Comparison M-AUDIO Uber Mic vs Razer Seiren

The range of audio frequencies normally perceived and processed by a microphone.

The wider this range — the fuller the signal, the less likely that too high or low frequencies will be missed due to the imperfection of the microphone. However, in this case, it is worth considering some nuances. First of all: a wide frequency range in itself does not guarantee high sound quality — a lot also depends on the type of microphone (see above) and its frequency response, not to mention the quality of other components of the audio system. In addition, a large width is also not always really necessary. For example, for normal transmission of human speech, a range of 500 Hz — 2 kHz is considered sufficient, which is much narrower than the general range perceived by the human ear. This general range, in turn, averages from 16 Hz to 22 kHz, and also narrows with age. Do not forget about the features of the equipment to which the microphone is connected: it is hardly worth specifically looking for a model with an extensive range, if, for example, the amplifier to which it is planned to be connected severely “cuts off” the frequencies from above and/or below.

Sensitivity describes the signal strength at the output of a microphone when it processes a sound of a certain volume. In this case, sensitivity means the ratio of the output voltage to the sound pressure on the membrane, expressed in decibels. The higher this number, the higher the sensitivity. Note that, as a rule, values in decibels are negative, so we can say this: the closer the number is to zero, the more sensitive the microphone. For example, a -38 dB model outperforms a -54 dB model in this parameter.

It should be borne in mind that high sensitivity in itself does not mean high sound quality - it only allows the device to “hear” a weaker sound. Conversely, low sensitivity is not an unequivocal sign of a bad microphone. The choice for this parameter depends on the specifics of the application: a sensitive device is useful for working with low sounds and in cases where it is necessary to capture the smallest nuances of what is happening, and a “weak” microphone will be convenient at high sound volume or, if necessary, filter out extraneous weak noises. There are models with sensitivity adjustment(and for models with a headphone output , headphone volume control may be provided).

A parameter that describes the relationship between the useful signal level and the noise level produced by the microphone. Note that the actual signal-to-noise ratio varies depending on the sound pressure perceived by the microphone. Therefore, in the characteristics it is customary to indicate the option for a standard situation — at a sound pressure of 94 dB. This allows you to compare different models with each other.

In general, this indicator quite clearly characterizes the quality of work of a particular model, since it takes into account almost all significant extraneous noise that occurs during operation. The greater this ratio, the clearer the sound is, the less distortion it has. Values of 64 – 66 dB are considered quite decent, and high-end microphones provide performance of 72 dB and higher.

The sampling rate of the analogue-to-digital converter (ADC) provided in the design of the microphone.

An ADC is a module responsible for converting an analogue signal coming from a microphone capsule into a digital format. It is used mainly in models connected via digital interfaces — for example, USB (see below) — and also in some wireless ones, where the digital format is used for radio communication.

The principle of analogue-to-digital conversion is that the analogue signal is divided into separate fragments, each of which is encoded with its own numerical value. If this is depicted graphically, then the graph of the analogue signal looks like a smooth line, and the digital signal looks like a set of “steps” close to this line. The higher the sampling frequency, the more “steps” fall on a certain section of a smooth line and the more accurately the digital signal corresponds to the original analogue.

Thus, high values of this parameter indicate a high quality of the microphone. However, it must be said here that for normal restoration of the original signal from digital (in other words, for normal reproduction of the sound perceived by the microphone), a sampling frequency twice the maximum frequency of the received sound is considered sufficient. For pure human speech, indicators of 2.3 kHz are considered record-breaking, and harmonics that complement the timbre of the voice do not exceed 8 kHz in frequency. Thus, a high sampling rate...is not required for normal speech processing. At the same time, models intended for studio recording (see "Intended use") may have rather high values of this parameter — up to 96 kHz inclusive. This is due not only to the sound quality (although it is also important), but also to the technical aspects of processing and mixing.

Also note that upsampling affects the amount of data transmitted, so high performance is not always optimal. Thus, some microphones allow you to change the value of this parameter; for such models, our catalog indicates the maximum value of the sampling rate.

The bit depth of the analogue-to-digital converter (ADC) installed in the microphone.

An ADC is a module responsible for converting an analogue signal coming from a microphone capsule into a digital format. It is used mainly in models connected via digital interfaces — for example, USB (see below) — and also in some wireless ones, where the digital format is used for radio communication. For more information on this conversion, see ADC Sampling Rate. But if the sampling rate describes the number of “steps” of a digital signal in a certain area, then the bit depth determines the number of signal level options available for each individual step. The higher the bit depth, the more such options and the more accurately the digital signal level will correspond to the analogue level.

Thus, this parameter also directly affects the quality of the conversion. If we talk about specific values, then 16 bits is considered quite enough for professional studio microphones (see "Intended use"), and high-end models can also have 32-bit converters.

— Wireless connection. This feature is indicated for the so-called radio microphones — models in which the signal is transmitted wirelessly. Note that a radio microphone kit usually involves a receiver that is connected to an amplifier (or other sound processing device) in a classic wired way (see "Connection connectors"). However, the microphone itself is connected to the receiver via a radio channel.

— Stereo recording. The ability to use a microphone to record sound in stereo format. This format assumes the presence of two channels, and for each of them the sound must be recorded separately; but the technical support of such a recording in different cases may vary. The most popular option is bi-directional microphones. However, in addition to this, this category includes paired sets for which the stereo recording function is directly claimed.

— LPF (Roll-off). The presence of a low-pass filter in the design of the microphone (Roll-off is an alternative name for this function). This feature allows you to reduce the level of low frequencies in the signal produced by the microphone. This need may be due to two factors. Firstly, many extraneous noises are the sound of the wind, knocks on the device case, the surrounding background, etc. — are presented at low frequencies; by suppressing this range, you can significantly reduce the level of extraneous so...unds “heard” through the microphone. Secondly, the LPF is useful for working with the so-called "proximity effect". This effect consists in the fact that when approaching the sound source, many models tend to increase the volume of the bass sound, and when removed, on the contrary, they fail the “bass”. By turning on Roll-off when approaching the sound source and turning it off when moving away, this effect can be smoothed out to a certain extent. For a number of technical reasons, this function is mainly used in condenser and electret microphones (see "Type"). Note that in advanced models, the low-pass filter can be made customizable and supplemented with an auxiliary ultra-low pass filter.

— Attenuator. The presence of an attenuator in the design of the microphone — a device that gradually attenuates the signal level at the output (a kind of opposite to an amplifier). This feature is useful when working with loud sound: by lowering the signal level, you can avoid overloading the system.

— Sensitivity adjustment. The presence of its own sensitivity control in the design of the microphone. This function allows you to adjust the signal level without using the controls in other components of the audio system — for example, to change the volume on the fly; this is quite convenient, since the microphone is usually at hand, and settings can be changed very quickly and without much hassle.

— Headphone volume adjustment. A separate knob for adjusting the volume of connected headphones (see "Headphone output"). Depending on the model, it can be placed both on the microphone itself and on the receiver for wireless connection. Anyway, this feature makes adjusting the volume more convenient: the control is at hand and the user does not need to reach for other devices or delve into the software settings.

— Mute the microphone. The presence of its own switch in the design of the microphone. In some use cases, it is not uncommon for situations where the microphone has to be constantly turned on and off. For example, during a concert, the number of performers may change, and it is better to turn off unused microphones; when communicating via Skype through a computer, sometimes you have to be distracted by conversations with others that the “computer” interlocutor does not need to hear, etc. Usually, muting the microphone is possible through the settings or control panel of the device to which it is connected; however, using your own switch is usually easier and faster, especially if you have to mute / unmute the sound frequently.

— Switching DN. DN in this case means “directional pattern”, however, this function may mean switching not only between options for a unidirectional microphone (see “Directional Pattern”), but also between one-, two- and omnidirectional operation format (see “Directionality”). microphone"). Therefore, specific switching features and available options should be clarified for each model separately.

The presence of its own LCD display in the design of the microphone. This, usually, is the simplest single-colour matrix, sometimes even of a segment type (as in an electronic watch, where the characters on the display are made up not of pixels, but of individual segments). At the same time, even the simplest displays provide extensive information and are capable of displaying various messages. Note that such extended information is relevant primarily for models with a wireless connection (see "Functions / Capabilities"): the display can be useful for notifying about the selected channel, battery status, etc. Therefore, most microphones with this function are wireless.

The type of power used by the microphone during operation.

- Phantom. 48 V power supply required for operation of condenser microphones, as well as some types of electret microphones(see “Type”). With the standard connection, electricity is supplied through the same cable that connects the microphone to the receiving device; Accordingly, for normal operation of such models, amplifiers, receivers or other equipment with a microphone input that has phantom power are required. However, the absence of such an input is also not an insurmountable obstacle - some microphones have adapters that allow you to receive phantom power from a 230 V network (for more details, see “Included”). Another alternative is the phantom/battery combo described below. In general, this method of power supply is convenient in that it allows you not to worry about the battery charge, but freedom of movement is limited by the length of the power cord.

— Battery. Powered by rechargeable battery. Note that it is often poorly suited for analog capacitor models - the required 48 V is difficult to provide with a small portable battery. But in electret microphones, battery power is used quite often. Another area of application for batteries is models with wireless connections (see “Features/capabilities”), in which autonomous power is required at a minimu...m for the operation of the transmitter. In any case, the battery is convenient due to the absence of unnecessary wires. It, of course, needs to be recharged periodically, but the power consumption of microphones is usually low and the battery life even in the most modest models reaches several hours.

— Phantom/battery. Microphones of this type can operate either from phantom power or from their own built-in battery (for more details on both, see above). This makes them extremely versatile and can be used regardless of the presence of phantom power inputs or suitable adapters. However, it must be taken into account that the performance characteristics when using different power sources may vary slightly; this point is usually indicated in official data.

— Batteries. Powered by replaceable elements of a standard size - most often AA (“pen-AA batteries”). The main advantage of such microphones is the quick replacement of batteries when discharged. Batteries are usually not included in the package and must be purchased separately. However, this provides an advantage - the ability to independently choose the type and brand of replacement batteries.

Note that when connected via USB, the microphone receives the power required for operation through the same connector; For such models, the type of power supply is not separately indicated.

- Receiver. Receiver used on wireless models (see Features/Capabilities). The receiver, in essence, plays the role of a radio adapter: it connects to an amplifier or other audio equipment in the classic wired way and transmits the signal from the microphone to this equipment. For more information about the included receiver, see “Radio System”,

— Transmitter. A transmitter used in systems with a wireless connection (see “Functions/capabilities”), or more precisely, a transmitter designed as a separate device. Miniature microphones (primarily lavalier and headset) have this design, in which the housing dimensions do not allow the transmitter to be built directly into the device: the microphone is connected to an external transmitter using a wire, the latter is usually hung on the belt. The presence of a separate transmitter is usually a sign of a compact microphone; and one of the practical advantages of this design is that the microphone can be detached and connected to other equipment (not necessarily a transmitter).

— Monitor mount. A device for attaching a microphone to a computer monitor. For obvious reasons, it is used only in models for computers (see “Purpose”). This feature is especially useful in cases where there is very little free space on the table where the computer is located, or the microphone cannot be placed on the table in the optimal place. The mount can also be useful for working with a laptop, alt...hough specialized microphones are usually more convenient.

— Holder for stand. A mount in the form of a characteristic round cradle designed to place a microphone on a stand, tripod or other device. Used primarily with vocal and instrumental models (see “Purpose”), it allows you to quickly remove and install the microphone on a stand - which is useful, in particular, during concerts and other public performances. Holders are also sold separately, but buying a model with a complete mount is often more convenient - such a mount is optimally compatible with the microphone and does not require wasting time searching and selecting.

— Anti-shock suspension (“ spider ”). Special shock-absorbing suspension used with studio microphones (see “Purpose”); The slang name "spider" comes from its characteristic shape. The need to use such a suspension is due to the fact that on a regular stand, a microphone can experience various shocks and vibrations (from the operation of equipment nearby, from objects falling on the floor, and even from people’s steps), which create interference in the sound. “Spider” compensates for such shocks and reduces interference to almost zero; At the same time, a complete suspension is more convenient than one purchased separately due to the fact that it is, by definition, compatible with a microphone.

— Pop filter. Such a filter is a plate, usually round, installed in front of the microphone when working with voice - most often during recording; Accordingly, this function is used primarily with studio microphones (see “Purpose”). The protective screen allows sound to pass through well, but it blocks the flow of air that occurs during breathing - thus preventing the appearance of characteristic interference from “exhaling into the microphone.” Another purpose of pop filters is to protect against small splashes of saliva, which can cause corrosion and negatively affect the longevity of the microphone.

— Wind protection. The windscreen most often takes the form of a distinctive “tip,” usually foam, that fits over the microphone; at the same time, in miniature models (for example, head ones, see “Purpose”) the design may be different. However, in any case, the purpose of such devices corresponds to the name: to protect the microphone from exposure to intense air currents that can cause interference. Note that the matter is not limited to wind - a person’s breathing can also become a source of interference if the microphone is located close to the mouth.

— Detachable cable. The ability to detach the cable from the microphone not only makes storage and transportation easier, but also allows you to replace the supplied cable with another if circumstances require it (for example, to connect through a different interface, see above).

- Tripod. A tripod is essentially a portable tripod designed to mount a microphone on a table or other similar surface. This eliminates the need to hold the device in your hand or organize a stand “from scrap materials.” Such tripods are also sold separately, but it is usually more convenient to buy a set; For more details, see "Rack Holder".

- Power adapter. A device that allows you to supply a microphone of a condenser or electret type (see above) with the phantom power required for operation from a regular household 230 V outlet. Thanks to this, it becomes possible to connect the microphone even to tech amplifiers (receivers, players, etc.) that do not have phantom power inputs.

— Case/case. A case is usually called a container made of hard materials, while a cover is usually made of soft materials. The only key difference between them is the degree of protection - the cases are more shock-resistant. But the basic purpose is the same: storing and transporting a microphone in a case/cover is much more convenient than without such a device (in particular, because additional included accessories can usually also be placed inside).

— Charging case. A case is a case made of hard material that simultaneously plays the role of a charger. This feature is very popular in wireless models. The charging case usually has its own battery and the microphone (transmitter) and receiver are charged from this battery; This design provides additional convenience in several ways. Firstly, the case, in fact, also serves as a power bank - an autonomous power source; The capacity of such a “power bank” may vary, but it is usually enough for several full charges. Secondly, the ability to charge small microphones directly in the case reduces the risk of losing them. Thirdly, the charging procedure itself is quite convenient - you just need to connect the cable to the case.

Note that, in addition to the above, manufacturers may include other accessories in the kit - for example, separate clips for attaching lavalier microphones, battery chargers, cleaning wipes, etc.