Road Tests

Microphones may just be my favorite pieces of gear to review (insert sarcasm here). I actually find a microphone review to be one of the hardest to do, because just about everything to do with a mic is matter of opinion. And my opinion may or may not differ from everyone else's. But in the case of this review, mine will be the only one that matters!

The Audix FP7 Fusion Series drum mic package is a complete mid-level package designed for both studio and stage use that offers working drummers and small soundcos a worthy solution to all their drum and percussion miking needs.

Editor's Note: Steve submitted this as his regular "On the Digital Edge" column for the January issue of FOH but, as it is a pretty extensive look at the nuts and bolts of a much-used software program, we are running it as a Road Test instead. Same stuff, different header.

We are all familiar with the legendary AKG C 414 microphone and all of its incarnations. Actually, that statement may be incorrect. I currently specialize in live sound reinforcement, but all of my C 414 use was during my studio engineering days.

So FOH editor Bill Evans gave me a buzz and asked me to look at these products and offer my thoughts. He contacts me when he wants that everyday, Joe Schmo opinion on something. Occasionally, he wants me to be hypercritical and nit-picky to avoid manufacturer hyperbole and puffery (thanks for the new vocabulary word, Papa Johns!).

You can say one thing for certain about Blue mics – the company offers some of the most interesting-looking ideas in microphones out there. With the en·CORE 300, Blue also seems bent on offering up a competitive road-worthy live performance mic that delivers not only on sound but durability.

There appears to be a quiet shift going on in the wireless mic world. As new FCC mandates make the not-perfect-but-long-counted-on UHF spectrum less and less desirable for wireless mics, companies not generally thought of when it comes to mics – including Line 6 and Sabine – are leading a charge into the 2.4 gHz range and, increasingly, those familiar handheld transmitters you see are not sporting the capsules that they shipped with.

How many times have we found ourselves looking at a new phone, TV, laptop, or any other manner of device and wondering how they packed so much into a package so small? As I stare down the Turbosound Flex Array, I found myself with this very problem once again.

The idea of having sound directly delivered to our clients' ears and having each person control their own levels without affecting others on stage is brilliant. Through my company, Onyx Sound, we have provided IEMs for a number of years to our clients and have liked them for the most part. As a result of these good experiences, we purchased Sennheiser EW300 IEM G2s and EW300 IEM G3 systems.

Working with a mid-sized sound company (HAS Productions) in Las Vegas, I get to wear a lot of different hats. On any given gig in any given week, I could be a system tech, an audio babysitter making sure the band's guy does not blow anything up, or mixing anything from a B-level national to a local band.

It was not that long ago – less than a year – that I swore off personally reviewing in-ear personal monitors. I have done so many reviews that I have multiple units from most of the major players. I have not heard/used the stuff made by JH Audio or Fidelity, but I have, or have used, multiple models by Future Sonics, Sensaphonics, Ultimate Ears and Westone.

I first had a look at the IM8 prototype at the NAMM show a couple years ago, but it wasn't until just a few weeks ago that I had a chance to get my hands on the IM8-40. Back at NAMM, I was told that the console was designed with houses of worship in mind – basically, because the mixing board has enough bells and whistles to satisfy a variety of mixing demands but is still very simple to operate. However, as I looked over the board, I thought it would work well in an array of operations outside of worship.