I highly recommend the FetHead for use with any mic and preamp combination that calls for the extra boost. It's dead simple, has no options to mess up, and just works. The included graph shows that sound passes through with very little change. I could barely notice a slight upper frequency lift in some sounds as I used the FetHead, but this could have been due to the preamps being pushed and not responding well before using the FetHead. The frequency response range of the FetHead is larger than the CL-1. The FetHead is also, by and large, the flatter of the two responses, meaning that although this additional gain does bring up the noise floor somewhat, the gain is more transparent overall. This change of mind return policy is in addition to, and does not affect your rights under the Australian Consumer Law including any rights you may have in respect of faulty items. To return faulty items see our Returning Faulty Items policy. Our FetHead Transformer will get you an instant ‘radio’ voice that works wonders on podcasts and voice-overs. After extensive tests and prototyping we came up with a very portable solution to get a stellar sound with just a regular dynamic microphone. Get a produced sound within seconds. Even if you don't need more signal, some users have even reported that just by using the FetHead they have noticed an improvement in the sound from the mics. So it can also be used to open up the sound a little for that perfect, airy vocal take.

FetHead Filter is a Fethead version with a built-in 6dB/octave high pass filter with a corner frequency of 220Hz (other cutoff frequencies available on request). It is specially designed for microphones which exhibit an excessive proximity effect / low frequency response, like long motor ribbon microphones. The components which make up the filter are not directly in the signal path but are applied to the components which set the gain of FetHead Filters amplifier, thus making it frequency dependant. This way the sonic character which makes a FetHead attractive to the ear is preserved. Inoltre, il FetHead ha dimostrato di essere estremamente silenzioso. Non ho riscontrato alcun rumore di fondo aggiuntivo o distorsioni durante le mie sessioni di registrazione. La trasparenza del suono è stata mantenuta e ho potuto sfruttare appieno il potenziale dell'SM7B senza preoccuparmi di artefatti indesiderati. in case anyone is interested: since I couldn't really find a good comparison between the two FetHead Versions, I made one myself.

FetHead Phantom

I’d like to make a casual reference to the MartiAudio Booster, Royer dBooster, Sanken HAD‑48, and a handful of other options that could have qualified as a viable alternative to the CL-1. Built with a solid steel chassis, the CL-1 is robust and made to stand up to regular use in the studio. What’s nice about them is that they’re manufactured in the US using quality components and Cloud offer a lifetime warranty which says a lot about how long they expect them to last. You may, therefore, need to boost the signal on your connected device (such as a USB audio interface) when using your dynamic mic. This, unfortunately, results in a noisier mic signal.

For the sake of a fair experiment, the variable element will be the activator, and the controls will be the interface (Focusrite Scarlett 2i2 2 nd gen) and our microphone of choice (Rode Procaster which does really benefit from the boost of a device like these).

Triton Audio FetHead Broadcast In-line Microphone Preamp Features:

The load switching option adds to this flexibility and allows you to change the input impedance to see how your mic reacts to each one. Choose the one which works the best with your microphone. Fethead uses low noise jfets configured as a double class a amplifier. Jfet’s are among the most quiet amplifying elements available today. The calculated noise figure of the FetHead based on the jfet’s datasheet is lower than we are able to measure. In short, we noticed an improvement on all tested dynamic microphones. A Shure SM57 or SM58 for instance, sounds more responsive over a broader frequency range. When mated with a high-end dynamic microphone like a Sennheiser MD441, or Shure SM7 FetHead really shines. Ribbon microphones benefit greatly too because of a much better impedance match, which lessens the load on the microphone, thus giving it better transient response characteristics. FetHeads high quality, low noise signal amplification also extends the usable range of a ribbon microphone, by making it more suitable for recording softer passages without introducing noise. Some ribbon microphones do not tolerate phantom power, FetHead’s circuit uses Phantom power but shields it from its input (and the microphone’s output), as a result it offers effective protection to the microphone. While, it’s nice to know what a microphone activator can accomplish, knowing it will work with the gear you already own is essential. The last thing you want to do is add incompatible noise to your setup. Here are the basic features of Triton’s FetHead:

Triton Audio has created a powerful little device it’s FetHead (and FetHead Phantom for condenser microphones) that allows an artist of any budget to reach their fullest potential.Mic activators help us solve the gain problems of dynamic and ribbon microphone styles. One of the biggest draws of these devices is that they are considered a low-noise solution for quiet audio. This means you can spend more time recording and less in post-production working with audio you can barely hear. Another scenario to consider is if you’re recording loud sounds with your dynamic mic—drums or loud voices, for instance. In these instances, you may not require the boost that FetHead provides. The Durham MKII has a small footprint and is a more affordable alternative to CL-1. If 20 dB is enough gain for your needs, it has an excellent value-to-cost ratio and high-quality gain to offer.