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€355,00

mbho 440-CLS (updated version) true condenser Nier

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Category MBHO microfoons
mbho 440-CLS (updated version) true condenser Nier
mbho 440 true condenser Nier

Sublieme prestaties, een lage ruisvloer en een schone klank....
tests:
The 440 CLS is short, stocky and built like a rock. The matte-black, all-metal casing measures 3.75 inches by 0.75 inches, including capsule and gold-plated XLR connector. Etched into the metal casing are the company logo, microphone model and serial number.
The mic features an automatic current switching circuit that enables consistent operation with phantom power ranging from 22 volts to 48 volts. This feature makes the 440 CLS ideal for location work with battery power sources.
The MBNM-440 CLS features a switchable 10 dB pad and high-pass filter (no cutoff frequency or slope is specified for the filter). The manufacturer's stated specifications for the 440 CLS are a flat frequency response from 40 Hz to 20 kHz and a sensitivity of 7 mV/Pa. (1 Kohm at 1 kHz). Signal-to-noise ratio is 80 dBA (A-rated at 1 Pa.), maximum SPL is rated at 126 dB and the mic's impedance is 200 ohms.


test report // mixguides :

The updated version adds a switchable -10dB pad and a -6dB/octave highpass filter at 250 Hz. These are recessed to prevent accidental switching. Like the 440-CL, the 440-CLS has a heavy-duty feel, with a brass, matte-black body, gold-plated XLR pins and a fine-mesh screen protecting the diaphragm. Specs are similar, with a 40-20k Hz response, 14dBA self-noise and 126dB SPL handling. At 3.75x0.8 inches, the MBNM 440-CLS is perfect for discrete instrumental spot-miking. Field and concert recordists will be happy to know that it accepts phantom power between 22 and 48 volts.

The review units arrived as a matched pair with consecutive serial numbers and sounded well-matched. The company intends for the mics to be used on acoustic instruments and choirs, as well as drum overheads and percussion. As I planned to record a local theater company rehearsing and performing an operetta, I jumped at the chance to put these to the test. Due to space limitations, I used a Spartan system, going direct to disk using an Apogee Mini-Me preamp connected to my Mac PowerBook via USB.

The highly directional mics had positive aspects, but were less desirable in some situations. An X/Y coincident pair pointed at the front of the stage provided a nice representation of the stereo space. On playback, it was easy to hear where the singers and instrumentalists were positioned. The mics have a slight HF presence boost, which in this setting helped maintain intelligibility of the vocal parts. The mics? directionality, however, downplayed the room sound, giving the recordings a somewhat 2-D feel. Nonetheless, the mics? good transient response helped make these recordings sparkle. The two MBNM 440-CLSs captured lower frequencies in a reserved, polite manner, although I wouldn?t characterize them as sounding thin.

In the studio using an FMR Audio RNP8380 preamp, the MBNM 440-CLS worked well on snare drum, emphasizing stick attack over shell tone. It was even better on rack toms, where directionality helped isolate the drums from surrounding cymbals. On dumbek and other hand drums, fingersnaps on the heads and the tone of the shells were nicely captured. As stereo drum overheads, the mics tended to emphasize the sizzle in the cymbals, which overshadowed the drums? midrange tone. Consequently, exact placement was crucial to get a good balance between the two (though I still added some LF EQ at mixdown). Once placed, the mics offered good directionality and an up-front quality that, again, minimized the room sound. The MBNM 440-CLS was especially nice on acoustic guitar, where its transient response and clarity balanced the strings? complex harmonics with the upper-midrange sound of the body. In addition, the mic?s understated low end was helpful when it came time to place the instrument into a mix.
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