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Prosound Magazine - Japan
- April 2007
Reviews. CharterOak SA538, SA538B, E700 & S600
“CharterOak microphones reviews in PROSOUND April ’07
Edition”
CharterOak condenser microphones are
manufactured in the factory located in
Connecticut, U.S.A. Only the parts with well selected and passing
the very severe
quality criteria are assembled in the rigid body which is being
machining from the brass.
And, furthermore, after 7 days aging for the tubes and testing in
the studio
environment for more than 30 minutes, the microphones will be delivered
to the
customers. In addition to this, such accessories as the flight case,
the power supply, the
shock mount, the cables, etc. will be checked severely. By taking
care of this
fundamental points in order to manufacture the products, the credibility
will be
increased and the products will attract customers’ attention
and the firm position of the
products will be established, which is a short cut to be successful
for the products.
The products which I would now like to introduce you this time are
4 types of the
condenser microphones manufactured by CHARTEROAK ACOUSTIC DEVICES
in
U.S.A. They are SA538, SA538B, S600 and E700.
First of all, from the external appearance of the microphones, the
black shiny finish is a
feeling like having its very expensive products and the microphones
have a feeling of
having its enough weight. Furthermore, except E700 which is solid
state type, the
exclusive power supply will come with the microphones. About SA538
and SA538B, as
they equip the switch with 9 steps of which the directivity can
be selected from
non-directivity to cardioid.
Let’s try to test them!
First, let’s start from SA538. This is a dual diaphragm tube
type condenser
microphone(SA538B is the same.).
Checking it with vocal, it sounds like thinking of a vintage microphone
and the
bandwidth ranging from mid-low sound to low sound is solid. Nevertheless,
it is not
like a dull sound, but, it has apparently a feeling of existence
against the sound source
in the back. Listening to only the vocal track carefully, it is
understood well that the
room noise was not almost felt. Then, after recording while selecting
the directivity
newly, with transferring gradually from non-directivity to cardioid(middle
value), the
noise is becoming decreased and it is a feeling that I went to the
country side where has
clean air, being away from the city. In doing like that, the high
technique is necessary
in order to decrease only the noise, without spoiling a feeling
of air. I feel that
CHARTEROAK ACOUSTIC DEVICES has very high technology research level.
SA538B is being the same, but, as this is a side termination type,
the high frequency
sound is much extending with a feeling of hybrid.
Depending upon the vocalist is if it is a male or a female, it is
fat or thin, utterance is
strong or not, what is the performance style of the back, etc.,
the choice will be changed.
In the studio, I would like to have both. In either way, the microphones
can realize
sound image very well for which the vocalist is in the very front
position of the stage,
and they are superb microphones, and they are also easy for mixing.
E700 is the low cost version for the above 2 microphones. This is
a gold depositioned
myler diaphragm and pure class A solid state type microphone. The
microphone equips
the switch which can be selected from 3 types of the directivity(cardioid/omni/figure
8)
and the attenuator of -10dB/-20dB(sensitivity switch).Though this
microphone is in the
low priced range, the sound is fairly good and a feeling of clear
air with less noise can be
realized well.
S600 is a front address type and the tube type, but, this microphone
is different in
appearance from the above microphones. The top portion of the microphone
is aimed at
the recording object and I think it is for the purpose of recording
the musical
instruments. I recorded the Conga which is my favorite musical instrument.
Although
it is a same feeling as sounding with a feeling of existence, this
microphone is likely flat
in its frequency response. In its good aspect, it has a sound with
non-peculiarity and
wide dynamic range.
For myself, in case of recording in stereo against the recording
object(2 microphones),
especially to drams and percussion(also piano), not standing the
microphone inside from
outside, reversely, I always request to stand it outside from inside.
This means that I
consider it phase, but, with using this microphone, when I tried
to make both settings
and to compare them, I realized that there are big difference in
a feeling of existence
and a clearness of sound. In some sense, I am impressed with this
microphone that it is
honest.
------end------
Sound On Sound - Dec 2006
Reviews-Microphones. CharterOak SA538 & SA538B
By Paul White
Can mics at this price really compete with
the classics? Sound On
Sound puts them to the test...
US-based Charter Oak have been in the microphone manufacturing business
since 2002, making them a relative newcomer to the field, but they
seem very serious about what they're doing. Essentially, they source
capsules, components and other parts internationally from companies
in China, Eastern Europe and Sweden, but do all the assembly and
testing is back in Enfield, Connecticut, in the US. The design differs
from many superficially similar competitors in that very high-quality
electronic components are used, especially the capacitors. Although
this makes little difference to the paper specification, the subjective
sound is improved and it will also have a positive effect on reliability.
OVERVIEW
The SA538 and 538B are both multi-pattern tube mics based around
a pair of pressure-gradient, 1.07-inch capsules with six-micron,
goldsputtered diaphragms (these are clearly different in each model,
because the SA538 is edge-terminated while the SA538B is centre-terminated).
This is a popular size and specification for Chinese capsules. If
they are made elsewhere, I apologise for jumping to the wrong conclusion!
Both mics look similar and have the same type of external power
supply (PSU), which includes a nine-position pattern selector switch
that goes from cardioid to figure-of-eight, via omni.
The PSU appears to be of Far Eastern design, and is a simple but
robust folded-steel brick with IEC mains inlet, power switch and
voltage selector switch. An included seven-pin, fabric-sheathed
XLR cable connects the mic to the PSU, and from there a conventional
balanced three-pin XLR accepts a standard mic cable (also included).
Such differences as there are between the two mics manifest themselves
in their technical performance which I'll come to later rather than
in their physical presentation or feature set.
Both the SA538 and SA538B look like serious studio tools. They weigh
around two pounds each, which means that you need a solid mic stand
to keep them stable. An all-metal shockmount is included that seems
very similar to the ones I've seen with certain Chinese microphones,
but that doesn't detract from the fact that it is both robust and
practical. This design incorporates a threaded, locking ring that
locates onto the base of the mic so, once fitted to the shockmount,
it is perfectly secure whether upright or inverted. Both mics, with
their power supplies and all accessories, also come packed in aluminium
camera cases fitted with combination locks.
CONSTRUCTION
Construction-wise, the microphones are conventional. But they are
no less impressive for that, with a heavy machined basket support
frame, a dual-layer mesh grille and a slide-on body cover finished
in a vintage satin black reminiscent of some early European mics.
An embossed silver Charter Oak logo marks the front of the mic,
while a heavy, machined ring at the base of the mic holds the cover
in The ECC83 dual triode tube, used in both place. Removal of the
cover reveals neat construction, with plaited, PTFE-insulated cables
connecting the capsule and main circuit board. The tube in both
cases is a selected ECC83 dual triode, fitted to a ceramic base
arranged so that the tube lies horizontally across the circuit board.
None of the other components is visible, as they're all on the underside
of the board. The board is shielded by an extension of the transformer
housing, which in turn is joined to the basket assembly via four
metal rods. There are no pad or roll-off switches on either model.
FREQUENCY RESPONSE
Individual frequency response plots are included, and these seem
to be of the more honest 'warts and all' variety, rather than having
heavily smoothed, and hence meaningless, curves. The response of
the SA538 extends from 30Hz to 20kHz (-3dB points) and the cardioid
curve is characterised by a flat mid-range, augmented by a fairly
high-up presence hump in the 10kHz region. Off-axis, the midrange
dips as expected, producing a very happy smile curve! In figure-of-eight
mode, there's a dip at around 6kHz but otherwise the response is
nominally flat, while the omni mode shows barely a hint of presence
peak. In both cardioid and omni mode, the response curve gets a
bit bumpy below 300Hz or so, but that isn't unusual. With a self
noise of 22dB, A-weighted, this isn't a particularly quiet mic,
even for a tube model but, by the same token, the level of background
noise isn't high enough to be an issue when close-miking vocals
or instruments. For comparison, it is roughly comparable with the
noise spec of a good vintage tube mic.
The slightly more costly SA538B has a marginally better noise spec,
at 20dB A-weighted, and its lower frequency limit is 5Hz lower at
25Hz, although the maximum SPL is 125dB, rather than the 128dB of
the SA538. Both mics have a 12mV/Pa sensitivity at 1kHz and a nominal
200(omega) output impedance. Comparing frequency response plots
shows that the SA538B has a little more height in the presence peak
than the SA538, but otherwise the two microphones are broadly similar.
THE SOUND OF OAK
Before testing, I plugged in the mics and let them warm up for an
hour, as recommended by the manufacturers. Though predominantly
vocal mics, both models are equally at home on instruments such
as acoustic guitar and percussion, with the SA538B having more presence.
As I've found with pretty much all large-diaphragm mics, you have
to work harder to find the best sweet spot for acoustic guitar than
you do with small-diaphragm models, as these tend to be more forgiving
for offaxis sounds, but you can get good results. In cardioid mode,
the proximity effect is obviously present, but this isn't too pronounced
under normal operating conditions and I got very acceptable results
from a wide range of preamps, ranging from a cheap-as-chips Behringer
desktop mixer to an SPL Gold Channel. Both models are on the bright
side of neutral, though the SA538 has less of a presence peak, which
makes it sound a little warmer and less edgy than the SA538B. I'm
curious as to why Charter Oak found it necessary to create two such
similar models, when a model somewhere in between the two could
have been used with just a hint of EQ to cover the same territory.
For my own vocals, I much preferred the SA538, as it gave more warmth
and smoothed out the high end to some degree.
The character of both these mics definitely helps singers who need
help with their upper-mid presence and projection (more so in the
case of the SA538B), but who want to retain their low-end warmth
without hearing that hyped-up, spongy low end that some modern tube
mics dish out as a substitute for real warmth. Add a hint of compression
and you can get a very refined, classic vocal sound from either
of these mics without using much in the way of EQ or other processing.
As expected, the omni mode isn't quite as open and natural sounding
as from a small-diameter, single-diaphragm pressure capsule but
it is still very usable and a nice option if you don't have a wide
selection of mics in your locker. Similarly, the figure-of-eight
pattern is valuable because of its excellent 90-degree rejection,
which can really help separate sounds that are in close proximity.
I used a number of tube and solid state mics for comparison, most
admittedly a little less costly than the Charter Oak models, and
in all cases the tube fixed horizontally across the circuit board.
Charter Oak SA538 came across as both solid and present, cutting
through a mix rather more assertively than most of the competition
but without sounding edgy. The same is true of the SA538B, but I
felt it had a less desirable balance of presence and warmth for
my own applications, and could easily end up sounding too bright.
IN CONCLUSION
These are not the cheapest mics of their type around but, judged
on their sound rather than their technical spec or the origin of
the parts, they are probably worth the extra cost, as their sound
compares favourably with high-end/classic mics costing a lot more,
and they somehow help a vocal sit comfortably within a mix without
getting buried or being too loud. In this regard, the use of higher
quality electronic components certainly pays dividends. Just like
the classics they are being pitched against, the noise figures are
nothing special, but unless you're recording quieter sounds at a
distance that shouldn't be a worry. Most of the time these models
are likely to be used as close-up vocal mics, and in that role they
are perfectly happy and even seem less prone to popping than the
other models I tried for comparison — though you really should
use a pop shield whenever recording close vocals.
There's a huge amount of competition in the low to mid-priced tube-mic
market at the moment and you should also check out the other models
in your price range, especially if the mic is mainly for one singer,
as picking a mic with a character to complement a particular voice
is something that can't be done by specifications alone. Other mics
might be quieter, or capable of adding more character and leaving
you with some change into the bargain, but these mics give you that
little bit of extra class, and if you're looking for seriously good
results in this price range you should definitely consider them.
ALTERNATIVES
There are a number of competitors in this category, and the differences
are subjective. If you are considering the Charter Oak you might
also want to look at mics like Rode's K2 or Classic, the Neumann
TLM103, M-Audio's Sputnik, Sontronics' Helios, the Groove Tubes
GT67, or the MXL V77S.
------end------
Pro Sound News - September
2005
By: Randy Pool
The CharterOak Acoustic Devices SA538 tube microphone makes a good
first impression before it¹s even plugged in. The case and
build quality are quite impressive, demonstrated by the sheer weight
of the product. It has the look and feel of the some of the old
classic European tube mics. With a stylish matte black colored body
(machined brass) with an embossed silver CharterOak emblem, you
won¹t get confused on which side is the front of the mic.
The capsule is a dual 1.07" 6 micron thick gold sputtered variety,
behind an open type protective grill reminiscent of classic designs.
The shock mount is also of solid contruction with two large elastic
bands in a familiar Germanic style. The power supply, however, looks
like the standard deal coming from the pacific rim countries these
days, while the mic cable has a tight-weaved, fabric-covered outer
shell that really adds a nice touch.
In listening tests it was obvious this mic has a good amount of
top end‹the kind of high end that feels great on singers
who need a little help in that department. With a male vocal, it
was compared to some old favorite mics through a UA6176 channel
strip. The SA538 had a little more high mids and highs, with a some-what
subdued lower mid range. It also had less proximity effect than
some mics, allowing a singer to work in close to the mic without
it becoming muddy so quickly. There is this sweet spot in the high
mids that, for certain vocalists, with the right compression, was
found to really make the vocal sit great in the mix, without being
overwhelming. There seems to be something unique about this mic¹s
ability to handle good amounts of compression and still keep the
clarity of the singer right where you want it.
On a female vocal, we achieved similar results, the mic sounding
natural and clear. The mic¹s EQ curve really helps those singers
that need a little extra high end clarity. I¹ve gotten really
nice results with fairly bright mics paired with relatively dark
mic pres like a vintage Neve, and the SA538 was suited to that combination.
We also experimented with acoustic guitar recording with the CharterOak,
trying several guitars of top-notch session player Mark Bladwin.
While the top end seemed to help the darker guitars, we quickly
realized the result was generally too bright for this to be this
mic¹s best application.
As always, you¹ll want to match microphone and preamp to the
voice or instrument that you¹re recording. With its ample high
end and detail, the CharterOak SA538 can add a valuable option to
your mic collection.
------end------
Tape Opp Review -June
2005
By: Garrett Haines
CharterOak Acoustic Devices have been quietly making
quality tube mics for the past 3 years. Their first model is the
SA538, a squat-looking condenser reminiscent of a short bodied U47.
The outer shell is finished in a satin black and appointed with
a silver silhouette of an oak tree. The mic is striking in person,
and even after viewing high-resolution promotional photos nothing
compares to holding this model in person. Speaking of holding it,
be careful, it's almost 2 pounds. The heft alone provides a hint
of what a quality mic this is.
Internally, the SA538 is a dual diaphragm vacuum tube condenser
microphone that uses dual 1.07" gold sputtered diaphragms.
The electronics are of U.S. , Slovak Republic , Sweden , and Chinese
origin, but the mic is hand assembled and tested at CharterOak's
headquarters in Enfield , CT. It is capable of nine pick up patterns
ranging from omni to cardioid. The mic is delivered with first-class
accessories, including a locking flight case, better than average
power supply, and one of the best shock mounts I've ever used. The
accompanying cables are coated in a soft webbing. The jacketing
helps to avoid tangles, allowing the CharterOak cables to gently
slide through potential spaghetti. Frequency response is reported
to be 30Hz to 20kHz.
Sometimes you buy a mic for specific purpose, like an SM57 for the
snare, or an EV RE-20 for broadcast. So, I set out to see what special
purpose the SA538 might have. To make a long story short, I was
having trouble finding where this mic could be a proverbial silver
bullet. And that's when it hit me: the SA538 is a mic that covers
a lot of ground. So, I tested my hypothesis. I took a rock singer
I know who sounds thin and harsh on our Korby C-12, but awesome
on our Neumann U47 FET. Turns out the SA538 hung in there against
the Neumann. Very usable. I took another singer who is the reverse,
and usually only sounds good with the C-12. Voila! The CharterOak
worked fine. But before I give the impression that this is just
a utility mic, let me finish. We took country singer Ian Thomas,
who sounds strong regardless of mic choice and had him sing into
the SA538 and a BLUE Kiwi at the same time. In blind A/B tests,
I could not pick the Kiwi vs. the SA538. In fact, I was wrong 50%
of the time.
Another benefit of the SA538 is it gets along with many different mic preamps. From an API to John Hardy to a Mackie VLZ, the CharterOak gave a solid, detailed performance. Studios with smaller budgets should have no reservation using existing mic pres with the SA538.
If you're a small studio that wants to buy a nice vocal tube mic,
but can't afford both a C-12-ish mic and a U47-ish mic, you simply
have to audition the SA538. While it's not a direct replacement
for either - it's a solid performer. Likewise, for location or mobile
gigs, the SA538 would be a perfect centerpiece for your mic pack.
No need to take a bright and a dark mic because the SA538 can manage
nearly any vocalist type. It's sturdy construction (the tube is
protected by a rubber guard) make it suitable for the riggors of
the road.
I only had two concerns with the mic. First, there is no ring mount
for positioning the SA538 in tight applications. You're stuck with
the (great - but bulky) shock mount. Second, it seemed to take extra
time to find a sweet spot when using it on instruments. In particular,
engineers will need to be extra patient when placing it on acoustic
guitars.
I believe CharterOak is charging too little for this mic given it's
build quality and sonic performance. My recommendation is to seek
out a demo before more people catch on to this workhorse mic.
For more information: www.charteroakacoustics.com (List $1499, street ~ $1199 web) -gh
------end------
Testimonials
"Every mic in my arsenal including the beloved classics has characteristics I love and some I dislike. So far with our new matched pair of SA538's I have yet to hear ANY characteristic I dislike. It's the most perfect, well rounded mic I've heard for broad range of sound sources. Obviously designed by someone who LISTENED to this mic during the design process. It's the most perfect, well rounded mic I've heard in years. The craftsmanship and attention to detail in construction and sound (and packaging!) is some of the best I've ever seen".
"I have two matched pairs of the SA538 and continue to be stunned daily by their performance. Today I tracked vocals, cello and an acapella group. Attached is an MP3 of a snipit of the acapella group I just finished tracking minutes ago. Just a Bluemlein pair thru Neve 1073's and a tiny bit of Neve 2254 compression, our great room and a little lexicon 300 plate. WOW! what a treat to hear sound like that coming back at ya. Keep up the great products!"
- Don Miller : Owner - Airborne Audio Productions (John Mayer, Ben Folds, Natalie Merchant)
"An amazing mic that's come out of nowhere. Super-clean and rich. I've used it in many different applications and have yet to be disappointed. An impressive companion to any other more expensive tube mic."
- Christopher Gibbons: Manager of Studio Operations Sirius Satellite Radio
"Finally a real engineers mic! The SA538's straight forward design provides clear and detailed sonic information, with all the warmth you would expect from a tube mc. It is a breath of fresh air, in a day where the tube market seems to be congested with microphones that some how equate fuzziness with warmth.
The SA538 found a welcome home between my U47 and TLM170! Its unique combination of warmth and clarity, allows me to utilize my compressors much more creatively, without fear of losing any detail or presence!"
- John Hancock Independence NYC, Producer: Rollingstone Originals
"I love our SA538! Nice full sound with a satisfying top end for both orchestral and bluegrass-style strings. Highly recommended!"
- Brian Keane, Emmy Winning Film Composer
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