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Charter Oak SCL1
Published in SOS August 2010
Reviews : Processor
Hugh Robjohns
Charter Oak are not yet as well known for their outboard gear as
they are for their mics, but this unusual compressor could change
all that...
Charter Oak are best known as an American
boutique microphone producer in business since 2002. However, for
the last couple of years they have branched out into the outboard
market too, producing the PEQ1 equaliser and the subject of this
review, the SCL1 dual-channel compressor-limiter.
Everything about the design and manufacture of the SCL1 is closely
controlled by founder Michael Deming, who has a well established
and respected track record as a recording engineer and producer
— so you can be assured that he knows what is required of
a good compressor-limiter. First shown in prototype form in mid-2008
at the AES convention in Amsterdam, this processor uses entirely
discrete electronics to construct a FET-based VCA, and features
unusually fast attack times and programme-dependent release curves.
Design & Construction
The SCL1 is housed in a black-painted steel, 2U, rackmountable case,
which extends about 305mm behind the rack ears. The internal construction
involves a great deal of neat hand-wiring between the front-panel
controls and the two separate channel circuit boards, which are
populated with conventional discrete components — I counted
16 transistors (including FETs) on each board, and no ICs. Apparently,
the basic design is derived from a pretty obscure broadcast dynamics
processor, although it has been extensively refined to suit the
recording and mixing environment. Cinemag transformers are employed
for the balanced inputs and outputs, and a steel divider separates
the audio circuitry (and transformers) at the front of the box from
the linear mains power supply at the rear.
The audio I/O on the rear panel is all via XLRs, operating with
the old standard of 600? input and output impedances. The maximum
output level is a healthy +22dBm (it’s correct to use dBm
rather than dBu, given the 600? termination format), and the signal-to-noise
ratio is given as either -80dB or -85dB relative to +10dBm, depending
on which set of published specifications you read!
Channel crosstalk is specified as better than -90dB, and harmonic
distortion is claimed to be less than one percent with 20dB of gain
reduction and a +20dBm output level, which is a pretty impressive
figure. The two channels are apparently matched to track within
0.25dB over the entire gain-reduction range when operating in the
stereo mode, helping to ensure stable stereo images.
As well as the quartet of audio XLRs, the rear panel also sports
the usual IEC mains-power inlet, along with a recessed voltage-selection
switch (117 or 230VAC) and a fuse holder. A toggle switch is provided
on the rear panel to switch the unit on — although there are
no markings to suggest which is the ‘on’ position. Fortunately,
the large VU meter on the front panel illuminates when the unit
is powered. Confusingly, there appears to be a second on-off switch
on the front panel, and this isn’t mentioned in the Operating
Manual at all. On some of the early units, this was a power switch,
but on current models it provides a full relay bypass facility to
switch the entire unit out of circuit, by linking the physical inputs
directly to the outputs. Given that most people will use the SCL1
as a bus compressor, a single bypass switch affecting both channels
is acceptable, but for those who want to process two independent
channels simultaneously, it might become a little frustrating. I
understand that future models will include more informative bypass-switch
labelling.
The front panel is neatly laid out, with this bypass toggle on the
left, followed by two rows of seven rotary controls, each with an
elegant aluminium knob. The skirts of these knobs are scaled from
0 to 10, but other than a single marker dot on the panel at the
12 o’clock position, there are no other calibration marks;
just the control function names and some very generic operational
markings. The upper row of controls determines the settings for
both channels when the unit is switched to stereo mode (except the
input and output level knobs, which are always fully independent).
The first pair of controls adjusts the input gain, followed by controls
for both Static and Dynamic Threshold. The Static Threshold control
is rather unusual, and sets the initial control-voltage bias. The
manual suggests adjusting this control to null the meter for a zero
reading (ie. zero gain-reduction with no input signal) before adjusting
the Dynamic Threshold. The latter control then sets the required
compression or limiting threshold for the audio signal, with the
control markings showing arrows to indicate the high and low directions.
The threshold range is adequate, but hot signals are easier to work
with, generally. Once the required dynamic threshold setting has
been established, the Static Threshold control can then be adjusted
further, if required — it basically determines the way the
control voltage swings between the peak and average levels of the
audio signal. Put into more practical and meaningful terms, increasing
the control voltage by a decibel or two on the meter (turning the
Static Threshold control anti-clockwise) essentially softens the
compression knee curve, and vice versa.
Next up are the Attack and Release time-constant controls, both
being marked simply with arrows indicating the fast and slow directions.
The attack-time range is from 100 microseconds (zero on the control
knob) up to five milliseconds (10 on the knob’s skirt). One
hundred microseconds is unusually fast for a compressor (although
not uncommon for a limiter) and would typically lead to transient
distortion in some compressors. The release time range spans 20ms
to two seconds, but with a programme-dependent release curve that
provides a faster recovery from brief high-level transients, while
maintaining a slower long-term average level control for more gentle
dynamic changes.
It’s worth noting that whereas the release curve of most compressors
dumps the attenuation, returning to a unity-gain position, in the
SCL1 the release curve essentially tracks between the peak amount
of dynamic gain-reduction and the attenuation required to control
the constantly changing average signal level — and that’s
the key factor in why this compressor sounds so transparent and
clean. Attack and release times for typical mix situations might
correspond to a setting of about 3 on the Attack control and 7 on
the Release. The reason they aren’t both 3 (or 7) is because
these two controls operate in completely opposite directions to
each other, which I found rather confusing, initially!
Next along is the Slope control, which adjusts the compression ratio
from 1:1 up to 20:1. The mid-point on the control knob (5) equates
to a 10:1 ratio. There isn’t much practical difference between
a 10:1 ratio and 20:1, so devoting half the control’s rotary
action to this region seems wasteful and reduces the resolution
for the more creative lower ratios. The final rotary sets the output
level, with appropriate make-up gain provided automatically by the
compressor circuitry. The single, large illuminated VU meter can
be switched to show the gain reduction of either channel, using
the adjacent toggle switch, but there is no facility to monitor
the actual input or output signal levels. A second toggle switch
configures the unit for dual-channel or stereo operation.
On Test
The rear panel of the SCL1 includes balanced XLR ins
and outs for each channel, as well as the main power switch. The
latter isn’t necessarily a problem, as you may always want
it to be on!
The rear panel of the SCL1 includes balanced XLR ins and outs for
each channel, as well as the main power switch. The latter isn’t
necessarily a problem, as you may always want it to be on!The SCL1
is built to high standards — just like Charter Oak’s
mics — but I was initally confused: the rotary controls seemed
disappointingly scratchy. However, some investigation quickly revealed
that the front panel of the review unit had been protected with
a polythene membrane during manufacture, and that polythene had
not been removed prior to fitting the controls. Bits of the membrane
were evident under the fittings and switches, and stray pieces of
plastic trapped around the fixing nuts of the rotary controls were
rubbing on the underside of the knobs. Happily, though, only a few
units were shipped like this, and the problem doesn’t exist
on more recent SCL1s. With the plastic removed, the true quality
and smooth, nicely weighted action of the rotary controls (both
the potentiometers and the aluminium control knobs themselves) was
clearly revealed.
The arrangement of controls is more or less logical, although the
inclusion of the Static Threshold control is unusual and will undoubtedly
confuse some users, as will the reversed operation of the Attack
and Release controls — not to mention the absence of control-parameter
markings on the front panel and the inability to monitor the actual
input and output levels. Apparently, the lack of control markings
is a deliberate Charter Oak policy, designed to encourage engineers
to use their ears rather than apply generic parameter settings that
might not be appropriate given the way this device operates —
an argument that does have its merits.
Having set the SCL1 up as a bus compressor, dialled in reasonably
sensible starting positions for all the controls, and achieved gain
reduction dipping healthily down to -8dB or so on the meter, I initially
wondered what was wrong, because I couldn’t hear any typical
compression artifacts. I even wondered if I had mis-plugged something,
so that I was still hearing the original signal rather than the
SCL1’s output! However, further investigation revealed that
I really was listening to the compressor’s output, but that
the compression is just incredibly clean and natural sounding —
even with apparently extreme settings. There just is no indication
of pumping or breathing, no loss of HF detail and no nasty transients,
just a slightly higher average energy level and a more controlled
output signal.
With most bus compressors, you end up having to filter the side
chain to prevent the kick drum and bass from driving the compression
all the time, and while auto-recovery settings usually work adequately,
it’s not unusual to have problems with gain reduction being
dumped unceremoniously at points when many elements of a track drop
out at the same time, leaving, for example, an exposed vocal. Neither
of those familiar issues ever surfaced with the SCL1, regardless
of the musical genre or mix style I tried it with.
This is one situation where you really do have to switch regularly
between the original input signal and the SCL1’s output to
hear the effect of the processing, because the processed signal
sounds so natural all the time. In fact, I can’t think of
any other bus compressor that sounds as transparent and natural
as the SCL1 — it really is quite extraordinary in the way
it works so seamlessly and virtually inaudibly, even with extreme
control settings that would be just plain silly on anything else!
This remarkable feat can be explained partially by the fact that
the SCL1 is really a gentle automatic gain control system, with
some dynamic compression added on top, rather than a conventional
compressor. As a result, it doesn’t generally apply as much
total dynamic range reduction as other bus compressors might do
with similar settings — but that doesn’t mean it doesn’t
do a superb job, especially as a bus compressor.
When faced with a ludicrously dynamic vocal track, or the vagaries
of my own beginner’s bass playing dynamics, it fared less
well. Not because it sounded nasty — I never managed to make
it sound bad, no matter what I did — but simply because it
just didn’t seem to have the range to bring huge dynamic changes
under control. Daisy-chaining the signal through both channels,
each providing half the total required dynamic-range reduction,
did work to a more practical extent, and sounded very nice, too,
with none of the obvious artifacts that a more conventional compressor
would impose when applying the required dynamic control in one hit.
But clearly the SCL1’s strength is in bus compression or in
containing more modestly dynamic sources. I had great success with
some accomplished acoustic guitar tracks, for example, and on stereo
drum kit stems.
I’ve already commented on the remarkable transparency of the
SCL1, but it’s not entirely neutral: there is a subtle character
to the sound. I’m not talking about the usual compressor artifacts,
because they really are barely audible, but rather about subtle
tonal or harmonic changes, of the kind generally associated with
high-end analogue electronics. There’s a slight extra weight
at the bottom end, perhaps; a modest lower-mid bloom that helps
to enhance the scale of the source in a musically enhancing way.
It’s subtle, of course, but becomes more obvious as the unit
is driven harder and with higher signal levels — and it can
certainly handle generous signal levels without complaining.
Verdict
The Charter Oak SCL1 is an impressive compressor that’s very
different from virtually everything else on the market at the moment.
It genuinely excels as a bus compressor, polishing the mix in a
way that nothing else comes close to doing. While probably much
too subtle for extreme dynamic control on individual wild sources,
the SCL1 does work admirably in applying a gentle controlling hand
to reasonably well-controlled sources that just need a little help
to sit nicely in the mix. You could think of it more as an astonishingly
capable level controller than a conventional compressor, and once
you install it on your mix bus, you’ll be very reluctant to
unplug it!
Alternatives
Other than some very specialist broadcast processors, I can’t
think of anything that comes close to offering this degree of transparent
level control.
Published in SOS August 2010
Music Tech
Mastering Vol 2
9 out of 10 stars
SCL-1 DISCRETE COMPRESSOR LIMITER
CharterOak claim this to be one of
the most transparent buss compressors available. Mark Cousins takes
a closer look.
You only need to look at the variety of different designs of compressor
to realise that there’s more than one way of controlling the
dynamic range of a recording. While some engineers chase after ‘character’
compression, others realise the significant benefits of a transparent
compressor – a sonic tool able to massage the dynamics of
a recording without imposing a noticeable sonic fingerprint. However,
achieving true transparency – without unwanted pumping artefacts,
HF reduction, etc – isn’t an easy task, and in many
cases demands a pricey compressor.
Resolution Magazine March 2009 [PDF]
CharterOak SCL-1
Gain reduction has long been the healthiest, in terms of
choice, of the outboard product
sectors but most variants concern themselves with subtleties of
flavour rather than
dramatic differences in operating principle. GEORGE SHILLING is
blown away by a new
and wonderfully unique compressor.
CharterOak has been making boutique microphones since 2002.
Endearingly, rather than boosting his ego, founder Michael Deming
(an engineer and producer of some note) named the company after
a local Connecticut landmark. With a product catalogue comprising
mainly exotic microphones, CharterOak has surprised everyone with
this highly unusual stereo compressor (MSRP US$2899), an early example
of which I was lucky enough to try.
Sound On Sound - Dec
2006
Reviews-Microphones. CharterOak SA538 & SA538B
By Paul White
Can mics at this price really compete with
the classics? Sound On
Sound puts them to the test...
US-based Charter Oak have been in the microphone manufacturing business
since 2002, making them a relative newcomer to the field, but they
seem very serious about what they're doing. Essentially, they source
capsules, components and other parts internationally from companies
in China, Eastern Europe and Sweden, but do all the assembly and
testing is back in Enfield, Connecticut, in the US. The design differs
from many superficially similar competitors in that very high-quality
electronic components are used, especially the capacitors. Although
this makes little difference to the paper specification, the subjective
sound is improved and it will also have a positive effect on reliability.
OVERVIEW
The SA538 and 538B are both multi-pattern tube mics based around
a pair of pressure-gradient, 1.07-inch capsules with six-micron,
goldsputtered diaphragms (these are clearly different in each model,
because the SA538 is edge-terminated while the SA538B is centre-terminated).
This is a popular size and specification for Chinese capsules. If
they are made elsewhere, I apologise for jumping to the wrong conclusion!
Both mics look similar and have the same type of external power
supply (PSU), which includes a nine-position pattern selector switch
that goes from cardioid to figure-of-eight, via omni.
The PSU appears to be of Far Eastern design, and is a simple but
robust folded-steel brick with IEC mains inlet, power switch and
voltage selector switch. An included seven-pin, fabric-sheathed
XLR cable connects the mic to the PSU, and from there a conventional
balanced three-pin XLR accepts a standard mic cable (also included).
Such differences as there are between the two mics manifest themselves
in their technical performance — which I'll come to later
— rather than in their physical presentation or feature set.
Both the SA538 and SA538B look like serious studio tools. They weigh
around two pounds each, which means that you need a solid mic stand
to keep them stable. An all-metal shockmount is included that seems
very similar to the ones I've seen with certain Chinese microphones,
but that doesn't detract from the fact that it is both robust and
practical. This design incorporates a threaded, locking ring that
locates onto the base of the mic so, once fitted to the shockmount,
it is perfectly secure whether upright or inverted. Both mics, with
their power supplies and all accessories, also come packed in aluminium
camera cases fitted with combination locks.
CONSTRUCTION
Construction-wise, the microphones are conventional. But they are
no less impressive for that, with a heavy machined basket support
frame, a dual-layer mesh grille and a slide-on body cover finished
in a vintage satin black reminiscent of some early European mics.
An embossed silver Charter Oak logo marks the front of the mic,
while a heavy, machined ring at the base of the mic holds the cover
in The ECC83 dual triode tube, used in both place. Removal of the
cover reveals neat construction, with plaited, PTFE-insulated cables
connecting the capsule and main circuit board. The tube in both
cases is a selected ECC83 dual triode, fitted to a ceramic base
arranged so that the tube lies horizontally across the circuit board.
None of the other components is visible, as they're all on the underside
of the board. The board is shielded by an extension of the transformer
housing, which in turn is joined to the basket assembly via four
metal rods. There are no pad or roll-off switches on either model.
FREQUENCY RESPONSE
Individual frequency response plots are included, and these seem
to be of the more honest 'warts and all' variety, rather than having
heavily smoothed, and hence meaningless, curves. The response of
the SA538 extends from 30Hz to 20kHz (-3dB points) and the cardioid
curve is characterised by a flat mid-range, augmented by a fairly
high-up presence hump in the 10kHz region. Off-axis, the midrange
dips as expected, producing a very happy smile curve! In figure-of-eight
mode, there's a dip at around 6kHz but otherwise the response is
nominally flat, while the omni mode shows barely a hint of presence
peak. In both cardioid and omni mode, the response curve gets a
bit bumpy below 300Hz or so, but that isn't unusual. With a self
noise of 22dB, A-weighted, this isn't a particularly quiet mic,
even for a tube model but, by the same token, the level of background
noise isn't high enough to be an issue when close-miking vocals
or instruments. For comparison, it is roughly comparable with the
noise spec of a good vintage tube mic.
The slightly more costly SA538B has a marginally better noise spec,
at 20dB A-weighted, and its lower frequency limit is 5Hz lower at
25Hz, although the maximum SPL is 125dB, rather than the 128dB of
the SA538. Both mics have a 12mV/Pa sensitivity at 1kHz and a nominal
200(omega) output impedance. Comparing frequency response plots
shows that the SA538B has a little more height in the presence peak
than the SA538, but otherwise the two microphones are broadly similar.
THE SOUND OF OAK
Before testing, I plugged in the mics and let them warm up for an
hour, as recommended by the manufacturers. Though predominantly
vocal mics, both models are equally at home on instruments such
as acoustic guitar and percussion, with the SA538B having more presence.
As I've found with pretty much all large-diaphragm mics, you have
to work harder to find the best sweet spot for acoustic guitar than
you do with small-diaphragm models, as these tend to be more forgiving
for offaxis sounds, but you can get good results. In cardioid mode,
the proximity effect is obviously present, but this isn't too pronounced
under normal operating conditions and I got very acceptable results
from a wide range of preamps, ranging from a cheap-as-chips Behringer
desktop mixer to an SPL Gold Channel. Both models are on the bright
side of neutral, though the SA538 has less of a presence peak, which
makes it sound a little warmer and less edgy than the SA538B. I'm
curious as to why Charter Oak found it necessary to create two such
similar models, when a model somewhere in between the two could
have been used with just a hint of EQ to cover the same territory.
For my own vocals, I much preferred the SA538, as it gave more warmth
and smoothed out the high end to some degree.
The character of both these mics definitely helps singers who need
help with their upper-mid presence and projection (more so in the
case of the SA538B), but who want to retain their low-end warmth
without hearing that hyped-up, spongy low end that some modern tube
mics dish out as a substitute for real warmth. Add a hint of compression
and you can get a very refined, classic vocal sound from either
of these mics without using much in the way of EQ or other processing.
As expected, the omni mode isn't quite as open and natural sounding
as from a small-diameter, single-diaphragm pressure capsule but
it is still very usable and a nice option if you don't have a wide
selection of mics in your locker. Similarly, the figure-of-eight
pattern is valuable because of its excellent 90-degree rejection,
which can really help separate sounds that are in close proximity.
I used a number of tube and solid state mics for comparison, most
admittedly a little less costly than the Charter Oak models, and
in all cases the tube fixed horizontally across the circuit board.
Charter Oak SA538 came across as both solid and present, cutting
through a mix rather more assertively than most of the competition
but without sounding edgy. The same is true of the SA538B, but I
felt it had a less desirable balance of presence and warmth for
my own applications, and could easily end up sounding too bright.
IN CONCLUSION
These are not the cheapest mics of their type around but, judged
on their sound rather than their technical spec or the origin of
the parts, they are probably worth the extra cost, as their sound
compares favourably with high-end/classic mics costing a lot more,
and they somehow help a vocal sit comfortably within a mix without
getting buried or being too loud. In this regard, the use of higher
quality electronic components certainly pays dividends. Just like
the classics they are being pitched against, the noise figures are
nothing special, but unless you're recording quieter sounds at a
distance that shouldn't be a worry. Most of the time these models
are likely to be used as close-up vocal mics, and in that role they
are perfectly happy and even seem less prone to popping than the
other models I tried for comparison — though you really should
use a pop shield whenever recording close vocals.
There's a huge amount of competition in the low to mid-priced tube-mic
market at the moment and you should also check out the other models
in your price range, especially if the mic is mainly for one singer,
as picking a mic with a character to complement a particular voice
is something that can't be done by specifications alone. Other mics
might be quieter, or capable of adding more character and leaving
you with some change into the bargain, but these mics give you that
little bit of extra class, and if you're looking for seriously good
results in this price range you should definitely consider them.
ALTERNATIVES
There are a number of competitors in this category, and the differences
are subjective. If you are considering the Charter Oak you might
also want to look at mics like Rode's K2 or Classic, the Neumann
TLM103, M-Audio's Sputnik, Sontronics' Helios, the Groove Tubes
GT67, or the MXL V77S.
-TOP
CharterOak Acoustic Devices have been quietly making
quality tube mics for the past 3 years. Their first model is the
SA538, a squat-looking condenser reminiscent of a short bodied U47.
The outer shell is finished in a satin black and appointed with
a silver silhouette of an oak tree. The mic is striking in person,
and even after viewing high-resolution promotional photos nothing
compares to holding this model in person. Speaking of holding it,
be careful, it’s almost 2 pounds. The heft alone provides
a hint of what a quality mic this is.
Internally, the SA538 is a dual diaphragm vacuum tube condenser
microphone that uses dual 1.07” gold sputtered diaphragms.
The electronics are of U.S. , Slovak Republic , Sweden , and Chinese
origin, but the mic is hand assembled and tested at CharterOak’s
headquarters in Enfield , CT. It is capable of nine pick up patterns
ranging from omni to cardioid. The mic is delivered with first-class
accessories, including a locking flight case, better than average
power supply, and one of the best shock mounts I’ve ever used.
The accompanying cables are coated in a soft webbing. The jacketing
helps to avoid tangles, allowing the CharterOak cables to gently
slide through potential spaghetti. Frequency response is reported
to be 30Hz to 20kHz.
Sometimes you buy a mic for specific purpose, like an SM57 for the
snare, or an EV RE-20 for broadcast. So, I set out to see what “special
purpose” the SA538 might have. To make a long story short,
I was having trouble finding where this mic could be a proverbial
silver bullet. And that’s when it hit me: the SA538 is a mic
that covers a lot of ground. So, I tested my hypothesis. I took
a rock singer I know who sounds thin and harsh on our Korby C-12,
but awesome on our Neumann U47 FET. Turns out the SA538 hung in
there against the Neumann. Very usable. I took another singer who
is the reverse, and usually only sounds good with the C-12. Voila!
The CharterOak worked fine. But before I give the impression that
this is just a utility mic, let me finish. We took country singer
Ian Thomas, who sounds strong regardless of mic choice and had him
sing into the SA538 and a BLUE Kiwi at the same time. In blind A/B
tests, I could not pick the Kiwi vs. the SA538. In fact, I was wrong
50% of the time.
Another benefit of the SA538 is it gets along with many different
mic preamps. From an API to John Hardy to a Mackie VLZ, the CharterOak
gave a solid, detailed performance. Studios with smaller budgets
should have no reservation using existing mic pres with the SA538.
If you’re a small studio that wants to buy a nice vocal tube
mic, but can’t afford both a C-12-ish mic and a U47-ish mic,
you simply have to audition the SA538. While it’s not a direct
replacement for either - it’s a solid performer. Likewise,
for location or mobile gigs, the SA538 would be a perfect centerpiece
for your mic pack. No need to take a bright and a dark mic because
the SA538 can manage nearly any vocalist type. It’s sturdy
construction (the tube is protected by a rubber guard) make it suitable
for the riggors of the road.
I only had two concerns with the mic. First, there is no ring mount
for positioning the SA538 in tight applications. You’re stuck
with the (great - but bulky) shock mount. Second, it seemed to take
extra time to find a sweet spot when using it on instruments. In
particular, engineers will need to be extra patient when placing
it on acoustic guitars.
I believe CharterOak is charging too little for this mic given it’s
build quality and sonic performance. My recommendation is to seek
out a demo before more people catch on to this workhorse mic.
For more information: www.charteroakacoustics.com (List $1499, street
~ $1199 web) -gh
-TOP
----end SA538 Reviews-----
EQ Magazine
- Mar 2006
NOT-SO-QUICK PICKS- CHARTEROAK SA538B TUBE
MIC
By Joel
Hamilton
So we got this cool mic here from CharterOak. Cool box. Even the
cardboard part it was shipped in was printed with their cool-looking
silhouette of a big old oak tree. I was in the middle of mixing
a record on ROIR, called “Dub Trio.” Everyone in the
room was like, “ooh . . . aaahhh!” about the box alone.
Nice touch. I open the thing up, and we all said, “ooh, aah”
because this is a great-looking package, and obviously well made
from Jump Street. I mean the shock-mount is BEAUTIFUL. I don’t
just mean, like, OK, or kind of OK: awesome. First class. It’s
made to last, and is very functional. I weigh about 190, and I felt
like if I hung from it (as I often do), it wouldn’t even bend.
SOLID. The mic weighs a ton as well, so I guess it’s good
that someone actually put some thought into how it would stay off
the floor. . . .
So, OK: The mic looks really nice, and the shock-mount rocks . .
. but is it any good as a recording device?
Hell yes.
This mic is a touch bright, but no more so than a C12 in good shape.
I don’t normally like bright mics, but this one has the oomph
in other places that really makes it kill.
And I tried this mic with a variety of common mic pres, uncommon
mic pres, and downright obscure mic pres: always cool [though some
better than others]. The mic pre REALLY seems to affect the sound
of this thing, more so than with many other tube mics I own or operate
daily. With the Neve 34120 mic pre in my sidecar (class A, discrete
70dB) the mic really sounded wide open, but not as gnarly in the
top end as with a Sytek (surprise, right?), and the mic really came
to life using a Manley VTL mono tube reference pre. Amazing with
that combo.
But I had to record some piano for a very sparse, weird arrangement
where the overall tone was really going to affect the presentation
of some odd interval and note choices, and with the CharterOak in
figure 8, on a big upright piano, a Sage electronics class A mic
pre [the SE-PRE1], and a Pultec EQP1 I got one of the most amazingly
detailed, forward, lifelike piano sounds I have ever recorded with
any single microphone. Really. An upright, two feet from a wooden
wall, with the mic between the soundboard and the wall, in figure
8: amazing. The Sage pre really is amazing, so I was really sure
we would get it with that one. The bottom of the piano was resonant
and solid, the mids were insanely detailed, and the hammer/highs
were simply perfect. The overtone series represented by this odd
piece of music came flying out of the speakers at my head! Awesome.
On drums as a mono ambient mic this thing was a little bright for
my tastes, but it DID have some amazing detail when I rolled back
some 16k on the Pultec. Then it really came to life, and just sounded
HUGE through the Manley pre and the Neve 33609. ONE mic really was
the whole kit. Super balanced from top to bottom when you roll the
highs down a touch. . . . To tape this mic would be really good,
so I printed some drums to the Studer 827 I have, and wow. Really
liked that. The “right bright” on drums. I am glad I
got the B, which is the “extended bass response” version.
I can’t even imagine this mic without the OOMPH on the bottom.
So great. Transparent, yet solid, with none of the wooly cartoon
of tube mic BS people are trying to pass off on consumers these
days. This thing is for real. Blow Marlboro smoke in it for 20 years
if you want it to sound more “vintage” (or, as I found
out yesterday, tailor the sound by working with the manufacturer).
The website has all the tech specs. I skimmed over them and got
bored and put the thing on a stand and got psyched again. . . .
After meeting the person responsible for this microphone at AES,
and finding out that he is absolutely willing to tailor the sound
of the microphone to YOUR tastes (!!!!), I really started to feel
like this company and its products are absolutely something everyone
needs to get hip to.
Anyway, the bottom line is this: In a condenser world gone crazy,
this microphone is a welcome addition to any mic collection. I have
a bunch of choices of tube mic, many classics, and CharterOak is
going to have to drive down from CT and whoop me to get it back.
I really, really like it. Thank you for making a really great microphone,
and having a cool aesthetic. I LOVE that this is not simply a copy
of anything: It is a great microphone that does not need to glom
on to some bullshit historical validation to try and find a home.
Thank you, CharterOak! —Joel Hamilton
Sound & Recording (Japan) - February ’07
Edition
CHARTEROAK ACOUSTIC DEVICES - SA538B
Drawing attention to the attractiveness of high quality
condenser microphones which were borne from fairly new microphone
manufacturer.
CHARTEROAK ACOUSTIC DEVICES where is located in the
State of Connecticut, U.S.A. is founded in 2002 by Mr. Michael Deming
who is a music producer/recording engineer. Their products developed
under the theme of “Creating the Classics of Tomorrow”
have been first introduced and officially started marketing &
selling here in Japan during the time of InterBEE ’06, and
they have drawn a keen interest to the customers who visited the
InterBEE stands with this microphones.
This time, we had an interview with Mr.
Mizuo Miura, a recording engineer who has already used this
CharterOak microphones for himself, and we would like to tell you
about one part of its attractiveness through the episode of Miki
Imai’s recording to which this microphones have contributed
greatly.
The SA538B will never disturb other sounds, whereas
the vocal is insisting with one stepping forward.
Among the CharterOak products which are officially
sold in Japan, ranging from the SA538B which is a dual diaphragm
type tube condenser microphone, their line includes the SA538 with
the specifications of low noise/wide dynamic range applying a side
termination type dual diaphragm, the S600 which is a front address
type tube condenser microphone to be sold with matched pair and
the E700 which is a solid state condenser microphone. They are 4
types of the microphones. Among them, except the E700, Mr. Mizuo
Miura who works for Mixers Labs has actually used and tested 3 types
of their microphones.
I(Mizuo Miura) borrowed 3 types of CharterOak microphones
for about 1.5 months and I tested them from various angles. Among
them, with regard to SA538B, Miki Imai liked it very much, and while
I am borrowing these microphones, the SA538B is always kept for
her.
To the vocalist, the microphone is very important
equipment which is just like his or her musical instrument. There
are lots of the vocalists who tell their frank opinions for its
selection and have their favorite microphones.
I felt that Miki-san has her own philosophy to the
expression about her song and also she has a clear image that her
song had better be like this including her voice quality. And, with
regard to the microphone, as her request of having her song record
like this voice quality was made from the basic recording stage,
then, I thought it had better be tested by various microphones,
and with preparing for a series of the microphones which might meet
her requirement, I was present at the vocal recording. I included
the SA538B in the microphones, as I tested it several times for
other sessions.
As the result, among various standard vintage microphones,
she said that the SA538B is the most suitable for her requirement
and taste.
Miki-san herself is deeply involved in the recording
this time, while she is seeking for her style of singing, after
her singing, she came back to the control room to check the quality
of her voice and she tried to use this microphone this time and
she did so repeatedly with using different microphones. Among these
trials, the SA538B felt to be most suitable for her singing, when
she used the SA538B. Including herself of course, Mr. Satoshi Takebe,
a producer and myself, 3 of us have same opinions, and we have immediately
decided to use the SA538B for the recording of her song.
What was the sound like for the SA538B which could
satisfy with all of the vocalist, the producer and engineer ?
Although this is not a right expression, as a feeling
that we listened to the sound, this microphone is not the one which
will produce the flat sound. In the so called standard vintage microphones,
there is an attractive sound quality somewhere, as it is said as
“vintage”, there is a stable feeling, and in the whole
sound field, there is a feeling that the voice and the musical instrument
will come to a good and stabilized position.
To these microphones instead, when talking about the
SA538B where there has an attractiveness, it is the microphone that
the sound will come in front. Even if it is coming in front, it
does not have a stuffy feeling, nor disturb the other sounds, but,
it has the most attractiveness that the backward sound will be produced
exactly. Especially, with the feeling that the vocal is coming out
and pointing out with one stepping forward, the sound could be created
more easily. Thinking of its microphone performance and Miki-san’s
voice, there is the best combination for this recording.
I have heard that this SA538B has been used for another
black male vocalist for his recording and the reaction was very
good.
The engineer who recorded for this vocalist is a young
engineer and as it has also a good combination with his voice, this
engineer was told by this vocalist that if you purchase this microphone,
it will surely become your very strong weapon without fail.
I used the SA538 for Gut Guitar and the S600 for Overtop
of the Drum.
I was told that 2 microphones other than the SA538B
was played an active part in Miki-san’s recordings as well.
The SA538 has been used to record the Gut Guitar for
the album recording later. For the feeling of the sound, it is similar
to that of the SA538B, but, the SA538 has a bit gentle feeling.
However, as it has also the sound with standing, it is suitable
for recording such musical instrument with gentle tone of sound
as Gut Guitar to have it listened without being buried in the orchestra.
With only standing it as it is, with almost no equalization, it
has a feeling of producing a clear contour. I think it is good.
Regarding the S600, it has an impression with comparatively
flatter than the other 2 microphones. This microphone was used for
recording Yamamoto Hideo-san’s Drum as an Overtop with the
same music. While standing another brand of the microphone as a
backup which I always use, as the S600 is a matched pair and its
performance is the same, I thought I would try to use it. Although
it is just like jazz taste music with using the brush, in fact,
for my impression of recording, I felt that the microphone which
I have ever used would be better than it. This is probably due to
the reason that I am accustomed to understanding its sound much
better. However, when mixing, after comparing to listen to the two,
the way of picking up the feeling of air is quite different.
Regarding the Overtop, not only cymbals, because of
standing it to target the whole set in some sense, including the
sound of the rim shot which is picked up there and overlapping of
kick, the S600 is the microphone which could record the sound of
feeling that the air can be “seen” much better. As the
result, in mixing, I decided to adopt the sound recorded by the
S600.
As stated in the above, although it is the experimental
stage, thinking of the process that they have been used for actual
recording and the result of using these microphones was after comparing
with the standard microphones, we think that the CHARTEROAK microphones
are very high quality. Furthermore, Miura-san pointed out that after
using the microphones for a long time, it has a possibility that
the sound will be changed.
Not only for the microphones, but also Miura-san is
always thinking of checking a new product and if it is of good quality
product, he would like to use it positively. For doing so, the new
idea will be borne, he said.
In conclusion, he stated as follows:
The microphone ….. the sound which should come out forward
is coming out forward exactly and what is happening and what is
doing in the back, that can be seen precisely…. it seems to
be difficult to find out this type of the microphone, but, for making
the sound, it is a sort of an ideal issue to construct such sound.
I think that these microphones would be most suitable for doing
so.
CharterOak S600 - June
2007 [download
PDF]
Sound On Sound Large-diaphragm Tube Microphones - Hugh
Robjohns
"With good looks and a unique sonic character, there's plenty
to commend these mics."
HTML text version coming soon.
-TOP
Sound On Sound- May
2008 [download
PDF]
On Test : CharterOak E700 Multi Pattern FET Microphone
By Paul White | May 2008
Building in China, then disassembling in the
US and replacing parts seems a long-winded way to go about building
a mic... but there might just be some sense in the approach.
Charter Oak were founded in 2002 by engineer
Michael Deming, who is currently operating his business from Enfield,
Connecticut. His microphones are built to his specification in
China, but he disassembles them in the US, changes some of the
parts, rebuilds each one and checks each mic's performance.
During development, Deming beta-tests his designs
with the help of industry professionals, to ensure that he's producing
something that will deliver in real-world situations — and while
this approach means that they're priced higher than the majority
of generic Chinese mics, they still sell for rather less than
a traditional European microphone.
A number of people have discovered worthwhile
upgrades and tweaks for imported microphones, so making these
the basis for an 'improved' product range with a recognisable
name makes a lot of sense, and seems to have paid off because
the name Charter Oak has won a lot of respect over the past few
years.
Overview
The Charter Oak E700 is a multi-pattern FET capacitor microphone
with a capsule based around a pair of 1.22-inch, centre-terminated,
gold-sputtered Mylar diaphragms. The internal preamp electronics
are pure Class A, as one should expect for mic preamps (in fact,
it would be more of a novelty if the circuitry wasn't Class A!).
Apparently, this particular model now incorporates a US-built
output transformer and the internal wiring uses PTFE-coated wire
because of its high insulation characteristics. Small slide-switches
on opposite sides of the microphone body are used to select the
pickup pattern (omni, cardioid or figure-of-eight) and one of
three pad settings (0dB, -10dB and -20dB). The mic I tested was
serial number 0016 but I understand that after serial number 0040,
Charter Oak replaced the pad and pattern switches with three-way
miniature toggle switches. All the circuitry is accommodated on
glass-fibre circuit boards, and the stock polystyrene and polypropylene
capacitors have been replaced by premium brands such as WEMA.
Mechanically, the mic isn't dissimilar to many
other Chinese models, and that extends to the shockmount and metal
case that come with it, but there's nothing wrong with that —
they're all solidly engineered and functional. Cosmetically, the
mic looks very businesslike, with its slightly squat shape and
its glossy, black-finished brass body with the distinctive Charter
Oak logo. The familiar, heavy locking ring secures the mic body
'sleeve' in place and the output is on a standard three-pin XLR,
which also supplies 48 Volt phantom power.
One factor that may influence your purchasing
decision is that this mic has a lifetime warranty on all parts
and labour. The technical spec is pretty good too, with a 25Hz
to 20kHz frequency response, and a sensitivity of 16mV/Pa (Click
here to email). The Equivalent Input Noise is 17dB A-weighted,
which is not exceptional but is typical of this type of microphone,
and in normal applications circuit noise is not an issue. The
maximum Sound Pressure Level is 125dB for 0.5 percent total harmonic
distortion at 1000Hz, and although there are mics on the market
that can take more level, I've seen reports on various forums
that this mic delivers excellent results when used to record kick-drum,
and it doesn't get much louder than that!
Studio Test
As a vocal mic, the E700 has a definite character that flatters
the sound of most singers by adding a sense of density, warmth
and air, but without becoming too brittle at the high end. Some
users have likened it to a warmer, less toppy-sounding AKG C414,
which may be true to some extent, but then I've never actually
owned a C414 so that isn't a comparison I feel that I can make
with any degree of accuracy. What I would say is that the E700
is on the flattering side of neutral, although not so flattering
as to be obvious. In comparison with the SE 2200A, a popular and
attractively priced mic (typically costing about a third of the
price of an E700) with which many readers will be familiar, the
E700 has a rather more open sound on vocals, tending more towards
the natural character of an omnidirectional model (even when set
to cardioid mode), but at the same time it has a smoother high
end and more apparent low end.
The figure-of-eight pattern sounds very similar
to the cardioid, but switching to the omni pattern delivers a
very different result, because, of course, there's no proximity
bass boost with omnidirectional mics, and all that warmth that
was generated from working up close just falls away. Once you've
mentally adjusted for this, the omni pattern delivers pretty much
what you'd expect, and although a dual-capsule, large-diaphragm
mic is never going to be as accurate as a dedicated small-diaphragm,
single-capsule omni, the omni pattern nevertheless does the job
pretty well — and it certainly extends the versatility of the
mic.
The E700 is also a very accomplished acoustic-guitar
microphone in any of its pattern modes, although (as always) you
do have to search for the sweet spot. The results I achieved varied
from somewhat brash and over-assertive to smooth and silky, depending
on where I put the mic. Hand percussion also came over solidly,
and with plenty of depth, so the manufacturers' description of
this mic as an all-rounder that's primarily intended for vocals
is accurate.
Judging by the tonality of the E700, I would
say that it should work with a wide spectrum of voice types, as
long as users position the mic to achieve the best tone, rather
than relying on equalisation afterwards. It is probably best suited
to singers who feel their voice sounds a bit thin or congested
when using other cardioid-pattern capacitor mics, but its top
end, which manages to be both smooth and airy, also works in its
favour.
Conclusion
Although there's plenty of very strong competition for this sort
of microphone at this price, the Charter Oak E700 is versatile
and classy. It is well suited to vocals but also gives good results
on a wide range of instruments. What's more, it offers great performance
for its price and is certainly worth auditioning if you're looking
for a studio workhorse.
Alternatives
There are plenty of mics competing in the same market area as
the E700, and, as always, you should try to audition them if you
plan to use the mic mainly with one vocalist, because everyone
tends to suit a different mic. Some alternatives you might try
are the Audio-Technica AT4050, SE Electronics' 3300A, the Neumann
TLM103 and the Rode NT2000.
-TOP
EQ Magazine - Nov 2006
CharterOak Acoustics E700 Multi Pattern Condenser Microphone
By Roy
Stein, Tony Gross
| November 2006
This past decade has witnessed an invasion of mics that have been tough on tradition. Chinese-manufactured, large-diaphragm studio condenser mics that copy both the circuitry and the external housing of their Western counterparts have found their way into many recording studios, as they’re cheap in comparison to their erudite ancestors. However, in many cases the similarities end at “sharp looks,” and with so many different brands flooding the market, one wonders which of these mics is wise to buy . . . if any.
Perhaps we should take some advice from Aristotle and Lao-Tzu, and embrace the middle ground — which is where the CharterOak E700 lies. This robust, dual-diaphragm FET condenser mic shares some characteristics with the import competition to keep costs reasonable. Sure, some of its basic components, including circuit cards, metal work, and the flight case, are manufactured at facilities that work with other rebranders of microphones, but that’s where the cloning around stops and individual design and quality control steps in.
Starting with a piece shipped in from China in “rough assembled” form, the mic is then biopsied and reassembled by hand with Xicon, Mial, and WEMA polystyrene and polypropylene capacitors to optimize the audio path. Before shipping, each mic goes through a final testing phase before it is stamped with its coup de grâce: a lifetime warranty.
CONSTRUCTION
We were informed that if we took the mic apart we wouldn’t find any cheap hookup wire, and the wiring would be neatly in its place. Way too late for that; within hours of its arrival we had that sucker pithed like kids on a frog in Biology 101. The split circuit board design was nesting on a rugged but cleanly machined platform, and only Teflon-coated wire is used to make the connections between the capsule and head amplifier to ensure maximum noise rejection and to faithfully reproduce detailed highs.
When it comes to design and quality control, CharterOak appears to be demanding. For example, originally the E700 employed a Chinese output transformer. However, only 11 out of 40 of those transformers passed the company’s quality control standards. Starting at s/n 0012, it was replaced with an American component. Also, beginning with s/n 0040 CharterOak has replaced the 3-position pad and 3-position pickup pattern switch with a heavy-duty 3-position toggle, rather than the earlier model’s slide switch. Alright, it’s all sounding sweet . . . in theory.
APPLYING THE E700
An organic-sounding rock band was recording in Studio A doing the standby drill: vocals, drums, bass, guitar. The clock’s tickin’ off billable hours, so it’s a trial by fire for the E700. Typically on a kick drum we remove the front head and use either an EV RE-20 or an AKG D112 on the inside of the shell placed slightly off axis about 8" from the beater, as well as a Soundelux E47 about 8–10" outside the shell (all through API 3124 preamps), as this usually captures spectacular results. So we decided to throw the E700 solo about 4" outside the front of the kick, through the API 3124 — it was so good, we left well enough alone. Recording the kick became a single mic/mic pre chain, which freed some prime gear for other sonic territory.
Up next, acoustic guitar: a Gibson Hummingbird, known for its full-bodied, warm, velvety tone. But in a rock band competing for prime sonic real estate, it can easily get lost in the mix or, at higher levels, muddy up the track. We set up the Soundelux E47 on the low end of the guitar, off axis, along with a Røde K2 on the top end to capture the 12th fret nuances, which sounded great. Then we replaced the K2 with the E700, and had the band members take a blind test. They all chose the E700.
To cut vocals, we set up a Soundelux Elux 251 and the CharterOak E700. We ended up going with the Elux for the main track, but were not at all disappointed by how the E700 held up (a good thing, given the price difference between the two). The E700 was characterized by detailed highs, without being brittle, and an open bottom end. And by adding just a touch of compression on playback, the vocals sat nicely in the mix.
CONCLUSIONS
“East is East and West is West.” Not in 2006. By combining U.S. quality control and the selective integration of high-end components with low cost manufacturing available in China, CharterOak offers an excellent buy for the buck. The E700 would be a welcome addition to any rocking mic cabinet, or a smart choice as a first upper-level mic.
Product type: Dual-diaphragm FET condenser mic.
Target market: Higher-end studio and mid-level applications with cost restrictions in mind.
Strengths: Detailed highs along with clean, open low end. Excellent shock mount and flight case. Lifetime warranty.
Limitations: Hefty, so be careful with mic stands.
-TOP
Resolution Magazine - May 2006
CharterOak E700 Review
While microphone technology may not have moved on that much in the last ten years the available choice to users has been transformed by a much wider selection of brands. JON THORNTON looks at an imposing mic that seems to have defined a new position in the landscape.
IT’S BEEN SAID BEFORE, not least by me, but the world of microphone manufacturing is a long way from where it was even ten years ago. For sure, the big players are still there updating their product ranges, or in some cases still busily producing designs that have been around for several decades. But added to this have been an everincreasing number of new entrants. Broadly speaking, they can be split into two categories — those who go down the ‘boutique’ route with highly specified, hand-crafted and usually very expensive offerings, and those who seem largely intent on maximising the lower reaches of the price/performance curve. It’s probably also fair to say that the latter rely heavily on manufacture and assembly in China.
In this context then, it’s not surprising that I hadn’t heard of USA-based CharterOak Acoustics or its microphone range before the E700 turned up for review. Founded in 2002 by engineer Michael Deming, CharterOak has quietly developed a line of microphones that have attracted a significant following. To begin with, the product range was exclusively comprised of large diaphragm capacitor designs with valve-based electronics, but the E700 marks the first FETbased offering.
Featuring a dual 1.22-inch centre terminated diaphragm, the E700 features a switchable polar response (cardioid, omni and fig-8) and a twoposition pad (-10 and — 20dB). It’s a fairly squat looking microphone, with considerable girth and heft to it, and comes supplied in a hard case together with a basic shockmount. Finished in silver and black, it looks the part certainly, but I couldn’t help but get a sense of deja-vu — the smell of the packaging, the
construction of the microphone, even the supplied case seemed familiar and these things reminded me of brands of Chinese origin. A quick call to Michael Deming confirmed this — the majority of the components, including the diaphragms are indeed manufactured in China. The units are then pulled apart, checked, reassembled and tested in CharterOak’s facility in Enfield, Connecticut.
Michael was keen to point out to me that a great deal of time had been spent with their Chinese manufacturing subcontractors fine-tuning the construction of the diaphragms and selecting quality components for the electronic stage and transformers, which was encouraging — nevertheless the E700 is pitched at a price point that gives it some stiff competition from some pretty established brands (US street price $999). A quick poke around the internals reveals a tidy looking PCB with all discrete circuitry, and a hefty output transformer whose casing forms part of the structure of the microphone.
In use, the E700 sets up quickly, and despite its weight, the supplied shockmount holds it very securely. It sounds pretty quiet — equivalent noise is quoted at 17dBA — and it delivers a nice healthy output level. On a variety of close miked sources, the E700 sounded very impressive — in comparison to a 414-BULS used as a reference it more than held its own, and actually sounded remarkably similar on the cardioid setting. There’s plenty of detail, lots of low frequency extension, and it's ever so slightly ‘hard’ at the top end.
Moving on to drums, and positioned as an overhead above the kit on an omni setting, and the E700 again sounded similar. Good transient response meant that there was plenty of punch to the sound, and the slight lift in the microphone’s frequency response around 10kHz kept things sounding detailed as distances increased. Low frequency extension was good, but in comparison with the 414 sounded a little more rounded in this respect — not a bad thing as it helped curb some less than pleasant hard resonances. This trait was even more pronounced when the E700 was set up as a distant room microphone — preferable in
some ways to the 414.
The acid test with any microphone of this type, though, is vocals. Male vocals were the order of the day on the test session, and it’s clear that the E700 has been tuned pretty well to this task. As the 414 isn’t my favourite in this application, the E700 was compared to an Audio Technica 4050, which can deliver stonking results on most voices straight out
of the box.
The E700 sounded a little less mellow than the 4050, certainly bringing out a little more ‘spit’ in the voice, but used close up has terrific presence and depth — a definitely larger than life vocal sound that would suit broadcast and voice-over applications as well as music tracks. Although it never sounds overexaggerated, the E700’s performance didn’t seem to take EQ quite as well as the 4050 though — trying to dip the low-mids slightly and dial in some HF lift started to deliver results that sounded unnatural quite quickly.
This might just be a function of familiarity with the microphone though, and more time playing around with EQ bands might help. Interestingly, for its other (valve-based) models, CharterOak offers a customisation service, where by changing valve types and altering component values in the electronics the response of the microphones can be tweaked to the customer’s preference. Sadly, this isn’t on offer with the E700; as Michael Deming explained, there just isn’t enough scope in the FET-based amplifier design to accommodate the tweaks.
All of which leaves me trying to decide where the E700 belongs in the scenario I outlined at the start. Calling it a boutique microphone wouldn’t be strictly accurate. And putting it in the category of exploring those lower reaches of price and performance would be distinctly unfair — this is a quality piece of kit, backed up by a lifetime warranty for parts and labour. And it sounds good. It’s not as much of a ‘one-trick-pony’ as perhaps the AT4050 is, but it does have a definite sound to it. And if you like that sound, then it works beautifully. I think that CharterOak has actually defined a new position in the microphone landscape — quality design and Chinese manufacture, together with the attention to detail and the ear of an experienced engineer means that everybody stands to gain.
PROS
Good build quality; very nice ‘big’ vocal sound; nice rounded sound to LF; good detail and transient response.
CONS
Might be a little overstated for some applications and be a little hard to pull into shape with EQ.
EXTRAS
As Jon points out in the review, there are other mics in the CharterOak stable. There’s the SA538 side-address dual-diaphragm valve condenser, which employs a centre-terminated S-1 capsule, the SA538B side-address dual-diaphragm valve condenser, which employs a side-terminated S-2 capsule, and the S-3 capsule S600 front-address valve condenser, which is sold in sequentially numbered pairs.
-TOP
TapeOp-
#74 Nov/Dec 09
TapeOp Gear Review
CharterOak Pop Filter
A good pop filter for cutting vocals is one of those easily overlooked
tools in the studio. Often an afterthought, a good one makes a great
mic even better — and an average mic sound okay. A crappy pop filter
makes an amazing mic sound crappy. Why screw up your several-thousand-dollar
microphone investment with a lousy pop filter??? The PF-1 is my
new favorite pop filter. It is a handsome, sturdy-looking piece
about the size of the bottom of a coffee cup. It has not one, but
two fine mesh screens Saati-Tech Hyphobe Acoustex with about a quarter
of an inch between them. This material repels moisture, and stop
plosives without compromising the frequency response of the microphone.
It’s lightweight, with a black exterior and natural cork middle
section that makes for a pleasing aesthetic. There is a small, slightly
sticky rubber dot on the mic side of the filter and a Velcro band.
It’s super easy to use; just press the dot onto the mic and use
the Velcro to attach. Besides the nice dual mesh screen, the small
size and weight have some obvious advantages over the larger metal-mesh
pop filters that need to attach to a mic stand; the filter stays
in place even if the mic moves, and the vocalist has a smaller “sweet
spot” to focus on, so it’s easier to stay on axis. I recently used
this filter to track some vocals with a vocalist with whom I’ve
consistently had plosive issues and was very pleased with the tracks
as they had far fewer and quieter plosives with the same mic we’d
previously used.
($44.95 MSRP; www.charteroakacoustics.com) –JB
-TOP
Prosound
Magazine - Japan - April 2007
Reviews. CharterOak SA538, SA538B, E700 & S600
“CharterOak microphones reviews in PROSOUND April ’07
Edition”
CharterOak condenser microphones are
manufactured in the factory located in
Connecticut, U.S.A. Only the parts with well selected and passing
the very severe
quality criteria are assembled in the rigid body which is being
machining from the brass.
And, furthermore, after 7 days aging for the tubes and testing in
the studio
environment for more than 30 minutes, the microphones will be delivered
to the
customers. In addition to this, such accessories as the flight case,
the power supply, the
shock mount, the cables, etc. will be checked severely. By taking
care of this
fundamental points in order to manufacture the products, the credibility
will be
increased and the products will attract customers’ attention
and the firm position of the
products will be established, which is a short cut to be successful
for the products.
The products which I would now like to introduce you this time are
4 types of the
condenser microphones manufactured by CHARTEROAK ACOUSTIC DEVICES
in
U.S.A. They are SA538, SA538B, S600 and E700.
First of all, from the external appearance of the microphones, the
black shiny finish is a
feeling like having its very expensive products and the microphones
have a feeling of
having its enough weight. Furthermore, except E700 which is solid
state type, the
exclusive power supply will come with the microphones. About SA538
and SA538B, as
they equip the switch with 9 steps of which the directivity can
be selected from
non-directivity to cardioid.
Let’s try to test them!
First, let’s start from SA538. This is a dual diaphragm tube
type condenser
microphone(SA538B is the same.).
Checking it with vocal, it sounds like thinking of a vintage microphone
and the
bandwidth ranging from mid-low sound to low sound is solid. Nevertheless,
it is not
like a dull sound, but, it has apparently a feeling of existence
against the sound source
in the back. Listening to only the vocal track carefully, it is
understood well that the
room noise was not almost felt. Then, after recording while selecting
the directivity
newly, with transferring gradually from non-directivity to cardioid(middle
value), the
noise is becoming decreased and it is a feeling that I went to the
country side where has
clean air, being away from the city. In doing like that, the high
technique is necessary
in order to decrease only the noise, without spoiling a feeling
of air. I feel that
CHARTEROAK ACOUSTIC DEVICES has very high technology research level.
SA538B is being the same, but, as this is a side termination type,
the high frequency
sound is much extending with a feeling of hybrid.
Depending upon the vocalist is if it is a male or a female, it is
fat or thin, utterance is
strong or not, what is the performance style of the back, etc.,
the choice will be changed.
In the studio, I would like to have both. In either way, the microphones
can realize
sound image very well for which the vocalist is in the very front
position of the stage,
and they are superb microphones, and they are also easy for mixing.
E700 is the low cost version for the above 2 microphones. This is
a gold depositioned
myler diaphragm and pure class A solid state type microphone. The
microphone equips
the switch which can be selected from 3 types of the directivity(cardioid/omni/figure
8)
and the attenuator of -10dB/-20dB(sensitivity switch).Though this
microphone is in the
low priced range, the sound is fairly good and a feeling of clear
air with less noise can be
realized well.
S600 is a front address type and the tube type, but, this microphone
is different in
appearance from the above microphones. The top portion of the microphone
is aimed at
the recording object and I think it is for the purpose of recording
the musical
instruments. I recorded the Conga which is my favorite musical instrument.
Although
it is a same feeling as sounding with a feeling of existence, this
microphone is likely flat
in its frequency response. In its good aspect, it has a sound with
non-peculiarity and
wide dynamic range.
For myself, in case of recording in stereo against the recording
object(2 microphones),
especially to drams and percussion(also piano), not standing the
microphone inside from
outside, reversely, I always request to stand it outside from inside.
This means that I
consider it phase, but, with using this microphone, when I tried
to make both settings
and to compare them, I realized that there are big difference in
a feeling of existence
and a clearness of sound. In some sense, I am impressed with this
microphone that it is
honest.
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