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- Austrian Audio – Makers of the OC18 and CC8 we tested today
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Y'all ready? Be history.
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Get started.
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Welcome.
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Hi. Hi. Hi.
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Hello, everyone. To the pro audio suite.
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These guys are professional and motivated.
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We've taken the video stars
George Wisdom, founder of Source Element,
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Robert Marshall, international audio
engineer Darren Robin Roberts, and global
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voice and repeaters.
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Thanks to tribal Austrian audio,
lighting, passion, the elements,
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George the Tech wisdom and Rob and APIs
international demos.
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To find out more about us.
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Check the Proteas
sweetcorn line up. Ready?
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Here we go.
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I'm me and welcome to another pro
audio suite.
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Thanks to tribus,
I have to get the code to arrive at 200.
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That will get you $200 off your tribus
and Austrian audio hiking passion herd.
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Speaking of which,
I've been playing around with the CCI
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probably about a year
I reckon, but I have to be.
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Has been that long, I guess.
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I think it would be. Yeah.
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It's it's been, it's been.
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You're Mike
and in like outside your control room.
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It's like you're Mike outside
the control room, isn't it?
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Yeah,
but I put it actually in the booth now.
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Oh. Is it. Yeah. Yeah.
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So I'm just playing around
with it in there because it.
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And they travel. That was recorded to.
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I've travel with it. Yeah.
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But I thought as an a just out of interest
I'm a friend playing
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with a couple of different mics.
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And then I send an email and Robert
you came back and said
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why don't you run it through the passport
video?
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Set the guy in sign.
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So I did, and I see 18
because it was there and the kit
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and just see what the difference was
and it I found it quite interesting.
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And I think George
you have a sample of my ramblings.
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That I do.
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Okay.
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This is just a quick experiment,
with the Austrian audio kit
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and the Austrian audio och 18.
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The kit is a small diaphragm pencil mic,
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and the Aussie 18 is a large diaphragm
condenser mic.
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You're currently listening
to the CC eight, the pencil mic,
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and now you're listening to the AC 18,
which is the large condenser.
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The logical do is about assist
or so away from my mouth,
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which is roughly the same distance
as I am from the pencil mic,
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which I'm going back to
now. So this is the CC eight
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and this is the O.C 18
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both running through the passport V0,
both sitting at 1:00 in gain.
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This is the Aussie 18
and this is the CC eight.
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So once again CC eight from Austrian audio
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AC 18 large diaphragm condenser.
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They are so insanely.
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Slight this very very very little.
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And I'm not even sure.
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I thought this was a little bit
more forward.
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Pretty shocked.
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Incredibly how incredibly
similar they are.
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They are. Real.
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You wouldn't know the difference there.
Totally.
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It's like
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it's like if you want to get an 18
and then travel with a car
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because it's smaller and
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maybe less fragile, you know,
because it's smaller and less fragile and.
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Yeah, and cheaper. Yeah.
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It is, what, 400 U.S.
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400 compared to 1200, I think.
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No, no, no, 18 or 8.
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20 which was the one.
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18. 18, which is oh, the 18. Oh six.
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Did you compare it to the 8818.
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That'd be interesting to, yeah.
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The 818 and the 18
that you see here in cardioid.
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They sound the.
Same. Same capsule, same everything.
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Yeah. But
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I couldn't believe how close they were.
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I mean, we've talked about this before
when we had Kurt come on on the show and
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just talk
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about the different microphones and stuff
that they had at Austrian Audio. But
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when doing that comparison
through the same preamp,
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same level, everything is the same
in the same environment.
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I could not believe how close that was.
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Well, it sure is handy having
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a single press button
that lets you switch between them, right?
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Yeah. But it'd be really funny.
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If you're doing a session,
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would you like the pencil mic
or the large diaphragm condenser?
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Right. My sound exactly.
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Wouldn't know the difference.
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That's pretty amazing I yeah, I
it just shows how the voicing of the mic
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is, is a subjective tasteful choice
or tastes.
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It's some of these taste
and then when they design and tune
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the mics, that person's taste
is what they're going for.
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And yeah, they're like,
we want them to be consistent.
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From my to my mic.
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And you know, they're not trying to get
different characters from their mics
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and they're not trying to have
a vintage tone or whatever.
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Doesn't mean they may not someday
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come out with something
that's voiced differently or.
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But the goals of these mics is to achieve
their their I say signature sound, right?
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Yeah, it.
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Was interesting
doing some reading yesterday
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because I just had a look
at a couple of articles.
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One was Sound on Sound,
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when the kit came out
and they were reviewing it, and the guy
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who was doing the review also dragged out
a couple of 4 or 5 ones, the.
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Classic pencil mics that we've used over
the last 30 or 40 years.
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And he also had the Neumann, which is a
is that the committee for is that right?
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So the came 84 is the original one
which is a little bit noisier,
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but everyone likes it because it's
a little bit smoother on the top.
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And the cam 184 is the newer one that's
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got a little bit more top end but quieter.
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And they also had an enjoyable capsule
series, the one hundreds.
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Well that's the 100 series. Yeah.
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And then get the 130
and the one you know whatever.
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Yeah we had those at Virginia Tech.
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It was they were pretty sweet. Yeah.
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So what did they say
when he compared them.
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He sort of the article
kind of infer that the CC gate set
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somewhere between the 451 and the 84.
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Well the one I before, I can't remember
which one was because I thought
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you know what they've done
when they got the four,
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five ones, it was a inherent
harshness in the top end.
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Which people
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didn't really like very much obviously
because it was quite brittle.
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So they kind of smoothed out the top end,
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and I think they may even have
a little bit more bottom end.
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I'm not sure.
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But it, it certainly makes the,
the mic very, very flat.
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Yeah.
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Yeah, I think, I think the top end,
even though insane was actually
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the whole thing about the 451 is
this was like amazing
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on like acoustic guitars
and certain things that were is
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this like had this like bright for days
kind of sound
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certainly wasn't flat but it was bright.
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Yeah, I'd say that just just my experience
with the with the CC eights as they are
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because I've got,
I got 184 and I got the CC aids and
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I think the they're more they're, I think
they're definitely strangely enough,
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I believe they're more like the 180 fours
and they're like the 4450 ones.
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And I think it's
because they own the whole thing up.
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And also the other thing we always talk
about is like,
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if hearing on the way
in, as opposed to e cueing in post.
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Yeah. Like
if your mic is inherently brittle
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going
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in, then you're going to have a job
to sort that out once you,
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you know, sort of, doing a cueing
and stuff like that, I would imagine.
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Yeah. Yeah.
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So the CC has high pass
filters on the body, correct?
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Yes it does.
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So it has.
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An iPad doesn't it.
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Yeah. Yeah. Yeah.
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It's got a ten of the 20 DB.
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It's the same as the 451 I'll say it.
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Same thing.
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And then and the Neumann has nothing.
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It's not really versatile.
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Like it can handle 156 decibel max SPL.
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It's literally there's only one spec
and that would be in any way
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looked down upon.
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And it shouldn't really be
because it's the same spec as the 41 six.
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And that's the self noise.
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It's rated at 16 db SPL a weighted.
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Yeah, because it's because it's small.
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Yeah right.
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And the 18 is rated at eight
DB a weighted.
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So I mean if you're going to look at them
under a microscope you know
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really look at them
you're getting oh okay.
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There's
a little bit more noise in the case.
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But it's certainly not enough to be.
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But nothing compared to your last
episode's room noise
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right. Yes.
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Very true.
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Exactly
true. Yeah. Yeah, it's such a cool mic.
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And I'm wondering,
I have tried it in the tribals,
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so I think I did a file ages ago
with it, but,
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I think it's going to be a really cool
thing, certainly to travel with
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if you want to keep that signature
sound of an
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I see if that's
what you've got in your studio. Yeah.
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Taking the CC eight with you.
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So I think it's a no brainer really.
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It's it's it's clean enough.
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Absolutely clean enough.
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It says it's also a handmade capsule.
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Oh. And the difference in sensitivity
will die out as well,
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because you'll notice.
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Do you notice you see A18
or the 18 was a little bit lower in gain.
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Yeah.
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It's at 13 millivolts per. Is that Pascal.
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That's what they measure the sensor. Yeah.
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And then the the CC it is 15.
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So it's 2 to 2 more,
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two more pascals.
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That's it, that's it.
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That's it. Forget it. Yeah, yeah.
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Now, do you think that's also,
00:09:03
related to the size of the capsule
that a large cap.
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Typically, typically the smaller capsules
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are harder to make lower noise
because they're, you're trying to get.
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I mean, the sensitivity part of it,
the sensitivity rating,
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is that directly related
to the self noise?
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I honestly don't know, like like
you'd have to go
00:09:19
to get one of our mic experts
back on the line.
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Yeah,
because you can see how a large diaphragm
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might be more sensitive because it's
got more surface area to picked up,
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but then it's definitely has more mass to
to move, right.
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In this case the CC eight
is more sensitive and more soft noise.
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The to make might be coming in
and makes sense.
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Yeah, but the small diaphragm
mikes are more accurate.
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Is that correct
than a large diaphragm? Yes.
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The large diaphragm has more resonance
issues within the diaphragm itself.
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So your theoretical best diaphragm
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gets tiny because then it's
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just fitting, like one column of air.
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It's you know, it's not there's
no resonant issues and things like that.
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There's there's a lot of tuning them.
00:10:05
That's that's why my lab tries
to go with the, rectangular diaphragms.
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There's another my company.
I know who it is.
00:10:13
I made a triangular diaphragm,
and they're all trying
00:10:15
to, like, deal with resonances.
00:10:17
And when they. Tension. Yeah.
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Some of the lavalier
have a square diaphragm, don't they.
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Yeah. What's that company that has that.
00:10:23
I've seen those.
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Taken. Not seconds.
00:10:26
It's taken I don't know. Could be
I don't know enough.
00:10:29
But yeah I've seen them.
00:10:30
They look like a little plastic
black square.
00:10:32
But you see the white diaphragm in there
or whatever it is.
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Yeah. It's fascinating.
00:10:38
But yeah.
00:10:38
Like like you look at earthworks,
microphones and the, the diaphragms
00:10:42
are like half the size or even less
because of the nature of a circle.
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They're tiny, tiny, tiny.
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But then they're noisy.
00:10:50
And I can hear the difference
when I, when I listen to my.
00:10:53
I got the earthworks.
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QC eight or Q QC
00:10:57
32 or QC QC 30.
00:11:01
Yeah.
00:11:01
It's like this
Omni that's you know flat within.
00:11:04
A DB from top to bottom. Right.
00:11:07
Yeah. But you can hear it noise.
00:11:10
So it's great. It's really good.
00:11:12
Loud stuff
takes high decibels real really flat.
00:11:15
But yeah you.
00:11:16
Know I had that earthworks
ethos that was there like answered on an.
00:11:20
So yeah.
00:11:21
And that's still a really small
diaphragm Mike.
00:11:24
And it is they did a really good job
00:11:26
controlling the soft noise,
but it was definitely noticeable.
00:11:29
And my understanding
is actually doing a redesign on that.
00:11:32
Mike, I sent my own back in
because I had an issue.
00:11:36
And so they're
they're doing some rework on it.
00:11:39
But yeah, that's a really thing.
00:11:41
Difficult thing to get
is that get that quiet.
00:11:44
It takes a tremendous
amount of refinement, I guess.
00:11:47
And I try, I,
I will have no problem recommending
00:11:51
cos if someone's like thinking of,
I mean, because, a lot of people
00:11:54
have been liking the really inexpensive,
cost,
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audio Technica 875R
00:12:01
and for just a little more than twice
the price of that,
00:12:04
this CCI seems like a, a really good
choice.
00:12:08
Like.
00:12:09
And the thing is, a lot of people
will bring a shotgun like, on the road
00:12:12
because they think it will
inherently pick up less
00:12:16
ambient noise.
00:12:18
But that's not always
really the case with it.
00:12:21
They won't.
00:12:21
Pick up less ambient noise,
but it might pick up less room reflections
00:12:25
because you can. Kind of pick up
this reflection point.
00:12:27
At where you want,
an ambient noise tends to be,
00:12:31
I mean, not totally, but it's a little bit
more omnidirectional.
00:12:34
Right in the room.
00:12:36
Obviously, if you point it
right at the air conditioner.
00:12:38
Well, yeah.
00:12:39
If you have a humming refrigerator,
it doesn't matter where you point
00:12:43
the shotgun, like everywhere.
It's still going to hear the rumble.
00:12:46
It's there. Yeah.
00:12:47
So it doesn't matter
at the end of the day.
00:12:49
And, you know, then the other thing
00:12:50
people have to remember
is get close to your mic.
00:12:52
You have the, you know,
the proximity effect to counteract, maybe.
00:12:57
But you get close to that mic.
00:12:58
There's your signal,
your mouth to the noise, everything else.
00:13:02
You get close to the mic,
you're going to improve that ratio.
00:13:05
Yeah.
00:13:05
So that's that's a really,
really cheap way to counteract
00:13:09
noisier environments
and less than ideal acoustics.
00:13:13
It just means that you as a voice
actor have to be much more controlled.
00:13:17
You have to be much more disciplined
about the placement as you get closer,
00:13:22
obviously movements in your face
and your mouth falls are more audible.
00:13:27
So everything is a trade off. You know?
00:13:30
Farther means more natural, the more noise
or farther also more or less.
00:13:35
You can be a little more
lazy in your placement.
00:13:37
You can move around more,
but you get closer.
00:13:39
Because and yeah,
and to and to explain why,
00:13:43
if you're really close
and you move an inch
00:13:46
that inch that you move sideways
as a relation to the inch
00:13:50
that you away from the microphone
is a 1 to 1 relationship, right?
00:13:54
If you're yeah, you know,
00:13:55
if you're a two feet away or a foot away
and you move an inch,
00:13:58
now that inch is only 1ft or 1in
compared to a 12 inch foot relationship.
00:14:04
So the triangle, it's long.
00:14:05
So it's less of a difference, right?
00:14:07
It's less of a difference.
00:14:08
And the other thing to consider as well,
when people travel
00:14:12
and they take a shotgun,
as opposed to a pencil,
00:14:16
the pencil has the diaphragm
right on the end of the mind.
00:14:20
Yeah.
00:14:21
Where the shotgun is halfway down
the tube.
00:14:23
Halfway. It's all the way to the bottom.
00:14:25
It's like coming.
00:14:26
To the end of the slots at the end. The.
00:14:29
So if you.
00:14:31
So if you're talking about getting close
proximity to to try and,
00:14:35
you know, counteract the noise,
the room is more difficult with a shotgun
00:14:39
because you can't get that close
to the capsule.
00:14:42
It's hard if you do.
00:14:43
If you do, you're on the side of it
and then you'll sound like poop.
00:14:46
Well, when I have sound mixer, I remember
00:14:49
the only sound location sound like
I had for a while was a shotgun.
00:14:52
Mike and I started learning that you don't
always use a shotgun mic on a boom,
00:14:57
because if the ceiling is too low,
you're getting the rest
00:15:01
of the ceiling off the back of the mike,
and then it actually picks up more room.
00:15:04
And I was like,
what a mind blown. You know. Like.
00:15:07
I don't get it, you know?
00:15:09
And then I would start seeing
00:15:09
that they would have a hyper
cardioid super or even a cardioid mic,
00:15:13
a much smaller mic on the end of the boom
when they were doing interiors, you know.
00:15:17
And the other reason they would use
00:15:19
those mics is you could afford to be
a little less accurate with your aim.
00:15:23
If you're on a shotgun, you gotta be dead.
00:15:26
You got to be really dead
on on your placement.
00:15:28
Follow the script and hit every low spot.
00:15:31
Or you're just
they just sound off mic, you know?
00:15:33
And then the other reason for the short
00:15:35
shotguns is they don't get into the shot
like a really long shotgun.
00:15:39
Sometimes you can't, you know,
if you go up to the ceiling, you hit it,
00:15:42
you go too low and you're in the shot.
00:15:43
So you need a shorter mic.
00:15:45
But they used to
they used to use figure eights.
00:15:48
If you think about it
like figure eight is a
00:15:52
rejects a lot on the side
and it's all about the energy as you
00:15:55
squeeze it in one direction.
Think of it like a balloon.
00:15:58
If you squeeze it in one place
where that energy going to go, it's
00:16:01
going to pop out the back.
00:16:02
And that's that kind of lobe that you're
seeing with the hyper cardioid.
00:16:07
Yeah.
00:16:08
And and the cigaret.
That's what they're using
00:16:10
before they came out with a good shotgun
white design.
00:16:13
What was that shotgun
we looked at a couple of years ago.
00:16:15
Remember.
00:16:16
It was like a but a super shotgun
was location might thing.
00:16:21
I did have multiple barrels.
00:16:22
Yeah. Had multiple barrels
or something to remember that.
00:16:25
What was that? Oh wait a minute.
Wait it was it the one that. No wait.
00:16:28
Was it an array.
00:16:29
Might have had like
a ton of capsules in it.
00:16:31
I don't remember.
00:16:32
It had an Ethernet jack on the back.
00:16:34
Yeah, it was the DSP.
00:16:36
Maybe it was the guys from New Zealand
or something.
00:16:39
Yeah, the guys from New Zealand.
00:16:41
I haven't heard anything of it.
00:16:42
No it was, it was really expensive.
00:16:44
I think it was like it was quick sellers.
00:16:46
Yeah it was,
it was ridiculously expensive.
00:16:49
Yeah.
00:16:49
I. Was just trying to think
I can't find it. Yeah.
00:16:52
The name is not ringing the bell either
it didn't go to market or
00:16:57
it's just, you know, such a rarefied air
that people would.
00:17:00
Go. To market for.
00:17:02
It is small.
00:17:02
Ships have a super CMI digital shotgun
microphone.
00:17:06
There you go.
00:17:07
It's like three grand, right? Yeah.
00:17:09
It's Bluetooth so sexy.
00:17:11
It doesn't that the one that has.
00:17:13
Yeah.
00:17:13
Don't they have one that goes
from a. Color blue.
00:17:15
To a gray fade.
00:17:17
It has like, This one's
sort of like an umbrella sort of color.
00:17:20
Ships has the blue one. Yeah.
00:17:23
Yeah. It's very nice. It's so you. Can.
00:17:25
Feel extra important as a sound
mixer on set.
00:17:28
Yeah. Why exactly ships.
00:17:29
Check this one out. Yeah,
because everyone knows that's why.
00:17:32
That's right.
00:17:32
It's so funny that, like,
you know, 41 six,
00:17:35
which is such a go to
microphone is actually in the world of,
00:17:39
of, location sound is like,
that's the Honda Civic.
00:17:43
Yeah. Yeah.
00:17:43
It's, you know.
00:17:44
Yeah. That's the basic.
00:17:47
Yeah, yeah.
00:17:47
It's it's.
00:17:48
Yeah. But it but it's old trusty though.
00:17:51
That's the thing. Yeah.
You know, you get like.
00:17:53
Other other ones that we think of
are like the Hyundais and the Kias.
00:17:57
Yeah.
00:17:57
You pull it out of the bag
and you know what you're going to get.
00:18:00
That's the nice. Yeah.
00:18:01
I mean and.
Then you pull out the ships and it's.
00:18:03
Yeah. But yeah
let them play. Yeah. That's right. Yeah.
00:18:05
They're going to keep those things around
you know for a long time.
00:18:08
But you'll get
00:18:08
oh that's what's kind of fun about going
to the used gear stores in Hollywood.
00:18:12
Like location sound.
00:18:14
They'll have like a case full of 41
sixes, you know,
00:18:18
and they've all just,
you know, fallen off the bottom
00:18:21
of the rack, you know, like these guys
that keep upgrading, right?
00:18:24
So now their their spare
mic is now the low end chips.
00:18:29
Well, I've got to buy a new 416.
00:18:31
My poor old girl is finally bit
in the dust.
00:18:35
Is that right where the connection,
the XLR connections going all crackly
00:18:38
and all that sort of stuff.
00:18:40
She turned the screw on it.
00:18:41
Yeah, I've tried all that
and I it's out of serviceability,
00:18:45
you know, when you bring them up
and you go, can I send you this?
00:18:47
And they say,
can you give me that number on the bottom.
00:18:49
Yeah. Blah blah.
00:18:50
Nice. Yeah.
00:18:51
Yeah. It's too old saying
oh really? Yeah.
00:18:53
I'd like to find a map of 41 six
that is old enough
00:18:57
to have like the flat side
instead of the fully round one.
00:19:00
Yeah, well, mine, mine would be 25 years
old. 20.
00:19:05
Look at an Mk 20.
00:19:07
Look at the back of an Mk 20.
00:19:09
And it's kind of like the the back of it.
00:19:11
It's like a rectangle.
00:19:13
And I think oh well.
00:19:15
And I think that there are 41 sixes
out there that aren't the same.
00:19:20
If you get the right old vintage
of 41 six.
00:19:22
That's where.
00:19:24
I believe, okay.
00:19:25
Age 20 is one of their mics.
00:19:27
Oh, it's a I used one at school.
00:19:29
That's another one. It's a cardioid.
00:19:31
Yeah. Flat.
00:19:33
It's like Jesus.
00:19:34
It just looks like a scientific
instrument.
00:19:37
It's a really it's really expensive.
00:19:38
And you can't find them anymore.
00:19:40
But it's in the series
and it's just like a cardioid.
00:19:43
It'd be used in the same situation as a,
you know, it came it came 180.
00:19:48
Yeah.
00:19:48
Yeah, yeah.
00:19:50
But yeah it's I think crazy how.
00:19:53
They're still making they,
they'd still have that series
00:19:56
the 2030 43 Mk 20.
00:19:59
Yeah.
00:20:00
Yeah they're expensive though.
00:20:01
Yeah we had done a lot. More than that.
00:20:04
Well yeah they make I mean think.
00:20:06
About a 41 six is 800 bucks right.
00:20:09
An MK is 20.
00:20:11
Let me change 20 is how much like
00:20:14
it's it's a lot more I think it's 50.
00:20:17
I can't find them I find them cage 50
I find that MK 20 in each photo.
00:20:23
But the 80 series
seems to have taken over.
00:20:25
Now that's the latest tech from them.
00:20:27
They're 80, 48, 58, 60.
00:20:30
Six, 27. No longer available.
00:20:33
The site address 80 series.
00:20:35
It was that the 8080 or the 80.
00:20:38
The Mk eight, 8040 is $1.
00:20:43
You put one they have it's like $3.
00:20:45
That's like yeah.
00:20:46
Or multi pattern. Yeah that one's crazy.
00:20:49
That's the 8080 I think.
00:20:51
But the 8040 yeah.
00:20:53
Is their little pencil mic.
00:20:54
It's really little actually super tiny.
00:20:57
But I mean is that five times
00:21:00
more better than the seats
or four times better than a car.
00:21:04
Now you know how it goes.
00:21:05
It's always like diminishing returns.
00:21:07
Like. Yeah, exactly. Hey.
00:21:08
And it's also that,
00:21:09
you know, you stick a badge on it
and people are happy to pay the premium
00:21:13
for the badge.
00:21:15
Although we were talking before
about the 45 ones and the 84.
00:21:18
Right, right.
00:21:19
Yeah.
00:21:20
I think you can get about
at least ten, 4 or 5 ones for 184. Oh.
00:21:25
The the 84 is are insane. People want like
00:21:29
$5 for a pair
of 80 fours and you can get a pair of one.
00:21:33
Is it for is for 1500 bucks.
00:21:35
It's crazy. And yeah.
00:21:36
And it's like,
yeah I've seen people do shootouts.
00:21:39
It's like yep,
there's a little bit more noise.
00:21:41
Yes, it's a little bit smoother
00:21:43
and you're going to pay $3
more for that.
00:21:46
Like that's what X are for right.
00:21:49
That's yeah I mean that's
what a little bit of placement tweakers.
00:21:52
And also honestly it's like sometimes
00:21:55
that extra little high end is nice.
00:21:59
Yeah.
00:21:59
You know
you know I just realize they still me
00:22:02
speaking of weird
sennheiser's have flat with flat sides.
00:22:06
They still make the 441. Oh really.
00:22:09
Yeah. I didn't know that.
00:22:10
Oh there's so much going for.
00:22:10
Yeah.
00:22:11
And they, and they came out
with a new 421 thing was they.
00:22:14
Made this one you dynamic super cardioid.
00:22:17
This is a $1 dynamic microphone.
00:22:21
What.
00:22:22
Oh yeah. You know it's
the David Bowie mic.
00:22:24
Is it.
00:22:25
Is he like the.
00:22:26
Lot you'd see like in the Ziggy Stardust
days?
00:22:28
I think you'd see David Bowie
singing out of a 441.
00:22:31
And, I think also Deborah Harry, Blondie.
00:22:34
They. Right. Yeah.
00:22:36
And I think also Stevie Nicks in don't
00:22:39
that that thing she does
with the Tom petty, I believe.
00:22:42
Stop dragging my helmet around, I think.
00:22:43
Yeah, I think that might be too.
00:22:45
She's it's got it.
00:22:46
Switches five position, low frequency
roll off.
00:22:49
I've used them.
00:22:50
They're really nice, but they're a hyper
cardioid, so they have less use.
00:22:53
It's a it's one of the unique hyper
cardioid dynamics there's.
00:22:56
That's a rare breed for sure.
00:22:59
It's it's well they call it a super
I never really know
00:23:02
what the exact differentiation
is between hyper and super.
00:23:06
But tighter tighter pattern.
00:23:07
Bigger lobe is super more hyper.
00:23:11
Well, no.
00:23:12
Super is about 100
and was about 110 degrees.
00:23:15
And I think hype is about 105 degrees.
00:23:18
Oh okay. So slightly different.
00:23:20
I think I think that's roughly someone's
going to ultimately see.
00:23:23
So that's an email. So yes.
00:23:25
So you know
you are listening to us right now.
00:23:28
Yeah. Yeah.
00:23:28
But if I got it right then
all of a sudden the genius which I'm at.
00:23:35
It's, it's.
00:23:35
Talking about the cost of mic.
00:23:36
So the cost is half the cost of an 18,
00:23:42
right? Yeah, yeah.
00:23:43
Oh, yes, it is, it is. Right.
00:23:45
And it's, remarkably good. I mean, yeah.
00:23:48
But to be fair, I don't. Yeah, yeah, yeah.
00:23:51
You don't get all the bells and whistles
that come with an AC 18, I suppose.
00:23:55
Like it's just a list of them. Yeah.
Well nice.
00:23:58
Okay. 18 is cardioid only, right.
00:24:01
Yeah.
00:24:01
Are we seeing the same.
00:24:02
Yeah. 18 versus the eight.
00:24:06
How much is the.
00:24:07
How much is the eight versus
the 818. That's not that.
00:24:09
That's not like
I think what are the price. Yeah.
00:24:12
Like a third.
Yeah I mean that's pretty obvious.
00:24:14
Oh you got no polar design here.
00:24:15
You've got all the other stuff as well
and all that.
00:24:18
So so that would make sense for the 818.
00:24:21
I'm surprised
it's only got the one polar pattern.
00:24:23
Is that right? I didn't know that.
00:24:25
Yeah 18 is the super
00:24:27
I yeah pitched.
00:24:29
The 18 to cardioid.
00:24:30
No sorry. Sorry.
00:24:31
Cardioid. Yes. Yeah. Yeah.
00:24:33
All right I've got the 16.
00:24:34
I dragged the 16 out the other day.
00:24:36
It's like wow.
00:24:37
It hurt my eyes. It's so bright.
00:24:40
Oh yeah. Noticeably brighter. Yeah.
00:24:42
It's a little bit more crispy.
00:24:45
The 16 the old the headphones.
00:24:47
You know the okay 16.
00:24:48
Oh no no.
00:24:49
I see 16 is their entry level
large diaphragm.
00:24:52
That's the
that's not handmade in Austria.
00:24:55
It's the Chinese capsule.
00:24:57
I believe
the capsules are made in Austria.
00:24:59
But the electronics,
they're assembled in China, I see.
00:25:02
Oh, so the capsule. Yeah.
00:25:03
All capsules. The.
00:25:04
Yeah, but it's the electronics. Yeah.
00:25:06
So that that's a lot
brighter than in the 18.
00:25:10
Yeah.
00:25:10
It it's it's got a,
it's got a, it's a it's very.
00:25:13
Yeah it's almost
00:25:14
I wouldn't even say foreign key I kind of
think it's even top higher than that.
00:25:18
What do you think George.
I feel like it is.
00:25:20
I thought I have one
00:25:23
like I feel like it's something.
00:25:24
Yeah.
00:25:24
It's actually I have a wav file here.
00:25:26
It's called ox.
00:25:28
1618 818.
00:25:31
Oh they go from December 2012.
00:25:33
I remember we did an episode where we shot
all those out December 2012.
00:25:38
So that's a wait. Wait.
00:25:39
That's a long.
00:25:42
That's a long time ago.
00:25:44
I was a lot older then. Yeah.
00:25:47
And then I.
00:25:48
Maybe it's supposed to be. 2021.
00:25:50
And I.
00:25:51
I'm sorry. Did I say did you.
00:25:52
See it said same 20. Five is think.
00:25:55
We didn't even have a show then.
00:25:58
We didn't turn it back then.
00:26:00
2022.
00:26:02
Yeah I been I just I don't. Have
I don't have these Mark.
00:26:04
They just say marker. Marker
I don't have them labeled.
00:26:07
Yeah. Yeah.
00:26:08
So I'll play them through.
00:26:11
You guys can hear them
real quick in context.
00:26:13
Here's the even better
I'm going to grab when you use the
00:26:17
let's see here.
00:26:18
This is the.
00:26:19
And the on string audio OC 18.
00:26:22
So this whole beginning part the 18
I'm sorry the that's the key.
00:26:27
Then you go to the 18 right.
00:26:29
So here here's that okay.
00:26:32
This is just a quick experiment
with the Austrian
00:26:35
audio kit and the Austrian audio.
00:26:38
Okay.
00:26:39
18 the CC eight is a small diaphragm
pencil mark,
00:26:45
and the Aussie 18 is a large diaphragm
condenser mic.
00:26:49
This is the AC 16
running through the M 101.
00:26:53
Now you can hear the top end lift.
00:26:56
Yeah, it's quite a significant
00:26:59
This is the OC 18 running
through the Grace M 101.
00:27:03
This is the OC 818
00:27:06
running through the Grace M 101.
00:27:09
Interesting.
00:27:10
So yeah, there's 60.
00:27:12
Now you get to really hear
the 16 in context.
00:27:15
This is the OC 16 running
through the grace of I don't want to.
00:27:18
Go crazy.
00:27:19
Yeah, you'd have to smooth out the.
00:27:22
This is the ships. Yeah.
00:27:25
How does it compare?
00:27:26
Like, this is the ship's
airline pilot microphone.
00:27:29
Yeah. It's for your favorite airline.
00:27:31
You ever trying to figure out what to get
your favorite airline pilot? The.
00:27:34
You know,
they have everything on this headset.
00:27:37
If you're like, what do I do with this?
00:27:39
This is these ships
ice pick and microphone there.
00:27:43
Yeah.
00:27:43
So so other other hyper cardioid
00:27:48
dynamics the sure be the 57 a.
00:27:53
The 57 a that's a mic bay.
00:27:55
The 57. Data.
00:27:57
Say the the betas were hyper cardioid.
00:28:00
They did a did a beta 58 tuning.
00:28:03
They yes they did.
00:28:04
That's also hyper.
00:28:05
But it's also dynamic.
00:28:07
Yeah. Those are both dynamic. Yep.
00:28:09
And B the 87 B condenser.
00:28:11
All right.
00:28:12
That's the condenser.
00:28:13
What a weird naming convention.
00:28:15
Why did they have to call an 87.
00:28:18
I never understood that.
00:28:19
Just like with Neumann.
00:28:22
Clearly came after the U.
00:28:23
87, so I don't know, like.
00:28:26
You know, we Mike guys are we can name
Mike simply by a two digit number usually.
00:28:30
Or three digit number.
I mean. Yeah, right.
00:28:33
Grab 57, gather 58,
you know, grab this and it.
00:28:36
But then it's like, grab an 87.
00:28:38
No no no no no no estimates. Yes.
00:28:40
I mean Yeah.
00:28:43
You know, but I think.
00:28:44
Most people said grab an 87
then it would matter.
00:28:46
It's like if you
00:28:47
this is what you do,
you go to someone, you say,
00:28:49
give me like an audio engineer,
give me an 87.
00:28:51
If they give you a, sure
they're alive, engineer.
00:28:54
They give you the
studio. Right? And there's
00:28:58
the that's
00:28:58
the ultimate insider audio engineer
nerd stuff.
00:29:01
How do I know it?
00:29:02
How do I know your live guy without having
their, ask which Mike, do your hand?
00:29:07
Yes, I can 87.
00:29:09
Well, that was fun.
00:29:10
Is it all over the pro audio suite?
00:29:14
Thanks to driver and Austrian audio.
00:29:17
Recorded using Source Connect,
00:29:18
edited by Andrew Peaches
and mixed by a little though.
00:29:21
Got your own audio issues?
00:29:23
Just ask robo. Don't call him
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00:29:25
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