Microtech Gefell M 930 Ts

A Shock Mount for the 21st Century

by Paul Strikwerda in Articles, Gear, Studio 10 Comments

Lyre, lyre, your mic’s on fire!

Is it just me, or are microphones getting more and more exotic?

We have Snowballs, Yetis, Voodoos, Fat Heads, microphones with holes, pear-shaped mics, flat ones, round ones…

To accommodate all these weird shapes, sizes and different weights, each microphone now seems to come with its own, custom-designed shock mount.

What amazes me is this.

The most inexpensive mics often ship with a cat’s cradle suspension system, whereas some of the big boys demand top-dollar for shock mounts that are sold separately. 

It’s as if you’re buying a high-end mountain bike that does not come with a proper seat.

I ran into that problem when I got my Microtech Gefell M 930 Ts microphone. If you’ve read my review you know that I adore this nifty little thing. Because it’s a pretty sensitive microphone, a proper shock mount is no luxury item. It is a necessity.

Here’s the thing: the M 930Ts is an exceptionally small large condenser, and it does not fit into a regular shock mount. Of course Gefell will happily sell you the one they make for a little over $300, but that’s just outrageous for a wire frame and some elastic bands.

But there’s more to this story than my mini microphone.

Traditional shock mounts

In my quest for a more universal, durable, and modern suspension, I stumbled upon Rycote, a family run business in Gloucestershire, UK. Founded in 1969 by film and television sound recordist John Gozzard, the company became first known for its furry microphone windshields.

Forty years later, Rycote products can be found in television studios and on film sets all over the world. In 2000, the Academy of Motion Picture Arts & Sciences recognized Rycote by a Technical Achievement Award, but the company certainly did not rest on its laurels.

INTO THE 21st CENTURY

A few years ago, Rycote came up with the ingenious InVision™ shock mount system for side-address studio microphones. It is based on the patented vibration-resistant Lyre™ suspension.

Rycote’s shock mount is made of lightweight plastic, and has an inner and an outer ring, just like the more traditional mounts. Here’s what’s new: the inner ring that holds the microphone is not suspended by elastic bands, but by four W-shaped Lyre™ clips attached to the outer ring.

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The red Lyre™ clips (see picture) are not the only part of what makes this shock mount both unique and universal. What holds the microphone in place is a miniature version of a Christmas tree stand: four screw clamps with rubber tips.

Attached to the inner ring, they can secure microphones of different sizes and shapes with very little effort.

There are several versions of the InVision™ Studio line. The regular USM (Universal Shock Mount) is for microphones between 1 and 55 mm, weighing 400–750 grams (about 14 – 26 ounces).

The USM-VB is for mics between 55–68 mm weighing up to 900 grams (about 31 ounces). My test model is the USM-L for mics between 18–55 mm, weighing up to 400 grams.

Rycote’s online compatibility charts will tell you which mount you’ll need for which microphone.

My demo mount came just in time, as I was about to test several microphones, one of which was my own studio mic, the Gefell M 930 Ts. With the help of a 5/8 inch brass thread adapter (included) it was a breeze to attach the mount to the mic stand. In less than ninety seconds, my Gefell was safely suspended in mid-air.

I won’t say that you can’t screw this up, because you have to.

SURPRISING DETAIL

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The InVison™ mount revealed one surprising but very welcome detail: a clever cable clamp close to the thread, separating the microphone cable from the boom arm. This prevents vibration traveling through the cable from reaching the microphone.

In the next few days I tried the InVision™ model on several microphones such as the more angular Lewitt LCT 640 and the more traditionally shaped Avantone CK6. Fitting these mics to the mount was simple, and at no point was I worried that the fasteners would lose their grip, or crush the mic.

Because my Gefell only weighs 273 grams (9.6 ounces), I used the USM-L (“L” for Lite) that comes with the red, more flexible Lyres. 

I tried the same microphones with the shock mounts that were provided by their respective manufacturers. In a series of unscientific but rigorous wiggling and thumping tests, the Rycote suspension system lived up to its promise and audibly outperformed the more traditional mounts.

BUT WAIT, THERE’S MORE!

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Rycote also sells this shock mount as a Studio Kit which consists of a suspension system and a pop filter. The filter’s slightly curved frame can be attached to the outer support ring of the mount, and it will also lock tightly to most “spider” type elastic shock mounts. Thanks to a rotatable fitting, it’s easy to get the filter out of the way when swapping microphones.

The oval-shaped filter is made from super light mesh (an ABS nylon blend plastic), which is really a 10 mm thick open cell foam pad, held in place by a support ring. This foam can be easily removed for cleaning or replacement.

I’ve never been a fan of pop filters held in place by a heavy metal clamp and a gooseneck. The less stuff I have in my field of vision, the better. Somehow, the clamp always seems to loosen its grip after a while, and I’ve had the whole thing come down in the middle of a live recording session. That won’t happen with the Rycote filter because it only weighs 45 g (about 1.5 ounces).

Being used to the old metal mesh and nylon filters, I was surprised by how effective the Rycote foam filter really is. The company says it can reduce the effect of plosives by 20 dB (as compared to no pop screen at all). It sits at a good distance from the microphone, but it cannot be moved closer or further away. It wasn’t a problem for me, but some might consider that to be less than ideal.

CONCLUSION

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At $178,22 I think Rycote’s InVison™ Studio Kit is reasonably priced, especially compared to the more than $300 I would have had to fork over for a genuine Gefell shock mount.

That I am not returning my demo kit to the dealer, shouldn’t come as a shock to you!

Paul Strikwerda ©nethervoice

PS My voice is for hire, but my opinion is not for sale. I was not compensated by Rycote for this review. 


More Studio Secrets Revealed

by Paul Strikwerda in Articles, Gear, Studio 25 Comments

You’ve seen the inside of my voice-over booth. Now it’s time to talk about technology.

Don’t worry, I’ll do my very best not to be too technical, if only for my own sake.

When it comes to the tools of the trade, I subscribe to the “less is more” philosophy. Life is complicated as is, and in my studio I’d like to keep things as simple as possible. 

Without exception, my clients ask for audio that’s “unfooled around with”. Most of them are much better equipped to do post-production sweetening in their studios, if that’s what they want.

I have no inclination to compete with all the high-end bells and whistles their engineers have at their disposal. As long as I can give them clean and clear audio, they’re happy and I’m happy.

Mac MiniComputing Power: the hardware

At the heart of my studio is a Mac Mini with a dual-core 2.3 GHz Intel i5 processor running OS X Lion. It came with 2GB of memory, but thanks to a removable bottom, it is very easy to add more memory to your mini. If you let Apple do it for you, 8 GB will cost you $400. It took me ten minutes to do it myself for less than $45. At the time I even got a $10 rebate and free shipping!

Sorry, but I’m not going to get into the Apple versus PC discussion. I’ve used both and I have found Apple to be more reliable and user-friendly. I do want to tell you what prompted me to get a Mac Mini.

Reason number one: it barely makes any noise. When it does, it produces a whisper that’s almost inaudible.

Some colleagues have a studio with two separate areas: a sound booth and a control room. The computer is usually outside the booth. I combined both spaces, which means that my desktop sits next to me in my studio. The Mac Mini uses very little energy and it rarely ever gets warm. That makes it amazingly quiet.

Secondly, this computer stays in my studio. It doesn’t have to go on the road with me. Otherwise I would have bought the Macbook Air (no moving parts and also nearly silent).

Third: I already had peripherals such as a flat-screen monitor and an ergonomic mouse. I just added a wireless keyboard. Tip: if you want to connect a standard analog computer monitor or LCD to your Mac Mini, you need a Mini DisplayPort to VGA Adapter.

What the Mac Mini doesn’t have is an optical drive to play and burn CD’s or DVD’s. For that purpose I bought the Macbook Air SuperDrive which can be plugged into one of the four Mac Mini USB 2.0 ports.

The actual move from PC to Mac was very easy. It took me about a week to get used to my new computer and the operating system. It’s all rather intuitive. A few weeks ago we did add a MacBook Air to our household. This is no ordinary laptop. It is a work of art!

Apple Time CapsuleBackup, please!

We’ve all heard horror stories of friends who lost months if not years worth of irreplaceable data when their system decided to take a permanent break. Backing up is something all of us should do, but we often don’t. We forget. We tell ourselves that we’ll do it tomorrow or the day after. It’s just one more thing to think about, and that’s why I wanted a backup system that would do the thinking for me.

I now have an Apple Time Capsule with a 2 TB hard drive, designed to work with my operating system (although it works with PC’s too). After an initial backup which lasted several hours, it now backs up both computers in our home quickly, wirelessly and automatically. Installing it was a piece of cake. The Time Machine feature in the OS detected the Time Capsule and within minutes it was up and running.

Tip: as the Time Capsule is backing up, it may interfere with your recording. In my case, I noticed a soft but annoying buzzing sound on the audio file, which disappears when the automatic back-up is switched off.

Look at me!

Next on my list was a webcam which I use for coaching sessions, webinars and Skype. I picked the Logitech HD Pro Webcam C910. The Carl Zeiss optics lens has a wide angle and the video quality is remarkably crisp and clear.

Reviewers also praise the quality of the stereo microphones. That’s not so important to me because my sound comes directly from my studio condenser.

Mac users: don’t get all gaga over all the advanced features listed on the box and in the manual (zoom, face tracking, exposure adjustments). Even though Apple sells this camera in their stores, most of the Logitech functionally works on a PC and not on a Mac. The C910 is also not supported as an iMovie camera, but that’s Apple’s fault.

In summary, this camera gets an A for image quality, but a C- for limited Apple functionality.

Software

There are many different types of DAW’s (Digital Audio Workstations) available for audio production on a Mac. Colleagues with a background in audio engineering like to use Pro Tools. A lot of my voice-overs friends rave about Adobe Audition CS5.5 and Twisted Wave. Until I made the switch, I was a happy Sound Forge™ Pro user.

I won’t be going over the pros and cons of each program. You can try most of them out for free and I’d certainly take advantage of that.

I ended up choosing Twisted Wave because it’s very stable, easy to use and at $79.90 it’s also budget-friendly. Thanks to a great interface, zooming in and out of a waveform is very fast, even when the file is quite long. I particularly like the fact that I can zoom in at great detail for precision editing.

Different clients prefer different audio formats and TW can import, export and convert most of them. It has a time-saving batch processing feature which is especially useful when you’re working on a lengthy e-Learning project with lots of short files that need to be separated out and individually named.

TW doesn’t come with a whole lot of special effects, but new and existing plugins are imported seamlessly. With TW, effects no longer have to be applied one by one, but it’s possible to load any number in an effect stack and still adjust them separately.

Some of you might prefer Adobe Audition CS5.5 because it’s loaded with features such as Noise Reduction, a DeClicker, a DeHummer etcetera. I had already invested in Izotope’s RX2 audio repair toolkit and it’s now an integral part of my Twisted Wave Effects line-up.

I do have two items on my Twisted Wave wish list. I’d love to have a feature similar to Adobe Audition’s Auto Heal function for brushing away audio glitches. It’s like having Photoshop® for your audio! I also like to have my Sound Forge WaveHammer tool back. It applies a tad of compression and normalization to the sound files to give the audio just a bit more oomph.

Controlling the Wave

To streamline my job in the editing room I’m using a ShuttlePROv2 controller. It has 15 programmable buttons, a jog knob and a spring loaded wheel with which I can control the main editing functions in Twisted Wave.

It’s preprogrammed for things like Garageband, iPhoto and iTunes, but it was really easy to program the TW keyboard shortcuts into the Shuttle. With my mouse in one hand and my ShuttlePRO in the other, I can scroll, zoom, cut, copy and paste much faster than with a keyboard.

The ShuttlePROv2 connects to your computer via a USB port and it comes with custom labels for the top 9 buttons. It can be used on either MAC or PC computers and it retails for about $80.

Gefell M 930 Ts & Rycote's InVision™ Studio KitMicrophone and shock mount

If you’re a regular reader of this blog, you know that I consider myself to be a very lucky man. In December 2011, I won a Microtech Gefell M 930 Ts large diaphragm condenser microphone in a recordinghacks.com giveaway. This microphone happens to be ideal for voice-over work. To find out why, you should read my review by clicking here.

Because the Gefell did not come with a shock mount, I had to find a suspension system that would hold this small microphone. Rycote, a company based in the UK, makes the InVision™ Studio Kit you see in the picture ($149.99). It’s a combination of a unique, universal shock mount and a very light and effective pop filter. If you click here, you’ll find out what I think of this kit.

I’m using an Ultimate Support® mic stand and their telescoping Ulti-Boom. WindTech cable clips keep the mic cable separate from the stand.

Preamplifier

A good preamplifier strengthens the low level signal coming from your microphone to a level suitable for recording, without degrading the signal to noise ratio (S/N). A preamp with a high S/N has very little background noise.

Some boutique preamplifiers can really color your sound and that wasn’t something I was particularly interested in. My ideal preamp needed to be dead quiet, transparent, detailed and clear in all frequencies.

Grace Design M101As I researched preamps within my budget range, I kept coming back to one model: the Grace Design m101.

Built in Colorado, the sound quality is often described as “natural” and “pristine”. I couldn’t agree more. This is a phenomenal preamplifier!

Looking at the front panel, you’ll see a 48V phantom power button, a ‘ribbon button’ which, when engaged, bypasses the phantom power circuit, and a high-pass filter button to reduce low-end rumble and curb the proximity effect of a microphone.

In my review for pro audio dealer Sweetwater, I called this preamp an “Amazing Grace” because it makes my microphone shine.

Audio Interface

In a nutshell, an audio interface connects your microphone and other sound sources to your computer. For audio to be usable by a computer it needs to be digital, and an interface converts your analog signal to bits and bytes. You’ll often find external audio interfaces that include a mic preamp, but since I already had a pre, I opted for the pocket-sized Echo AudioFire2 (discontinued, but still available for around $200).

Echo AudioFire2This device is connected to and powered by the computer via a FireWire bus. I purposely didn’t want to get a USB-interface. The Mac Mini only has four USB slots that fill up pretty quickly and USB devices cannot draw power from the computer. With the AudioFire 2 you can record 24-bit 96 kHz audio with near-zero latency (delay) monitoring.

Because the AudioFire2 has a 400 Mbps FireWire port and the Mac Mini has an 800 Mbps port, you need an adaptor to be able to connect it to the computer. The AudioFire could also use a simple step-by-step  set-up guide. Perhaps it’s my lack of technical insight, but it took me a while to make the right connections (literally and figuratively).

Overall, this sturdy, small metal box performs just fine. It’s more of a necessity than anything else.

Monitoring

Like so many of you, I evaluate my audio in two ways: I use headphones and studio monitors. Gear-guru’s often recommend buying closed headphones to prevent sound leaks from feeding back through the microphone. That’s why I got the Sennheiser HD 280 Pro.

These headphones stay put alright, and they shut outside sounds out (not that ambient noise is a problem in an isolated studio). Over time I found them to be quite uncomfortable. I happen to have a rather large head (thanks Dad!), and I didn’t like the tight grip the Sennheiser had on my ears.

The AKG K 240 semi-open Studio headphones I am using now (also $99), are very comfy and they provide plenty of acoustic isolation. My ears can breathe! After a year and a half, the cups started showing some wear and tear, and I will replace them soon with velvet ear pads.

The AKG has a regular, straight cable which I also prefer. Somehow, things always get caught in a coiled cable, such as the one that comes with the Sennheiser.

Both headphones are excellent for detailed monitoring.

When it came to picking out a pair of speakers a few years ago, my budget was limited and so was my space. At that time I was recording in a cold corner of the attic. For $99 I bought a pair of Alesis M1Active 320USB monitors.

At first I was quite skeptical and I didn’t really expect much from these bookshelf speakers. Once I plugged them in, I was blown away by the fact that so much sound could come out of such a small package. That has not changed.

I’m sure they are no match for a pair of Genelec studio monitors, but for under 100 bucks these Alesis speakers continue to impress me. As you can see, I have placed them on stands at ear hight. It really makes a difference.

Enough already

Alright… I think I’m done shopping for a while, don’t you?

Selecting audio equipment can be a daunting task and it can be a learning experience. Just as a musician has to know his instruments, a voice-over pro has to have a basic knowledge of the tools he or she is using. There’s so much good stuff available these days, and it’s easy to get overwhelmed.

Whatever you do, don’t be intimidated by gear-snobs and audiophiles. Talk to people you trust and whenever possible, try things out for yourself.

Don’t blindly buy something just because some guy at your local Guitar Center told you he loves it, or because Paul Strikwerda wrote about it in his blog.

After all, that’s just a bunch of Double Dutch!

Paul Strikwerda ©2012