sensitivity (28 mV / PA), is the Brauner Phanthera. But I see
the Neumann U87 on the same level, it is relatively no matter what it costs – the quality must
be high. But that is certainly not for everyone! The AKG C414 XLII is awfully close to being
the absolute winner: The only one good filter (0/40/80/160), the lowest price among the
"winners"; but in the most important discipline (sensitivity) is the AKG not in front. I've still
seen as a winner, because I can not work without AKG. Neumann TLM 103 and Microtech
Gefell M930 not be regarded as a winner, really is a nerve! I would be able to accommodate
the two well - maybe later. The TLM 103 is sonically analogical with the U87, however the
sensitivity somewhat weaker. From Microtech Gefell I expect a micro, similar the U87
(sensitivity), with the main characteristics of the M 930: very compact. The Microtech Gefell
92.1 S will not be criticized by me. I opted for the cheaper transistor technology.
 Audio samples – Index

Conrad Sinn 7 (Disqualified) Microtech Gefell MT 91 S (Promising alternative)

USB – USB (Unfinished) RME Fireface – RME Fireface (Unfinished)

AKG C4500 (defect) Mindprint Envoice – Mindprint Envoice (Unf.)

AKG C 414 B-XLII (Qualified for long-term study) SSL Mynx – SSL Mynx (Unfinished - Wave)

RME Fireface – RME Fireface (Unfinished) Microtech Gefell M 92.1 S (Too insensitive)

Mindprint Envoice – Mindprint Envoice (Unf.) SSL Mynx – SSL Mynx (Unfinished - Wave)

SSL Mynx – SSL Mynx (Unfinished - Wave) SSL Mynx – SSL Mynx (Unf. – Wave / with SE Filter)

SSL Mynx – SSL Mynx (Unf. – Wave / with SE Filter) Neumann TLM 103 (Promising alternative)

Brauner Phanthera (Qualified for long-term study) Mindprint Envoice – Mindprint Envoice (Unfinished)

RME Fireface – RME Fireface (Unfinished) SSL Mynx – SSL Mynx (Unfinished - Wave)

Mindprint Envoice – Mindprint Envoice (Unfinished) SSL Mynx – SSL Mynx (Unf. – Wave / with SE Filter)

SSL Mynx – SSL Mynx (Unfinished - Wave) Neumann U87 (Qualified for long-term study)

SSL Mynx – SSL Mynx (Unf. – Wave / with SE Filter) RME Fireface – RME Fireface (Unfinished)

Microtech Gefell M 930 (Promising alternative) Mindprint Envoice – Mindprint Envoice (Unfinished)

Mindprint Envoice – Mindprint Envoice (Unfinished) SSL Mynx – SSL Mynx (Unfinished - Wave)

SSL Mynx – SSL Mynx (Unfinished - Wave) SSL Mynx – SSL Mynx (Unf. – Wave / with SE Filter)

SSL Mynx – SSL Mynx (Unf. – Wave / with SE Filter) Neumann U87 – Ownership (Qualified)

SSL Mynx – SSL Mynx (Unfinished - Wave)

AKG, Audio Technica, Brauner, Microtech Gefell, Neumann, Rode, Shure, SE Electronics, T.Bone - Which
microphone is missing?

Amek, Aphex, Api, Avalon, Focusrite, Millennia, Rupert Neve, SPL, Summit, TL Audio, Tube-Tech,
Universal Audio – Which channel strip is missing?

Peter Eder Verlag

Willendorferstraße 350 A

2732 Würflach – Österreich

bezigoal@gmail.com