But what does it sound like? Telefunken has worked hard to develop a microphone with the robustness of a dynamic and the sonic characteristics of a condenser. A lightweight capsule and thin diaphragm give the M80 a wide frequency response that benefits from a touch of high-end presence. For jazz or classical, I typically recommend the Neumann KMS105. Again, they are about as sturdy as a condenser mic designed for touring can be, and they have the Neumann sound quality. Singers always seem to enjoy singing into them. There are some other options to note. The DPA d:facto is a wonderfully open natural-sounding vocal mic. I’d recommend this to anyone looking for a very natural detailed sound. The diaphragm on the Telefunken M80 is super thin, which gives it a fast, un-colored response that captures your sound with incredible detail. Because it's not a midrange-heavy mic like some dynamic mics, it's not just for vocals. You can get great results with the M80 in front of a guitar amp, over a snare drum, or virtually any other instrument that needs a detailed, well-balanced microphone. Telefunken M80 Dynamic Microphone Features: I find the genre, stage SPL and vocal tone that I’m amplifying really dictates the choice I’ll end up using. You have to listen to the source and its surrounding environment before making a judgement call on the type of microphone you might want to use. You can’t pigeonhole yourself into using a certain type of microphone because it’s really expensive, or because someone like Adele or Kasabian use it live...

Interestingly, it’s a hypercardioid, which means it has an ultra-tight polar pattern that will isolate vocals from any other noise on stage, provided they are sung or spoken directly into the mic within a distance of about two inches. Thankfully, it can handle very high SPL, too. Telefunken is a German brand, which has subsequently opened in the USA. It has a long history and legacy of producing some legendary mics – we can’t take that away from them. In modern times however, they seem to have been rebranding and modifying some of the Chinese mics. You can google the Apex 460 controversy, which lives to this day. Of course, they do have engineers to produce their own models, and the M80 reviewed is their original design but it seems to come at a premium cost. Consumers are convinced and are willing to pay extra for the mic that has a Telefunken logo on it.

Mapp also places great importance in doing your research: “Make sure to pay attention to the spec sheets for frequency response as well as polar pattern. Some mics, while being cardioid at 1kHz, can occasionally become omni below that. This may need to be tamed a bit, which is why all of my vocal mics are sent to a subgroup with a graphic EQ to help maintain the individual channel EQ tone, but still allow for more control from the graphic as well as notch filters.

The integrated pop shield and tight cardioid pattern enable podcasters to record or stream a ready-made sound that's well isolated and free from room noise. True to form, mid-range articulation is good, and the mic doesn’t sound overly bright in the higher frequencies. The proximity effect isn't massive, so if you want a deep, rich voice then you'll need to get in close. This is a microphone that’s been developed to bring out the very best from the human voice, but there's nothing to stop you miking up drums or guitar cabs with it, too. SPL ได้มากกว่า ให้เสียงที่อุ่น มีรายละเอียดดี พุ่ง ปลายแหลมคมชัดคล้ายกับการใช้งานไมค์คอนเดนเซอร์ โดยที่ปราศจากการเพิ่มเสียงที่หอนในย่านเสียงกลางสูงที่เราไม่ต้องการ มาพร้อมที่จับไมค์และซองหนังอย่างดี

Jon Burton has toured with the Prodigy as their FOH engineer for over 14 years, and is currently also working with Richard Hawley.Jonathan Burton has worked with a wide variety of singers from Lulu to Beth Gibbons, Kelly Jones to Keith Flint. He is currently working with Richard Hawley and for the last 14 years has engineered for the Prodigy.

I've also owned/tried a lot of other mics - Sennheiser E945/E935, Shure beta58, Audix OM6, EV967, Beyer M69 Heil PR22, Audix OM3, SE Electronics H1, Rode M2, Shure SM58. The M80 Dynamic from Telefunken has a wider frequency response and higher SPL capabilities. M80 has a low weight capsule and stylish, slimline capsule membrane. This makes the M80 easy to hold when on stage and lets the artist focus on their performance.On first impressions the two mics look quite similar. But look a little closer and you’ll spot the subtle retro styling on the M80. The bevelled sides and raised diamond icon make the M80 the more stylish option in my opinion. Therefore, when you hold the mic up close, the lows become significantly boosted and what was supposed to be flat response on the chart becomes significantly bumped and overblown, resulting in ‘mud’. The SM58 has always been suffering from this muddiness, causing a lot of disappointment and often times resulting in the vocalists struggling to be heard. Instead of producing clear voice there would just be this mud and rumbling. In this regard, Telefunken M80 is a big step up – the low end has a much better balance to it and the response becomes optimal at the actual close range of a handheld.

Unfortunately, many budget interfaces struggle to reach anything like this level, but all is not lost. You can easily add a relatively inexpensive mic activator to add more gain. Popular models include the Triton Audio FetHead, the Cloud Microphones Cloudlifter and sE Electronics’ DM1 and DM2. Dynamic microphones are available with any polar pattern except bidirectional, but unfortunately, unlike some condensers, the patterns are fixed rather than switchable. The vast majority are cardioid or tighter, but omnis and figure-8s are also popular. More gain please Part of that appeal is the USB connector, which means you don’t have to stump up for a pricey audio interface. Instead, you can plug the ATR2100x-USB directly into your computer. If you do own an interface or need to plug it into a PA then great, you can use XLR instead.Slowly, over the past 20 years or so, this has begun to change. Other manufacturers have managed to grab market share with new products, Shure themselves have come up with more sophisticated offerings and, perhaps above all, technologies other than the dear old moving-coil dynamic have started to creep out of the studio, now able to withstand life on the road far better than their ancestors. Capacitor mics and then even ribbon mics began to be seen on stage, being used by sound engineers and artists looking for a performance edge. The Shure Beta 58A was designed as an upgrade to the industry-standard SM58, with an extended high frequency range. It has a lot of similarities to the Telefunken M80. Drums take a lot of miking up. It's not unusual for pro studios to use a dozen or so mics on a drum kit, which takes time, money and patience – especially if things don't quite go to plan. That's why specialist drum-mic kits make a lot of sense. You benefit from having a set of the same models, made for a specific purpose, that can be relied on for consistently great-sounding results.