As long as I have been in the sound biz, I have been looking for a better microphone. Not because I have been dissatisfied with the standard models most commonly used, but because I started my career in music as a singer. And, as a singer, I am acutely aware how a mic can color one’s voice. Well, if a microphone can make a voice sound different, then can’t it make an instrument sound different? Of course, the answer is yes and, there-fore, my never-ending quest to find a better (or at least different) microphone.
Now, if you will indulge me, I would like to go back to the last winter NAMM show for a moment. On Saturday, I found myself in the FBT booth. For those of you who may not know, FBT is an Italian company that manufactures a large variety of speaker enclosures. While I was checking out their booth, I ran across a JTS microphone display. I knew FBT did not manufacture these mics, but I thought maybe they had acquired the com-pany. Tom Concorde, the FBT USA vice president, informed me that FBT had recently become the exclusive U.S. distributor for JTS microphones. I told Tom I would like to field-test a few models, and that is how they ended up here in this FOH review.
The Gear
I know specs can be boring, but it is important to know your tools. FBT sent me an NX-8 moving coil dynamic mic for vocals. This microphone weighs in at 8.6 ounces, it has a frequency response of 50 to 16,500 Hz and receives its sound in a cardioid pattern rotationally symmetrical about the mic axis. This is a handsome piece of gear (for that matter all the mics have a good look) dressed in JTS blue paint and sporting a steel mesh ball. I also got the NX-8.8 vocal/instrument condenser microphone. This model weighs in at 10.2 ounces, it has a frequency response of 60 to 18,000 Hz, comes in a supercardioid pattern and, like all JTS mics, wears a coat of blue paint.
For my wireless needs, I was sent the US-1000D receiver and Mh-8990 handheld microphone. The receiver has almost 1,000 UHF channels, four preset groups of 16 channels each, true diversity technology, anti-interference design to work with every computer device, balanced XLR and un-balanced outputs — all in a half-rack metal housing.
Of course, FBT had to send me a selection of instrument mics. The NX-2 is a moving coil dynamic mic listening in a supercardioid pattern and de-signed for kick drum or bass. The unit weighs a hefty 28.75 ounces, has a frequency response of 20 to 12,000 Hz and incorporates an adjustable locking mount that screws on your mic stand.
The NX-6 is also a supercardioid patterned dynamic mic. Smaller and lighter at 21.5 ounces with a frequency response of 60 to 16,000 Hz, this mi-crophone is designed for drums, percussion, guitars, etc. — It’s pretty much a multipurpose microphone.
To round out the instrument selection, FBT sent the NX-9 microphone. This condenser mic will work well for hi-hats, overheads, acoustic guitar, etc. With a frequency response of 60 to 18,000 Hz, this 8.1-ounce unit sports a simple cardioids pattern. Well, those are the models folks, let’s see how they did.
The Gigs
I had an opportunity to test the JTS US-1000D receiver and Mh-8990 handheld mic at the annual Reno, Nev., marathon. The gentleman who started the race and called out the finishers used the wireless microphone. He was up and down the street and in and out of the crowd, yet never dropped the signal. The mic also has good tonality and a handsome finish. My only criticism is that I was getting a little more pop from my speaker than I wanted. However, that could have been the fault of the speaker himself.
I set up sound for the annual spaghetti dinner the evening before the race. The entertainment was a two-piece techno band, but it did need me to mic an acoustic guitar for a couple of songs. I used the NX-9 condenser mic. This microphone has a lot of sparkle and air without sounding too brittle. I really liked it on the acoustic guitar, but I have also enjoyed the sound of it for overheads, congas, timbales and bongos.
My next outing with the JTS mics was a local gig with a blues band. At this show, I used every microphone that FBT sent. On the kick drum, I se-lected the NX-2 bass instrument mic. This is a rock solid microphone with good isolation from other stage sounds and can accurately translate the low-end punch of a kick drum.
On the snare, I used the NX-6 dynamic mic, and I think this is my overall JTS favorite. It sounds great on a snare, but also excellent on a guitar or any percussion, trumpet or sax. It is small and easy to place with its own built in clip. It’s just an all around great tool.
Of course, I used a pair of NX-9s for my overheads, and they did what they are supposed to. For my lead vocalist, I pulled out the NX-8 dynamic mic. This microphone sounds great for the standard vocalist with a deep proximity effect and good off-axis rejection. As a singer who listens to a lot of vocals, I would say this mic sounds a good as any of my regular dynamic vocal mics, and it’s sweet on a trombone.
I used the NX-8.8 on one of the background vocalist with good results. But I would suggest you know your singer before you pull this one out. This mic would probably make Axel Rose sound pretty bad, whereas it could make Frank Sinatra (if he were alive) sound great.
I think that about covers the JTS mics that FBT sent me. All in all, these are pro sounding, handsome microphones at a competitive price. As far as their durability, give me a year or two, and I’ll get back to ya.
JTS NX Series Microphones
JTS
www.jts.com.tw/
Distributed in the U.S. by FBT
