Earthworks SR314 Handheld Vocal Condenser Microphone - Stainless Steel

Product Information

There is no polar response data supplied for frequencies below 400 Hz, but I suspect that the pattern is wider at lower frequencies, making it more susceptible to feedback in the low end (that’s probably also the reason why the off-axis response is so uncolored).

The quick responsiveness provides punch, and the top end offers a smooth and detailed sound that pushes vocals to sit comfortably on top of the mix. I tested it both live and in the studio, on male and female voices and on instruments such as acoustic guitar.It put across all the nuances of quiet passages, without ever becoming screechy or nasal when the time came to belt out the chorus; and it was always articulate without exaggerating sibilants. If I'm doing a handheld in the studio, I'd probably just give them an SM7b - or whatever they felt most comfortable with.

If your singer has good technique, popping won’t be an issue, but for some vocalists it could be a problem. It provides enough body and substance to create a well-rounded sound without ever muddying up the signal. There is literally no reason not to use the 2028 live once you have it unless you can't use a phantom-power supply. It does sound good, and allows the performer a good degree of movement, so long as stage levels are on the quiet side of sensible. I see no other reason for the hiss that happens in either a power amp plugged into a passive speaker, or an active speaker when turned up, even though the input is at line-level, and either nothing is plugged into it, or a perfectly-working XLR cable is plugged from the input to a mixer that is turned off.The SR314 ships with a nylon pouch and a microphone stand clip, and is warranted for a period of 10 years from the date of purchase—an impressive commitment from the folks at Earthworks. The Beta 58 has been my go to for many years and it is a fine mic but, my singing partner has been using a hand held condenser (Neumann KMS 105) and I thought I should take the plunge as her sound quality is so good on stage. Even if you google, say, “441 Stevie Nicks,” you’ll see that she nearly always leaves it on the stand. Other thing: I also play using nylon string guitar and steel string guitar, and they sound really different. An extended flat frequency response and a focus on fast clean impulse response set the Earthworks SR314 apart.

A highpass filter on the SR314 set to a frequency of 160 Hz helped but did not cure the problem, and we had to swap it out for a different microphone. I don't have a "GREAT" ear to hear all the differences and the knowledge to know which of them would be "the one" for my vocals. The pattern tightens up a bit around 6 kHz, and then becomes more omnidirectional at frequencies above roughly 8 kHz.The SR314 stepped in where the likes of U87s and C414s had failed, and delivered a balanced sound with no fuss at all. I found this characteristic an attribute on one male vocal, but it made a different male singer’s voice sound too thick. Sending a big shout out to Ryan Wiltermood who skillfully guided me to this mic and other quality products over the years. I also used it for another musician who I ran sounds for and with zero gain on the board channel and no compression, her levels were perfect.