However, the length of the mic makes it awkward to install above the snare, and it is almost impossible to aim the rear null towards the hi-hats. In fact, the bottom position switches the mic off if you are using the internal battery option, and mutes the mic's output if it is being phantom-powered. It sounds clean, crisp, full-bodied and smooth, and can cope with pretty much anything a project studio is likely to require, from vocals to percussion to acoustic guitars to Marshall guitar amps. It's a case of horses for courses, and the M3 is exceptionally good for the price, easily matching or exceeding the specs and performance of its nearest competitors. The M3 is equally suitable as a vocal microphone, guitar microphone, drum microphone or presenter … Smooth-sounding, with good extension at both ends of the spectrum, and the ability to cope with high SPLs, this is a very flexible mic, aided further by its ability to run on an internal 9V battery or phantom power. RØDE University - Recording Vocals with the RØDE M3 - YouTube This neat little mic is incredibly versatile - and it sounds a lot more expensive than it actually is. To be honest, it sounds considerably more expensive than it actually is — a fairly common theme with Rode mics! You may login with either your assigned username or your e-mail address. Hi all, I'm gonna be recording an album shortly in my "on a shoestring" home studio, and need to get a mic for vocals. There are several established 'jack of all trades' microphones around that will always get the job done in a workmanlike manner. A place where learning isn't about monotone lectures and long essays. We're here to rock as much as you are, so sit back and join us as we show you all the 'ins and outs' of recording your music.\r\rJoin semester one professor Peter Moses and rockers Hell City Glamours as they show you how to get the best results when using a RØDE M3 microphone to record your vocals.\r\rSee this and many other specially made programs for the musician, engineer, producer, photographer and audio enthusiast at http://www.rodetv.com. Neither offer the recording flexibility of the M3 but would be better on stage vocals. cons. Gentle presence peak for subtle air. Re: The All-New Behringer Keyboards 'n' Stuff Thread, The All-New Behringer Keyboards 'n' Stuff Thread. It is substantially flat between 100Hz and 4kHz, above which there are a couple of mild 2dB peaks before a smooth high-end roll-off to -3dB at 20kHz. I ran the mic on phantom, from an installed battery, and with phantom when the battery was installed... and it worked perfectly on each occasion. The M3 is supplied in a surprisingly large, but sturdy, plastic carry case, complete with a substantial stand clip adaptor and a foam windshield — and a 10-year guarantee! The standard Rode 'gold blob' is present on the top side of the mic body, but unlike Rode's larger side-address mics it doesn't indicate the capsule axis: this is definitely a traditional end-fire mic, and you point it at the thing you want to hear! The polar pattern seemed fairly tight and well controlled across most of the frequency range — a good result for a mic at this price — and that should allow use as a coincident or spaced stereo pair, perhaps above drums or on pianos. The M3 is an obvious contender for drum overheads, given the extended high end, and it does indeed work very well, producing smooth, sizzling cymbals without the aggressive edge of some mics. Welcome to RØDE University! The only way to check whether phantom power is present is to unplug and replug the cable, which will cause the LED to flash. Rode M3 for Vocals? The good news is that this one is labelled. I've used this for vocals, and acoustic instruments - especially guitar - at church, playing out at gigs, and in my home studio. Struggles to cut through on stage vocals. It is equally suitable as an instrument microphone for guitars, drums and percussion or even vocals. Struggles to cut through on stage vocals. The SE Electronics Mini M1C is another possibility, with similar flexibility in terms of recording, but without the option of battery power. And it would certainly be an ideal first microphone for anyone setting up a new project studio on a tight budget, but with the need to record a wide range of sources in reasonable quality. It will tolerate phantom power between 24 and 48V quite happily, and the battery is not used if phantom power is detected on the connecting cable. The latest offering is a new multi-purpose electret cardioid design, called the M3 — essentially a cardioid electret version of the hypercardioid NT3 (which has a true capacitor capsule). The sensitivity is a little low, at 6.3mV/Pa, compared with most studio capacitor mics (although fractionally higher than the C1000S), but I doubt it will cause any problems in typical close-miking applications in project and home studios, or on stage. This is an impressively flat and extended response, especially compared with AKG's C1000S (probably the closest comparable mic), or any similarly-priced moving coil (dynamic) microphone. As mentioned above, the most obvious equivalent is the AKG C1000S, compared with which the Rode M3 has a smoother, wider bandwidth, greater headroom, near-identical noise and sensitivity, and similarly flexible powering arrangements (although, to be fair, the AKG mic will accept phantom power down to 12V). I am no expert when it comes to recording, or playing live, but this microphone is perfect for my needs. In fact, the response seems smoother than the Rode NT5 through the presence region, and only slightly less full at the bottom end. The mic weighs 390g and the body is painted in a non-reflective satin grey finish, with the top 35mm being a heavy-gauge wire mesh over foam to protect the capsule. Mastering Essentials Part 3 - How loud should I master? The battery compartment is clearly marked for correct orientation, and a curved plastic clip holds the battery securely in place when the mic body is screwed back on. No body-switch markings. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. When the switch is moved out of this lowest position, the LED flashes briefly to indicate good battery condition (if in use), or comes on permanently if the battery voltage is getting low. With the 20dB pad switched in I had no problems with overload distortion when mounted right above the snare, and the sound was full-bodied with plenty of snare crack and detail. First Look: Pro Tools | Carbon. The high-end resonances inherent in most electrostatic mics are well tamed in the M3, yet it still captures lots of transient detail and clarity. Rode M3 £89. This switch introduces a pad between the capsule and impedance converter, offering 0, 10, or 20dB of attenuation, which means that the mic can be used very close to very loud sources. Switchable HPF and pads. On acoustic instruments the M3 works very well indeed, turning in nice results on acoustic guitars and clarinet, both tracks needing almost nothing in the way of EQ at the mixing stage, which I took as a good sign. The obvious moving-coil contenders at this price would be the ever-faithful Shure SM58 and AKG D3800 vocal mics. These are useful facilities, but it is madness not to have any markings at all. Their latest, the M3 (a small-diaphragm cardioid response, end-fire condenser), …

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