Roswell Pro Audio Aztec – A Mix Real-World Review

Tube mics. They usually have a sure palatable smoothness to their high-end response, a flattering containment of the fast peaks and a way of completeness to their midrange response, the low-mids specifically. The brand new Aztec tube mic from Roswell Professional Audio displays all the above properties, because it was meticulously designed and constructed. It’s not precisely low-cost, however it’s a discount for a mic of this pedigree and talent.

The Aztec ships with the microphone itself, an elastic-based shock mount, Gotham GAC7 cable (terminated with Neutrik connectors), energy provide, AudioQuest energy wire, storage bag and flight case. The mic and its energy provide boast plenty of rigorously chosen elements that Roswell founder Matt McGlynn chosen after years of intensive testing and experimentation. The tip result’s a singular, all-new mic with a richly traditional sound, maybe harking back to a traditional ELA M 251 however under no circumstances a clone.

The Aztec makes use of a single-triode 6072 tube, with a K251-type edge-terminated capsule, a custom-wound T-14-type transformer (like these present in sure traditional AKG fashions), high-grade capacitors (a particularly clear NOS military-spec enter capacitor and proprietary copper-foil output cap), and elements chosen to scale back noise. The mic’s chassis has a -10 dB pad swap and a high-pass filter (-3 dB at 140 Hz).

The ability provide homes a nine-pattern selector swap with cardioid, figure-8 and omnidirectional patterns, in addition to three intermediate positions between these patterns. The mic has a chrome head basket, and the physique is presently out there in cream or black, with a color-coordinated energy provide.

McGlynn positioned specific emphasis on the regulated energy provide design (a necessity so the tube circuit doesn’t starve or behave irregularly throughout energy fluctuations), which makes use of proprietary electrolytic filter caps, NOS tantalum resistors, classic Telefunken diodes, audiophile-grade resistors, Kimber solid-core wiring, a Swiss-made sample selector, and an IEC energy wire of the “over-built” selection that many engineers query the need of.

Says McGlynn, “[It’s] not as a result of we predict anybody would hear an upgraded energy wire, however as a result of delivery a 75-cent plastic IEC cable to accompany a microphone the place we made no different compromises within the sign path appeared absurd.”

IN SESSION

My workload lately facilities on vocal recording with a little bit of every part else below the solar, so naturally I began monitoring some vox with the Aztec. I used to be relieved to search out that the shock-mount brackets securely clamp the mic with bolts, holding it agency— maybe just a little cumbersome for frequent mic re-positioning, however well worth the bother for the safety. With a rapper within the sales space, I opted for the cardioid sample, with essentially the most centered and tight sound (a necessity for contemporary rap).

This specific rapper has a really deep voice with not fairly sufficient articulation, so I routinely use a vibrant mic on him, usually with additional high- and high-mid boosts within the combine to get that ridiculously crisp vocal tone that’s “du jour” lately. Right here, the Aztec proved to be “just a little darkish and thick tonally”—the one time throughout quite a few checks I used to be capable of utter that tube mic cliche.

Subsequent up was a run of standard singers, each female and male, loud and smooth, aggressive and mellow, and the Aztec shined for all of them. For a lot of tracks, the “cardioid with one click on towards omni” setting was superb for a centered tone with only a contact of softness and ambient air—completely excellent for “exhausting” singers with robust transients and extreme mouth noise, as this setting appears to softly soften such points.

I discovered the high-pass filter to be helpful on all male singers, and I solely defeated it for the thinnest-voiced of feminine vocalists. I feared that 140 Hz was a bit excessive in frequency, however I used to be flawed (it’s a mild slope, in any case). I by no means wanted the -10 pad for any vocals.

With two- and four-vocalist periods, I discovered myself utilizing figure-8 and omni, respectively, with glorious outcomes. No worries about hollowness in figure-8 or directionality in omni (or blandness for that matter), because the Aztec was improbable in each patterns. Moreover, in omni, one click on towards cardioid was an exquisite setting for each whispered vocals and aired-out, roomy tones, with decreased proximity impact and a really pure soundstage.

Talking of room tones, as soon as I put the Aztec up within the air for drum responsibility, I couldn’t take it down! The equipment stability was solely just a little vibrant for room placement (the place I’m primarily in search of low-mid fullness), however spot-on excellent as a 3rd overhead. There’s loads of punch, a euphonic sense of element and a soundstage that appears bigger than solid-state microphones.

BRING ON THE GUITARS

Nonetheless, I didn’t actually “know” the Aztec till I examined it on acoustic guitar. I attempted each the at-the-neck-juncture and the on-the-body positions and actually favored the tone of each.

On the neck, the slight discount of spiky, extreme transients was welcome and dutifully tamed, whereas the extraordinarily balanced frequency response wanted no EQ (perhaps a slight dip within the mids relying on the instrument or key). On the physique, the Aztec produced a wealthy and visceral low-midrange that captured extra musicality and “energy” than my ordinary solid-state choices— not boring and murky, simply heat and substantial. The usually dreadful job of acoustic lead elements on a parlor guitar discovered the Aztec translating higher than the truth, with musicality and an ideal quantity of assault.

Emboldened with success, I slapped the Aztec proper smack in entrance (as shut as attainable) of a raging guitar cupboard with numerous classic Marshalls, Fenders and Vox amps. Typically I wanted the pad, generally not, however irrespective of— what a killer guitar tone! Sure, there was sufficient excessive finish, however the operative distinction was these low-mids once more. These generally troublesome frequencies had abundance but additionally a sure musicality that works properly in a mixture and lends heft to an space that we frequently carve out for cooperation with bass guitar and the left-hand of keys.

In case you observe a number of percussion (tambos, shakers, claves, cajon, djembe, and so on.), you’ll possible discover the Aztec indispensable, because it tames the undesirable element within the sharp stuff and lends gravitas to all of the slappy stuff. Tracks that usually must be EQ’d like loopy wanted little or no EQ (perhaps some mid-dipping) and appeared to require much less compression/limiting as a way to sit politely in a mixture.

Neumann MT 48 Interface – A Combine Actual-World Evaluation

I hoped the Aztec could be the answer to monitoring doghouse bass, however my checks have been inconclusive. Nice acoustic bass tracks appear to require complete synergy: a advantageous instrument, a impartial preamp, a mic (or mics) with large frequency response and correct transient element, a well- tuned room, and an skilled participant, however I couldn’t seize the proper combine tone this time round.

To my chagrin, I by no means received to trace horns, organ or bluegrass devices (mandolins, banjos, dobros, ukuleles, and so on.), and boy, do I want I might have. It’s solely knowledgeable conjecture, however I’ll wager the Aztec would clear up my love- hate relationship with bluegrass devices, as Aztec’s dynamics taming and frequency response seem to be an ideal match for such challenges (not not like that parlor guitar).

All advised, aside from my mumble rapper, I by no means did discover an app that the Aztec didn’t excel at. Although usually brighter than I anticipated, I didn’t do as a lot compensatory EQ as I normally would (generally notched for nasal-ness, generally hi-mid boosts for readability), however once I did, I discovered that boosting EQ was smoother than typical and musical—even when the frequencies weren’t my “usuals.”

THE FINAL MIX

All issues thought-about, the Aztec is a mic with a character—an eminently likable one—however with an perspective and response that as a rule solves issues relatively than exacerbates them. The Aztec isn’t a neutrally clear transducer, because it lends shade and interpretation; with just a little curiosity and experimentation, it’s possible you’ll discover that it opens up new tones that solid- state fashions and modeling can’t fairly obtain.

Sure, the $3k price ticket is usually a shocker at first look, however in comparison with different trendy and comparable classic choices, the buy-in is definitely very aggressive. This value defines the Aztec as an funding (not a whim), and a clever one, as trendy designs and elements are more likely to end in much less upkeep points and efficiency irregularity in the long term.