Earthworks SR314 Handheld Vocal Condenser Microphone - Stainless Steel

Product Information

From broadcasts and podcasts, to voiceovers, stage performance and studio work, this mic will thrive in a tonne of different auditory situations. When the SR40V first came out I loved it so much that I outfitted my whole live wireless system with their capsules.

An instrument designed for vocalists, SR314 from Earthworks exceed the expectations and desires of a modern live performance environment. I finally got a chance to use it recently at a gig I played and the guy running the sound came up to me afterwards and asked me all about it saying it was one of the best mics he has heard and worked with. The SR314’s frequency response is flat, but don’t let that lead you to think that the microphone lacks personality. nothing wrong with using a decent condenser with otherwise modest gear btw - but yeah, even a single faulty cable can ruin a performance.Studiocare Professional Audio Limited is authorised and regulated by the Financial Conduct Authority, registration number 778381. I’ve been burned by overly-sensitive condenser microphones on stage in the past, a lesson all engineers learn sooner or later. It has a way of melting away and allowing myself to just focus on getting the song, the phrases, the emotion across.

The well-rounded response carried through to the midrange, which sounds evenly balanced and accurately represented.There is no polar response data supplied for frequencies below 400 Hz, but I suspect that the pattern is wider at lower frequencies, making it more susceptible to feedback in the low end (that’s probably also the reason why the off-axis response is so uncolored). A. subwoofers were ground-stacked front-and-center of the SL100, resulted in significant low-frequency feedback between the house P. When you move the mic 90 degrees off-axis, the timbre changes, and you can hear the high-frequency response start to drop off. It put across all the nuances of quiet passages, without ever becoming screechy or nasal when the time came to belt out the chorus; and it was always articulate without exaggerating sibilants.

I found that the SR314 provided the most natural-sounding response when a vocalist worked the microphone from around 8 to 10 inches away from the microphone grille. The SR314 ships with a nylon pouch and a microphone stand clip, and is warranted for a period of 10 years from the date of purchase—an impressive commitment from the folks at Earthworks.

Being capable of reproducing sounds down to 20Hz and below, it demands some respect from singers, and although the grille incorporates pop protection, strong plosives still get through when used up close. It might be a bit of a shock to some vocalists, especially those who are used to gigging with beat-up dynamic microphones, but the SR314 instantly struck me as bringing studio-quality sound to the stage. The frequency response chart of the SR314 shows a fairly flat curve (about ±2 dB) from 20 Hz to 30,000 Hz at a distance of 5 inches, with minor dips at 4 and 8 kHz, and minor bumps at 10 and 16 kHz.

Along with all of her other ventures, she has firmly established herself as a trailblazer in popular culture. It’s a welcome and inviting sound that allows me to add some body to my tenor voice without losing the EW window of clarity. Sweetwater's Sales Engineers are regarded as the most experienced and knowledgeable professionals in the music industry, with extensive music backgrounds and intense training on the latest products and technologies. Off-axis rejection is good throughout the frequency range, and any spill that is captured sounds natural. An extended flat frequency response and a focus on fast clean impulse response set the Earthworks SR314 apart.The SR314’s 145dB SPL handling and an extended 20Hz–30kHz frequency response further enhance the versatility of this incredible mic, making it as useful for high-fidelity capture of instruments as it is for vocals. It's startling in how close it gets to what I think is my real voice (just straight into the desk at a live gig or straight into my RME in my studio, with no EQ or effects). Highly recommending this mic for anyone who is serious about their vocal sound and performance in a live environment. The rejection of sources at 180 degrees is superb, and it still offers a reasonably wide sweet spot to allow the vocalist a good range of movement without drastic changes in sound quality. There are slight peaks around 10kHz and 15kHz, a slight dip around 4kHz and 8kHz, and a gentle roll-off below 100 Hz.