EX-25 Extreme Isolation Headphones

In any recording environment, the elimination of unwanted noise is essential to achieving a quality recording. Undesired noise can often “bleed” or leak out of studio headphones during the recording process.
Having a pair of headphones which can isolate or contain noise are an indispensible tool for any recording studio.

Closed-back headphones are designed to provide more isolation compared to traditional open-back models. The EX-25 takes this concept of extreme isolation a step further by improving upon the closed-back design to minimize leakage, as well as attenuate background noise. While some sound isolation headphones utilize active electronics to cancel out unwanted external noise, the Extreme Isolation EX-25 is a totally passive design that does not require a power source while attenuating external noise up to 25dB according to the manufacturer’s specs.

Although isolation headphones are predominately used by drummers who play to a click, or engineers who are positioning a guitar cabinet mic, sound isolating headphones can be quite useful in many other situations where you need to attenuate unwanted background noise. For instance, let’s say you’re recording a vocal track and you notice that in-between vocal phrases, your microphone picks up sounds that are bleeding into your recording. This can be frustrating to remove later, so eliminating unwanted bleed before it begins can save you a lot of time later during the editing process. In other cases, you may be working on mixing a track and your next-door neighbor is practicing on his drum kit. With Extreme-Isolation headphones, unwanted noise is eliminated allowing you to focus clearly on your mix.

The EX-25 comes with an adjustable headband and feels very lightweight and comfortable, even while wearing them for an extended period of time. The 9 foot long cable is adequate for most applications and the cord is a non-curly, straight style. A 1/4 inch stereo adapter is included. While some headphones can be louder than others, the EX-25 features a sensitivity rating of 107dB/mW, which in the real world means they will provide more volume than you will ever need.

After testing the EX-25 in a variety of recording scenarios, I found that it does a great job at blocking sound, though it is more effective at attenuating high and mid frequencies. Low frequencies are reduced, but not eliminated, which is expected as a large amount of dense mass is required to effectively absorb low frequencies. Even though isolation headphones are not known for high-quality sound reproduction, the overall sound of the EX-25 is very good with a well-balanced low end and mid range, but slightly less clarity in the highs that you would get on more expensive open-back headphones. I had no problem using these headphones to find the sweet spot of my 4 x 12 guitar cabinet, and the sound I heard in the headphones translated very evenly to the sound of the recorded guitar played back on the studio monitors. My drummer, who normally doesn’t like to play to a click, but for a song that required a very precise and steady beat, he had no problem hearing the click and keeping time while using the EX-25.

In conclusion, Extreme-Isolation headphones are comfortable and provide great sound reproduction while effectively blocking background noise, headphone bleed and distractions. EX-25 headphones are also great for everyday use, from listening to music on your stereo or MP3 player, to blocking out distractions while studying or relaxing. While “active-isolation” headphones can cost an arm and a leg, the EX-25 are reasonably priced at $89.95.

Chee Nassah Rann Blend

Ask any vocalist what one of the keys to staying fresh vocally is and undoubtedly hydration with be on the short list.  While each has their own opinion as to what might work best IN said liquid generally water remains one of the key ingredients.  As for the guy in the corner with the jug of petrol well there are of course exceptions to every rule. No today’s subject is a liquid typically served warm.  This beverage has been around since the 10th Century BC.

From its humble origins in early Tang Dynasty China later gaining popularity and finally fanning out to Western civilization around the 19th century tea was and still is one of the most widely consumed drinks in the world.  While there is no direct proven relationship between the consumption of tea and positive health effects tea leaves contain somewhere around 700 different compounds some of which are in fact related to positive health effects including flavanoids, amino acids and vitamins.  It then seems reasonable to say that drinking tea in moderation certainly isn’t damaging to your health and may even be a good thing.

Chop Chee Rann Blend

With that in mind on the chopping block are a duo of herbal tea’s from Vishudda Singer’s Tea.  Vishudda loose-leaf teas feature a proprietary blend of ingredients geared towards singers which aim to sooth and coat the vocal chords.  One thing to keep in mind with the Vishudda teas is they are loose leaf teas so you will need to equip yourself with some kind of infuser which can be purchased at most kitchen or tea stores.  It’s also important to note that to avoid bitterness each type of tea has a specific steep time that will result in the most flavor and least amount of bitterness.  Vishudda teas do not come with directions on the package but since they are green teas they are generally best when steeped for approximely 1-2 minutes with water that is slightly cooler than boiling ( 175 F ).   Of the Vishudda lineup I had the pleasure to sample both the Chop-Chee-Rann and Chee-Nassah-Rann teas.

Starting with 2 minute steep  on the Chop-Chee-Rann green tea I was fairly impressed with the overall taste and smoothness.  The Chop-Chee is quite a nice double mint tea with wild peppermint, eucalyptus and essential mint oils  that did in fact have a subtle soothing effect in my throat that seemed to last.  In a rehearsal setting I felt the net effect of the tea over plain water did seem to contribute to my vocal chords feeling a bit more lubricated over the course of the session.

The Chee-Nassah-Rann tea on the other hand had just a bit more bite to it but overall was just as pleasant.  I can only attribute this mainly to the ginseng and gota kola not present in the Chop-Chee-Rann tea.  Again I felt a nice minty soothing coat against my throat which in addition seemed to ease a bit of mild congestion I was experiencing.

While there is no magic solution for fighting vocal fatigue or bringing back a hoarse voice there are things in addition proper technique and rest that certainly won’t make things worse.  One of those is keeping things lubricated.  If you choose to do so with tea then Vishudda Singers Tea is a fine option.  It doesn’t hurt they they are tasty to boot.

www.vishuddaforsingers.com

Vishudda Singer's Tea Comes in 4oz Bags

The Gator model GM-1WEVAA is an ultracompact  padded 1/2 U case constructed of 5mm EVA rubber foam that is intended specifically for wireless mic systems.  Designed with the on-the-go musician in mind the GM-1WEVAA is constructed of durable vinyl and features hinged zipped doors on each side which open to reveal separate compartments for both a 1/2 U wireless receiver unit and wireless microphone.  The rear door contains elastic straps which typically will function as cable management or bodypack/lavalier storage.  For added convenience they have also built in two zips topside to allow the receiver unit to be used with antennas attached while still in the case.  The Gator case also features a built in carry handle on one side for easy transport.

We think its a nice little case on Gators part.  Given their reputation for building bombproof products  you can rest assured this one is as well.  At a street value of $59.99 the GM-1WEVAA if not a bit of a one-trick-pony represents a moderately inexpensive way to keep your wireless unit safe and negate the necessity to drag around the Queen Mary II every time you gig.  On the downside there’s room for little else in the case aside from a wireless unit and mic so pack your extra cables and accessories elsewhere.  Christmas is coming.  Think about it next time you pop that arm back into its socket. ~TN

Gator Cases, Inc.
18922 North Dale Mabry Hwy
Lutz, FL 33548
Phone: 813-221-4191
Fax: 813-221-4181

www.gatorcases.com

Lampifier Model 711

The Lampifier 711 is a uniquely cutting-edge professional dynamic mic which features an internal sound processing unit. The Lampifier uses light pulses emitted from a tiny lamp to regulate the microphone’s built-in compressor. This enables the Lampifier to nicely accommodate the dynamics of a wide range of singers and instruments, as well as reduce plosives and excessive sibilance. Because the Lampifier technology does such a great job of regulating audio input (the compressor’s attack/release time and ratio change with the incoming signal) there is far less of a need to adjust the microphone’s levels and EQ on an external soundboard. That’s right, the sound is optimized entirely within the microphone itself. In addition to controlling compression, the internal sound processor also boosts the warmth and clarity of instruments and vocals while intelligently blocking low-level feedback and unwanted background noise, allowing desired sounds to cut through the mix. The internal sound processor comes pre-programmed for general use, but is also fully customizable and can be reprogrammed to suit a wide range of instrumental and vocal applications. Reprogramming the microphone is as easy as changing the order of shunts (jumper pins) inside the microphone body.

At first glance, the Lampifier appears quite durable, its all metal body makes it resistant to road wear and abuse by performers and roadies. Personally, I think the 711′s silver mesh grill could stand to look more unique as it appears a bit too similar to the Shure SM58. Regardless, looks are not nearly as important as functionality, and the Lampifier 711 has definitely been engineered for performance over appearance. The Lampifier 711 requires 48v Phantom Power to operate, so users will be need to supply an external Phantom Power unit if the PA or mixer does not have it onboard.

I gave the 711 an initial test run by plugging it into the PA at my rehearsal space. I first noticed how much more output it has compared to my Shure SM58 – I didn’t take any measurements with a decibel meter, but the 711 seemed almost twice as loud as the 58 at the same gain settings on my mixer. I was curious to hear how the built-in compressor sounded and responded to a wide variety of singing, and I was pleased to observe that it did was not at all heavy-handed or “squashy” sounding, even as I sang as loud as I could. The compression was something that I felt more than heard, and for live singing or public speech, a compressor that is relatively “invisible” is something that is very important, as too much compression results in an unnatural sound that draws too much attention to itself. As far as the sound of the mic, to my ears it sounded like a cross between a dynamic and a condenser mic, in that it had more clarity and high end than the average stage mic, while still maintaining its warmth and smoothness. My first impression was very positive, and I thought I would be fun to put the mic through a much more rigorous and comprehensive test by using it as the vocal mic at karaoke night at one of the local pubs.

Your voice, only better.

This particular pub, charming as it is, has a notoriously mediocre sound due partly to the low end PA system and speakers as well as the lack of any acoustic treatment. (Though I suppose the throng of beer filled patrons and aspiring karaoke stars could count towards some form of sound absorption.) I met with the karaoke hostess while setting up and she graciously agreed to let me use the Lampifier 711 instead of the standard SM58. I sat in the corner of the pub with pint glass in hand and listened to the results. I could hear right away the Lampifier made a marked improvement of the vocal sound as the singers’ voices cut more clearly through the muddy sounding room than ever before – the slight presence boost and open high end I observed really gave a heightened intelligibility and clarity that helped the vocals and lyrics be more clearly heard. Another thing I noticed is that the level changes that are caused by different singers performing at different volumes wasn’t nearly as drastic as it can be on the SM58. I wasn’t able to detect any negative compression artifacts from the built in compressor, and the mic seemed to be much more forgiving when it came to placement and proximity to its source. After karaoke was over and the bleary-eyed patrons started shuffling out the door, I spoke with the karaoke hostess who affirmed the positive effects I was hearing and jokingly asked if the bar could hold onto the mic.

Even though I did not test this mic in every vocal situation, I’m confident that it would be ideal for use at public speaking events, due to its exceptional quality of sound and management of different voices and volume levels. Essentially, the Lampifier is not a fussy mic, which equates to spending less time setting up your external compressors and outboard EQ. The one thing that could be slightly cumbersome is that, if you do want to adjust the internal compression and noise-gate settings, you will have to disassemble the microphone body and refer to the website online to see how the components need to be adjusted to change the processors’ characteristics. If you’d rather not disassemble your microphone, the manufacturer also offers pre-set mics that they will adjust at the factory before shipping your order. I must congratulate Lampifier for raising the bar by introducing finely-tuned processors and expert sound management into a live performance environment. If you’d like to learn more about Lampifier models and technology, check out their website at www.lampifier.com

TC-Helicon VoiceTone T1

If you were following The Modern Vocalist Journal earlier this year with the debut TMVJ Product Reviews of you may recall the review of the  TC Helicon D1 VoiceTone pedal.  The VoiceTone Singles series feature 7 new single function pedals designed to add professional vocal results and offer maximum flexibility and portability.  The are all stoutly built ‘stomp boxes’  for vocalists that can be linked together in the signal chain with the ability to be controlled via the newly released TC Helicon MP-75 microphone – one I might add TMVJ is slated to review later this fall.   More to come.  Back to the subject at hand:  The TC Helicon VoiceTone T1 .

OVERVIEW

Like its singles pedal brethren the VoiceTone T1 utilizes the same durable alloy stomp box form factor.  The purpose of the T1 according to TC is to “adapt studio-quality compression, de-ess and EQ to your [sic] voice”.  Sounds interesting considering the T1 features a total of 3 adjustment controls.    Those consist of  rotary “Shape” and “Comp/De-ess” knobs and a “Warmth” in/out switch.    Other controls are a main effect stomp switch with on/off led indicator , mic gain control with signal/clip light and Mic-Control off/on switch for MP-75 control.  Labeling and layout is up to typical high TCH standards as is the quality of the controls.

Each singles pedal features different colored accents to differentiate them.  In this case the T1 sports bright yellow accents on black with a grippy matching rubber anti skid mat.   As of this writing the T1 was retailing on GuitarCenter.com for $129.00.  Standard XLR in/out are provided along with fairly typical wall-wart power jack.  One thing to note is the lack of a phantom power switch.  The VoiceTone pedals do in fact have phantom power that is always on.  It’s an interesting design decision but ultimately I would prefer a micro-switch to disable it.  A USB port for setting tweaks and upgrades using the downloadable TC-Helicon VoiceSupport application available on both Win and Mac platforms.

IN PRACTICE

T1 Control Layout

While I never believe in writing a review before I live with a piece of gear for a while the VoiceTone T1 is on the high side of long term as I have spent nearly 4 months dealing with it on a regular basis.  While mic’s were swapped, effects switched in and out the T1 stayed plugged into live signal chain for the better part of that.  In fact at times I almost would forget I had it plugged in at all – but not because it doesn’t do anything.  In a word the T1 is ultimately transparent operating unobtrusively in the signal chain.

Right out of the box I left the T1′s Shape and Comp/De-ess knobs centered out, Warmth switch in the off setting and plugged it into last link in my signal chain prior to the board  using my trusty warm yet slightly boomy EV N/D767A.  After performing some  test A/B vocal passes using some of my vocal warm up material  I began to get a feel for the T1′s sound.  While generally speaking I’m not a huge advocate of adding compression and ultimately removing too much of the dynamics in live vocals due to how it can effect how the vocalist sings my ears tell me the average compression ratio of the T1 to be relatively low.  With only two knobs I can only speculate what’s actually happening behind the scenes but I found it to actually leave the bulk of the vocals alone while adding a little bit of beef to the low end and providing just a touch of attenuation on some of my higher belts ultimately providing a slightly smoother vocal.    After dialing in my sound a bit more I finally settled on the Shape knob around 8 o’clock and Comp/De-ess around 9 with Warmth still in the off position.    Generally speaking I did not find the Warmth setting to be entirely necessary in my application as I found it to add in a bit too much muddiness into the vocals however I could see this being useful given a thinner sounding microphone or singer.

My vocals also benefited when using the T1 with the full band.  The additional clarity provided gave a nice bump of extra vocal cut with a bit more sparkle on the top.  With the T1 doing the work of adding a bit of compression and EQ I was safely able to bring up the overall levels a few db’s giving

Rear View

me a bit more girth on my lower less-powerful register without fear of feedback.  While I understand the point of a minimal amount of available controls with which to tweak the sound I found myself at times yearning for a little bit more in the way of tweak-ability.  It might be nice to change the compression ratio or enable/disable de-ess for example.

 WRAP-UP

At the end of the day the TC-Helicon VoiceTone T1 represents yet another solid offering from the company which has brought us the likes of the VoiceLive and VoiceWorks products.  This would be a great addition for those of us looking to add icing to the cake on our already good live vocals.  It it absolutely necessary?  No.  If you’re torn between upgrading to the T1 or upgrading your mic start with improving your primary signal chain first. Once you’ve got your other bases covered then it comes time to add in the VoiceTone.  Given TCH’s class-leading reputation for build quality and from my experience so far the VoiceTone T1 is worth checking out for those of you looking for a little something extra. //T.N.

TC-Helicon
www.tc-helicon.com
TC-Helicon Vocal Technologies
1075 Pendergast Street, Suite 204
Victoria BC V8V 0A1
Canada
(800) 565-2523

Telefunken CU-29 "Copperhead"

Telefunken has long been a name synonymous with high-grade professional audio equipment. Dating back to the turn of the 20th century Telefunken was founded in Berlin, Germany in 1903 after patent disputes arose among two different German inventors resulting in the formation of Gesellschaft für drahtlose Telegraphie System Telefunken (“The Company for Wireless Telegraphy Ltd.”). During WWII they were one of the primary suppliers of military grade vaccum tubes to the German military and as well as being the first to develop the two-stage hi-fi amplifier of which a version was used in the recording console for the Beatles on just about every album.

In 2001 the rights to the Telefunken name and logo were acquired by an American company in order to restore and service vintage Telefunken microphones.  As business grew this in turn led to the development of new Telefunken products known as the Diamond Series based on closely on the designs of the originals with price tags to match.  Since these were out of reach to the average project studio Telefunken yet again created an entirely new lineup known as the R-F-T series.  The R-F-T series takes all the design expertise and high quality engineering Telefunken is famous for but at a price point approachable to the project studio musician.  Which brings us to the Telefunken Elektroakustik CU-29 Copperhead:  the newest entry in the R-F-T series.

THE LOW-DOWN

The CU-29 represents the least expensive offering in the Telefunken lineup.  While not exactly a budget mic at a street price of $1295 its certainly a bargain compared to its bigger T-Funk brethren some of which retail well into the 5 figure category.  According to Telefunken the Copperhead is not the result of cutting corners but instead consulting some of the best engineers in the business to design the electronics around high quality readily sourced components and NOS Telefunken tubes.  This results in a microphone that has the price point of a mass produced product but one that is high quality enough to wear the Telefunken badge.

NOS EF-95 tube

The cardioid Copperhead features a large-diaphragm single membrane gold-sputtered condenser capsule similar to the dual membrane version found in AR-51 and AK-47 MkII microphones.   Both unlike the CU-29 offer multiple pickup patterns.  Featuring a hand-selected NOS EF-95 tube the CU-29 has a maximum SPL of 138db and a relatively low noise floor of 16 dB (a-weighted).  The Copperhead comes ready to go with its own external power supply and 7 pin XLR connector.  Also included is a finished and lined wooden transport box which holds the mic but at this price point I would have liked to have seen a full carrying case that would fit the power supply, cabling and clip as well.   On another minor gripe I found a power supply ground lift mysteriously absent that seems fairly common place on other studio mics costing several hundred dollars less than the CU-29.

THE T-FUNK SOUND

Since the CU-29 is aimed at project as well as professional studios it then fits that my tests were performed running straight into a Protools 8 MBox DAW with basic 2:1 signal compression.  While a good preamp can make even a mediocre mic sound fairly good I wanted to utilize a complete bare-bones approach.  After giving the CU-29 a 20 minute warm up period, I slapped on a pair of cans and brought the levels up.  Initially I was bothered by a significant amount of line noise but this was remedied by wiggling the 7 pin connector in the base of the mic around.  Although the cable was clipped in it seemed to have slight trouble seating properly to be noise-free.  After some finessing the cable seemed to be happy and the noise dissapearred.

I was initially struck by how quiet the noise floor was on the mic.  When A/B ‘ing back and forth with my Rode NKT tube mic it was instantly apparent that the CU-29 was immediately the higher end mic before even doing any vocal tests at all.  Continuing with the A/B testing I found the CU-29 to have excellent control all on its own with plosives.  Whereas the NTK is virtually impossible to use on close to medium range vocals without a pop screen the CU-29 could nearly get away without at medium range to close range with some care.  Siblant letter had a nice crispness without being overly harsh.  

In vocal singing tests I found the overall balance of the Telefunken to be quite neutral.  My voice sounded very much like I would expect it to sound without any extras.  Whereas some tube based mics in the project studio category tend to lean their response curves towards introducing some cut or character the CU-29 gives exactly what you would expect from a mic which costs upwards of $1300.  It sounds expensive and I would wager with the addition of a high end preamp would sound even better.  The highs had a smooth touch of airiness that led to a nice touch of shimmer.  Low-end was non-accentuated sounding quite natural.  Even at close range I did not find much proximity effect present.

In moving onto some lines involving some belty mid-range vocals quickly dimishing to soft whisper-like the word control accurately sums up how the Copperhead performs.  It’s a sensitive enough mic that you don’t have to feed it a ton of gain before there’s more than enough to handle whatever is thrown at it without blowing things out of the water.

WRAP-UP

The Telefunken Elektroakustik CU-29 Copperhead represents what is on the high end of studio and low end of expensive high-end mics.  It would fill both rolls well.  Put a quality pre-amp behind it and your results will sound even better.  Let’s face it you probably wouldn’t buy a $4,000 mic only to run it directly into your DAW.   Same principle applies here but for less overall outlay.  My advice: If you’ve got the money to burn and you’re in the market don’t rule the CU-29 out.  It’s living up the the Telefunken name and in my opinion worth a listen.

Specifications

Type Condenser Pressure Gradient
Capsule Single Sided Gold Sputtered Membrane
Frequency Range 20Hz / 20kHz
Polar Pattern Cardioid
Sensitivity 14MV/Pa = -37dB (0dB = 1v/Pa) -10bD
Impedance 200 ohms stock
SPL 138 dB
Non Linear Distortion Less than or equal to 0.5% at 100 dyne / cm sq
Equivalent Noise 16 dB (a-weighted)
Tube Type TELEFUNKEN new old stock EF-95
Power Dedicated Power Supply
Weight 24.7 oz (690g)
Size 8″ (203.2) Length x 1 3/4″ (44.45mm) Diameter
Extras Modern Power Supply, Shock Mount, Wooden Box, 7-pin Microphone Cable

Contact Info

TELEFUNKEN Elektroakustik
300 Pleasant Valley Rd. (Suite E)
South Windsor, CT 06074
United States of America
Office Phone: 1.860-882-5919
Office Fax: 1.860-882-5980
info@t-funk.com