Well, the next day when using it at home, it worked fine for about 30 minutes before it suddenly got muffled sounding. Sending a big shout out to Ryan Wiltermood who skillfully guided me to this mic and other quality products over the years. I used it mostly with their 1024 preamp, which I feel is still the greatest mic preamp on the market.

Please give us the reason for your assessment in the following text box and – if possible – your e-mail address for further questions. I'd go so far as to say that this is the best-looking stage mic I have ever used, and it never failed to attract positive comments from musicians.While some microphones tend to get a bit clinical sounding if they’re heavily focused on accuracy, the SR314 does an excellent job of providing a musical and vivid sound. I would also say the OP should not be afraid of too much detail from this mic - it captures detail but doesn't emphasize it. The mic performed beautifully capturing everything from the smaller intimate moments to the big rocking high energy moments of the set.

It might be a bit of a shock to some vocalists, especially those who are used to gigging with beat-up dynamic microphones, but the SR314 instantly struck me as bringing studio-quality sound to the stage. Earthworks precision-engineered their SR314 handheld condenser microphone to offer a fresh approach to miking live vocals.

I was a bit worried about running into bleed issues with cymbals on stage, but it never created any issues for me. The naturally bright sound puts the vocalist comfortably forward in the mix, which should create less work for the FOH engineer. The tight cardioid polar pattern provides consistent frequency response to 90º off-axis, with extreme attenuation of off-axis sound sources beyond 90º and maximum rejection at 180º.

It has a slight coloration in the lower-mids that’s flattering to vocalists who need a bit of help in that region, and the microphone is capable of producing plenty of mojo in the low end, particularly when used up-close (within a few inches). But for close miking drums, it is better to go with Earthworks DM20 (or SR20LS, which is the same capsule) as they were designed for close miking drums and handles higher SPL (and will not output as hot a signal as SR314 or SR25 when close miking).Overall, I’d classify the polar pattern to be very tight, and the off-axis rejection to be excellent. Earthworks microphones have always embodied a very distinctive ethos, aiming to capture sound with the highest possible fidelity across the widest possible frequency range, and laying particular emphasis on the accurate representation of transients. During our first gig with this mic (at our home venue Archie's Seabreeze in Fort Pierce, FL) many of our local fans came up and complimented us on our sound this night with many asking "what are you doing different?

It’s a high-definition handheld vocal mic intended for live use, but let’s see what it can do in the studio as well. Its microphones notoriously reproduce clean, crisp, and accurate sound with an ultra-fast transient response, extended frequency range, and very low noise. I've watched many reviews with in studio use and it seems to shine on a variety of sources so it's not a one trick pony. This high-definition microphone features an exceptionally flat 20Hz to 30kHz frequency response, low handling noise, and a uniform cardioid polar pattern.Agreed - being the in-house sound guy at your average small venue is thankless - a parade of no-hopers with the occasional bright light. Over the years, I've tried half a dozen studio capacitor mics with no success at all, and had ended up using a ribbon mic on the basis that 'a bit too dull' was easier to work with at the mix than sibilant, thin and harsh. I would never use it without some EQ (a little cut around 170hz and a HPF), but it seems to be pretty great on accepting EQ.