CAD Audio has a long heritage in microphones. Its parent company, Astatic, began in 1931 as a supplier of crystal mics for radio applications, along with phonograph cartridges and recording heads, and many years later expanded into the commercial audio/installation market. Even today, many of Astatic’s vintage crystal mic models are still in use and prized by harmonica players.
To address the professional audio market, CAD Audio was launched in 1988. The name is an acronym for Conneaut Audio Devices, having been based in Conneaut, OH, and the company still maintains its Ohio roots, located just outside of Cleveland. For years, CAD Audio focused on the recording mic market, with its highly successful flagship Equitek line, and more recently introduced its CADLive series for sound reinforcement applications. The latest entries in the line are the D90 handheld vocal microphone and the D89 instrument mic.
Meet the Newcomers
I got a chance to check out the D90 vocal mic ($129/MSRP; $99/street) and D89 ($119/MSRP; $89/street) instrument mics. Both mics are dynamic, which I would normally assume, as they have a D in the designation, but previous mics in the series also have a similar designation, such as the D82 ribbon and D84 condenser. So much for that theory. Perhaps in the future they should give non-dynamic mics in the series a unique identifier.
The D89 and D90 feature a Trueflex™ diaphragm and PowerGap high-gauss Neodymium magnets and have a supercardioid polar pickup pattern. The rated frequency response is from 50 Hz to 16 kHz on the D90 and out to 17 kHz on the D89. And they can handle high SPLs up to 150 dB. Both mics have roadworthy steel mesh grilles and include a molded protective carry case.
On the Road
I tried out the D89 first, as I was doing a gig that I could use it on the day the mics arrived. I replaced another mic (which shall remain unnamed) that is considered an industry standard on a guitar amp cabinet set up. I was pleasantly surprised how the D89 was true to the intended sound of the guitarist and amp. I had mixed this particular guitarist several times in recent days. It seemed like there was more accuracy and definition in the sound I was getting though the D89, which was the only variable in the chain that was different than previous gigs. If you are more focused on the sound of the source than the sound of the mic itself, then the D89 delivers in this regard.
On snare drums and toms — another “typical” application for probe-style dynamic mics — the results were similar. The mic was definitely up to its high-SPL handling and provided an accurate picture of the source with plenty of attack. It’s definitely different that the sound of that usual “snare-standard” mic, presenting a somewhat more accurate picture, so depending on your taste (or what you’re accustomed to hearing) you may be reaching for that EQ knob first — or not at all.
Here also, the supercardioid pattern came into play. On the D89, it’s much tighter than a typical cardioid, and the 120-degree nulls behind the mic reduce hi-hat bleed into the snare signal.
CAD recommends the D89 for acoustic and electric instruments, specifically drums, guitar cabs, brass and strings. I did try it on acoustic guitars. While the results in this application were okay, I must admit that dynamic mics are not my first choice in such situations, where I usually opt for the fast transient speed of a small-diaphragm condenser mic.
Enter the Handheld
I hooked up the D90 handheld vocal mic and put it through its paces. Here again, I noticed that the supercardioid pickup pattern is very tight. That’s great news for placing monitors at 120-degrees off-axis to the mic. Better placement means better levels while minimizing feedback. And the tightness of the pattern only works if you have a singer that stays on their mark. The D90 may not be the first choice for performers that moves around a lot on stage and can’t stay on-mic. On the plus side, the tight polar response does a great job of keeping stage wash, amps, cymbals, etcetera, out of the vocal feed.
I didn’t notice a lot of proximity effect. Depending on what you’re doing, that’s either good or bad. I personally like less proximity for singers. The pop filter worked effectively, and there was a just a minimal amount of handling noise.
Comparing the D90 side by side with similar mics in the same price range, I felt the D90 had a better overall sound. It has a complimentary built-in EQ curve, which gives it a nice personality. No dynamic mic is perfect on every vocalist or application, but I would definitely pick this mic as first choice over some others. I think it will be a little while before the D90 is specified on riders. However, on riders that state “or comparable,” I would happily sub it.
At a Glance
New Mics on the Block
Known for its recording microphones, CAD Audio expands its sound reinforcement mic market offerings with two models that take on established industry contenders and hold their own in a crowded field.
CAD Live D89 and D90
PROS: Good sound; supercardioid pattern reduces bleed and feedback; great SPL handling.
CONS: Tight pattern requires vocalists to stay on-mic; may not show up on riders for a while.
STATS
- Price: D90, $99/street; D89, $89/street
- Manufacturer: CAD Audio
- More Info: www.cadaudio.com
More Details:
D89
- Frequency Response: 50 – 17kHz
- Sensitivity: -50 dBv (2.8mV) @ 1Pa
- Impedance: 520 ohms
- Max SPL: >150dB
- Weight: 1.5 lbs.
- Size: 10” x 6.5” x 3”
D90
- Frequency Response: 50 – 16kHz
- Sensitivity: -51.0 dBv (2.8mV) @ 1PA
- Impedance: 500 Ohm
- Max SPL: >150dB
- Weight: 1.5 lbs.
- Size: 10” x 6.5” x 3”
