HEIL PR-40 DYN STUDIO MIC LGE.DIAM CHAMPAGNE

Product Information

Se reemplazo por el PR-781, mejor sonido, mas nítido, el PR-40 es el perfecto aliado del Kenwood TS-590s, Reportes de audio Excelentes, El PR-40 se destaca de todos, un sonido particular. The main draw of this microphone is that it is designed to record only the sound that is closest to it, while rejecting everything else. Some users brought up that they have been using Heil PR 40 for their instruments such as, kick drum, bass cab, piano, and electric guitar speaker cabinets. Although the frequency response is nominally flat between the upper and lower roll‑off points, there's the gentlest hint of a presence bump from 3‑5kHz.

I would like to get a pr30 as well because it doesn’t go quite as deep as the pr40, so I would be able to be gentler with the hpf when using it on sources where I didn’t need that lowest octave.Readers of our sister publication, Performing Musician, will know that Bob Heil is both a ham radio enthusiast and a live-sound guru with an impressive provenance, first coming to public notice in the early '70s when he set up the now‑legendary 'wall of sound' PA for the Grateful Dead. Any noise you hear is likely to be from your preamp, as the mic does require a fair amount of gain; 40 dB or so did the trick for me.

Producing the widest frequency range available in a dynamic microphone, the PR-40 outperforms most condenser microphones and can withstand huge amounts of SPL. Hook it into a mic preamp and processor (like the DBX 286s) and you have yourself the ultimate podcasting sound. The PR 40 diaphragm is shock mounted such that it is completely de-coupled from the anodized Champagne matte-finished steel body. I'm also using dual plosive filtering to keep the thumps in control - one mic cover version and one external disk style in front.

Whether at home or in a studio, the PR 40 features excellent rear noise rejection, delivering condenser-quality sound without unwanted ambient noise or bleed from other sound sources.

I got some great djembe tones out of it, and on vocals it sounded impressively natural, but at the same time full and solid — which would be ideal for radio DJs, as well as for some types of studio vocal. As a bonus, heil labels it as an end address mic so that people don’t speak into the side, which happens fairly often because it looks like a side address condenser. No issues at all with gain on an Apollo x8, apogee ensemble, apogee minime, x32, digico, qsc touchmix, sound craft ui24r, soundcraft expression, apogee duet, and maybe some others I’ve plugged into that I forgot about.Comes with a clamp that has an adapter that screws in to allow the clamp to be used on different sized stands and boom arms. At another studio, I used a PreSonus M80 mic preamp and around 20 dB of gain to obtain a good level into Pro Tools|HD at 24-bit/96 kHz.