It's done a great job
Written: Jul 18 '05 (Updated Feb 13 '07)
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Product Rating:
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Pros: Allows me to roam the stage, nice warm sound, nice dynamic response
Cons: Very low notes tend to overpower it, have to compensate.
The Bottom Line: It's done a solid job for me and is my microphone of choice for my tenor when performing.
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| Saxguy's Full Review: Audio-Technica PRO 35X Professional Microphone |
I've been using this mike for 3 years now on my tenor and I'm very happy with it.
I first got this mike as part of a Samson Series One Airline True Diversity Wireless Microphone System. Samson wires the mike to a transmitter that clips on a wind instrument. I usually put this on my tenor, but I have used it on soprano as well. The transmitter transmits the signal to a Samson receiver, which is then connected through a mike cord to the mixer/powered mixer being used. This also can connect direct to a speaker if the speaker is powered and has a three-pronged mike/mixer input.
That's my setup of choice and this review is about the mike itself.
I can't review the entire wireless system, because Samson is now using their own mike as part of the package.
Update: I was able to get a second microphone to go with the existing receiver. This means I will be able to review the complete system with the second (newer) mouthpiece after my next big gig on August 6.
Anyhow, about 3 years ago, I decided that I wanted to go wireless on my tenor. This promised me the ability to roam the stage and connect more with my audiences, instead of being chained to a mike. The wireless transmitter feature meant that I didn't have to deal with any cables to a belt pack or to the mixer and no mike cords between me and the mixer. I'm kind of klutzy and I've stumbled over cords a few times too often.
Anyhow, I evaluated setups and the one that seemed to be the best blend of performance and value was this unit coupled with the Samson transmitter and receiver. It was an easy selection for me because of Audio Technica's great reputation and the fact that this is the mike of choice for a number of sax players.
Having used it, I've found that it reproduces a warm, dark sound, very balanced well through most of the pitch range and dynamic range of the instrument. The monitor speakers don't lie. The microphone is very responsive to my playing. It also is very unresponsive, as it should be, to extraneous noise. There is no feedback, nor bleed from the other instruments.
Basically, I clip it onto the bell of my tenor, set the microphone so that it is barely inside the bell and have the sound person level the mike during a sound check. This means that the sound person adjusts the volume of the mike so that it blends nicely with the rest of the band.
The one drawback of this mike is that loud low notes tend to overpower it almost to the point of distortion. The warm dark sound quality is tough to preserve. The sound people generally deal with this by reducing volume slightly, requiring me to play with more dynamic range and/or using graphic equalizers to reduce the bass on my channel. This is fairly minor and most sound people I work with can easily deal with it. This also seems to be a fairly common problem with most sax mikes. Of course, when I'm not rearing back and playing low notes at peak volume, it's not that big a deal.
The other thing I dislike is that it's impractical to move it to another instrument in the middle of a set. If I switch it to my soprano, it needs to be rebalanced and remixed. So, when I have two horns on stage, I'm chained to a mike with one of them.
This has worked well on my soprano, so much so that (update) I bought a second mouthpiece (AMT1) to use with my present receiver, so I can have a mike on each instrument. I'll have to experiement a little at home to see which mike goes better with which horn.
This mike has helped me connect better with my audiences, and I'm glad that I bought it.
Below is the technical information from Audio Technica:
Product Description
Designed for sax, toms, brass and percussion, the PRO 35ax excels in high-SPL applications and is ideal for active stage performances. The UniMount clip permits accurate positioning, provides shock resistance and protects the microphone element. Its cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of the desired sound source. The Pro35AX's extended frequency response captures the subtle nuances of the performance. A 6 foot (1.8 m) cable is permanently attached between microphone and power module.
Technical Description
Element: Condenser
Dynamic range (typical): 115 dB, 1 kHz at max. SPL
Polar pattern: cardioid
Frequency response: 50 - 15,000 Hz
Phantom power requirements: 11 -- 52V, 4 mA typical
Switch: flat / roll-off
Open circuit sensitivity: -45 dB (5.6 mV) re 1V at 1 Pa
Low frequency roll-off: 80 Hz, 12 dB per octave
Impedance: 250 ohms
Maximum input sound level: 145 dB SPL, 1 kHz at 1% T.H.D.
Weight: 0.3 oz (8 g)
Power module: in-line
Signal to noise ratio: 64 dB, 1 kHz at 1 Pa
Output connector: XLRM-type (power module)
Accessories furnished: AT8418 UniMount instrument mount; AT8536 power module; protective pouch
Thanks for reading. God bless!
Please check out my other related Epinions on sound equipment.
Shure SM 57
AKG C1000s Twin Pack Microphones
Audix D4 mike
Sony CFD-G500 Boom Box
AMT Roam 1 wireless mike
Sandisk Sensa M-240 1GB MP3 Player
Recommended:
Yes
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