| MIX VERDICT: Lauten Audio LA-120 V2 Microphone |
| THE TAKEAWAY: “The general package deal shouldn’t be solely a very good worth but additionally fairly versatile, providing a variety of tonal choices.” |
| COMPANY: Lauten Audio • www.lautenaudio.com PRICE: $499/pair, together with cardioid and omni capsules; inline pad: $79/pair. PROS: • Superb sound • Nice bang for the buck • Versatile system CONS: • Output can overload some mic preamps even with the pad inserted • Pads should not included • Labeling is tough to learn |
A number of months in the past, Lauten Audio introduced up to date variations of its profitable Collection Black line of microphones, which incorporates the LA-320 (tube condenser), LA-220 (FET condenser) and the topic of this overview, the LA-120 condenser microphone. V2s incorporate numerous refinements over the originals, together with a refined and engraved nickel head grille, engraved hand-filled lettering, inset badge and an aesthetic replace—all whereas sustaining the sonic attributes.
The LA-120 is a small-diaphragm (17mm), transformerless condenser microphone with a detachable capsule, and the stereo set comes with a pair of cardioid and omnidirectional variations. Preamp circuitry employs through-hole building and is spec’d for a dynamic vary of 120 dB (minimal) with a sensitivity of 10 mV/Pa, -40 dB (0 dB = 1V/Pa @ 1 kHz).
Controls on the mic physique embody three-position highpass (flat, 50 Hz, 150 Hz) and lowpass (flat, 15 kHz and 10 kHz) filters, every with slopes of 6 dB/octave. The -10 dB pad is an inline, screw-on sort that matches in between the physique and capsule.
LA-120 V2s are packaged in pairs in a pleasant presentation field that homes the 2 microphones, two cardioid and two omnidirectional capsules, a pair of mic stand clips and a pair of mic stand mounts. Pads can be found as an choice.
Operation of the LA-120s is easy, although I really feel like there ought to be a warning someplace that phantom energy ought to be turned off earlier than altering the capsules or mounting/ eradicating the pads, as that is all the time a very good observe. Phantom energy necessities are spec’d at 48 VDC, however I used to be ready to make use of the mics with an outboard phantom provide that gives 24 VDC.
HOT MIC, MINIMAL GAIN
I examined the LA-120s in a wide range of conditions, and the very first thing that turned obvious is that the output degree of those mics is scorching, a attribute indicative of Lauten’s philosophy of offering gear that may carry out at a excessive degree (pardon the pun) even when a consumer doesn’t have entry to loads of costly outboard gear. Haven’t any worry when connecting to a desktop recording interface that doesn’t present loads of acquire—the LA-120s require minimal acquire, even when used with a quiet supply.
In step with that idea, I recorded a Taylor acoustic guitar utilizing a Focusrite Scarlett 2i2 interface and was relatively stunned to seek out that the instrument didn’t sound all that totally different than it did once I recorded it utilizing some relatively expensive outboard gear.
Utilizing the cardioid capsules (no pads), copy of the instrument was clear, current and articulate, and background noise was barely audible—after which solely when the studio screens have been cranked to unreasonable listening ranges. Utilizing the highpass filter within the 50 Hz place cleaned up a little bit of room rumble, in addition to some foot-tapping that will in any other case have been transmitted via the mic stand.
Sticking with the Scarlett and utilizing the LA- 120s in cardioid for stereo drum overheads, it turned evident that these microphones are able to punching above their weight. Total, the equipment was well-balanced—although an in depth mic on the kick would have been useful for including a little bit of weight and assault (not attainable with the Scarlett, because it’s a two-channel interface). Cymbals, hi-hat and snare have been crisp and clear, and the resonance of the toms got here via very properly. The LA-120s additionally captured a practical illustration of the room sound.
It’s value noting that no matter what preamp I used, the pads have been required when utilizing the LA-120s as overheads. Combining the LA-120s (cardioid) with a pair of Vintech X73i preamps for overheads on a special drum monitoring session once more yielded a terrific recording, the place the imaging was spot-on and you can really feel the nylon tip of a drumstick on the hi-hat.
It was throughout these periods that I began experimenting with the lowpass filter, which produced some very attention-grabbing outcomes. On overheads, switching the LPF to the 15 kHz setting was akin to creating the hi-hat and trip cymbal take a step again within the combine, whereas decreasing a number of the sizzle from the trip and crash cymbals. Shifting the change to the ten kHz place took that attribute one other step, mellowing out the crash cymbals and offering a nod within the path of a ribbon transducer with out sounding too darkish.
The LPF was excellent for sweetening up a tizzy hi-hat or tambourine when the LA-120 was used up-close on these devices. The LPF was very refined when used on acoustic guitar, the place the 15 kHz setting eliminated a little bit of the metallic ringy-ness from the strings, and the ten kHz setting darkened the sound ever so barely.
These are refined adjustments, not jaw-dropping variations, which makes all of them the extra helpful. Altering the settings on both filter does produce an audible “tick,” so I’d counsel muting your audio system when doing so.
CLOSE-UP ON DRUMS, PIANO
Spurred on by a suggestion from the oldsters at Lauten Audio, I made a decision to attempt the LA-120s close-up on some drums. First up was a snare, with the pad and cardioid capsule. Initially, I assumed that the mic couldn’t deal with the SPL, however that proved to not be the case. It turned out that the output of the LA-120 was so scorching when used shut on snare that almost all of my preamps—together with a Vintech X81, Drawmer 1969, Focusrite ISA110 and Avalon AD2022 (the latter with its pad change on)—couldn’t deal with the output with out being overloaded. Utilizing an exterior phantom energy provide to run the LA-120, the mic might drive the X81 or ISA110 line inputs with loads of degree—through which case the mic produced a meaty, impactful snare sound.
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Once I positioned the LA-120s (with pads) close-up on toms, I skilled comparable outcomes, with most preamps incapable of dealing with the extent. One of many few preamps that did work on this utility was the AEA TRP. I set the LPF off and the HPF to 50 Hz to tighten the underside finish a contact, which produced a spherical, full tone from the toms (be aware that I once more used the outboard phantom energy provide as a result of the TRP doesn’t present phantom energy).
Utilizing the LA-120s to file an upright piano proved to be enlightening in a number of methods. As a reference, I A/B’d the LA-120s with a pair of cardioid condenser mics from one other producer that value greater than 3 times the Lautens. The microphone pairs sounded surprisingly shut, although one might argue that the LA-120s had a bump within the low-mids, whereas the opposite pair proved just a little smoother and tighter in that area. The highest finish, nevertheless, was very comparable.
OMNI VS. CARDIOID
Within the piano session, I additionally tried the LA-120s with the omni capsules, which I most popular to the cardioid. On condition that the mics have been about six inches from the hammers, there was a noticeable proximity impact with the cardioid capsules. Switching to the omni capsules cleaned this up and improved readability within the low-mids, and turning on the LPF mellowed out the assault of the hammers on the strings.
On acoustic guitar, swapping the cardioid capsule for the omni made the guitar sound fairly totally different, with a lot stronger midrange in comparison with cardioid. Combining the omni capsule with the ten kHz filter offered a timbre nearer to what you’d count on from a ribbon microphone.
Usually, the cardioid capsules yielded increased output ranges, sounded extra “hi-fi” than the omni capsules, and, in fact, decreased room sound within the recordings. The omni capsules produced a a lot flatter and fewer flattering character, typically sounding extra midrange-y than the cardioid capsules. Omni capsules on drum overheads softened the highest finish, giving the recording a retro vibe.
Lauten Audio has executed a wonderful job on the LA-120 V2, largely by resisting the temptation to “enhance” the sonic traits of a microphone that has already received loads of followers. The general package deal shouldn’t be solely a very good worth but additionally fairly versatile, providing a variety of tonal choices because of the filter settings and the totally different capsules (the quick-start information even supplies filter settings for varied functions). My one caveat to a possible purchaser can be that the pads are necessary in case your intention is to make use of the LA-120 close-up on loud sources.
Nonetheless, if you happen to’re on the lookout for a pair of small-diaphragm condensers on this worth vary, you owe it to your self to take a look at the LA-120s.
