July 22, 2025 • 29 mins
This week on The Pro Audio Suite, we pit two Austrian Audio mics head-to-head: the compact CC8 pencil mic versus the classic OC18 large diaphragm condenser — both run through the PASport VO interface.
The results? Surprisingly close.
AP takes the CC8 for a spin in his booth and on the road, while George and Robert weigh in on specs, noise floors, travel setups, shotgun myths, and why mic placement matters more than mic price in many situations.
We also dig into the legacy of the Sennheiser 416, explore the quirks of mic voicing, and chat about some esoteric models only mic nerds will remember.
Whether you’re a gear head, a travelling VO, or just mic-curious — this one’s for you.
👊 Shout out to our sponsors:
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TriBooth – Get $200 off with code PASA200
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Austrian Audio – Makers of the OC18 and CC8 we tested today
🎙️ Recorded via Source Connect
🎛️ Edited by Andrew Peters
🎚️ Mixed by Robbo
🌐 More episodes and info: theproaudiosuite.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Y'all ready? Be history.
Get started.
Welcome.
Hi. Hi. Hi.
Hello, everyone. To the pro audio suite.
These guys are professional and motivated.
We've taken the video starsGeorge Wisdom, founder of Source Element,
Robert Marshall, international audioengineer Darren Robin Roberts, and global
voice and repeaters.
Thanks to tribal Austrian audio,lighting, passion, the elements,
(00:21):
George the Tech wisdom and Rob and APIsinternational demos.
To find out more about us.
Check the Proteassweetcorn line up. Ready?
Here we go.
I'm me and welcome to another proaudio suite.
Thanks to tribus,I have to get the code to arrive at 200.
That will get you $200 off your tribusand Austrian audio hiking passion herd.
(00:44):
Speaking of which,I've been playing around with the CCI
probably about a yearI reckon, but I have to be.
Has been that long, I guess.
I think it would be. Yeah.
It's it's been, it's been.
You're Mikeand in like outside your control room.
It's like you're Mike outsidethe control room, isn't it?
Yeah,but I put it actually in the booth now.
Oh. Is it. Yeah. Yeah.
So I'm just playing aroundwith it in there because it.
(01:06):
And they travel. That was recorded to.
I've travel with it. Yeah.
But I thought as an a just out of interestI'm a friend playing
with a couple of different mics.
And then I send an email and Robertyou came back and said
why don't you run it through the passportvideo?
Set the guy in sign.
So I did, and I see 18because it was there and the kit
(01:27):
and just see what the difference wasand it I found it quite interesting.
And I think Georgeyou have a sample of my ramblings.
That I do.
Okay.
This is just a quick experiment,with the Austrian audio kit
and the Austrian audio och 18.
The kit is a small diaphragm pencil mic,
(01:49):
and the Aussie 18 is a large diaphragmcondenser mic.
You're currently listeningto the CC eight, the pencil mic,
and now you're listening to the AC 18,which is the large condenser.
The logical do is about assistor so away from my mouth,
which is roughly the same distanceas I am from the pencil mic,
(02:11):
which I'm going back tonow. So this is the CC eight
and this is the O.C 18
both running through the passport V0,both sitting at 1:00 in gain.
This is the Aussie 18and this is the CC eight.
So once again CC eight from Austrian audio
AC 18 large diaphragm condenser.
(02:33):
They are so insanely.
Slight this very very very little.
And I'm not even sure.
I thought this was a little bitmore forward.
Pretty shocked.
Incredibly how incrediblysimilar they are.
They are. Real.
You wouldn't know the difference there.Totally.
It's like
it's like if you want to get an 18and then travel with a car
(02:55):
because it's smaller and
maybe less fragile, you know,because it's smaller and less fragile and.
Yeah, and cheaper. Yeah.
It is, what, 400 U.S.
400 compared to 1200, I think.
No, no, no, 18 or 8.
20 which was the one.
18. 18, which is oh, the 18. Oh six.
Did you compare it to the 8818.
That'd be interesting to, yeah.
(03:17):
The 818 and the 18that you see here in cardioid.
They sound the.Same. Same capsule, same everything.
Yeah. But
I couldn't believe how close they were.
I mean, we've talked about this beforewhen we had Kurt come on on the show and
just talk
about the different microphones and stuffthat they had at Austrian Audio. But
when doing that comparisonthrough the same preamp,
(03:40):
same level, everything is the samein the same environment.
I could not believe how close that was.
Well, it sure is handy having
a single press buttonthat lets you switch between them, right?
Yeah. But it'd be really funny.
If you're doing a session,
would you like the pencil micor the large diaphragm condenser?
Right. My sound exactly.
Wouldn't know the difference.
(04:01):
That's pretty amazing I yeah, Iit just shows how the voicing of the mic
is, is a subjective tasteful choiceor tastes.
It's some of these tasteand then when they design and tune
the mics, that person's tasteis what they're going for.
And yeah, they're like,we want them to be consistent.
From my to my mic.
(04:21):
And you know, they're not trying to getdifferent characters from their mics
and they're not trying to havea vintage tone or whatever.
Doesn't mean they may not someday
come out with somethingthat's voiced differently or.
But the goals of these mics is to achievetheir their I say signature sound, right?
Yeah, it.
Was interestingdoing some reading yesterday
(04:42):
because I just had a lookat a couple of articles.
One was Sound on Sound,
when the kit came outand they were reviewing it, and the guy
who was doing the review also dragged outa couple of 4 or 5 ones, the.
Classic pencil mics that we've used overthe last 30 or 40 years.
And he also had the Neumann, which is ais that the committee for is that right?
So the came 84 is the original onewhich is a little bit noisier,
(05:05):
but everyone likes it because it'sa little bit smoother on the top.
And the cam 184 is the newer one that's
got a little bit more top end but quieter.
And they also had an enjoyable capsuleseries, the one hundreds.
Well that's the 100 series. Yeah.
And then get the 130and the one you know whatever.
Yeah we had those at Virginia Tech.
It was they were pretty sweet. Yeah.
So what did they saywhen he compared them.
(05:27):
He sort of the articlekind of infer that the CC gate set
somewhere between the 451 and the 84.
Well the one I before, I can't rememberwhich one was because I thought
you know what they've donewhen they got the four,
five ones, it was a inherentharshness in the top end.
Which people
didn't really like very much obviouslybecause it was quite brittle.
(05:51):
So they kind of smoothed out the top end,
and I think they may even havea little bit more bottom end.
I'm not sure.
But it, it certainly makes the,the mic very, very flat.
Yeah.
Yeah, I think, I think the top end,even though insane was actually
the whole thing about the 451 isthis was like amazing
(06:11):
on like acoustic guitarsand certain things that were is
this like had this like bright for dayskind of sound
certainly wasn't flat but it was bright.
Yeah, I'd say that just just my experiencewith the with the CC eights as they are
because I've got,I got 184 and I got the CC aids and
(06:31):
I think the they're more they're, I thinkthey're definitely strangely enough,
I believe they're more like the 180 foursand they're like the 4450 ones.
And I think it'sbecause they own the whole thing up.
And also the other thing we always talkabout is like,
if hearing on the wayin, as opposed to e cueing in post.
Yeah. Likeif your mic is inherently brittle
going
(06:51):
in, then you're going to have a jobto sort that out once you,
you know, sort of, doing a cueingand stuff like that, I would imagine.
Yeah. Yeah.
So the CC has high passfilters on the body, correct?
Yes it does.
So it has.
An iPad doesn't it.
Yeah. Yeah. Yeah.
It's got a ten of the 20 DB.
It's the same as the 451 I'll say it.
(07:12):
Same thing.
And then and the Neumann has nothing.
It's not really versatile.
Like it can handle 156 decibel max SPL.
It's literally there's only one specand that would be in any way
looked down upon.
And it shouldn't really bebecause it's the same spec as the 41 six.
And that's the self noise.
(07:33):
It's rated at 16 db SPL a weighted.
Yeah, because it's because it's small.
Yeah right.
And the 18 is rated at eightDB a weighted.
So I mean if you're going to look at themunder a microscope you know
really look at themyou're getting oh okay.
There'sa little bit more noise in the case.
But it's certainly not enough to be.
But nothing compared to your lastepisode's room noise
(07:55):
right. Yes.
Very true.
Exactlytrue. Yeah. Yeah, it's such a cool mic.
And I'm wondering,I have tried it in the tribals,
so I think I did a file ages agowith it, but,
I think it's going to be a really coolthing, certainly to travel with
if you want to keep that signaturesound of an
I see if that'swhat you've got in your studio. Yeah.
(08:16):
Taking the CC eight with you.
So I think it's a no brainer really.
It's it's it's clean enough.
Absolutely clean enough.
It says it's also a handmade capsule.
Oh. And the difference in sensitivitywill die out as well,
because you'll notice.
Do you notice you see A18or the 18 was a little bit lower in gain.
(08:40):
Yeah.
It's at 13 millivolts per. Is that Pascal.
That's what they measure the sensor. Yeah.
And then the the CC it is 15.
So it's 2 to 2 more,
two more pascals.
That's it, that's it.
That's it. Forget it. Yeah, yeah.
Now, do you think that's also,
(09:03):
related to the size of the capsulethat a large cap.
Typically, typically the smaller capsules
are harder to make lower noisebecause they're, you're trying to get.
I mean, the sensitivity part of it,the sensitivity rating,
is that directly relatedto the self noise?
I honestly don't know, like likeyou'd have to go
to get one of our mic expertsback on the line.
Yeah,because you can see how a large diaphragm
(09:23):
might be more sensitive because it'sgot more surface area to picked up,
but then it's definitely has more mass toto move, right.
In this case the CC eightis more sensitive and more soft noise.
The to make might be coming inand makes sense.
Yeah, but the small diaphragmmikes are more accurate.
Is that correctthan a large diaphragm? Yes.
(09:43):
The large diaphragm has more resonanceissues within the diaphragm itself.
So your theoretical best diaphragm
gets tiny because then it's
just fitting, like one column of air.
It's you know, it's not there'sno resonant issues and things like that.
(10:04):
There's there's a lot of tuning them.
That's that's why my lab triesto go with the, rectangular diaphragms.
There's another my company.I know who it is.
I made a triangular diaphragm,and they're all trying
to, like, deal with resonances.
And when they. Tension. Yeah.
Some of the lavalierhave a square diaphragm, don't they.
Yeah. What's that company that has that.
I've seen those.
(10:25):
Taken. Not seconds.
It's taken I don't know. Could beI don't know enough.
But yeah I've seen them.
They look like a little plasticblack square.
But you see the white diaphragm in thereor whatever it is.
Yeah. It's fascinating.
But yeah.
Like like you look at earthworks,microphones and the, the diaphragms
are like half the size or even lessbecause of the nature of a circle.
(10:46):
They're tiny, tiny, tiny.
But then they're noisy.
And I can hear the differencewhen I, when I listen to my.
I got the earthworks.
QC eight or Q QC
32 or QC QC 30.
Yeah.
It's like thisOmni that's you know flat within.
A DB from top to bottom. Right.
(11:07):
Yeah. But you can hear it noise.
So it's great. It's really good.
Loud stufftakes high decibels real really flat.
But yeah you.
Know I had that earthworksethos that was there like answered on an.
So yeah.
And that's still a really smalldiaphragm Mike.
And it is they did a really good job
controlling the soft noise,but it was definitely noticeable.
(11:29):
And my understandingis actually doing a redesign on that.
Mike, I sent my own back inbecause I had an issue.
And so they'rethey're doing some rework on it.
But yeah, that's a really thing.
Difficult thing to getis that get that quiet.
It takes a tremendousamount of refinement, I guess.
And I try, I,I will have no problem recommending
(11:51):
cos if someone's like thinking of,I mean, because, a lot of people
have been liking the really inexpensive,cost,
audio Technica 875R
and for just a little more than twicethe price of that,
this CCI seems like a, a really goodchoice.
Like.
And the thing is, a lot of peoplewill bring a shotgun like, on the road
(12:12):
because they think it willinherently pick up less
ambient noise.
But that's not alwaysreally the case with it.
They won't.
Pick up less ambient noise,but it might pick up less room reflections
because you can. Kind of pick upthis reflection point.
At where you want, an ambient noise tends to be,
I mean, not totally, but it's a little bitmore omnidirectional.
(12:34):
Right in the room.
Obviously, if you point itright at the air conditioner.
Well, yeah.
If you have a humming refrigerator,it doesn't matter where you point
the shotgun, like everywhere.It's still going to hear the rumble.
It's there. Yeah.
So it doesn't matterat the end of the day.
And, you know, then the other thing
people have to rememberis get close to your mic.
You have the, you know,the proximity effect to counteract, maybe.
(12:57):
But you get close to that mic.
There's your signal,your mouth to the noise, everything else.
You get close to the mic,you're going to improve that ratio.
Yeah.
So that's that's a really,really cheap way to counteract
noisier environmentsand less than ideal acoustics.
It just means that you as a voiceactor have to be much more controlled.
(13:17):
You have to be much more disciplinedabout the placement as you get closer,
obviously movements in your faceand your mouth falls are more audible.
So everything is a trade off. You know?
Farther means more natural, the more noiseor farther also more or less.
You can be a little morelazy in your placement.
You can move around more,but you get closer.
(13:39):
Because and yeah,and to and to explain why,
if you're really closeand you move an inch
that inch that you move sidewaysas a relation to the inch
that you away from the microphoneis a 1 to 1 relationship, right?
If you're yeah, you know,
if you're a two feet away or a foot awayand you move an inch,
now that inch is only 1ft or 1incompared to a 12 inch foot relationship.
(14:04):
So the triangle, it's long.
So it's less of a difference, right?
It's less of a difference.
And the other thing to consider as well,when people travel
and they take a shotgun, as opposed to a pencil,
the pencil has the diaphragmright on the end of the mind.
Yeah.
Where the shotgun is halfway downthe tube.
Halfway. It's all the way to the bottom.
(14:25):
It's like coming.
To the end of the slots at the end. The.
So if you.
So if you're talking about getting closeproximity to to try and,
you know, counteract the noise,the room is more difficult with a shotgun
because you can't get that closeto the capsule.
It's hard if you do.
If you do, you're on the side of itand then you'll sound like poop.
(14:46):
Well, when I have sound mixer, I remember
the only sound location sound likeI had for a while was a shotgun.
Mike and I started learning that you don'talways use a shotgun mic on a boom,
because if the ceiling is too low,you're getting the rest
of the ceiling off the back of the mike,and then it actually picks up more room.
And I was like,what a mind blown. You know. Like.
(15:07):
I don't get it, you know?
And then I would start seeing
that they would have a hypercardioid super or even a cardioid mic,
a much smaller mic on the end of the boomwhen they were doing interiors, you know.
And the other reason they would use
those mics is you could afford to bea little less accurate with your aim.
If you're on a shotgun, you gotta be dead.
You got to be really deadon on your placement.
(15:28):
Follow the script and hit every low spot.
Or you're justthey just sound off mic, you know?
And then the other reason for the short
shotguns is they don't get into the shotlike a really long shotgun.
Sometimes you can't, you know,if you go up to the ceiling, you hit it,
you go too low and you're in the shot.
So you need a shorter mic.
But they used tothey used to use figure eights.
(15:48):
If you think about itlike figure eight is a
rejects a lot on the sideand it's all about the energy as you
squeeze it in one direction.Think of it like a balloon.
If you squeeze it in one placewhere that energy going to go, it's
going to pop out the back.
And that's that kind of lobe that you'reseeing with the hyper cardioid.
Yeah.
And and the cigaret.That's what they're using
(16:10):
before they came out with a good shotgunwhite design.
What was that shotgunwe looked at a couple of years ago.
Remember.
It was like a but a super shotgunwas location might thing.
I did have multiple barrels.
Yeah. Had multiple barrelsor something to remember that.
What was that? Oh wait a minute.Wait it was it the one that. No wait.
Was it an array.
Might have had likea ton of capsules in it.
(16:31):
I don't remember.
It had an Ethernet jack on the back.
Yeah, it was the DSP.
Maybe it was the guys from New Zealandor something.
Yeah, the guys from New Zealand.
I haven't heard anything of it.
No it was, it was really expensive.
I think it was like it was quick sellers.
Yeah it was,it was ridiculously expensive.
Yeah.
I. Was just trying to thinkI can't find it. Yeah.
(16:52):
The name is not ringing the bell eitherit didn't go to market or
it's just, you know, such a rarefied airthat people would.
Go. To market for.
It is small.
Ships have a super CMI digital shotgunmicrophone.
There you go.
It's like three grand, right? Yeah.
It's Bluetooth so sexy.
It doesn't that the one that has.
(17:13):
Yeah.
Don't they have one that goesfrom a. Color blue.
To a gray fade.
It has like, This one'ssort of like an umbrella sort of color.
Ships has the blue one. Yeah.
Yeah. It's very nice. It's so you. Can.
Feel extra important as a soundmixer on set.
Yeah. Why exactly ships.
Check this one out. Yeah,because everyone knows that's why.
That's right.
It's so funny that, like,you know, 41 six,
(17:35):
which is such a go tomicrophone is actually in the world of,
of, location sound is like,that's the Honda Civic.
Yeah. Yeah.
It's, you know.
Yeah. That's the basic.
Yeah, yeah.
It's it's.
Yeah. But it but it's old trusty though.
That's the thing. Yeah.You know, you get like.
Other other ones that we think ofare like the Hyundais and the Kias.
(17:57):
Yeah.
You pull it out of the bagand you know what you're going to get.
That's the nice. Yeah.
I mean and.Then you pull out the ships and it's.
Yeah. But yeahlet them play. Yeah. That's right. Yeah.
They're going to keep those things aroundyou know for a long time.
But you'll get
oh that's what's kind of fun about goingto the used gear stores in Hollywood.
Like location sound.
They'll have like a case full of 41sixes, you know,
(18:18):
and they've all just,you know, fallen off the bottom
of the rack, you know, like these guysthat keep upgrading, right?
So now their their sparemic is now the low end chips.
Well, I've got to buy a new 416.
My poor old girl is finally bitin the dust.
Is that right where the connection,the XLR connections going all crackly
(18:38):
and all that sort of stuff.
She turned the screw on it.
Yeah, I've tried all thatand I it's out of serviceability,
you know, when you bring them upand you go, can I send you this?
And they say,can you give me that number on the bottom.
Yeah. Blah blah.
Nice. Yeah.
Yeah. It's too old saying oh really? Yeah.
I'd like to find a map of 41 sixthat is old enough
to have like the flat sideinstead of the fully round one.
(19:00):
Yeah, well, mine, mine would be 25 yearsold. 20.
Look at an Mk 20.
Look at the back of an Mk 20.
And it's kind of like the the back of it.
It's like a rectangle.
And I think oh well.
And I think that there are 41 sixesout there that aren't the same.
If you get the right old vintageof 41 six.
(19:22):
That's where.
I believe, okay.
Age 20 is one of their mics.
Oh, it's a I used one at school.
That's another one. It's a cardioid.
Yeah. Flat.
It's like Jesus.
It just looks like a scientificinstrument.
It's a really it's really expensive.
And you can't find them anymore.
But it's in the seriesand it's just like a cardioid.
(19:43):
It'd be used in the same situation as a,you know, it came it came 180.
Yeah.
Yeah, yeah.
But yeah it's I think crazy how.
They're still making they,they'd still have that series
the 2030 43 Mk 20.
Yeah.
Yeah they're expensive though.
Yeah we had done a lot. More than that.
(20:04):
Well yeah they make I mean think.
About a 41 six is 800 bucks right.
An MK is 20.
Let me change 20 is how much like
it's it's a lot more I think it's 50.
I can't find them I find them cage 50I find that MK 20 in each photo.
But the 80 seriesseems to have taken over.
(20:25):
Now that's the latest tech from them.
They're 80, 48, 58, 60.
Six, 27. No longer available.
The site address 80 series.
It was that the 8080 or the 80.
The Mk eight, 8040 is $1,500.
You put one they have it's like $3,000.
(20:45):
That's like yeah.
Or multi pattern. Yeah that one's crazy.
That's the 8080 I think.
But the 8040 yeah.
Is their little pencil mic.
It's really little actually super tiny.
But I mean is that five times
more better than the seatsor four times better than a car.
Now you know how it goes.
It's always like diminishing returns.
(21:07):
Like. Yeah, exactly. Hey.
And it's also that,
you know, you stick a badge on itand people are happy to pay the premium
for the badge.
Although we were talking beforeabout the 45 ones and the 84.
Right, right.
Yeah.
I think you can get aboutat least ten, 4 or 5 ones for 184. Oh.
The the 84 is are insane. People want like
(21:29):
$5,000 for a pairof 80 fours and you can get a pair of one.
Is it for is for 1500 bucks.
It's crazy. And yeah.
And it's like,yeah I've seen people do shootouts.
It's like yep,there's a little bit more noise.
Yes, it's a little bit smoother
and you're going to pay $3,000more for that.
Like that's what X are for right.
That's yeah I mean that'swhat a little bit of placement tweakers.
(21:52):
And also honestly it's like sometimes
that extra little high end is nice.
Yeah.
You knowyou know I just realize they still me
speaking of weirdsennheiser's have flat with flat sides.
They still make the 441. Oh really.
Yeah. I didn't know that.
Oh there's so much going for.
Yeah.
And they, and they came outwith a new 421 thing was they.
(22:14):
Made this one you dynamic super cardioid.
This is a $1,200 dynamic microphone.
What.
Oh yeah. You know it'sthe David Bowie mic.
Is it.
Is he like the.
Lot you'd see like in the Ziggy Stardustdays?
I think you'd see David Bowiesinging out of a 441.
And, I think also Deborah Harry, Blondie.
(22:34):
They. Right. Yeah.
And I think also Stevie Nicks in don't
that that thing she doeswith the Tom petty, I believe.
Stop dragging my helmet around, I think.
Yeah, I think that might be too.
She's it's got it.
Switches five position, low frequencyroll off.
I've used them.
They're really nice, but they're a hypercardioid, so they have less use.
It's a it's one of the unique hypercardioid dynamics there's.
(22:56):
That's a rare breed for sure.
It's it's well they call it a superI never really know
what the exact differentiationis between hyper and super.
But tighter tighter pattern.
Bigger lobe is super more hyper.
Well, no.
Super is about 100and was about 110 degrees.
And I think hype is about 105 degrees.
(23:18):
Oh okay. So slightly different.
I think I think that's roughly someone'sgoing to ultimately see.
So that's an email. So yes.
So you knowyou are listening to us right now.
Yeah. Yeah.
But if I got it right thenall of a sudden the genius which I'm at.
It's, it's.
Talking about the cost of mic.
So the cost is half the cost of an 18,
(23:42):
right? Yeah, yeah.
Oh, yes, it is, it is. Right.
And it's, remarkably good. I mean, yeah.
But to be fair, I don't. Yeah, yeah, yeah.
You don't get all the bells and whistlesthat come with an AC 18, I suppose.
Like it's just a list of them. Yeah.Well nice.
Okay. 18 is cardioid only, right.
Yeah.
Are we seeing the same.
(24:02):
Yeah. 18 versus the eight.
How much is the.
How much is the eight versusthe 818. That's not that.
That's not likeI think what are the price. Yeah.
Like a third.Yeah I mean that's pretty obvious.
Oh you got no polar design here.
You've got all the other stuff as welland all that.
So so that would make sense for the 818.
I'm surprisedit's only got the one polar pattern.
(24:23):
Is that right? I didn't know that.
Yeah 18 is the super
I yeah pitched.
The 18 to cardioid.
No sorry. Sorry.
Cardioid. Yes. Yeah. Yeah.
All right I've got the 16.
I dragged the 16 out the other day.
It's like wow.
It hurt my eyes. It's so bright.
Oh yeah. Noticeably brighter. Yeah.
It's a little bit more crispy.
(24:45):
The 16 the old the headphones.
You know the okay 16.
Oh no no.
I see 16 is their entry levellarge diaphragm.
That's thethat's not handmade in Austria.
It's the Chinese capsule.
I believethe capsules are made in Austria.
But the electronics,they're assembled in China, I see.
Oh, so the capsule. Yeah.
All capsules. The.
Yeah, but it's the electronics. Yeah.
(25:06):
So that that's a lotbrighter than in the 18.
Yeah.
It it's it's got a,it's got a, it's a it's very.
Yeah it's almost
I wouldn't even say foreign key I kind ofthink it's even top higher than that.
What do you think George.I feel like it is.
I thought I have one
like I feel like it's something.
Yeah.
It's actually I have a wav file here.
(25:26):
It's called ox.
1618 818.
Oh they go from December 2012.
I remember we did an episode where we shotall those out December 2012.
So that's a wait. Wait.
That's a long.
That's a long time ago.
I was a lot older then. Yeah.
(25:47):
And then I.
Maybe it's supposed to be. 2021.
And I.
I'm sorry. Did I say did you.
See it said same 20. Five is think.
We didn't even have a show then.
We didn't turn it back then.
2022.
Yeah I been I just I don't. HaveI don't have these Mark.
They just say marker. MarkerI don't have them labeled.
Yeah. Yeah.
(26:08):
So I'll play them through.
You guys can hear themreal quick in context.
Here's the even betterI'm going to grab when you use the
let's see here.
This is the.
And the on string audio OC 18.
So this whole beginning part the 18I'm sorry the that's the key.
Then you go to the 18 right.
(26:29):
So here here's that okay.
This is just a quick experimentwith the Austrian
audio kit and the Austrian audio.
Okay.
18 the CC eight is a small diaphragmpencil mark,
and the Aussie 18 is a large diaphragmcondenser mic.
This is the AC 16running through the M 101.
(26:53):
Now you can hear the top end lift.
Yeah, it's quite a significant
This is the OC 18 runningthrough the Grace M 101.
This is the OC 818
running through the Grace M 101.
Interesting.
So yeah, there's 60.
Now you get to really hearthe 16 in context.
(27:15):
This is the OC 16 runningthrough the grace of I don't want to.
Go crazy.
Yeah, you'd have to smooth out the.
This is the ships. Yeah.
How does it compare?
Like, this is the ship'sairline pilot microphone.
Yeah. It's for your favorite airline.
You ever trying to figure out what to getyour favorite airline pilot? The.
You know,they have everything on this headset.
(27:37):
If you're like, what do I do with this?
This is these shipsice pick and microphone there.
Yeah.
So so other other hyper cardioid
dynamics the sure be the 57 a.
The 57 a that's a mic bay.
The 57. Data.
(27:57):
Say the the betas were hyper cardioid.
They did a did a beta 58 tuning.
They yes they did.
That's also hyper.
But it's also dynamic.
Yeah. Those are both dynamic. Yep.
And B the 87 B condenser.
All right.
That's the condenser.
What a weird naming convention.
Why did they have to call an 87.
(28:18):
I never understood that.
Just like with Neumann.
Clearly came after the U.
87, so I don't know, like.
You know, we Mike guys are we can nameMike simply by a two digit number usually.
Or three digit number.I mean. Yeah, right.
Grab 57, gather 58,you know, grab this and it.
But then it's like, grab an 87.
(28:38):
No no no no no no estimates. Yes.
I mean Yeah.
You know, but I think.
Most people said grab an 87then it would matter.
It's like if you
this is what you do,you go to someone, you say,
give me like an audio engineer,give me an 87.
If they give you a, surethey're alive, engineer.
They give you thestudio. Right? And there's
(28:58):
the that's
the ultimate insider audio engineernerd stuff.
How do I know it?
How do I know your live guy without havingtheir, ask which Mike, do your hand?
Yes, I can 87.
Well, that was fun.
Is it all over the pro audio suite?
Thanks to driver and Austrian audio.
Recorded using Source Connect,
(29:18):
edited by Andrew Peachesand mixed by a little though.
Got your own audio issues?
Just ask robo. Don't call himtech. Support him.
You watch the tech with.
Don't forget to subscribe to the show
and join the conversationon our Facebook group to leave a comment,
suggest a topic or just say goodbye,drop us a note at our website.
As we discuss.
Y'all ready? Be history.
Get started.
Welcome.
Hi. Hi. Hi.
Hello, everyone. To the pro audio suite.
These guys are professional and motivated.
We've taken the video starsGeorge Wisdom, founder of Source Element,
Robert Marshall, international audioengineer Darren Robin Roberts, and global
voice and repeaters.
Thanks to tribal Austrian audio,lighting, passion, the elements,
(00:21):
George the Tech wisdom and Rob and APIsinternational demos.
To find out more about us.
Check the Proteassweetcorn line up. Ready?
Here we go.
I'm me and welcome to another proaudio suite.
Thanks to tribus,I have to get the code to arrive at 200.
That will get you $200 off your tribusand Austrian audio hiking passion herd.
(00:44):
Speaking of which,I've been playing around with the CCI
probably about a yearI reckon, but I have to be.
Has been that long, I guess.
I think it would be. Yeah.
It's it's been, it's been.
You're Mikeand in like outside your control room.
It's like you're Mike outsidethe control room, isn't it?
Yeah,but I put it actually in the booth now.
Oh. Is it. Yeah. Yeah.
So I'm just playing aroundwith it in there because it.
(01:06):
And they travel. That was recorded to.
I've travel with it. Yeah.
But I thought as an a just out of interestI'm a friend playing
with a couple of different mics.
And then I send an email and Robertyou came back and said
why don't you run it through the passportvideo?
Set the guy in sign.
So I did, and I see 18because it was there and the kit
(01:27):
and just see what the difference wasand it I found it quite interesting.
And I think Georgeyou have a sample of my ramblings.
That I do.
Okay.
This is just a quick experiment,with the Austrian audio kit
and the Austrian audio och 18.
The kit is a small diaphragm pencil mic,
(01:49):
and the Aussie 18 is a large diaphragmcondenser mic.
You're currently listeningto the CC eight, the pencil mic,
and now you're listening to the AC 18,which is the large condenser.
The logical do is about assistor so away from my mouth,
which is roughly the same distanceas I am from the pencil mic,
(02:11):
which I'm going back tonow. So this is the CC eight
and this is the O.C 18
both running through the passport V0,both sitting at 1:00 in gain.
This is the Aussie 18and this is the CC eight.
So once again CC eight from Austrian audio
AC 18 large diaphragm condenser.
(02:33):
They are so insanely.
Slight this very very very little.
And I'm not even sure.
I thought this was a little bitmore forward.
Pretty shocked.
Incredibly how incrediblysimilar they are.
They are. Real.
You wouldn't know the difference there.Totally.
It's like
it's like if you want to get an 18and then travel with a car
(02:55):
because it's smaller and
maybe less fragile, you know,because it's smaller and less fragile and.
Yeah, and cheaper. Yeah.
It is, what, 400 U.S.
400 compared to 1200, I think.
No, no, no, 18 or 8.
20 which was the one.
18. 18, which is oh, the 18. Oh six.
Did you compare it to the 8818.
That'd be interesting to, yeah.
(03:17):
The 818 and the 18that you see here in cardioid.
They sound the.Same. Same capsule, same everything.
Yeah. But
I couldn't believe how close they were.
I mean, we've talked about this beforewhen we had Kurt come on on the show and
just talk
about the different microphones and stuffthat they had at Austrian Audio. But
when doing that comparisonthrough the same preamp,
(03:40):
same level, everything is the samein the same environment.
I could not believe how close that was.
Well, it sure is handy having
a single press buttonthat lets you switch between them, right?
Yeah. But it'd be really funny.
If you're doing a session,
would you like the pencil micor the large diaphragm condenser?
Right. My sound exactly.
Wouldn't know the difference.
(04:01):
That's pretty amazing I yeah, Iit just shows how the voicing of the mic
is, is a subjective tasteful choiceor tastes.
It's some of these tasteand then when they design and tune
the mics, that person's tasteis what they're going for.
And yeah, they're like,we want them to be consistent.
From my to my mic.
(04:21):
And you know, they're not trying to getdifferent characters from their mics
and they're not trying to havea vintage tone or whatever.
Doesn't mean they may not someday
come out with somethingthat's voiced differently or.
But the goals of these mics is to achievetheir their I say signature sound, right?
Yeah, it.
Was interestingdoing some reading yesterday
(04:42):
because I just had a lookat a couple of articles.
One was Sound on Sound,
when the kit came outand they were reviewing it, and the guy
who was doing the review also dragged outa couple of 4 or 5 ones, the.
Classic pencil mics that we've used overthe last 30 or 40 years.
And he also had the Neumann, which is ais that the committee for is that right?
So the came 84 is the original onewhich is a little bit noisier,
(05:05):
but everyone likes it because it'sa little bit smoother on the top.
And the cam 184 is the newer one that's
got a little bit more top end but quieter.
And they also had an enjoyable capsuleseries, the one hundreds.
Well that's the 100 series. Yeah.
And then get the 130and the one you know whatever.
Yeah we had those at Virginia Tech.
It was they were pretty sweet. Yeah.
So what did they saywhen he compared them.
(05:27):
He sort of the articlekind of infer that the CC gate set
somewhere between the 451 and the 84.
Well the one I before, I can't rememberwhich one was because I thought
you know what they've donewhen they got the four,
five ones, it was a inherentharshness in the top end.
Which people
didn't really like very much obviouslybecause it was quite brittle.
(05:51):
So they kind of smoothed out the top end,
and I think they may even havea little bit more bottom end.
I'm not sure.
But it, it certainly makes the,the mic very, very flat.
Yeah.
Yeah, I think, I think the top end,even though insane was actually
the whole thing about the 451 isthis was like amazing
(06:11):
on like acoustic guitarsand certain things that were is
this like had this like bright for dayskind of sound
certainly wasn't flat but it was bright.
Yeah, I'd say that just just my experiencewith the with the CC eights as they are
because I've got,I got 184 and I got the CC aids and
(06:31):
I think the they're more they're, I thinkthey're definitely strangely enough,
I believe they're more like the 180 foursand they're like the 4450 ones.
And I think it'sbecause they own the whole thing up.
And also the other thing we always talkabout is like,
if hearing on the wayin, as opposed to e cueing in post.
Yeah. Likeif your mic is inherently brittle
going
(06:51):
in, then you're going to have a jobto sort that out once you,
you know, sort of, doing a cueingand stuff like that, I would imagine.
Yeah. Yeah.
So the CC has high passfilters on the body, correct?
Yes it does.
So it has.
An iPad doesn't it.
Yeah. Yeah. Yeah.
It's got a ten of the 20 DB.
It's the same as the 451 I'll say it.
(07:12):
Same thing.
And then and the Neumann has nothing.
It's not really versatile.
Like it can handle 156 decibel max SPL.
It's literally there's only one specand that would be in any way
looked down upon.
And it shouldn't really bebecause it's the same spec as the 41 six.
And that's the self noise.
(07:33):
It's rated at 16 db SPL a weighted.
Yeah, because it's because it's small.
Yeah right.
And the 18 is rated at eightDB a weighted.
So I mean if you're going to look at themunder a microscope you know
really look at themyou're getting oh okay.
There'sa little bit more noise in the case.
But it's certainly not enough to be.
But nothing compared to your lastepisode's room noise
(07:55):
right. Yes.
Very true.
Exactlytrue. Yeah. Yeah, it's such a cool mic.
And I'm wondering,I have tried it in the tribals,
so I think I did a file ages agowith it, but,
I think it's going to be a really coolthing, certainly to travel with
if you want to keep that signaturesound of an
I see if that'swhat you've got in your studio. Yeah.
(08:16):
Taking the CC eight with you.
So I think it's a no brainer really.
It's it's it's clean enough.
Absolutely clean enough.
It says it's also a handmade capsule.
Oh. And the difference in sensitivitywill die out as well,
because you'll notice.
Do you notice you see A18or the 18 was a little bit lower in gain.
(08:40):
Yeah.
It's at 13 millivolts per. Is that Pascal.
That's what they measure the sensor. Yeah.
And then the the CC it is 15.
So it's 2 to 2 more,
two more pascals.
That's it, that's it.
That's it. Forget it. Yeah, yeah.
Now, do you think that's also,
(09:03):
related to the size of the capsulethat a large cap.
Typically, typically the smaller capsules
are harder to make lower noisebecause they're, you're trying to get.
I mean, the sensitivity part of it,the sensitivity rating,
is that directly relatedto the self noise?
I honestly don't know, like likeyou'd have to go
to get one of our mic expertsback on the line.
Yeah,because you can see how a large diaphragm
(09:23):
might be more sensitive because it'sgot more surface area to picked up,
but then it's definitely has more mass toto move, right.
In this case the CC eightis more sensitive and more soft noise.
The to make might be coming inand makes sense.
Yeah, but the small diaphragmmikes are more accurate.
Is that correctthan a large diaphragm? Yes.
(09:43):
The large diaphragm has more resonanceissues within the diaphragm itself.
So your theoretical best diaphragm
gets tiny because then it's
just fitting, like one column of air.
It's you know, it's not there'sno resonant issues and things like that.
(10:04):
There's there's a lot of tuning them.
That's that's why my lab triesto go with the, rectangular diaphragms.
There's another my company.I know who it is.
I made a triangular diaphragm,and they're all trying
to, like, deal with resonances.
And when they. Tension. Yeah.
Some of the lavalierhave a square diaphragm, don't they.
Yeah. What's that company that has that.
I've seen those.
(10:25):
Taken. Not seconds.
It's taken I don't know. Could beI don't know enough.
But yeah I've seen them.
They look like a little plasticblack square.
But you see the white diaphragm in thereor whatever it is.
Yeah. It's fascinating.
But yeah.
Like like you look at earthworks,microphones and the, the diaphragms
are like half the size or even lessbecause of the nature of a circle.
(10:46):
They're tiny, tiny, tiny.
But then they're noisy.
And I can hear the differencewhen I, when I listen to my.
I got the earthworks.
QC eight or Q QC
32 or QC QC 30.
Yeah.
It's like thisOmni that's you know flat within.
A DB from top to bottom. Right.
(11:07):
Yeah. But you can hear it noise.
So it's great. It's really good.
Loud stufftakes high decibels real really flat.
But yeah you.
Know I had that earthworksethos that was there like answered on an.
So yeah.
And that's still a really smalldiaphragm Mike.
And it is they did a really good job
controlling the soft noise,but it was definitely noticeable.
(11:29):
And my understandingis actually doing a redesign on that.
Mike, I sent my own back inbecause I had an issue.
And so they'rethey're doing some rework on it.
But yeah, that's a really thing.
Difficult thing to getis that get that quiet.
It takes a tremendousamount of refinement, I guess.
And I try, I,I will have no problem recommending
(11:51):
cos if someone's like thinking of,I mean, because, a lot of people
have been liking the really inexpensive,cost,
audio Technica 875R
and for just a little more than twicethe price of that,
this CCI seems like a, a really goodchoice.
Like.
And the thing is, a lot of peoplewill bring a shotgun like, on the road
(12:12):
because they think it willinherently pick up less
ambient noise.
But that's not alwaysreally the case with it.
They won't.
Pick up less ambient noise,but it might pick up less room reflections
because you can. Kind of pick upthis reflection point.
At where you want, an ambient noise tends to be,
I mean, not totally, but it's a little bitmore omnidirectional.
(12:34):
Right in the room.
Obviously, if you point itright at the air conditioner.
Well, yeah.
If you have a humming refrigerator,it doesn't matter where you point
the shotgun, like everywhere.It's still going to hear the rumble.
It's there. Yeah.
So it doesn't matterat the end of the day.
And, you know, then the other thing
people have to rememberis get close to your mic.
You have the, you know,the proximity effect to counteract, maybe.
(12:57):
But you get close to that mic.
There's your signal,your mouth to the noise, everything else.
You get close to the mic,you're going to improve that ratio.
Yeah.
So that's that's a really,really cheap way to counteract
noisier environmentsand less than ideal acoustics.
It just means that you as a voiceactor have to be much more controlled.
(13:17):
You have to be much more disciplinedabout the placement as you get closer,
obviously movements in your faceand your mouth falls are more audible.
So everything is a trade off. You know?
Farther means more natural, the more noiseor farther also more or less.
You can be a little morelazy in your placement.
You can move around more,but you get closer.
(13:39):
Because and yeah,and to and to explain why,
if you're really closeand you move an inch
that inch that you move sidewaysas a relation to the inch
that you away from the microphoneis a 1 to 1 relationship, right?
If you're yeah, you know,
if you're a two feet away or a foot awayand you move an inch,
now that inch is only 1ft or 1incompared to a 12 inch foot relationship.
(14:04):
So the triangle, it's long.
So it's less of a difference, right?
It's less of a difference.
And the other thing to consider as well,when people travel
and they take a shotgun, as opposed to a pencil,
the pencil has the diaphragmright on the end of the mind.
Yeah.
Where the shotgun is halfway downthe tube.
Halfway. It's all the way to the bottom.
(14:25):
It's like coming.
To the end of the slots at the end. The.
So if you.
So if you're talking about getting closeproximity to to try and,
you know, counteract the noise,the room is more difficult with a shotgun
because you can't get that closeto the capsule.
It's hard if you do.
If you do, you're on the side of itand then you'll sound like poop.
(14:46):
Well, when I have sound mixer, I remember
the only sound location sound likeI had for a while was a shotgun.
Mike and I started learning that you don'talways use a shotgun mic on a boom,
because if the ceiling is too low,you're getting the rest
of the ceiling off the back of the mike,and then it actually picks up more room.
And I was like,what a mind blown. You know. Like.
(15:07):
I don't get it, you know?
And then I would start seeing
that they would have a hypercardioid super or even a cardioid mic,
a much smaller mic on the end of the boomwhen they were doing interiors, you know.
And the other reason they would use
those mics is you could afford to bea little less accurate with your aim.
If you're on a shotgun, you gotta be dead.
You got to be really deadon on your placement.
(15:28):
Follow the script and hit every low spot.
Or you're justthey just sound off mic, you know?
And then the other reason for the short
shotguns is they don't get into the shotlike a really long shotgun.
Sometimes you can't, you know,if you go up to the ceiling, you hit it,
you go too low and you're in the shot.
So you need a shorter mic.
But they used tothey used to use figure eights.
(15:48):
If you think about itlike figure eight is a
rejects a lot on the sideand it's all about the energy as you
squeeze it in one direction.Think of it like a balloon.
If you squeeze it in one placewhere that energy going to go, it's
going to pop out the back.
And that's that kind of lobe that you'reseeing with the hyper cardioid.
Yeah.
And and the cigaret.That's what they're using
(16:10):
before they came out with a good shotgunwhite design.
What was that shotgunwe looked at a couple of years ago.
Remember.
It was like a but a super shotgunwas location might thing.
I did have multiple barrels.
Yeah. Had multiple barrelsor something to remember that.
What was that? Oh wait a minute.Wait it was it the one that. No wait.
Was it an array.
Might have had likea ton of capsules in it.
(16:31):
I don't remember.
It had an Ethernet jack on the back.
Yeah, it was the DSP.
Maybe it was the guys from New Zealandor something.
Yeah, the guys from New Zealand.
I haven't heard anything of it.
No it was, it was really expensive.
I think it was like it was quick sellers.
Yeah it was,it was ridiculously expensive.
Yeah.
I. Was just trying to thinkI can't find it. Yeah.
(16:52):
The name is not ringing the bell eitherit didn't go to market or
it's just, you know, such a rarefied airthat people would.
Go. To market for.
It is small.
Ships have a super CMI digital shotgunmicrophone.
There you go.
It's like three grand, right? Yeah.
It's Bluetooth so sexy.
It doesn't that the one that has.
(17:13):
Yeah.
Don't they have one that goesfrom a. Color blue.
To a gray fade.
It has like, This one'ssort of like an umbrella sort of color.
Ships has the blue one. Yeah.
Yeah. It's very nice. It's so you. Can.
Feel extra important as a soundmixer on set.
Yeah. Why exactly ships.
Check this one out. Yeah,because everyone knows that's why.
That's right.
It's so funny that, like,you know, 41 six,
(17:35):
which is such a go tomicrophone is actually in the world of,
of, location sound is like,that's the Honda Civic.
Yeah. Yeah.
It's, you know.
Yeah. That's the basic.
Yeah, yeah.
It's it's.
Yeah. But it but it's old trusty though.
That's the thing. Yeah.You know, you get like.
Other other ones that we think ofare like the Hyundais and the Kias.
(17:57):
Yeah.
You pull it out of the bagand you know what you're going to get.
That's the nice. Yeah.
I mean and.Then you pull out the ships and it's.
Yeah. But yeahlet them play. Yeah. That's right. Yeah.
They're going to keep those things aroundyou know for a long time.
But you'll get
oh that's what's kind of fun about goingto the used gear stores in Hollywood.
Like location sound.
They'll have like a case full of 41sixes, you know,
(18:18):
and they've all just,you know, fallen off the bottom
of the rack, you know, like these guysthat keep upgrading, right?
So now their their sparemic is now the low end chips.
Well, I've got to buy a new 416.
My poor old girl is finally bitin the dust.
Is that right where the connection,the XLR connections going all crackly
(18:38):
and all that sort of stuff.
She turned the screw on it.
Yeah, I've tried all thatand I it's out of serviceability,
you know, when you bring them upand you go, can I send you this?
And they say,can you give me that number on the bottom.
Yeah. Blah blah.
Nice. Yeah.
Yeah. It's too old saying oh really? Yeah.
I'd like to find a map of 41 sixthat is old enough
to have like the flat sideinstead of the fully round one.
(19:00):
Yeah, well, mine, mine would be 25 yearsold. 20.
Look at an Mk 20.
Look at the back of an Mk 20.
And it's kind of like the the back of it.
It's like a rectangle.
And I think oh well.
And I think that there are 41 sixesout there that aren't the same.
If you get the right old vintageof 41 six.
(19:22):
That's where.
I believe, okay.
Age 20 is one of their mics.
Oh, it's a I used one at school.
That's another one. It's a cardioid.
Yeah. Flat.
It's like Jesus.
It just looks like a scientificinstrument.
It's a really it's really expensive.
And you can't find them anymore.
But it's in the seriesand it's just like a cardioid.
(19:43):
It'd be used in the same situation as a,you know, it came it came 180.
Yeah.
Yeah, yeah.
But yeah it's I think crazy how.
They're still making they,they'd still have that series
the 2030 43 Mk 20.
Yeah.
Yeah they're expensive though.
Yeah we had done a lot. More than that.
(20:04):
Well yeah they make I mean think.
About a 41 six is 800 bucks right.
An MK is 20.
Let me change 20 is how much like
it's it's a lot more I think it's 50.
I can't find them I find them cage 50I find that MK 20 in each photo.
But the 80 seriesseems to have taken over.
(20:25):
Now that's the latest tech from them.
They're 80, 48, 58, 60.
Six, 27. No longer available.
The site address 80 series.
It was that the 8080 or the 80.
The Mk eight, 8040 is $1,500.
You put one they have it's like $3,000.
(20:45):
That's like yeah.
Or multi pattern. Yeah that one's crazy.
That's the 8080 I think.
But the 8040 yeah.
Is their little pencil mic.
It's really little actually super tiny.
But I mean is that five times
more better than the seatsor four times better than a car.
Now you know how it goes.
It's always like diminishing returns.
(21:07):
Like. Yeah, exactly. Hey.
And it's also that,
you know, you stick a badge on itand people are happy to pay the premium
for the badge.
Although we were talking beforeabout the 45 ones and the 84.
Right, right.
Yeah.
I think you can get aboutat least ten, 4 or 5 ones for 184. Oh.
The the 84 is are insane. People want like
(21:29):
$5,000 for a pairof 80 fours and you can get a pair of one.
Is it for is for 1500 bucks.
It's crazy. And yeah.
And it's like,yeah I've seen people do shootouts.
It's like yep,there's a little bit more noise.
Yes, it's a little bit smoother
and you're going to pay $3,000more for that.
Like that's what X are for right.
That's yeah I mean that'swhat a little bit of placement tweakers.
(21:52):
And also honestly it's like sometimes
that extra little high end is nice.
Yeah.
You knowyou know I just realize they still me
speaking of weirdsennheiser's have flat with flat sides.
They still make the 441. Oh really.
Yeah. I didn't know that.
Oh there's so much going for.
Yeah.
And they, and they came outwith a new 421 thing was they.
(22:14):
Made this one you dynamic super cardioid.
This is a $1,200 dynamic microphone.
What.
Oh yeah. You know it'sthe David Bowie mic.
Is it.
Is he like the.
Lot you'd see like in the Ziggy Stardustdays?
I think you'd see David Bowiesinging out of a 441.
And, I think also Deborah Harry, Blondie.
(22:34):
They. Right. Yeah.
And I think also Stevie Nicks in don't
that that thing she doeswith the Tom petty, I believe.
Stop dragging my helmet around, I think.
Yeah, I think that might be too.
She's it's got it.
Switches five position, low frequencyroll off.
I've used them.
They're really nice, but they're a hypercardioid, so they have less use.
It's a it's one of the unique hypercardioid dynamics there's.
(22:56):
That's a rare breed for sure.
It's it's well they call it a superI never really know
what the exact differentiationis between hyper and super.
But tighter tighter pattern.
Bigger lobe is super more hyper.
Well, no.
Super is about 100and was about 110 degrees.
And I think hype is about 105 degrees.
(23:18):
Oh okay. So slightly different.
I think I think that's roughly someone'sgoing to ultimately see.
So that's an email. So yes.
So you knowyou are listening to us right now.
Yeah. Yeah.
But if I got it right thenall of a sudden the genius which I'm at.
It's, it's.
Talking about the cost of mic.
So the cost is half the cost of an 18,
(23:42):
right? Yeah, yeah.
Oh, yes, it is, it is. Right.
And it's, remarkably good. I mean, yeah.
But to be fair, I don't. Yeah, yeah, yeah.
You don't get all the bells and whistlesthat come with an AC 18, I suppose.
Like it's just a list of them. Yeah.Well nice.
Okay. 18 is cardioid only, right.
Yeah.
Are we seeing the same.
(24:02):
Yeah. 18 versus the eight.
How much is the.
How much is the eight versusthe 818. That's not that.
That's not likeI think what are the price. Yeah.
Like a third.Yeah I mean that's pretty obvious.
Oh you got no polar design here.
You've got all the other stuff as welland all that.
So so that would make sense for the 818.
I'm surprisedit's only got the one polar pattern.
(24:23):
Is that right? I didn't know that.
Yeah 18 is the super
I yeah pitched.
The 18 to cardioid.
No sorry. Sorry.
Cardioid. Yes. Yeah. Yeah.
All right I've got the 16.
I dragged the 16 out the other day.
It's like wow.
It hurt my eyes. It's so bright.
Oh yeah. Noticeably brighter. Yeah.
It's a little bit more crispy.
(24:45):
The 16 the old the headphones.
You know the okay 16.
Oh no no.
I see 16 is their entry levellarge diaphragm.
That's thethat's not handmade in Austria.
It's the Chinese capsule.
I believethe capsules are made in Austria.
But the electronics,they're assembled in China, I see.
Oh, so the capsule. Yeah.
All capsules. The.
Yeah, but it's the electronics. Yeah.
(25:06):
So that that's a lotbrighter than in the 18.
Yeah.
It it's it's got a,it's got a, it's a it's very.
Yeah it's almost
I wouldn't even say foreign key I kind ofthink it's even top higher than that.
What do you think George.I feel like it is.
I thought I have one
like I feel like it's something.
Yeah.
It's actually I have a wav file here.
(25:26):
It's called ox.
1618 818.
Oh they go from December 2012.
I remember we did an episode where we shotall those out December 2012.
So that's a wait. Wait.
That's a long.
That's a long time ago.
I was a lot older then. Yeah.
(25:47):
And then I.
Maybe it's supposed to be. 2021.
And I.
I'm sorry. Did I say did you.
See it said same 20. Five is think.
We didn't even have a show then.
We didn't turn it back then.
2022.
Yeah I been I just I don't. HaveI don't have these Mark.
They just say marker. MarkerI don't have them labeled.
Yeah. Yeah.
(26:08):
So I'll play them through.
You guys can hear themreal quick in context.
Here's the even betterI'm going to grab when you use the
let's see here.
This is the.
And the on string audio OC 18.
So this whole beginning part the 18I'm sorry the that's the key.
Then you go to the 18 right.
(26:29):
So here here's that okay.
This is just a quick experimentwith the Austrian
audio kit and the Austrian audio.
Okay.
18 the CC eight is a small diaphragmpencil mark,
and the Aussie 18 is a large diaphragmcondenser mic.
This is the AC 16running through the M 101.
(26:53):
Now you can hear the top end lift.
Yeah, it's quite a significant
This is the OC 18 runningthrough the Grace M 101.
This is the OC 818
running through the Grace M 101.
Interesting.
So yeah, there's 60.
Now you get to really hearthe 16 in context.
(27:15):
This is the OC 16 runningthrough the grace of I don't want to.
Go crazy.
Yeah, you'd have to smooth out the.
This is the ships. Yeah.
How does it compare?
Like, this is the ship'sairline pilot microphone.
Yeah. It's for your favorite airline.
You ever trying to figure out what to getyour favorite airline pilot? The.
You know,they have everything on this headset.
(27:37):
If you're like, what do I do with this?
This is these shipsice pick and microphone there.
Yeah.
So so other other hyper cardioid
dynamics the sure be the 57 a.
The 57 a that's a mic bay.
The 57. Data.
(27:57):
Say the the betas were hyper cardioid.
They did a did a beta 58 tuning.
They yes they did.
That's also hyper.
But it's also dynamic.
Yeah. Those are both dynamic. Yep.
And B the 87 B condenser.
All right.
That's the condenser.
What a weird naming convention.
Why did they have to call an 87.
(28:18):
I never understood that.
Just like with Neumann.
Clearly came after the U.
87, so I don't know, like.
You know, we Mike guys are we can nameMike simply by a two digit number usually.
Or three digit number.I mean. Yeah, right.
Grab 57, gather 58,you know, grab this and it.
But then it's like, grab an 87.
(28:38):
No no no no no no estimates. Yes.
I mean Yeah.
You know, but I think.
Most people said grab an 87then it would matter.
It's like if you
this is what you do,you go to someone, you say,
give me like an audio engineer,give me an 87.
If they give you a, surethey're alive, engineer.
They give you thestudio. Right? And there's
(28:58):
the that's
the ultimate insider audio engineernerd stuff.
How do I know it?
How do I know your live guy without havingtheir, ask which Mike, do your hand?
Yes, I can 87.
Well, that was fun.
Is it all over the pro audio suite?
Thanks to driver and Austrian audio.
Recorded using Source Connect,
(29:18):
edited by Andrew Peachesand mixed by a little though.
Got your own audio issues?
Just ask robo. Don't call himtech. Support him.
You watch the tech with.
Don't forget to subscribe to the show
and join the conversationon our Facebook group to leave a comment,
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