Heil Sound PR Series Microphones
At the AES show, I met a brash older man with some amazing microphones. That man was Bob Heil, a legend in his own right as the owner of a sound company and builder of sound system speakers, amplifiers and mixers years ahead of what has been available from other manufacturers. While most us thought that Heil Sound Limited had faded into history, Heil's other passion of amateur radio has kept his engineering skills sharp. And that sharpness was enough to design microphones for ham operators and broadcast talent that kept Heil innovating in microphone technology. Through the encouragement of collaboration with Heil's longtime amateur radio friend, Joe Walsh of the Eagles, Heil brought forth the PR series of large diaphragm dynamic microphones suitable for live sound applications. For this Road Test, I received three PRseries microphones (PR-20, PR-30, PR-40). Although only the PR-20 is a handheld vocal microphone, the PR-30 and PR-40 work well in other live sound applications, such as critical instrument or instrument amplifier pickup. The PR-20 is a 14-ounce handheld vocal mic with a nice steel grille and gold trim ring attached to a nicely curved zinc grip. The PR-20's tight cardioid pattern is impressive, but its lack of bass proximity effect makes it almost impossible to believe. The PR-20's 40Hz to 18KHz frequency response hides reality: Its ultra lightweight quiltedaluminum diaphragm over a neodymium magnet gives the mic an amazing highfrequency response that rivals diva-grade condenser in response and betters it in fi- delity at high input SPLs. And the high-tech sorbothane shock-mount system makes handling noise disappear.
The PR-30 is no slouch either. While aimed for broadcast usage with its barrel- shaped body/windscreen and 1.5-inch dynamic element, the PR-30 comes with a normal mic clip and makes a killer instrument microphone perfect for corporate-type gigs. Also with a 40Hz to 18KHz frequency response, the PR-30 takes the PR-20's perfect mid- and high-frequency and adds a real warmth to the low-mids without the expected proximity effect mud that other mics can add.
The PR-40 mic takes its position on the top of the series with even better cosmetics and a beautiful dark hardwood case to store the mic after performance. The PR-40 is 15- ounce beauty of a microphone with 28Hz to 18KHz frequency, and it is apparent that this mic is at home in recording, broadcast and live sound applications. The barrel mic casing and very large diaphragm dynamic element provides more warmth at the expense of a little top-end frequency response.
The Tests and the Gigs
Placing my focus on the PR-20, I went to my mic trunk and collected up my usual best-in-class vocal mic suspects. No, this is not a shootout, but listening to a good mic requires a perspective that only some A-B listening can resolve. So I brought out a bunch of Audix, Beyer, Electro-Voice and Shure dynamic and condenser vocal mics for critical listening. My conclusions were that the PR- 20's mids and highs are as good as the best live sound condenser microphones, and the lack of any low-frequency proximity effect is almost spooky with the transparent low-end. Because the lows are so well-balanced with the rest of the frequency spectrum, the PR-20 would excel with bass voices, or for all those mumbling mic eaters out there to help catch a little more diction on their lyrics. And the rappers and their live sound mixers could really enjoy the diction enhancement and high SPL cleanliness, even with the windscreen partially cupped.
Running the PR-30 and PR-40 through similar tests was just plain unfair as the even larger diaphragms warmed up the low-end, but mostly kept things brilliant through the presence band. I liked the PR-30 as an all-around perfect voice and instrument mic. The PR-40 was nice too, but all top end from PR-20 and PR-30 spoiled me when the PR-40 rolled off a touch above 10KHz.
Out at the gigs, the PR-20 held its own as lead singer's dream microphone. The almost hyper-cardioid pattern and the lack of prox effect meant that the singer's lyrics cut through a loud rock 'n' roll band with ease. And placing the PR-30 and PR-40 on guitar amps made those sources light up compared to the usual suspect instrument mics.
If you are collector of mics as tools for tough vocal and instrument applications, then having all the Heil Sound PR-series mics is a must. And at their prices, you can purchase the whole bunch for the price of a typical professional studio condenser mic. And if someone offered up a bunch of PR-20s at a house gig, I would have thought I had died and gone to heaven.
What it is: Dynamic microphones with high-tech performance.
Who it's for: Professionals of all types needing the benefits of condenser mic clarity, but with dynamic mic SPL handling.
Pros: Low cost, astounding performance, great looks.
Cons: None.
How much: PR-20 $160 SRP, PR-30 $289 SRP, PR-40 $325 SRP.
Electro-Voice Zx4 Speakers
I am not one to really endorse plastic speakers, but of all of the poly-whatever speakers I have reviewed, the Electro- Voice Zx4 comes right to the top in preference. First of all, it "delivers" in terms of sound quality, and that applies whether it's wood or plastic. Next, it is an unpowered speaker, which is great because I only have one Neutrik Speakon cable to attach, and the weight is a modest 44.4 pounds for a 15-inch + 1-inch cabinet. But until I see RF wireless receivers and serious and lightweight power amplifiers in powered speakers, I will prefer minimal interfacing and power amplifiers on the ground. With the Zx4's program power rating about 800 watts, I would like an 800- watt at 8-Ohm audio power amplifier to be inside before thinking it could be adequate for live sound usage.
The Gear
The EV Zx4 is a step back from the Zx5 version in that the drivers are standard off-the-shelf, tried and true. The DH3 1-inch throat driver is smaller than what I prefer for a 15-inch low-frequency driver, but this combination does work and the midrange does not seem to exhibit any wild frequency response peaks or dips. I have been substituting the DH3 for JBL 1-inch drivers in many home brew wedges for years because of the reliability and great presence band sound. The EVS15SF LF driver is less familiar to me, but in the Zx4 cabinet it does its job well by staying flat down into the 60Hz (-3dB) corner frequency. So as a complete system, the Zx4 delivers 400-watt continous/1,600-watt peak power handling across the 60 to 20KHz audio frequency band (-3dB), and does it with a 1,500Hz crossover frequency at 8 Ohms nominal impedance.
From a mechanical perspective, the Zx4 has an integral HF horn with a 90º by 50º short throw to handle the typical smaller rooms it was designed for. By keeping the grille on the LF driver only and matching the colors to a very dark gray, this means that the Zx4 is perfect for corporate events as well as rock 'n' roll, as it's visually unobtrusive. One large handle is molded into the Zx4, and it also contains the now standard 1 3/8-inch pole socket for tripod (stick) mounting. For installs, there are multiple threads for rigging I-bolts. And even the stage monitor usage was considered by having two flush feet that can be flipped around to create a flatter 55º tilt from its normal 45º rear shape.
The Gigs
Putting the Zx4 to use was pretty much a plug-and-play experience. I started the evaluation on sticks with CD tracks and a QSC PLX3402 smacking it around through various musical genres. While I get spoiled listening to subwoofer supported speaker systems, the 60Hz corner and 42Hz bottom (-10dB) provided enough thump that performed better than most plastic speaker offerings I have worked with.
Out at the gigs, I put the Zx4 into a small corporate event setting, and into stage wedge operation for a rock cover band. In both scenarios, I found the Zx4 coming up well. While I prefer narrower HF coverages and bigger HF drivers (1.4-inch throat, please), the Zx4 did not run out of gas on high SPL stage monitor duty, and had plenty of fidelity playing tracks and doing P.A. work at the corporate gig. I wished I had a second handle on the opposite side to two-hand the cabinet up on the tripods, but that was about all I could find to niggle about.
What it is: A plastic portable speaker
cabinet good for multiple uses.
Who it's for: Professional users who
need good cosmetics and great quality
of sound reproduction.
How much: Electro-Voice Zx4 $700 SRP.
Pros: Plug-and-play simplicity, good
looks and quality sound.
Cons: A second handle would be nice.
