PRODUCT
TESTS
Lauten Audio LS-208 & LS-308 Synergy Series
Microphones
By Adam Gallant
U
p for a test this issue we have two condenser microphones
from Lauten Audio. Best known for their high-end, large-
diaphragm condensers, Lauten introduced this latest se-
ries of mics in the fall of last year with the LS-208, followed
by the LS-308. Both mics are rugged and designed for a
long life on the road or to take a daily beating in music and broadcast
studios. Their predominant quality is isolation with great off-axis rejec-
tion, making them a unique addition to most microphone collections.
LS-208
The LS-208 has quickly become a great replacement for my SM7 for
tracking live vocals. It does an equally great job of isolating the voice
from acoustic guitars as well as all other types of instrument bleed. It
also has a similar heft in its weight and construction to the SM7. Much
like dynamic microphones, both of these Synergy Series offerings have
really impressive SPL handling and are right at home on a loud guitar
amp, snare drum, toms, and any other loud, close sources, all without
the need of a pad. They also don’t tend to need as much gain from my
preamps to get a healthy level – another plus that had me choosing
the 208 over the Shure staple.
The LS-208 is supplied with a very trustworthy shockmount as
well as a hard mount, foam windscreen, and really well-built road
case. On voice, the LS-208 has notable off-axis rejection and clear
mids. The frequency response curve shows a boost around 6K that
flatters the human voice and doesn’t have any brittle or too-airy high
frequency. On acoustic guitar, it behaves almost like a 57 – no harsh
top end and very directional.
LS-308
Again, another great microphone for isolating sounds in a live record-
ing environment or recording anything in a noisy space. The LS-308
boasts 270 degrees of off-axis rejection and rear rejection that attenu-
ates sound by up to 25dB. This mic has a unique look with its spaced,
dual-capsules that I suspect play a role in its rejection of bleed from
unwanted sources. The LS-308 also arrived with an extremely tough
road case and pop filter, and it has a built-on microphone mount
with strong threads and trusty fasteners. Much like the LS-208, it is
heavy and built to last.
In Use
I was initially skeptical as to how much isolation I would be able to
notice. Luckily, these mics landed in our studio at a time when we
had a live-off-the-floor session booked with much-loved East Coast
songsmith Al Tuck. During this session, the LS-208 was used on voice
and the LS-308 was close up on a Fender Hot Rod Deluxe. The amount
of isolation was unlike anything I have ever encountered with a con-
denser microphone. The guitar amp was a mere 3 ft. from a drum kit
behind a small baffle and the bleed was manageable to the extent
where we could successfully punch in sections of just the guitar
without feeling like we were missing the drum bleed. Also, during
this session, the LS-208 handled a broad range of volumes with ease
and represented the full frequency spectrum without any honky-
ness or harshness. It also doesn’t seem to suffer from the proximity
effect as drastically as I find with dynamic mics on vocals. Similar to
24 PROFESSIONAL SOUND
the LS-208, the LS-308 can handle sound pressure levels upward of
135dB without a pad and has the same gain-friendly output volume
and sturdy design.
The LS-208 and LS-308 share another unique feature: a switch-
able low-pass filter. The filter attenuates at either 8 or 10 kHz at what
feels to be an 8dB-per-octave slope. I used both microphones on
toms and was surprised at how much cymbal bleed they rejected
with and without the low pass filters engaged. Also, these mics have
a very usable high pass filter, switchable from 120 to 50 Hz. I feel this
capsule design could be form-fitted to a side address mount and
they would quickly become my go-to tom microphones, replacing
the ubiquitous MD 421.
Summary
The LS-208 and LS-308 mics are touted as having dynamic mic han-
dling with a high-end condenser sound and I believe that sums them
up perfectly. At a time when we find many manufacturers emulating
classic high-end microphones, it’s great to have companies like Lauten
Audio designing unique features that defy conventions.
Adam Gallant has worked in all facets of digital audio production, from
music composition to location and post audio for television and film. He
currently owns and operates The Hill Sound Studio in Charlottetown, PE.