easy cleaning. At initial impression, they prove to be quite
a durable prod-uct. There is an on/off switch and a screw to
lock it in the on position if necessary. The mic comes with a
stand clip and a soft carrying case.
TECHNICAL SPECS
Much like the SM58, it has a cardioid pattern and boasts a
high output level. Its specified frequency response is 50Hz-
15Khz with a broad and generous bump starting at 2kHz going
all the way up to 8Khz. It should understandably perform
quite well for live duties but is also built for studio use. In a
studio shootout with an SM58 and an Audio Technica ATR
1300, it performed remarkably well, with most of the target
listening group choosing the Prodipe over the other two. The
test was performed with a vocalist and was noticeably fuller
in the low end than the SM58. The upper midrange bump also
gives it a very forward sound without being too harsh. The
mic also performed well on Indian percussion instruments
like the tabla and ghatam, but however sounds on a guitar
amp. It managed to capture a very round tone with plenty of
warmth and bite without getting too tinny or harsh.
Overall the Prodipe TT1 is not only an excellent mic for
a beginner at this price, but will also be great for home,
commercial studio use or for live rig and at this price it can
also be a very good backup mic.
SOOTHE BY OEKSOUND
Plug-in
LESS FIXING, MORE MIXING
Oek-Sound is a brand new company with the Soothe being
its first and only offering so far. It claims to be a dynamic
spectral audio processor for suppressing resonances in the
mid and high frequencies. What this means is, it is able to
find and tame resonances in these regions, on the fly. For
example, if a vocal is too harsh, the plugin works much like
a de-esser by attenuating the harsh frequency dynamically.
Although the plugin is mostly marketed as a vocal processor,
it works extremely well on a range of instruments. It can be
used for removing excessive cymbal wash on a particularly
harsh overhead track. The mid range attenuation is also
particularly useful to remove mud and resonances on acoustic
guitars, synths, and basses. When used sparingly it can really
help clean up a mix easily and effectively. Top mastering
engineers like Greg Wells also speak highly of this plugin
and its uses. But it is also very easy to get carried away and
overcook some-thing which can start to open up unnatural
sounding holes.
There are a few issues. The primary issue is that it is
extremely processor intensive. Alt-hough the settings allow
for the user to choose how much it will able to use via a
menu. On lower settings it doesn’t quite perform as well.
Running a few instances of the plugin on full intensity really
starts to weigh the processor down. Secondly, the learning
curve for the plugin, while not too steep, can take some time
to get around. Thankfully though, this issue is solved to
an extent with the wide range of presets that are carefully
tailored to solve most common issues. Lastly, this plugin is
quite expensive coming close to 180$. But for someone who is
willing to put down the investment, it is definitely worth it.
It can fix otherwise nagging issues quickly and easily while
letting the engineer concentrate on the creative process.
The
Score Magazine
highonscore.com
31