Larry Villella is a musician, audio enthusiast and former Steinway piano dealer who turned his love of vintage mic collecting into a full-time business as ADK Microphones in 1998. Most of the ADK line centered around mics that emulated the sound of classic studio models. A couple years ago, he branched out with his new 3 Zigma line, which were more compact than the large body and tube models that ADK offered and employed the CHI (Capsule/Head-Amp Integrator) Series.
Enter the CHI Series
Based on a line of head-amp bodies with interchangeable condenser capsules, the CHI Series offers a various large-diaphragm (lollipop) and probe-style (lipstick) heads that can be mixed/matched for a range of applications, but primarily instrumental miking. Better still, the more compact (about one-inch diameter by five-inch long) head amp bodies are suited for the sound reinforcement market, where dragging tube power supplies onstage can be problematic, to say the least.
Head amp variations include the HA-TL II (priced at $599/street with your choice of lipstick capsule, or $649 with lollipop head), a transformerless, low-noise design. The ($649/street with lipstick capsule or $699 with lollipop head) HA-FX is transformer-coupled, with a 3-position bass rolloff switch and the ability to handle high SPL’s, up to 156 dB, with its onboard 0/-8/-16 dB pad.
The HA-FX also exhibits greater self-noise — 1 to 3 dB more than the HA-TL II, depending on the capsule selection. Not to imply that either body is a slouch. For example, with the large-diaphragm C-LOL-67 capsule, the A-weighted self-noise spec clocks in at 10 dBA for the “low noise” HA-TL II and 11 dBA for the HA-FX. But given the additional versatility of the rolloff and pads, the HA-FX is my clear choice for live applications.
All the models are available as complete mics, and the price includes shock mount. Individual head amps and capsules are also offered, as are “Tool-Kits” with various combinations of one, two or four head amps, with three, six or 10 capsules — a sort of virtual Erector Set of miking possibilities.
In the Field
Sound-wise, the two head amps are quite different. The HA-TL II is more precise and detailed — probably better suited for classical or chamber music, while the transformer-based HA-FX body has a more rounded response that more closely befits jazz/pop/rock/country applications.
There are four medium-diaphragm (17mm) lipstick capsules to choose from. These include two omni’s. The SD-D (diffuse field) version has an pronounced M49-style +4 dB bump around 8 kHz for distant room miking, while the SD-F (free field) omni is better suited for for closer-in work, such as choir overheads. The SD-F proved great combined with a few closer mics for punch.
Of more interest to the live crowd are the SD-C cardioid and the SD-H hypercardioid capsules. The SD-C is a good, all-around choice that shines on acoustic guitar, drum overheads — even amp cabinets with the higher-SPL HA-FX head amp. The HA-FX is also ideal paired with the SD-H capsule, especially on hi-hat and snare, where a slight upper-edge 9 kHz emphasis was just right without being overbearing. At the other end, I was actually surprised by the SD-H used close-in on acoustic bass, where it delivered all the in bottom end, taking advantage of the proximity effect, while at the same time offering upper-mid definition and presence.
Another clear winner on upright bass was the C-LOL-251 lollipop capsule. I’m not sure it sounded exactly like my Telefunken 251, but I did like the sound, particularly its extended upper-end, which brought a nice sheen to archtop guitars and — another surprise — on baritone sax. The 251’s cardioid pattern seemed tighter than that of the other lollipop capsules, which could definitely be a plus for onstage miking.
For alto and tenor saxes, I much preferred the sound of the C-LOL-67, which is modeled after the — you guessed it — U67. The 67 capsule exhibited a more delicate presence boost, which was just the ticket on saxes and smaller-bodied acoustic guitars, yet it nicely handled 4×10 and 2×15 bass amps. I wasn’t as much of a fan of the C-LOL-47 capsule; its darker top-end is probably better slated for recording piano or vocals, while in a live setting, the C-LOL-67 would be my preferred piano choice.
The Outro
Overall, I like these. The build is quality, from the pre-aged, gold-sputtered 3- and 6-micron capsules to the low-noise, quasi Class-A electronics. The mic bodies are stainless steel — tough and durable enough for the road, yet at the same time, the capsule mounting threads are fairly fine, so take care to avoid cross-threading the mics, especially in the field. But best of all, I like the CHI’s modular system, which allows someone to start off simply and expand as they go.
At a Glance:
Modular Miking
The CHI Series offers the user a variety of head and capsules that combine to create custom miking solutions.
CHI Series Microphones
Manufacturer: 3 Zigma Audio
Pros: Affordable, good sounding and flexible system.
Cons: Fine threads require care when mounting capsule onto mic body.
How Much: $599 to $699, depending on capsule and head amp selected.
More Info: www.hybridmic.com
