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Post by cowboycoalminer on Nov 24, 2015 16:36:35 GMT -6
Just picked one of these up. Super interested in this mic because I had the UM 17r and foolishly sold it. This one has a different build so I might not like it as well but who knows.
I'll post some reviews and samples with other mics here shortly.
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Post by Johnkenn on Nov 24, 2015 16:57:48 GMT -6
I'm looking forward to some info on the R2 and R4...
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Post by Johnkenn on Nov 24, 2015 16:58:05 GMT -6
Congrats btw
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Post by Johnkenn on Nov 24, 2015 19:09:10 GMT -6
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Post by cowboycoalminer on Nov 24, 2015 20:00:14 GMT -6
$1850 John.
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Post by cowboycoalminer on Nov 24, 2015 20:02:47 GMT -6
This one has the BV08 transformer in it which will no doubt add some heft. Might be perfect for your vocal Martin John Butler
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Post by Martin John Butler on Nov 24, 2015 20:53:22 GMT -6
Funny you should say that Herbie, I'm getting one for a week, and if it's a better fit for me, I'll sell mine and put the difference toward it.
The new model is a much cleaner build and is likely a substantial improvement over the previous version, which is very promising. I'll let you all know what's up soon.
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Post by category5 on Nov 25, 2015 8:21:57 GMT -6
Awesome! Would love if you could share some pics and samples. Blackspade have been slow to get the new models out, but the build looks significantly improved over their previous generation. I have a feeling you're going to dig that mic a lot!
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Post by kcatthedog on Nov 25, 2015 9:14:18 GMT -6
is this expected to be more c12 or 251 like or do we know ?
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Post by kcatthedog on Nov 25, 2015 9:16:21 GMT -6
ah 49 like :
Product Description Developed as a more competitively priced alternative to the RS Series, the primary design goal of the UM17B was to repackage the world class sound of the most revered vintage condensor microphones, into a format affordable to both serious enthusiasts and professionals alike. Heavily influenced by the classic M49 design, the UM17B's sound architecture is based around Thiersch's Blueline M7 capsule, combined with a Haufe BV-08 transformer and an EF-732 NOS vacuum tube. The amplifier section is completed with Welwyn RC and Dale RNX resistors, ERO and Mial capacitors, with EcoWire® used throughout the build. All components are specifically chosen for their extreme reliability when used together as a system: as with all our products, every unit is built by hand in Switzerland, tested for 7-days prior to delivery, and covered by our no questions asked 10-year warranty. In terms of sound character, the UM17B offers exceptional resolution particularly well suited for use as a studio's main vocal microphone. The 41-click polar pattern pot allows for almost infinite adjustments to the microphone's response, allowing the user to dial-in to the source with both accuracy and the benefit of recall. This added control enables the UM17B to be equally at home when used as a high-end workhorse for a variety of instrument and room recording tasks. Capable of providing the same character that has driven the prices of vintage microphones beyond the means of most, we highly recommend taking advantage of our demo policy to experience the UM17B first-hand. This product replaces the discontinued UM17R and is now available both direct and through selected dealers worldwide. Product Features:
• M49 inspired amplifier circuit • PVC M7 capsule • Haufe BV-08 Transformer • Telefunken/Sylvania NOS EF732/5840 tube • Power supply with polar pattern adjustment pot • Padded wooden box • Cables, shockmount and flightcase included • 10-year no questions asked warranty on electronics, except tube (6 months). • Designed and built in Switzerland Technical Specifications:
• Type: Condenser pressure gradient • Capsule: Thiersch STW7, PVC diaphragm • 41 Selectable Polar Patterns incl. O-C-8 • Frequency Range: 20Hz to 20,000Hz • Impedance: 200Ω • SPL: 130dB • Equivalent Noise: 17 dB, A-weighted • Microphone Dimensions: 245mm long, 44mm diameter • Weight: 770gms
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Post by Johnkenn on Nov 25, 2015 12:37:15 GMT -6
They're gonna have kits available too...
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Post by Martin John Butler on Nov 25, 2015 16:59:26 GMT -6
OK boys, just got the UM-17B. I have guests for the holiday and won't have time to do much until the weekend, so I gave it a quick first test. I barely gave the tube 5-10 minutes to warm up before hitting record. I pulled up a current track, one with the best vocal to date, and my first impression is, pardon my French but, HOLY $HIT, this thing is money !
It's way more balanced and natural sounding. I felt like Sinatra in the 60's singing through it. It's more present because of the balance, sits in the track like I’m in the studio with the band, no sibilance at all. It takes a hard hit like a champ, without flinching at all. It's still the UM17B, but it reminds me of a real deal, mint M49 or U47, only with it’s own subtle flavor, not fat vintage round and mellow, but still smooth, with none of that false “vintage tube” sound so many mics try for. It really seems first class, and not a compromise in any way.
This to me is what I thought the M7 is supposed to sound like, none of that capsule sizzle, but clean highs, and a solid bottom. No edges are sticking out now, but it's not dull at all, just really balanced. Finally, I think I’m going to be a very happy camper.
As much as we've mentioned how important a capsule is to a mic's tone, it's obvious to me now, that without the right supporting cast, it can't really shine. The new UM-17B proves it.
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Post by joseph on Nov 25, 2015 17:30:32 GMT -6
Spec-wise, that's a lot of mic for the money.
Can't wait to hear the samples, if the synergy is really there.
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Post by Martin John Butler on Nov 25, 2015 19:27:02 GMT -6
Synergy is a better way to put it than balanced, although balanced applies.
After thinking on it a little, even with only my brief test, what occurred to me is that it needed no EQ, really, none.
If I wanted to bring some frequencies up or down in a mix, I suspect it would take EQ easily, because it doesn't need any EQ in the first place just to get it balanced.
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Post by odyssey76 on Nov 25, 2015 20:13:40 GMT -6
Can you only buy Blackspade mics from the actual company or do they have retailers here in the states?
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Post by Martin John Butler on Nov 25, 2015 20:26:28 GMT -6
I'm sure there will eventually be some USA dealers. Right now, it's direct from Blackspade. They've been really helpful to me and a pleasure to work with for years now.
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Post by indiehouse on Jan 30, 2016 11:46:20 GMT -6
Any more thoughts on this mic? Thinking about picking up a UM17R with a Blueline installed.
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Post by Martin John Butler on Jan 31, 2016 15:40:48 GMT -6
I've been having some technical difficulties with my signal chain. My preamp seems to be not working. Also, in Logic, I have to turn the level of all the tracks way, way down to then hear the vocal I'm recording. This is compounded by the headphone amp on the Apollo being somewhat weak, it just doesn't give me enough volume to feel right when tracking vocals, while keeping my recoding levels lower than I used to keep them. I used to print way too hot. A bad habit left over from my analogue days.
I've been able to compare the gorgeous sounding new Soyuz SU-017 to the UM-17B and it's holding its own with a mic nearly twice as expensive. When I work out these details I'l post some things, but it might take me a while.
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Post by Martin John Butler on Jan 31, 2016 15:56:27 GMT -6
Just found a review here, the translation is rough though, it was originally in German. www.tobitech.de/index.php/studiotechnik2/item/880-blackspade-um17b"The roots of the M49, as well as that of the U47 are possible to hear immediately. The character is bold, warm and silky. It has the typical sound that only a M7 capsule can write to. The midrange is already at the first note under the skin and boasts an amazing musical character. Vocals leave without much on the EQ control must integrate in each mix. Although the central area at the UM17B is pronounced, it is never dominant or pushy, on the contrary, it is always warm and airy. The sound is much more towards M49 as U47, however compared to the melancholic and dark sounding M49 almost cheerful and bubbly with a wonderful silvery soft height. The sonority is hard to believe in this price class. Where the M49 is chosen mostly for women's voices and the U47 for male voices, the UM17B for both sexes is alike. Nonetheless a good microphone a good microphone, no matter for what purpose they are used it. Although the replacement noise with 17dB is specified, a noise is only rudimentary in any recording to hear. It's amazing how you can offer this microphone at a price of € 2100, alone, the installed parts make up the bulk of the total. Construction, BSA has more fun than at a big win as it seems. The UM17B is one of the best currently available microphones on the market. Sound and quality the microphones in the reference class equal and that fortunately at a price that cannot be beat. You must necessarily have heard the microphone to get an idea of the richness of its tone. The warranty period of 10 years is another positive point. For those interested in German distributor, digitalaudioservice is a good starting place for a possible preview, etc.. The price of €2100 is more than justified, and so the microphone Gets a full purchase recommendation.
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Post by M57 on Jan 31, 2016 18:23:12 GMT -6
I've been having some technical difficulties with my signal chain. My preamp seems to be not working. Also, in Logic, I have to turn the level of all the tracks way, way down to then hear the vocal I'm recording. This is compounded by the headphone amp on the Apollo being somewhat weak, it just doesn't give me enough volume to feel right when tracking vocals, while keeping my recoding levels lower than I used to keep them. I used to print way too hot. A bad habit left over from my analogue days. I've been able to compare the gorgeous sounding new Soyuz SU-017 to the UM-17B and it's holding its own with a mic nearly twice as expensive. When I work out these details I'l post some things, but it might take me a while. I've had similar issues tracking with Logic. Couple things you can try: Put a "Gain" plug on the incoming channel. If you have a bunch of 'em coming in try sending them all to a buss and put a gain plug on it. - You'll need to put each send in Low-Latency Safe mode. RE Headphones: A good overpowered headphone amp goes a long way. My Behringer Power Play is OK, but with a long cable going to the drummer it was complaining, so I found an OLD Alesis Micro Cue Amp in the basement, hooked it up and I swear that sucker'll make any pair of headphones cry for mercy.
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Post by Martin John Butler on Jan 31, 2016 21:36:11 GMT -6
I've done the Gain plug on the 2 bus thing, but it's still not quite right. The Low Latency Safe mode confuses me though. Doesn't that leave the send's latency in tact? I don't see why would I want that.
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Post by NoFilterChuck on Jan 31, 2016 21:57:51 GMT -6
Low Latency Safe means the plugins and sends that induce latency are not muted when you turn on Low Latency Mode. So, UAD plugins will add latency if you use them while tracking and they're set to Low Latency Safe.
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Post by M57 on Feb 1, 2016 5:32:43 GMT -6
I've done the Gain plug on the 2 bus thing, but it's still not quite right. The Low Latency Safe mode confuses me though. Doesn't that leave the send's latency in tact? I don't see why would I want that. What LLSM does is lift the restriction on using 'any' buss sends on individual tracks - those sends are otherwise grayed-out when the input monitor button is engaged. Apparently, if what chuck is saying is correct, LP assumes that anything sent to a buss will introduce additional latency. Personally, I've been using the down and dirty solution and putting the Gain and verb plug(s) on the incoming track(s). It doesn't affect what gets printed.
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Post by Ward on Feb 1, 2016 6:14:08 GMT -6
I've done the Gain plug on the 2 bus thing, but it's still not quite right. The Low Latency Safe mode confuses me though. Doesn't that leave the send's latency in tact? I don't see why would I want that. One reality of DAW recording: The more plugins, the greater the latency. It may be very minute in some DAWs with higher horsepower computer set-ups (such as a Westmere 12/24 core Mac Pro) but it is still an accumulating thing. At least those are my findings and what I have read everywhere with the only exceptions coming from 'GS armchair Expert' types...
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Post by chasmanian on Feb 1, 2016 11:08:42 GMT -6
"This is compounded by the headphone amp on the Apollo being somewhat weak, it just doesn't give me enough volume to feel right when tracking vocals, while keeping my recoding levels lower than I used to keep them."
with regards to that, (and mindful that I am recording myself singing accompanying myself on acoustic guitar, and I am just doing live takes, so not overdubbing), I use an RME Babyface. long story short, I bought a headphone amp. and a DA. so now I s/pdif out from the Babyface, into the DA, into the headphone amp. the difference is night and day. my experience (and this is MY experience only.....other people my have completely excellent experiences): is that the headphone amp on the Babyface did not have juice. the stuff I got are both from Schiit Audio. a Lyr 2 and a Bifrost uber. I also rolled the tubes in the Lyr 2. anyway, extremely well spent money.
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