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Avantone CV-12 Large Diaphragm Condenser Microphone

Avant Electronics of Upland, CA has a new line of studio tube condenser microphones whose feature set and level of professional build-quality belie their lower cost. I received the CV-12--a beautiful-looking mic with an all brass body finished in a Cabernet (deep red) color and polished nickel-plated trim. The mic uses dual 32mm, gold-sputtered capsules for up to nine different polar patterns set remotely at the included power supply. You can switch the mic between cardioid, omnidirectional, figure of eight or any of six 'in-between' patterns. This is an excellent (usually optional) feature for recording vocals, string sections, choirs or assemblies of both musicians and singers.

The 110/220volt PS-12 power supply connects by way of a 20-foot, seven pin XLR cable. Everything about this mic is first class from the padded wooden carrying case for the mic itself to the excellent Avantone custom Retro shock mount and the well-padded aluminum travel case that holds the entire kit.

One clever and thoughtful addition is the set of three different tubes. Avant knows microphone users at the pro level are interested in the different "characters" the same microphone can take on simply by changing the tube inside. To that end, a Russian-made 6072A and both an ECC81 and ECC83 made in the Slovak Republic are included. Each tube will cause a distinctly different tonality and personality by changing the gain before the output transformer.

In the studio I found the CV-12 wonderfully warm and fat sounding. First, I used it for backing vocals with it set to a very wide (almost omni) pattern. My singing group always sounded balanced--like they did out in the studio. This is not one of those new mics that is just brighter than other mics. With the 6072 tube inserted, it had only a very slight presence increase that didn't seem to heighten my singers' shrill moments. Next were lead vocals using a tighter cardioid pattern--again a solid winner on both my female and male singers. I did have to add +2dB of upper mid-range "cut" just to compete with my noisy, percussive track.

Other features include a -10dB pad and 80Hz LF roll-off filter switch and a five-year warranty. The CV-12 will work great on vocals, drum overheads, orchestral recordings, and acoustic guitars.

 

Review on Active MixCubes

“…consistently flat in the midrange — the same characteristics that made the Auratone a valued listening reference. They got plenty loud without distortion and showed off the vocal, snare, toms, upper range of the kick and solo instruments in a number of mixes, just as I expected. I'm a big believer in listening to tracks across a wide range of speakers. The Avantone Active MixCubes offer another chance to evaluate creative studio output and make judgements regarding how my work would translate across a wide range of systems… these are a no-brainer for those wanting another quick-and-dirty reference to help in the quest for tracks that translate.”
Kevin Becka

Review on BV-1 Multi Pattern Large Capsule Valve

The new BV-1 tube condenser is the "top of the line" for California-based Avant Electronics. The "lollipop" style mic has a 34-mm diameter gold-sputtered Mylar dual capsule with a 3-micron thick diaphragm encased in a separate head assembly above the mic's bottle body.

The "butter cream" colored nickel body cover slides off to show a 6072A tube and a premium CineMag output transformer inside. The mic has both -10dB attenuator and 80Hz roll-off toggle switches mounted on the body right under the head. The matching color power supply has a nine-position pattern switch for selecting polar patterns ranging from omnidirectional to cardioid to figure-of-eight.

Avantone BV-1 Multi-pattern Tube Condenser Microphone The included kit is impressive as well. You get a stout, shock mount basket and a removable metal pop screen made with a micro-screen for superb protection against wind and plosives from close-singing vocalists. Gotham Audio supplies the beefy multi-core connecting cable. Made in Switzerland, it features vintage-style XLR multi-pin connectors made by Switchcraft.

The mic, power supply, all cables, shock mount and pop filter all fit into an all-wooden and luxurious, retro-style tweed and faux alligator trim suit case lined with purple plush. It's very snazzy! The mic gets it own plush-lined wooden box that goes into this travel case.

I tried the BV-1 at three different studios. For vocals I liked it better than the studio's Siemens-badged Neumann U47 because the BV-1 was smoother in the high frequencies; the vintage Neumann was almost sibilant by comparison. Compared to a Neumann M-149 (again in cardioid pattern) at another studio, the BV-1 had less bottom end and again a smoother top. It sounded good on both vocals and as a percussion overhead mic.

At my Tones 4 $ Studios, the BV-1 proved to be an all around workhorse good for backing vocals, percussion overdubs, room mic (in omnidirectional pattern) and narration voice-overs. I think the BV-1 and kit is a tremendous value and a great sounding addition to any studio mic locker. I hate to give it up! For more information, check www.avantelectronics.com.

Barry Rudolph

Review on CK-1 Small Capsule FET Pencil

Where do you even start? These guys have figured out the secret of giving you crisp, clean top end without any harshness, even if you CRANK that top end. You just get clarity that grows more and more vivid. The sound as it lives in the air, the immediacy of it beyond just the sound of it. And a healthy heaping of solid low end, murk-free, not flabby a bit. A pair of these would empower you do anything--maybe not be God, but easily be the God of any acoustic instruments, vibrations or accidents. Listen--you get three easily swapable capsules (omni, cardioid, hypercardioid) along with a -10 dB attenuation switch and an 80Hz high-pass filter. That means there are twelve different configurations for this one mic, not that you or anyone like you is ever picky about this kind of stuff. Get your head together, darling. This is sparkling, clear audio that grabs you.

First Impressions

If you see a CK-1 mounted somewhere, your first impression is one of boldness, of opulence, of swagger. Not for these guys the wimpy anonymity of brushed aluminum tubes or blackened cylinders straining for invisibleness. This design is all about glory. I read a book once that explained color schemes and how they're used in advertising. I forget what they said about red-- maybe something about the Marines or stop signs. Actually, if I remember, it was all about the napkins and towels you should take for your beach picnic--it was imagining a deliberateness about these things was was just a little absurd. Where was I?

Pros

• Wide, wide frequency response
• Open, natural, accurate sound
• Is that a CK-1 in your pocket or are you just glad to see me?

Cons

• Sonically, tends towards brightness (possible con)
• Wooden case has teenie weenie hinges, may not be built for the
  long haul

Conclusion

This is the one I would take to the desert island-- a multi-faceted, superbly detailed, sensitive mic that will work on ANYTHING in a pinch, and/or it could be the primary source for the most vital component.  It's nice to have a new weapon in my arsenal, whatever makes me a better warrior. This is one microphone, at a very attractive price point, that really does bring the power to the people. Right on!

Review on CK-40 Stereo FET Microphone

The CK-40 is a stereo condenser mic that offers three polar patterns, and a pad/low-cut filter for each capsule.

The Avant Electronics Avantone CK-40 ($599 [MSRP]) is a Chinese-made multipattern, stereo FET condenser mic that challenges the assumption that you have to pay an arm and a leg for quality. The mic features a pair of large-diaphragm capsules stacked behind rugged polished-nickel grilles. The upper capsule rotates 270 degrees.

Two small switches for each capsule — a pattern selector (cardioid, omni, and figure-8) and a dual-purpose pad/filter switch — flank the body of the mic. At nearly 11 inches in length and weighing almost 2 pounds, it needs a solid mic stand to hold it securely. The CK-40 comes in a padded flight case with a leatherette pouch, an oversize foam windscreen, and a spider-style shockmount.

The mic connects to a splitter box with the included 32-foot 5-pin cable, giving you a pair of XLR jacks labeled Output Lower (for the bottom capsule) and Output Upper (for the one on top). I question the use of an adapter box. I would prefer a Y-cable rather than a device that requires two additional XLR cables to reach my patch panel.

Review on MixCubes

During the '70s, '80s and into the 1990s, Auratone 5C Sound Cubes were pretty much required in every studio. These little 5-inch monitors were just the thing for checking your mixes on AM car radios or mono TV speakers. But as TVs and car stereos improved, the need for Auratones (sometimes called “horrortones” by users) diminished. Today, Auratones are long gone, yet the need for a low-fi reference has returned in the form of computer speakers, boom boxes and other limited-bandwidth consumer systems.

Sensing the need to provide “real-world, bass-challenged” monitors, Avant Electronics offers MixCubes, which put a single 5.25-inch speaker in 6.5-inch square cabinet. But unlike their Auratone cousins, the MixCubes use a high-quality, cast-aluminum frame, full-range driver with 43-ounce motor structure in a solid, non-resonant MDF enclosure with a glossy, butter-cream lacquer finish.

Small details are not overlooked: Connections are via metal binding posts that accept spade lugs, banana plugs or up to 12-gauge wire, and the cabinet has a recessed mount with 27 standard ⅝-inch threads, allowing the option of mic stand placement. Also on the underside is a 7mm-thick neoprene pad offering acoustic isolation/skid resistance. The latter provides some isolation characteristics, but these are hardly the sort of speakers that would acoustically couple with studio structures and shake the place apart. Most users will appreciate the neoprene's anti-slide properties, which keep the monitors in place on an angled shelf or meter bridge.

The important thing about MixCubes is understanding that they are not meant as primary monitors, but as an adjunct to your present studio speakers. I listened to the speakers with a variety of power amps. With their high-SPL handling, these are like hearing a set of computer or boom box speakers, but without exhibiting breakup at high-playback levels. The MixCubes' working frequency response (-3dB down-point) is about 150 to 12k Hz, although the bandwidth extends much further than that. But in the mid-band (250 to 8k Hz) range where they're intended, the MixCubes are remarkably flat. And besides checking mixes for mono compatibility or translatability to lo-fi systems, the MixCubes yield a microscopic-style view of critical midrange tracks — such as guitar, keys or vocals — that would fall somewhere along a crossover point on most other monitors.

The Avant MixCubes are serious audio tools that fulfill a necessary role in any pro studio setup, and at a most reasonable street price  there should be some square, buttercream speakers gracing your meter bridge in the future.

Review on Pro-Shield Studio Pop Filter

There's nothing sexy about pop filters, but that doesn't mean they don't contribute to the sound of your recordings. If you can effectively eliminate popped Ps, Bs, Ts, Ks, and TCHs from your voice-over and sung vocal recordings, you save yourself many headaches in post.

Gone are the days of foam "clown noses" replaced by several better mousetraps, most of which are variations of the panty-hose-on-a-hanger variety. Enter the Avantone Pro-Shield from upstart Avante Electronicswith their decidedly different spin on the pop filter approach.

The Pro-Shield uses a metal mesh to break up the wind of errant plosives instead of the nylon employed by most pop filters. The oversized, arch-shaped face is slightly curved to mirror the curvature of most large diaphragm studio condenser mics. Instead of sitting out in front of the mic, the Pro-Shield almost hugs the microphone shape resembling the pop filters of yesteryear. It's like it was custom-made for your mic.

The Pro-Shield is all metal and positioning it is a snap. There's a mic stand or boom C-clamp and flexible 8mm gooseneck that's not flimsy at all; it holds its position nicely. An added perk to the all metal design is you can easily clean the filter with soap and water or an anti-bacterial cloth and know you're doing singers and voice-overs a favor by sterilizing between sessions.

But how does it sound? Well, it doesn't sound like anything at all. I initially wondered about the metal mesh and whether it would adversely color the sound. It doesn't. To my ears the Pro-Shield is completely transparent. More importantly, the Pro-Shield does the job extremely well. I gave it a workout on male and female voices including pushing its limits with a well-known plosives test: "Peter Piper picked a peck " (you know the rest). The Pro-Shield performed admirably and diminished even the most demanding pops. And unlike its cloth counterparts, I perceived no loss in high-frequency information. The metal mesh attacks those pesky low-frequency plosives only.

I am suitably impressed that such a simple design could make such a dramatic difference in plosives removal. It sure beats resorting to EQ, frequency-dependent compression, and tedious editing in post-production. The Pro-Shield saves times and sounds better anyway.

If you're looking for an ideal way to record voice, you'd be wise to invest in the Avantone Pro-Shield and make sure it is between the mic and the talent for every vocal session.  The Pro-Shield is a must-have if you record voice for a living.

 

Field Test: Avantone AK-Type VII Microphone

The AK-Type VII from Avantone, part of the company's Signature Series of mics, is a hand-built omni made in limited quantities. The stainless-steel body tapers at the front, offering a slender profile that is both hefty and speaks of quality. I'm partial to mics that are easy to place by virtue of their design and mount, and the Type VII satisfies on all counts. The included banded SSM shock-mount tightly holds and isolates the mic, making it easy to sneak into tight spots. The mic ships in a nice wooden box that cradles the mic and the mount.

SMALL MIC, BIG SPLS
The mic features a medium-capsule, pre-polarized condenser element that offers 25dBA self-noise. This amount is slightly higher than I'd like in a mic used for detail work, but it worked well in all situations for this review without the noise being obtrusive. Max SPL is 160 dB, a spec that I ended up putting to the test by recording a Porsche 911 engine (more later) — all this from a mic that's just under 6.5 inches and weighs in at just more than a third of a pound. The frequency response is almost dead-flat — nearly out to 40k — wiggling a bit past 10k but never more than ½ dB.

FROM TINKLE TO ROAR
I first heard the Avantone on various percussion elements. Its ability to take up to 160 dB makes it perfect for up-close, high-transient situations. The mic's flat nature worked especially well for percussion. Also, the slim silhouette makes it easy to point-and-shoot it toward any source. It sounded great on shaker, bells, finger cymbals and other "tinkly" hand percussion without EQ. I never had to worry about the "nasty" side of these instruments overloading the mic, and placement was easy. When I later used it on a cajon that had considerable bottom end, however, I needed to boost the lows at about 100 Hz.

The pair offered plenty of silky top when I put them up as a spaced pair over a drum kit. The cymbals were clean and the stereo image was accurate. They were equally adept at representing the kit in the room when I set them back about five feet from the front of the kit at knee height. Once again, I found I had to kick in the bottom end a bit to get the lows to speak, but that was easy to do with SSL 4000 Series EQs.

I next used the Type VIIs as a spaced stereo pair on acoustic guitar. It brought out the sound of the pick on the strings nicely and presented an accurate stereo picture of the instrument. Its flat bottom end made it perfect for this application, not being boomy in the least. For this scenario, I prefer to use a mic that doesn't have a bump at the bottom end rather than having to take out any boominess with EQ.

Next, I recorded an acoustic guitar pointing the mic directly where the sound hole meets the neck, about nine inches back. This setup is tricky because even a slight alteration in placement can change the personality of the recording. In this case, I captured a nice even top that wasn't overbearing and had plenty of bottom, although it was a bit boxy. As an experiment, a Retro Sta-Level compressor (see page 98 for the Sta-Level "Field Test") was put across the insert and set to a medium attack and release. This immediately brought out more of the silky Type VII top and tightened up the bottom. With the mic's natural top-end boost, it was easy for the Retro to dig out that info from the existing recording.

START YOUR ENGINES!
I was able to hear the mics employed in a recording of a heavily modified Porsche 911 Turbo at Xact Dyno in Arizona. The mics were placed on stands in the engine compartment, literally inches from whirring engine parts. The recording was for use in a videogame, so sustained rpm was the order of the day, which was achieved by putting the car up on a dynameter and then revving it at different levels with and without load. Various mics were used, including our intrepid Type VIIs, all sent through an Aphex 1788 remote-controlled mic preamp. The SPL handling capabilities of the Type VII made it a great choice for a situation where the dynamics of an engine on a dyno could easily cripple a mic with lesser ability. The mics stood up to the task, producing plenty of clean signal, even out to ear-splitting rpms.

IS VII HEAVEN?
The Type VII excels in a number of areas. First, it's small and easy to work with. Its response is flat at the bottom, so be warned that there is not a lot of help at that end of the spectrum. You'll need to boost some bottom if that's what you're looking for. The natural-sounding, flat top end out to 40k helps with percussion and other applications where you need the top end smooth and natural.

It was nice to put the mic into extreme circumstances with the recording of a roaring performance engine on a dyno for use in a videogame. It handled all the SPL that the engine could put out without a complaint. With this kind of versatility, the Avantone AK-Type VII is worthy of a listen, whether you're recording race cars or not.