On vocals, both male and female, this is a mic that will make you think less of you mic choice, and perhaps more of otherwise induced “colour” (the eq? The compressor? The preamp? Some tubes somewhere down the line?), or more importantly about the vocal and the singing itself. Whether you're searching for a single microphone to carry out all of your recording tasks, or looking to add to an existing library of models with a microphone you can throw into a bag for a session and pull out for almost any application, the 4400a is definitely more than up to the job.

I found that acoustic guitar was handled without problems by the mic, which delivered both the depth and woodiness of the body sound, and the transient detail of the strings. I also managed to coax a very sweet, woody sound out of a mandolin when the mic was positioned about 12 inches from the sound hole. The SE4400a sounds good on hand percussion too, including bodhran, so it should work as a drum overhead or general percussion mic too. Because the response is pretty flat, with plenty of low‑end extension, there's no reason not to expect a stereo pair to turn in good results on piano, although I didn't have the chance to try this during the review. Uncompressed bass comes through the new patent pending low turbulence reflex port design, Laminar Integrated Port - LIP. If you still think all Chinese mics are ‘crap’ and walk around with a chip on your shoulder about it, now might be a good time to brush it off. On vocal, the SE2200A has more midrange (especially upper mids), so I find it cuts through the mix better. But the sE4400a has more "chest", especially for male vocals. Proximity effect is also smoother, and it doesn't jump in with sudden chestiness at 3" or less like the SE2200A can. Also, the sE4400a exhibits much less sibilance (but that also means it's a little less "exciting" -or should I say "dangerous" -than the SE2200A). Compared to the Neumann TLM 49 (Tape Op #61), on male vocals, the sE4400a seems to have more high-end hype and more chestiness at all distances. The TLM 49 has much smoother proximity effect and is therefore an easier mic for a vocalist to work. Compared to the Shure KSM32 (Tape Op #16), one of my go-to mics for vocals, especially when I want a buttery-smooth midrange, the sE4400a, with its slight high-end bump, draws out a bit more highs and breath, but without ever sounding shrill.Yes, it's not the fastest reacting mic diaphragm around, even within the large diaphragm category, so more detailed mics can be found. But then again, most are more coloured, and cost more. Some things to note before buying this microphone include its detail. While this could be a good thing, it also tends to flush out any playing mistakes, and is much less forgiving than some other microphones on this list. In meinem Vergleichstest des 4400a mit dem Bändchenmikrofon Voodoo VR1 aus dem gleichen Hause hat sich der Großmembraner vorwiegend als Allrounder hervor getan. Ich bin gespannt, wie sich das Mikro in einem reinen Gesangstest schlägt. Violet Design The Wedge Studiomikrofon Grundsätzlich gefällt mir das AKG bei Heidruns Stimme besser, bei Sebastian werden mir die Höhen etwas zu fissilig. Because the sE 4400a seems to have more then a little of what it takes to enter the category of studio classics, and favourites.

Unlike vintage mics designed for the tape era, the sE4400a was specifically calibrated to work well with digital gear. I liked the detail in the top end, which was present but never harsh. Die Manufaktur aus Estland hat einige interessant gestaltete Mikros im Katalog, das Merkmal der Wedge ist der extrem verlängerte Einsprechkorb. Ansonsten gibt sich das Mikrofon schlicht und elegant. Da es keine Schaltfunktionen gibt, mussten auch keine Schalter untergebracht werden.

The DT 770 Pro is a closed dynamic headphone and has been designed for critical music and sound monitoring. The single sided cable makes the handling of the headphone easy. The cushion system allows the DT 770 Pro to be used comfortably for long periods of time. The need to improve energy efficiency has led to the development of switch-mode operated amplifiers in many areas. Gradually this technology has matured also for demanding audio power amplifiers and Genelec have chosen to design their own Class D amplifier technology. The M series utilises these high efficiency, low distortion amplifiers in both channels. Auch die Schaltmöglichkeiten wurden vereinfacht. Geblieben ist ein Pad bei -20 dB und der LowCut bei 300 Hz. Dafür hat sich der Geräuschpegel nahezu verdoppelt, stellt aber mit 13 dB immer noch einen guten Wert dar.