[00:00:00] And welcome to another Pro Audio Suite thanks to TribeWoof. Consider in the background, don't forget the code TRIPAP to get $200 off your purchase.
[00:00:10] Today we're going to do an unboxing right after this.
[00:00:13] 5, 4, 3, 4, 4, let's go!
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[00:00:20] Hi.
[00:00:21] Hello everyone.
[00:00:23] To the Pro Audio Suite, these guys are professional and motivated.
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[00:00:28] George Witter, founder of Source Elements, Robert Marshall International Audio Engineer, Darren Robbo-Rubbix and Global Voice.
[00:00:34] Andrew Peters, thanks to TribeWoof, Austrian Audio, making passion heard.
[00:00:38] Source Elements, George The Tech Whitton and Robbo and AP's International Demos.
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[00:00:48] Here we go.
[00:00:50] So George, you've got yourself a new microphone from Austrian Audio.
[00:00:54] Of course one of our sponsors.
[00:00:56] Yes, it's Christmas early, extremely early in this case.
[00:01:00] Because I asked for this microphone a while ago and I wasn't sure if they'd send it to me because
[00:01:05] it is absolutely not in the category of podcasting or voiceover.
[00:01:10] I didn't think they were going to send it to me, but they did because maybe they see what I see.
[00:01:16] And this is what I've got today to show you and that's the OSCE707.
[00:01:25] So this microphone has a lot in common with other mics your guys are going to see from our unboxings.
[00:01:32] But this one kind of to me is like, I feel like we should have done this last in a way.
[00:01:36] Because I feel like it's the best of all the others.
[00:01:39] But all of us are going to tell us why their mic is the best I think.
[00:01:42] So OSCE707 is a small capsule condenser microphone.
[00:01:49] Much like the pencil mic that we're going to see and the mic that Robert's using.
[00:01:54] But it's just in the way that it's packaged. It's packaged as a handheld.
[00:01:58] So why a handheld vocal mic for voiceover or podcasting?
[00:02:03] Well, here's my thought.
[00:02:05] So wouldn't it be nice to have a mic with a good internal pop filter?
[00:02:09] One, it's always there and it's always with you.
[00:02:12] Two, that's the unboxing part.
[00:02:16] Two, wouldn't it be nice if the mic had a decent amount of shock mounting internally so the capsule wouldn't pick up rumble and stuff from wherever it's mounted.
[00:02:28] Yeah, sounds good, right?
[00:02:30] Well, that's the whole idea of a high quality handheld studio.
[00:02:34] Well, it's not studio. It's a live handheld live mic.
[00:02:39] This is the whole idea of a mic like this.
[00:02:41] You're getting the quality of the capsule from their smaller diaphragm mics.
[00:02:45] But housed in a handheld form factor so it can handle some hand holding meaning it will not pick up vibration.
[00:02:54] So if you mounted this to a mic arm or stuck it on a table or clamped it to a bed post or whatever it is you need to put the mic.
[00:03:01] You're not going to get much rumble or low frequency noise, right?
[00:03:05] Another cool thing about the design of this mic.
[00:03:08] Look at that crazy head basket.
[00:03:10] Yeah, yeah.
[00:03:11] It's like suspended. It's sort of similar to my mic here where they have the capsule there but the back of it is accessible.
[00:03:18] I think that's part of their name for that tech.
[00:03:22] Yeah, they do.
[00:03:23] They're the website actually.
[00:03:24] Design aspect which I can't recall but the idea is trying to make sure that there's no coloration that occurs because of the capsule being enclosed in any way at the rear.
[00:03:37] So that's the idea that this should give you the best off-axis response.
[00:03:41] It should give you the smoothest off-axis response.
[00:03:44] So before I go further and plug it in, the only feature it has really if you call it that is a switch.
[00:03:50] Open acoustic technology.
[00:03:52] Open acoustic technology, yeah.
[00:03:54] And does that switch?
[00:03:55] The switch does engage a 120 hertz roll off at the bottom end.
[00:04:01] Maybe that's what the slope is.
[00:04:02] I don't know.
[00:04:03] I'm guessing it's probably a gentle like a 6 dB per octave slope but that is what you get on this mic.
[00:04:10] So without further ado, I'm going to plug it in and maybe a nice pop.
[00:04:15] I don't know if you guys have heard of the pop.
[00:04:18] You have to gain all the way down.
[00:04:20] So I'm going to go ahead and pop this up and let's see if you guys are catching it on your end.
[00:04:24] One, two, three. Yes, it's definitely a lot of work.
[00:04:27] There it is.
[00:04:28] And we'll pot down our other one.
[00:04:30] The OC18.
[00:04:32] So now I'm on the OC707.
[00:04:37] And tonally it's very smooth with what sounds to me like a little bit of a mid-range.
[00:04:45] Like, somewhere in the hot.
[00:04:48] There's like a little bit of a bump in the honk frequency.
[00:04:51] And they did say that it's by design.
[00:04:54] They actually said that it has a little bit of a forwardness since they two to three K range
[00:04:59] because they feel it does help bring a vocal out of the mud.
[00:05:05] What she got screaming guitars going on underneath you?
[00:05:08] That's going to help.
[00:05:09] Yeah, that's exactly what I'm saying.
[00:05:10] So if I was going to use this as a stand-in for any of our other mics,
[00:05:14] my tendency would probably do you to smooth that frequency out just to my ears
[00:05:19] and kind of put a little dip to smooth out that little bit of bump.
[00:05:23] Other than that?
[00:05:24] You're probably talking about like two dB or so.
[00:05:27] Two dB or so.
[00:05:28] And that's what's crazy.
[00:05:29] You don't think two dB is that big a deal but it's amazing when you hear...
[00:05:33] We are so tuned to hear our own voice or really human voice through a microphone.
[00:05:39] And it's just we've heard it so much.
[00:05:41] So there's any anomaly in the frequencies, you pick it out really quick.
[00:05:46] But if it was a bass guitar and you added two dB of a certain frequency,
[00:05:50] it wouldn't be so dreadfully obvious.
[00:05:52] So that's always interesting with mics.
[00:05:54] But in any case, that's the OCD handle.
[00:05:56] The other two mics set up so you can pop between the two.
[00:05:59] Like go from the 818 to the OCD 717.
[00:06:02] Yes, I can do that.
[00:06:04] It would be interesting to get like a equal distance and just kind of play around with that.
[00:06:08] Hey, before you do that, how does it handle off-axis stuff?
[00:06:11] Like if you're a bit off-axis, does it get a bit lost?
[00:06:14] Yeah, we can try that.
[00:06:15] So I'm gripping it like kind of like death grip singer grip.
[00:06:19] And you're not doing any...
[00:06:21] Okay, if I really squeeze it, there's a little time.
[00:06:24] There's a little way somewhere in the middle.
[00:06:26] Yeah, that's the amount of hand holding you get.
[00:06:29] But if you hold it the proper way.
[00:06:33] Yes, it's the job.
[00:06:34] It's the correct way to hold the phone by the fingers like this.
[00:06:39] You get very, very minimal.
[00:06:41] I'm not using any high pass filters.
[00:06:43] This is right off the mic.
[00:06:45] So in terms of off-axis, if I start speaking mic across the microphone now.
[00:06:50] And now I'm speaking at about...
[00:06:52] Now I'm about 90 degrees.
[00:06:54] Yeah.
[00:06:55] Wow.
[00:06:56] It's doing really well.
[00:06:57] It's doing really well.
[00:06:59] There's the rear rejection.
[00:07:01] There's the rear rejection.
[00:07:02] But you're gone, George.
[00:07:04] Why don't you put your mic back in your face because we can't hear you.
[00:07:06] It's 3, 4, 1, 2, 3, 4, 1, 2.
[00:07:08] Yeah, it has an amazing rear rejection.
[00:07:11] I guess the thing that I noticed there was...
[00:07:13] It took a bit for it to sort of sound off-axis.
[00:07:16] Like it really did for you.
[00:07:17] Yeah, it sounded smooth on the first early angles.
[00:07:20] And then all of a sudden the low wind really plummeted and it kind of retained some of the high end for a bit.
[00:07:26] Yeah.
[00:07:27] So a very smooth off-axis.
[00:07:28] And what does that mean to you as a voice over actor or whatever podcaster?
[00:07:32] It means that you can move around the microphone quite a bit if it's mounted on a stand for example and you want a voice act.
[00:07:38] And you can move around the microphone a fair deal.
[00:07:41] And the only thing that's going to vary much at all is the volume, right?
[00:07:44] So as you get further closer.
[00:07:46] Yeah.
[00:07:47] It doesn't sound funky as you go off-axis.
[00:07:49] So all in all...
[00:07:50] I've got to say, I'm extremely excited.
[00:07:52] And the proximity effect doesn't seem huge.
[00:07:54] Am I wrong about that?
[00:07:55] Yeah.
[00:07:56] If I get in deep, you know those are...
[00:07:57] There's some of you can really get that proximity effect.
[00:08:00] And then back out to about...
[00:08:02] Yeah, so it is pretty far away from me.
[00:08:05] One, two, three, four.
[00:08:06] So yeah, excellent sounding handheld mic.
[00:08:08] Now the sound, the self noise on the mic on paper is not all that impressive at 19...
[00:08:16] I think it's 19 dB self noise.
[00:08:19] I can't hear it over there.
[00:08:20] But in reality, it's like...
[00:08:22] Yeah, if you have a heater on...
[00:08:24] If you have anything running in your environment, a fan, a ventilator, anything...
[00:08:28] You are not going to notice that.
[00:08:31] It would take an absolutely extremely quiet studio.
[00:08:34] And for reference, the Sennheiser 41-6 is 16.
[00:08:37] So it's only 3 dB, theoretically 3 dB noiseier.
[00:08:41] And it's just not noticeable in any normal environment.
[00:08:45] And sometimes it's about just the sound of the noise.
[00:08:49] Because if the sound of the noise is smooth, even if it's louder...
[00:08:52] It's less of a problem than some actual like...
[00:08:55] Yeah, exactly.
[00:08:57] The tone of the noise, whatever the white noise tone is, and it's not very clean.
[00:09:02] So there you go, back on the OC-818L.
[00:09:04] But that's the...
[00:09:06] Yeah, here, you can do it if you ever can.
[00:09:08] Can you just kind of put them in the same place and do a quick 8B?
[00:09:12] Sure, I will do that.
[00:09:14] We're on the OC-818.
[00:09:17] And they're very much close in alignment right now, and then we will cross...
[00:09:21] Cross-fade over to the OC-707.
[00:09:24] So you can hear it's a difference in the middle.
[00:09:26] Definitely less low end and definitely more high end.
[00:09:28] Right, more forward, less warm, less low end.
[00:09:32] Cross-fade back to the...
[00:09:35] Seven...
[00:09:37] The an hour on the OC-818.
[00:09:40] So yeah, in terms of like absolute purity of tone, the OC-818 wins.
[00:09:46] Hands down.
[00:09:47] But if you want to travel and have something super robust for road use,
[00:09:50] that you don't have to worry so much about,
[00:09:52] and if you want to throw in a nightclub gig wire out on the road...
[00:09:55] It's karaoke.
[00:09:57] Yeah, exactly.
[00:09:58] This is a good choice.
[00:09:59] All right.
[00:10:00] Yeah, that's a very cool mic.
[00:10:02] Very cool.
[00:10:03] It is a nice mic.
[00:10:04] I do.
[00:10:05] Yeah, I think it's basically the same as this mic.
[00:10:07] And you're going to explain to us why.
[00:10:10] Because it's the same capsule in the headbasket.
[00:10:12] It looks very similar, but not...
[00:10:14] I'm feeling this headbasket is a little bit bigger.
[00:10:16] And probably this one has a little bit more tighter polar pattern
[00:10:21] if anything possibly.
[00:10:23] But that's hard to know.
[00:10:25] I forgot.
[00:10:26] But you said it's either the same capsule.
[00:10:28] Sorry, I forgot to show my mic clip too.
[00:10:30] Which they gave you the proper thumb screw to set it up.
[00:10:34] Yeah, yeah, yeah.
[00:10:35] Yeah, yeah, yeah.
[00:10:36] Sorry, sorry.
[00:10:37] But yeah, I think it's similar headbasket.
[00:10:44] Same capsule, probably very similar electronics.
[00:10:48] Like it's whatever the headbasket does and whatever else they do to voice it slightly differently.
[00:10:52] I don't think it's even in the voicing as much as it is in the polar pattern.
[00:10:56] Because this is a little bit more of an instrument mic.
[00:10:59] So I'd expect it to have maybe a higher degree of...
[00:11:04] Like a tighter polar pattern maybe if they're intending it for drums and things on stage.
[00:11:10] But really convenient.
[00:11:12] I mean, I said you guys the unboxing videos.
[00:11:14] We wanted to see that, but it is really convenient in the sense that...
[00:11:18] It kind of works in this similar way that an SM7 or other mics work kind of boom arm.
[00:11:25] So it's kind of not in the way in the same way that other mics are on the boom.
[00:11:30] It kind of nicely gets in the right spot and doesn't cloud your view of other things.
[00:11:37] And it has this little pivot to it, which is pretty convenient.
[00:11:43] So the full range of audition is from straight ahead.
[00:11:46] Yeah, almost full range.
[00:11:48] When you try to go...
[00:11:50] That's the limit.
[00:11:51] It won't get right back up.
[00:11:53] So that'll limit some positions.
[00:11:56] But it is a pretty good front and back.
[00:12:00] I did honestly wish it wouldn't have just ran into it so clearly.
[00:12:05] Collided to the body of the mic, yeah.
[00:12:07] Yeah.
[00:12:08] But besides that, I mean...
[00:12:09] It sounds great.
[00:12:10] Same thing.
[00:12:11] It's a really amazing poster hole line.
[00:12:13] And then I got the dynamic version and George, I think I've seen those files.
[00:12:18] So here's a dynamic one which really just looking at it.
[00:12:21] The only main thing you notice a difference is just the darker color.
[00:12:25] It's kind of an interesting dynamic mic because it gives you these filters and pads.
[00:12:30] But it's active.
[00:12:32] So a dynamic mic that needs phantom power,
[00:12:35] and it seems to maybe make it easier on the mic preamp.
[00:12:39] It still definitely does that dynamic thing.
[00:12:42] But it is...
[00:12:43] I would say in there with other kind of hotter dynamic mics in like the kind of 421 type range
[00:12:52] where they kind of border a little bit more on kind of sounding condenser-ish.
[00:12:56] Here's your two samples.
[00:12:58] It's only a little bit to short sample here we go.
[00:13:00] Guess which is which?
[00:13:01] Be a part, create together.
[00:13:04] Powerful remote production solutions.
[00:13:06] Be a part, create together.
[00:13:09] Powerful remote production solutions.
[00:13:11] The second one sounds like the dynamic.
[00:13:13] Exactly.
[00:13:15] But they're pretty similar.
[00:13:17] Yeah, and where are the switches on there again?
[00:13:19] It's a high pass.
[00:13:20] It's a...
[00:13:21] Right, if I could see I could give you the actual numbers.
[00:13:24] But basically you have a 10-D...
[00:13:25] I think it's a 10-DB pad.
[00:13:27] Yeah.
[00:13:28] And then a high pass, a three position high pass filter.
[00:13:30] Three position.
[00:13:31] Oh cool.
[00:13:32] Three.
[00:13:33] Yeah, off being one of them.
[00:13:34] But here let me get you the...
[00:13:35] I would say that'll be 60 and 120.
[00:13:38] It's probably going to be the same as yours.
[00:13:40] Yeah, so...
[00:13:41] Always curious.
[00:13:42] Oh no.
[00:13:43] 60 or 80?
[00:13:45] 80 and 120 on the filters.
[00:13:47] And then the pad is like I said, 10-DB.
[00:13:50] So high to anybody?
[00:13:51] 80 feels high to me.
[00:13:53] If it's a gradual slope, I had a...
[00:13:58] At work at cutters we had my labs that had a 400 high pass.
[00:14:04] No, I don't know, filter.
[00:14:06] You would just...
[00:14:07] That one's I think a 300 or something like that?
[00:14:09] They're really high.
[00:14:10] Yeah.
[00:14:11] But no, it's just...
[00:14:12] Really, they're that high?
[00:14:13] Super, super, super gradual.
[00:14:15] Yeah.
[00:14:16] That's interesting.
[00:14:17] So yeah, I'm wondering if the slopes are set differently on that instrument mic versus
[00:14:23] the pencil mic.
[00:14:25] You know?
[00:14:26] They're all using the same basic guts just in different configurations.
[00:14:31] Yeah.
[00:14:32] That same capsule...
[00:14:33] You know, they play with the polar pad on a little bit by the acoustic surrounding it.
[00:14:37] Maybe the electronics if they're changing that might change the noise forces.
[00:14:41] But you know, Andrew's mic I would expect it to also...
[00:14:44] Probably because that basket is so open, probably have a more wider polar pattern maybe.
[00:14:51] And a little bit more open sound I would think for what Andrew has this because it doesn't have the pop filter.
[00:14:56] I mean he does have that...
[00:14:58] He's a little foam ball on that.
[00:14:59] Foam ball doesn't do much.
[00:15:01] Yeah.
[00:15:02] Andrew, what are your impressions of the...
[00:15:04] Is it CC8 right?
[00:15:05] Yeah, the CC8 which you also have.
[00:15:08] I do.
[00:15:09] I have two.
[00:15:10] And like...
[00:15:11] So I...
[00:15:12] Lucky you.
[00:15:13] I put this through its pieces.
[00:15:14] Well, that is one of the problems.
[00:15:16] I'll get to...
[00:15:17] I will discuss...
[00:15:18] Your mic technique is one of the problems.
[00:15:20] Is that why he's making a point?
[00:15:22] Yeah, exactly.
[00:15:23] It was it as never meant.
[00:15:25] He always corrects when he means to.
[00:15:27] That's right.
[00:15:29] But I've put this through a lot of tests.
[00:15:32] So I've compared it with the 41-6.
[00:15:34] I've put it up against the NTG-5.
[00:15:36] I've done it in the tri-booth.
[00:15:38] I've done it in the port of booth.
[00:15:40] My booth used it everywhere.
[00:15:43] I think Robert, actually, I sent a file to Robert last week.
[00:15:47] And Robert's response was listening to the NTG-5, the 41-6 and the CC8.
[00:15:53] But the CC8 moves a bit closer to the 41-6 than the NTG-5.
[00:15:58] I have both.
[00:15:59] Which yeah, I think that's what I'm hearing as well.
[00:16:03] It didn't quite have that...
[00:16:05] Has a little bit more truth in the mid range.
[00:16:07] It doesn't have that like sharp kind of...
[00:16:09] Yeah.
[00:16:10] ...4-6, 41-6 thing that...
[00:16:13] I know it's like what people like, but it's also technically what makes it.
[00:16:17] Not so real.
[00:16:19] Yeah, exactly.
[00:16:20] But this one if you look at the frequency response is actually very flat.
[00:16:25] Yes.
[00:16:26] And it's got a couple of tiny bumps in the top end just to give it a little bit of cut.
[00:16:31] But it's a very flat mic.
[00:16:33] I know from other people who've played around with this mic,
[00:16:36] it takes EQ beautifully.
[00:16:38] You can really thrash it and it won't let go.
[00:16:41] So that's a really good thing and just shows the quality of the microphone.
[00:16:45] On the downside of the mic, as we've already heard,
[00:16:49] it does tend to pop unfortunately.
[00:16:51] So you've got to be very, very careful when you're using this thing
[00:16:55] that you don't sort of pop continually.
[00:16:57] I wanted to try this because I just like the form factor of it when you're travelling
[00:17:03] that it could be a really good mic to chuck in a bag
[00:17:06] and use when you're on the road because it is small.
[00:17:09] It's pretty robust.
[00:17:10] Speaking of road, who makes that shock mount?
[00:17:13] You're using with the mic.
[00:17:15] Road.
[00:17:16] Road.
[00:17:17] So it does not come with any kind of shock mounting on its own.
[00:17:21] No, it just comes with a normal mic clip.
[00:17:24] Same one is probably...
[00:17:26] Maybe I think it's probably the same mic clip that I have.
[00:17:30] I would say probably, let me look in my...
[00:17:33] And so that's the trail.
[00:17:35] Those are mic clips are interesting because when you first get them
[00:17:38] and you're trying to put that mic in there, you're like,
[00:17:39] man, I don't want to snap this mic clip but the plastic is really strong
[00:17:44] and it feels like you're putting a lot of pressure in.
[00:17:46] But it's not the easiest.
[00:17:48] Those things are exactly smaller than the mics.
[00:17:52] Well, the center eyes of my clip was the same way.
[00:17:56] I remember the first 16-16.
[00:17:57] I would just think, is this going to fit?
[00:17:59] But that's why it doesn't fall out.
[00:18:01] Yeah, yeah, yeah.
[00:18:02] That's what you get is the clip.
[00:18:04] And then the foaming, that's all that comes with it.
[00:18:08] So do you think if you were to travel with it,
[00:18:10] you would actually bother to bring along the bigger shock mount for it?
[00:18:13] Or would you just use the clip?
[00:18:15] I'll just use the clip.
[00:18:16] Yeah.
[00:18:17] Yeah.
[00:18:18] Because I'm not touching anything, nothing.
[00:18:20] It should be fine.
[00:18:21] The only other downside was because of having one of these
[00:18:25] because I'm trying to make the road case as small as possible.
[00:18:27] And that's why this looked really attractive.
[00:18:29] Like if I get a, you know, the old NTG5,
[00:18:33] like you can play it straight in.
[00:18:35] Straight in.
[00:18:36] Yeah.
[00:18:37] World's most badass USB mic.
[00:18:38] Yes, would you end up with?
[00:18:40] But this one is too big.
[00:18:41] It doesn't fit.
[00:18:42] Okay.
[00:18:43] The chassis is too thick.
[00:18:44] Yeah, yeah.
[00:18:45] It's too thick.
[00:18:46] What you might be able to get is a,
[00:18:49] what would you need?
[00:18:51] A female, the female or male,
[00:18:53] the female adapter, like a little barrel connector.
[00:18:57] Oh, yeah, yeah.
[00:18:58] They call it a barrel extender?
[00:19:00] Yeah.
[00:19:01] And I bet you that would get you plugs right in there without a cable.
[00:19:04] Yeah, probably would.
[00:19:05] Yeah.
[00:19:06] Which is essentially the world's shortest mic cable.
[00:19:08] The J-coffa USBs.
[00:19:10] Or you could just get your Dremel tool and start filing off
[00:19:13] and thinning out the back of that OSU8.
[00:19:15] So worth it.
[00:19:16] So worth it.
[00:19:17] Yeah.
[00:19:18] That'll work.
[00:19:19] Making it a permanent attachment to the mic port pro.
[00:19:22] Well, these work together and that's what I guess you could try to widen
[00:19:27] that channel on the mic port pro.
[00:19:29] Which is going to be Andrew.
[00:19:31] I don't think he's going to make that.
[00:19:33] Yeah, I'm not.
[00:19:34] Yeah.
[00:19:35] Just pull it apart, just solder it in.
[00:19:38] Yeah.
[00:19:39] Yeah.
[00:19:40] Yeah.
[00:19:41] Yeah.
[00:19:42] But anyway, I really like it.
[00:19:45] I think it's, um, to me,
[00:19:47] the sound of it is really good.
[00:19:50] I like the sound of you on it, to be honest.
[00:19:52] I like it.
[00:19:53] It sounds the way a small diaphragm condenser should sound,
[00:19:56] which is really clean and really articulate
[00:20:00] and just dead accurate for lack of a reason.
[00:20:04] We would use like small diaphragm condensers like that on stage for opera singers.
[00:20:09] In fact, that's an extremely common use case.
[00:20:12] You'll often see the chefs where they have the little head.
[00:20:16] Yeah.
[00:20:17] On the end of this very skinny, long, skinny, palm stock
[00:20:21] that goes down to a four.
[00:20:22] That stock is like $400.
[00:20:25] Yes.
[00:20:26] Talk about the most expensive mic cable technically.
[00:20:30] Yeah.
[00:20:31] But you know, when money is no object,
[00:20:34] they're not using large stock.
[00:20:35] The frames.
[00:20:36] Those are the same things I think the Beatles used up on the rooftop.
[00:20:40] Yeah, on the rooftop.
[00:20:41] Yeah.
[00:20:42] I think the Beatles ones weren't there using the AKGs, I'm sure.
[00:20:46] The AKG version of that?
[00:20:47] Yeah.
[00:20:48] Yeah, yeah.
[00:20:49] Pretty sure with the AKG.
[00:20:50] Well, you know, Austrian Audio is still a young company and they're not trying to,
[00:20:52] you know, they're, they're,
[00:20:53] you can tell that they're carefully rolling out iterations of the mics.
[00:20:57] Yeah.
[00:20:58] You know, they could eventually make a remote capsule version of this mic where
[00:21:01] the capsule is on a cable, you know,
[00:21:03] it runs down a long cable and, you know, for extremely small,
[00:21:07] you know, when you're trying to get the capsule in really tight spaces
[00:21:10] or if you want to amount it to a violin or the body of an instrument or whatever.
[00:21:15] So there's a much more to me.
[00:21:16] It seems to me they're very much about their capsules and they're,
[00:21:19] and they're less about, you know, like I,
[00:21:22] I wonder if they would, I don't see them doing it but like,
[00:21:25] would they do a tube mic?
[00:21:27] I don't know, it doesn't seem in their,
[00:21:29] in their thought process.
[00:21:32] Like, you know, we're just trying to provide very,
[00:21:35] they seem like a true microphone.
[00:21:37] They seem like they look through microphones and you don't really need a tube for that,
[00:21:39] you know, yeah, for the phone.
[00:21:40] They seem to be kind of looking forward and not looking so much backward
[00:21:43] like, uh, traditional.
[00:21:44] Yeah, and it seems like they're not interested in color for the sake of color.
[00:21:47] Right.
[00:21:48] They're, like you do your color, we'll give you truth.
[00:21:51] Which idea?
[00:21:53] Yeah.
[00:21:54] Yeah.
[00:21:55] Maybe they will do a C12.
[00:21:56] You guys, who knows?
[00:21:57] Who knows?
[00:21:58] Who knows?
[00:21:59] Yeah.
[00:22:00] They got the capsule.
[00:22:01] Robo.
[00:22:02] Did you get anything new yet or is this all about us today?
[00:22:04] No, I got a new toy too but I mean, it's,
[00:22:06] you've kind of been seeing it before but I thought I'd unboxed it anyway because it's
[00:22:09] a good one.
[00:22:10] Right.
[00:22:11] And this is literally, can I just say this is literally an unboxing?
[00:22:14] I was spoiled because, um, well firstly, can I say hello to the asshole who stole my,
[00:22:20] um, my high X 65s while I was at my parents place looking after my mum but, uh, they kindly
[00:22:28] replaced my, uh, my 65s and gave me a pair of 55s.
[00:22:36] Yeah.
[00:22:37] Nice.
[00:22:38] Very nice.
[00:22:39] Very nice.
[00:22:40] So how do the sound is a mic if you plug that quarter inch cable into the, or the,
[00:22:43] they're a bit more fun.
[00:22:44] They're a bit more fun because they're a bit more fun.
[00:22:47] Yeah.
[00:22:48] But what I, what they did give me was this.
[00:22:51] Let's look at that.
[00:22:52] Oh yes.
[00:22:53] Oh yeah.
[00:22:54] Now this, this literally is an unboxing.
[00:22:56] I have to say because I haven't had a chance to get to it but so let's do it together and
[00:23:01] maybe you guys can walk me through these because I'm an 818 virgin.
[00:23:05] I love that they, I love the packaging that they give you.
[00:23:08] Is it a horrible cable tie?
[00:23:10] And I didn't realize that they were actually giving it until I read the headphone booklet the
[00:23:16] other day.
[00:23:17] They're actually giving you this so you can snip it up and yeah like you say use it to
[00:23:20] tie your cables down and stuff.
[00:23:22] No, I think that's the way.
[00:23:23] And it's self is all you thinking.
[00:23:25] What were you thinking?
[00:23:26] That's cool.
[00:23:27] Oh look at this.
[00:23:28] Oh look in its own little road case and everything.
[00:23:31] How's that?
[00:23:32] Yeah.
[00:23:33] Yeah.
[00:23:34] You know when they're in a different price category when they give you a kiss.
[00:23:38] Yeah.
[00:23:39] Yeah, yeah.
[00:23:40] Very nice.
[00:23:41] So yeah, so look this will probably to be fair.
[00:23:45] This will probably be making the trip with me when I have to go into an agency client who
[00:23:50] shall not be named of mine who doesn't believe in investing in microphones and so this
[00:23:55] will probably be handy because it will be probably be coming with me.
[00:24:00] Don't look at it stolen from your car.
[00:24:01] Yeah.
[00:24:02] Maybe staying in my car by itself don't worry.
[00:24:04] Yeah, yeah.
[00:24:05] So there we go.
[00:24:06] Certificate of quality.
[00:24:07] Can everyone look at that?
[00:24:08] Yep.
[00:24:09] So that was a...
[00:24:10] Oh this year.
[00:24:11] Thirty-thousand the fourth.
[00:24:12] Not all that one.
[00:24:13] Individually listen to and four sign dollars.
[00:24:16] Yeah.
[00:24:17] Yeah.
[00:24:18] And then Polar Pilot Handbook.
[00:24:20] Sticker.
[00:24:21] There we go.
[00:24:22] Nice.
[00:24:23] Cool.
[00:24:24] Some drugs.
[00:24:25] That's very cool.
[00:24:26] Got the cable that goes on the back of it.
[00:24:29] Yeah.
[00:24:30] The mystery magic.
[00:24:31] Weird cable.
[00:24:32] Yeah.
[00:24:33] Now, we were talking about these before we started recording and we didn't like them
[00:24:39] basically.
[00:24:40] And George made the point that it doesn't swivel which I didn't...
[00:24:43] I hadn't thought about having seen you guys using yours but you're right.
[00:24:47] The fact that it doesn't swivel.
[00:24:49] You can't do it.
[00:24:50] It's not a game changer.
[00:24:51] No, you can't do this.
[00:24:54] Yeah.
[00:24:55] I can't rotate them in the basket, right?
[00:24:57] So if that's what you want to do you can't do it with that clip.
[00:25:01] I'm using ironically or interestingly, I'm using the original 414 AKG 414 clip which
[00:25:10] is completely compatible interestingly enough.
[00:25:13] So if you have one of those playing around you can use it.
[00:25:15] And honestly those Austrian audio clips are not cheap.
[00:25:19] No, I'm sure they are.
[00:25:21] I think they're like 100 bucks.
[00:25:24] Yeah.
[00:25:25] But it's a nice clip.
[00:25:26] It's just like it doesn't let you rotate and that's the flaw.
[00:25:29] Right.
[00:25:30] It's all made.
[00:25:31] It just has that one lack of flexibility.
[00:25:33] So I recommend you get the triad orbit makes a super awesome pivoting ball head mount.
[00:25:39] Okay.
[00:25:40] That makes it extremely easy to quickly rotate them like well, it's a ball head so really
[00:25:45] in a direction.
[00:25:46] Well the other thing they do give you a positive.
[00:25:48] Do they sound any different by the way?
[00:25:50] How do I say?
[00:25:51] You sound warmer around them.
[00:25:52] You've changed your microphone.
[00:25:53] Do they change?
[00:25:54] Yeah.
[00:25:55] It just sounds so dynamic.
[00:25:56] So.
[00:25:57] And defensive Austrian audio, I think I know why that shock mount is the way it is.
[00:26:02] Because if you look at the OC818 and look at the back where you've got you can either
[00:26:06] put a you know the Bluetooth dongle or the second truly XLR.
[00:26:12] We're talking here.
[00:26:13] If it was completely around you wouldn't be able to put it in there because I can't use
[00:26:17] the right coat on the 818 for that reason.
[00:26:19] Ah, you mean this little tree.
[00:26:21] There is a little.
[00:26:22] Yeah.
[00:26:23] I can never mind my goofy little pop screen but there is a little opening in the back
[00:26:27] right here.
[00:26:28] And that's the reason.
[00:26:29] But they give you that same mic clip for the 18 and the other.
[00:26:33] Well, it's going to say if you want it to be able to rotate it you do have, I mean
[00:26:38] it's not a shock mount but you do have that option I guess.
[00:26:41] Yes.
[00:26:42] You know with it.
[00:26:43] Yeah, absolutely fair.
[00:26:44] I mean that's why that is.
[00:26:46] Have we done a lot of tests of shock mount to not to shock mount or not to shock mount
[00:26:50] like in a context of voiceover?
[00:26:53] I don't think there's almost any situation where you know if you're using the shock mount
[00:26:57] or not.
[00:26:58] Unless you can imagine if you were voice acting and you are one of those, let me turn it
[00:27:05] off that.
[00:27:06] If you're one of those people that sort of threw your hands around and did the whole
[00:27:09] yeah, you know, blah, blah, blah, and you accidentally, you know, I mean, yeah okay,
[00:27:14] it's not going to take a slam but if you bumped it or kicked it with your toe or something
[00:27:19] it might help.
[00:27:20] Yeah, I mean even with a shock mount, if I bumped the arm, yeah, well, it's hitting the
[00:27:25] booth to it.
[00:27:26] Yeah, yeah, yeah, yeah.
[00:27:27] If I bumped the arm you're definitely going to hear it even with a shock mount so yeah
[00:27:31] but it's nice that they give you, they give you the clip you have the option you have
[00:27:35] the option.
[00:27:36] You do?
[00:27:37] Yeah.
[00:27:38] So I'm really excited about that.
[00:27:39] Oh man, this will be my new podcast mic too by the way.
[00:27:42] So you'll be seeing it.
[00:27:43] Austrian audio is hooked us up.
[00:27:46] I would like to say personally, firstly, no, I know they're sponsors and I know we've
[00:27:52] just scored all this but firstly awesome gear.
[00:27:54] Seriously, my, when my headphones were stolen from my car, I was devastated because I'd
[00:28:01] never used headphones to mix until they sent me those a while ago and I fall in love
[00:28:07] with them.
[00:28:08] Like it was becoming my sort of C monitor.
[00:28:11] I sort of mix on my main monitors and then mix down in the crappy little computer speaker
[00:28:16] that I use and then I was putting the 65s on and they just become a part of my workflow
[00:28:23] and when they went, I was devastated.
[00:28:26] So you were?
[00:28:27] Yeah.
[00:28:28] So the fact that they've come back and by the way if you're in Waiong, New South Wales
[00:28:33] and some guys trying to sell you a pair of Austrian audio's in the pub, voodoosound.com.au
[00:28:37] just drop me a line.
[00:28:40] My wife's uncle is actually a biker.
[00:28:42] He's a hellsangels so I'll take care of him.
[00:28:45] Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
[00:28:50] Exactly.
[00:28:51] Yeah.
[00:28:52] You're coming to like the Austrian audio mic.
[00:28:54] Yeah, yeah, yeah.
[00:28:55] They'll come and collect it for me.
[00:28:56] Thank you very much.
[00:28:57] Yes.
[00:28:58] Hey, you know what?
[00:28:59] I totally forgot Andrew.
[00:29:00] I forgot to play your O's, your CC 8 test.
[00:29:01] I'll clip.
[00:29:02] Should I play that real quick?
[00:29:03] Oh, yeah, sure.
[00:29:04] So this is what is this five different, a few different takes strung together.
[00:29:09] This, the first one is the NTG five.
[00:29:12] Second one is the CC 8 and the third one is the 46.
[00:29:15] Oh, cool.
[00:29:16] Okay.
[00:29:17] So now we can hear it in context with two other venerable mics here we go.
[00:29:20] And that was all done in the booth.
[00:29:22] All in the...
[00:29:23] Which booth?
[00:29:24] My booth.
[00:29:25] Yeah, actually it's consistent.
[00:29:26] Yeah.
[00:29:27] Yeah.
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[00:29:58] That was an interesting one.
[00:30:00] I think the way you mentioned it...
[00:30:01] The way you mentioned it.
[00:30:02] The NTG five was hyped.
[00:30:03] It definitely is hyped up.
[00:30:04] What was the last one?
[00:30:05] Yeah.
[00:30:06] What was the final one?
[00:30:07] The last one was 41.
[00:30:08] Wow.
[00:30:09] The NTG five was like the 7506s of microphones.
[00:30:14] It's like just like low wind high end like...
[00:30:17] You know what I mean?
[00:30:18] I guess they did that because they wanted to sound totally different from the NTG three.
[00:30:22] It's not that it doesn't sound nice, but it is not...
[00:30:26] I don't think it's flat.
[00:30:28] No, no, it's not flat.
[00:30:29] The CC-80 isn't a flat mic.
[00:30:31] The CC-80 was the flatest one in the entire room.
[00:30:33] This is the one around here.
[00:30:34] This is the three.
[00:30:35] Yeah.
[00:30:37] That's what a flat, proper accurate microphone sounds like.
[00:30:40] The other is...
[00:30:41] There's more 16 had that like...
[00:30:43] The NTG kind of...
[00:30:45] It lost some low end and it definitely had that edgyness that...
[00:30:49] Yeah, it works on commercials.
[00:30:51] I don't think you're doing your next album with it.
[00:30:54] Let me air something.
[00:30:55] You know what's the plus thing?
[00:30:58] It's just a little snarled to it that...
[00:31:02] I...
[00:31:03] Yeah, yeah.
[00:31:04] I actually didn't like the 416.
[00:31:07] I didn't know.
[00:31:09] But you can see how it would slice through a mix more than the other one.
[00:31:12] Oh yeah, yeah, sure.
[00:31:14] I guess...
[00:31:15] I mean, until I've got this sucker, I've been on the NTG five.
[00:31:21] Maybe it's because I've got used to it, but I just listened to that then and went, wow!
[00:31:25] That's so thin.
[00:31:26] Right.
[00:31:27] Yeah, it's...
[00:31:28] It's completely NTG five.
[00:31:29] It's very thin.
[00:31:30] Yeah, definitely.
[00:31:31] That's incredible.
[00:31:32] That's incredible.
[00:31:33] I mean, I like hearing the CZ8 in the context of those two shotgun mics because it just
[00:31:40] draws attention to the fact that those shotgun mics are not accurate.
[00:31:45] They're not flat.
[00:31:46] They have a very distinct tone and that tone can be a detriment or it can be exactly what
[00:31:52] the client wanted.
[00:31:54] So you can get lucky and a lot of people are used to that sound.
[00:31:58] I mean, we're programmed to hear that 416, 41 6 on human voice.
[00:32:05] So we've gotten very used to that EQ curve, you know?
[00:32:09] So just out of interest out of the three mics in that shootout, which one did you prefer,
[00:32:15] which one did you find more pleasing and which one do you think would be perfect for
[00:32:20] checking in a road case and taking with you?
[00:32:22] Well, I mean, I'm not mixing it.
[00:32:25] So I could use any of them.
[00:32:27] My just straight out of the mic sound, which just sounds the most commercial ready to go
[00:32:32] on the air probably the road is my opinion.
[00:32:36] I would agree.
[00:32:37] Oh, wow.
[00:32:38] I would agree.
[00:32:39] Can I just say 12 months ago, I would have said 416 any day at a week but I'm hearing
[00:32:44] that now.
[00:32:45] You changed my mind.
[00:32:47] I think the road has a lot of low one that once you're done mixing, you're going to pitch
[00:32:51] it.
[00:32:52] I mean, you're going to cut that out anyway.
[00:32:54] But it's nice to have it though in the first place.
[00:32:56] No, no, it's just the 416 gives you that.
[00:32:59] Just like push the fader up and you're done kind of thing.
[00:33:03] Yeah.
[00:33:04] And it just sits in the mix and it's not really when you isolate it, you're like,
[00:33:09] whatever I take this is.
[00:33:10] But if I take this, it just like kind of pokes through and it just does that thing
[00:33:15] that I think that's what people are going for it because I don't think you can accuse
[00:33:19] it 416 of many things.
[00:33:22] Like, it is not accurate and it is not pretty sounding.
[00:33:25] And it's just has this like, it's going to sit in a commercial sounding mix where you
[00:33:30] want that voice to be heard.
[00:33:33] It's going to get heard with less effort than the other mics.
[00:33:36] If I had to pick two mics for you for voiceover, for you specifically Andrew, I would go
[00:33:44] to NTG5 for your shotgun and I would say the 8888 for your large diaphragm.
[00:33:51] They'd be my two voice.
[00:33:52] Yeah, okay.
[00:33:53] I just want to do one last experiment with this microphone because we know it's flat.
[00:33:59] But if I hit the 4K button on the SSL, that has given it more of a crunch, shall we
[00:34:06] say, 416?
[00:34:07] It is like an instant 416 all of us.
[00:34:11] Yeah.
[00:34:12] I know that top bump for sure.
[00:34:14] It's just emphasizing what is there and pulling it out.
[00:34:17] That's what I'm hearing.
[00:34:18] Yeah, yeah.
[00:34:19] Well, I used to plug in that does something similar from who does it?
[00:34:24] Slate digital to a thing called fresh air which is like my go to for that sort of thing
[00:34:31] absolutely just winding it in.
[00:34:34] Yeah.
[00:34:35] So if anyone cares, it goes on the voice bus and it goes on the final mix bus for me anyway.
[00:34:42] That's where I use it.
[00:34:43] I would say the CC8 is the most flexible.
[00:34:51] If it feels a sound and you didn't know like you're going to do a high-hatter voice or
[00:34:55] this or that, I think the CC8 has got the most natural sound state.
[00:34:59] It's more of a desert island mic.
[00:35:01] Yeah.
[00:35:02] You can use that CC8 on literally any instrument and you'd be fine with just a little EQ.
[00:35:08] It's called the human voice included.
[00:35:11] Yeah, yeah, yeah.
[00:35:13] Just got to be very careful of closives as we've discovered.
[00:35:16] Don't blow yourself up.
[00:35:18] Indeed.
[00:35:19] I will try not to.
[00:35:21] Well that one's up another one.
[00:35:22] Don't forget, try booth.
[00:35:23] They are our sponsor.
[00:35:24] TRIP AP 200 to get $200 off yours.
[00:35:28] Just like that.
[00:35:30] Well that was fun.
[00:35:31] Is it over?
[00:35:33] The Pro Audio Suite.
[00:35:34] We thanks to TriBus.
[00:35:36] The Austrian Audio recorded using source connect edited by Andrew Pictures and mixed by
[00:35:42] voodoo radio imaging.
[00:35:43] We've taken support from George the TechWitter.
[00:35:45] Don't forget to subscribe to the show and join in the conversation on our Facebook group
[00:35:50] to leave a comment, suggest a topic or just say good day.
[00:35:53] Drop us a note at our website.
[00:35:54] The Pro Audio Suite.com