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美国 Recordinghacks 关于 Aseyer D36B 和 L36B 话筒的评测

官方新闻稿 添加于 2011-10-25 ·

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共有 51 条评论
Aseyer公司出品的高级电容麦克风一直备受国内外广大用户的关注,这是来自美国recordinghacks对该公司产品L36B、D36B电容话筒的最新评测。作者Tony SanFilippo是位于伊利诺斯州布卢明顿市(Bloomington)的Oxide Lounge Recording工作室的总录音师,制作人及老板。他为专业音频杂志Tape Op Magazine 和很多专业音频网站撰稿。下面全文转载该文,英文附后。大家也可直接登录recordinghacks网站浏览

MATT问我愿不愿意试用几支来自一间叫做ASEYER的公司的麦克风,并写一写我的感受。我之前从未听说过他们,不过我觉得不能因此就拒绝把他们插上,听听它们的声音。

当我收到这些话筒的时候,发现他们的外形并没有经过特别的设计,用的就是市场上可以买到那些的外壳。我对这些毫不觉得意外,也并不觉得有什么大不 了。我宁愿一个话筒制造商更注重他们产品的内在品质而不是外观。L36B是圆筒形的,从网罩到外壳都是一般粗,看起来有点像纽曼的FET 47经过了少许的抛光之后似的,外壳上蚀刻了“EYE”的LOGO,看上去很漂亮,只是觉得体型有点大了。D36B有着锥型的外壳和网罩,外表经过糙面精 整的处理。好吧,好吧,我知道啦,说重点……

那么,它们听起来如何呢?答案是非常好!通常我拿到了麦克风以后所做的第一件事就是用他们来录我的套鼓,由我亲自来演奏。我打了一辈子鼓,我知道它 们听起来应该是什么样的。所以当我用麦克风来录了之后再回听,就能对所测试的麦克风的品质了解一二了。这一次当我将这两支麦克风的声音一起回听的时候,我觉得那声音棒极了。这两款麦克风一起可以组成非常棒的架到鼓的上方的录音话筒(overhead)。而当我分别听这两支话筒的声音的时候,它们之间的差别 很明显。L36B的中低频非常好,在高频的部分声音清晰、优美。在中频的偏高部分有一个弯,这让声音避免了过分刺耳的感觉。低频的部分非常的干净。相比较 而言,D36B的中频的偏高的部分相比中频的偏低的部分少了一些温暖的感觉,高频较明亮。可能就是因为这两款话筒的这些不同才让我那么喜欢他们两个一起回 放的时候的声音。

我第一次真正用他们来录制作品是和Patrick Jenkins一起录一个吉他独奏加人声,我正在和他一起制作一个专辑。他是一个很好的歌手,可是却算不上是一个很棒的吉他手。这次录的这首歌的构想是只有吉他和人声,可能会再加上一点和声。

我知道因此我要录一个立体的吉他声和一些房间的声音。为了录房间的声音,我用了D36B,我希望可以用它录进一些环境音,就算是在混音后听起来并不 明显。当我搭环境的时候我发现我应该用L36B录人声。两支麦克风的表现都非常好。L36B录制的人声音调平稳,D36B录到的环境音恰如其分。录和声的 时候我们希望更随意、更有趣一些,我让他站在原地不要动,但是只用D36B来录这一轨,麦克风和歌手之间的距离使得录下来的声音有一种很奇妙的怪异的感 觉,让人想起Bruce Springsteen的Nebraska。

稍后我们在录制一段福音音乐的时候又把D36B用作close room mic录鼓。这个鼓手的特点是军鼓的声音很紧,鼓点清晰。我把麦克风放在军鼓的高度,离开4英尺,得到了非常结实的整个鼓组的声音。我之前和他们合作过, 所以后来我和乐队的全部成员还有5 个歌手一起进行调试。我让基调和低音部进入一部小的PA,歌手们并不对着麦克风演唱,吉他手在过道里演奏,房门开着。D36B心型指向的背面对着PA的扬 声器,尽管它离扬声器只有18英寸,也不觉得收到的声音太大。

我录了一次之后,把L36B架起来放在歌手的前面,不过和预期的一样,因为环境音太大,结果是声音听起来只是一个房间麦克风(room mic)不小心录进了人声。不过,后来当我们切割人声,用杂音过滤布把主唱歌手和背景音乐分开的时候,发现L36B录进的主唱声音非常好,D36B录的伴 唱也不错。想再说一下的是,L36B(比较贵的那支)在录女声的时候在很宽的音域里的声音都很平稳。对于声音没有任何的修饰、染色,忠实地还原了声音。 D36B的音质有点薄,用来录伴唱很合适,可以让他们的声音不至于盖过主唱的声音,尽管她们有四个人同时演唱。

总而言之,我觉得这两款都是相当不错的话筒。价位较低的D36B挺好,可惜没有什么个性特点。而L36B,在我看来,经过时间的验证,最终你将会发现买它是一个明智的决定。


附英文原文:

Aseyer Mic Review: D36B and L36B

Thursday, October 13th, 2011 | by Tony SanFilippo

So, Matt asked me if I’d be willing to review some microphones from a company called Aseyer. I had never heard of them, but why would that stop me from plugging them in to see how they sound?

When the mics arrived they seemed to be made from “off the shelf” bodies. This wasn’t a huge surprise or concern of mine. I’d rather a company focus on what’s inside the mic than on its casing. The L36B is round with a non-tapering body and looks vaguely like a slightly polished FET47 with the catching ‘eye’ logo etched into the metal that looks quite nice, if a little large. The D36B Pro has a tapered body and grill and a matte finish. Yea, yea I know, move on…

So, how do they sound? The answer is pretty good. Often when I get mics the first thing I do is put them over my drum set, and record myself playing. I’m a lifelong drummer so I know what sound will be produced and I can often get a feel for a mic after listening to playback. When I heard these tracks together I thought the sound was really great. These two mics make one excellent overhead. When I listened to each individually the differences were quite striking. The L36B has a really nice low mid, good articulation and nice sound in the top end. There’s a slight scoop in the upper mids, which keeps it from getting too harsh. The low was fairly clean. The D36B, on the other hand, is much more upper-mid-forward with less of the low-mid warmth, and a brighter top. These differences are probably why I enjoyed the sound of the two mics together.

My first use of the mics in an actual session was a solo acoustic guitar and vocal, with Patrick Jenkins, an artist I’ve been slowly chipping away on a record with. He’s a very good singer and writer, but not a ‘fancy’ guitarist. This particular song was designed to be just guitar and vocal, maybe with a harmony.

I knew that I’d want stereo guitar and some room sound. For the room I used the D36B, thinking that I’d be able to capture the ambience, even if it is low in the mix. I figured while I was at it I’d put the L36B on the vocal. Both mics did quite well. The L36B has a very even tonality on vocals and the D36B worked really well for some room splash. For the harmony vocal we wanted something more based in feel, and more interesting. I had Patrick stay where he was, but I only used the room mic to record the track. The distance and sound of the mic gave it a very cool, eerie feeling, reminiscent of Bruce Springsteen’s Nebraska.

A little while later I used the D36B as a close room mic on drums for a gospel session. The drummer had a pretty tight snare sound, and nice articulation. I put the mic at snare height about 4 feet from the drum, and got a really nice hard sound of the full drum-set. I’ve worked with this group before and we end up workshopping [read: learning] the tunes with the full band and five singers. I have keys and bass going through a small PA, the singers singing without mics, and the guitar in the hall, with the door open. I pointed the D36B’s null at the PA speaker, and had no issues with bleed being too loud, even though the mic was only 18 inches from the speaker.

I put the L36B up in front of the singers after a take, but as expected there was just too much sound in the room to hear it as anything but a room mic with vocal bleed. BUT, when it came time to cut vocals, with the lead singer and the backgrounds separated by a gobo, the L36B sounded really nice on the lead vocal, and the D36B worked fine for the backing vocals. Again the L36B (the more expensive mic) sounded very even on a female singer with a wide range. It’s not a color mic by any stretch, but a solid performer. The D36B being thinner in tone worked well for backing vocals, helping them not take over the lead, even though four ladies were singing into it at once.

All in all I think these are pretty decent mics. The less expensive D36B is useful, but far from special. The L36B seems like a mic that would, in time, prove to be a pretty smart purchase.

Tony SanFilippo is the owner and chief engineer and producer at Oxide Lounge Recording in Bloomington, IL. He has written for Tape Op Magazine and numerous web publications.

关于Tony SanFilippo

Tony SanFilippo is the owner and chief engineer and producer at Oxide Lounge Recording in Bloomington IL. He has written for Tape Op Magazine and numerous web publications.
He’s a lifelong musician, starting with drumsticks and practice pad when he was just 3. He holds a degree in Music from Northern Illinois University and has been making records for fifteen years. He started his professional engineering career at Shiny On Top Records where he was chief engineer and studio manager. He spent almost six years there until the owner decided it was time to move on. SanFilippo bought out his boss and opened the Oxide Lounge.
SanFilippo has recorded hundreds of projects ranging from Rock to Jazz, Classical to Hip-Hop. His client list includes Kenny Rogers, Backyard Tire Fire, Dan Hubbard and the Humidors, Chicago Farmer and many others.

Tony SanFilippo是位于伊利诺斯州布卢明顿市(Bloomington)的Oxide Lounge Recording工作室的总录音师,制作人,也是那儿的老板。他为专业音频杂志Tape Op Magazine 和很多专业音频网站撰稿。

Tony SanFilippo一生都致力于音乐事业。他从3岁的时候就开始接触鼓槌和哑鼓,他拥有北伊利诺斯州立大学的音乐表演专业学位,从事录音和唱片制作已经 有15年了。他专业录音师的生涯开始于Shiny On Top Records工作室,他在那儿担任总录音师和工作室的经理。他在那工作了大概六年之后,他的老板决定转做其他行业,于是Tony SanFilippo从他的老板手里买下的这间工作室,改名为Oxide Lounge。

Tony SanFilippo制作过几百张各种风格的专辑,从摇滚,到爵士,从古典到Hip-Hop。他的顾客有很多,其中有:Kenny Rogers, Backyard Tire Fire, Dan Hubbard and the Humidors, Chicago Farmer等等。

关于Oxide Lounge Recording

Oxide Lounge Recording is designed to be a great sounding comfortable, creative atmosphere, featuring the 14-foot ceilings, wood floors and comfy couches, convenient load in, and enough gear to sink a battle ship. Nestled in Downtown Bloomington around the corner from first class dining, antique and specialty shops, neighborhood bars and only two blocks from the historic Castle Theater, it’s the perfect place to make a record.

Oxide Lounge Recording工作室的设计给人以听感舒适,和充满创作灵感的氛围。这体现在它从14英尺高的屋顶,到木质地板,舒服的沙发,便捷的服务,还有大量可用的设备。

它位于布卢明顿市(Bloomington)市中心,与那里最好的食肆、专卖店、古董店、酒吧比邻而居,离历史悠久的城堡剧院(Castle Theater)也只有两个街口的距离。是您制作录音专辑的完美选择。

关于Recordinghacks:
RecordingHacks is an online magazine about recording gear and techniques, a microphone database and search engine, a directory of commercial mic modders, and the official home of the Tape Op Mic Review Archive.

Recordinghacks是一个关于音频设备、录音技术、麦克风数据和资料的网上杂志和搜索引擎。是一个麦克风制造商的名录,也是收录了全部Tape Op Magazine上关于麦克风的评测文章的官方档案馆。

关于马特:
Matt Mcglynn is the founder of what is arguably the best microphone website in the world, RecordingHacks.com. He is a lifelong technologist with a super-power of making order out of chaos and an unhealthy fascination with professional audio gear.

Matt Mcglynn是www.recordinghacks.com网站的创办人。这个网站可能是世界上最好的关于麦克风的网站。他是一个技术专家,有着让繁杂的事务变得有秩序的超能力,并且对于专业音频设备有着近乎痴狂的迷恋。


共有 51 条评论

  • 2012-05-28 匿名

    回复:破产了是什么意思?是指ASEYER企业吗?好像没有,这样的心态不正常,国内发展好对我们没有什么坏处,人家发展好得很呀。

    最近在北京展会上见到了ASEYER的设计师,人很随和,技术绝对牛逼,CRZ系列音头展示了其非凡的研发能力,未来可期。衷心祝福。

    牛  NB终于破产了
  • 2012-05-03 匿名
    在北京体验了一下L36B,音质表现绝对超乎想象。顶一下ASEYER厂家,老外给好评也是不容易的,好像比国人还要爱国一点。哈哈哈
  • 2012-02-29 匿名
    牛  NB终于破产了
  • 2012-02-26 匿名

    Tony SanFilippo,在美国也绝对是录音界的超级牛人,为很多国际录音界顶级专栏写评测,能让他为之操刀的东东,绝对不会是一般的。看来ASEYER的L36B和D36B还真不是凡物。牛

  • 2012-02-26 匿名

    这好像是老美Recordinghacks对中国LOGO麦克风(ASEYER)的最高评价。不容易,顶

  • 2011-11-06 匿名

    前天刚入手一对L36B,比想象的好。看来老美做测评还是比较可信的。尤其是这个Tony SanFilippo,上网查了一下,应该算是一个大师级的。

  • 2011-11-05 匿名

    如果信噪比=100 dB-A, 那么等效噪声= 94-100 = -6dB-A.
    但那L36B的狗屎规格书上却说等效噪声级 : 11 dB-A

    如果最大声压级 138dB SPL, 同时动态 134 dB, 那么噪声级应该是 138-134 = 4 dB SPL.
    但那L36B的狗屎规格书上却说等效噪声级 : 11 dB-A

  • 2011-11-05 匿名
    回复:没错,仔细看了下,Tony SanFilippo先生的网名恰恰不叫这个,此鬼在这里撒谎被人戳穿,马上冒充Tony SanFilippo去国外论坛发帖,不想弄巧成拙,被人家当场质问。真是丢国人的脸丢大了。
    回复:此人看来真的有点圣经病,而且病得不轻。冒充TONY并且在国外论坛上被真的老外TONY质问,丢死人啦。何必呢,为了一个国产麦克风,洋相出到国外去了。唉,真是丑陋的中国人。
  • 2011-11-05 匿名

    回复:是你自己今天下午刚到老外论坛上去发的吧,可惜撒谎的技巧很差,我要是说谎当面被人家戳穿,早跳楼去了,好不贻笑大方,看来你脸皮真的很厚。

    且不说大眼睛ASEYER的L36B如何(你用过吗?可以把那些有噪音的样音放给大家听听嘛),本人从头到尾看一遍,基本也了解事实了。我不知道recordinghacks的权威性如何,但我知道在美国不是什么事都可以花钱搞定的。现在他们也只是评价了两款来自ASEYERE的中国麦L36B和D36B,各持见解而已(但老外认真客观的精神可嘉)。你不骄傲也可以,又何必气急败坏呢?其实本来挺同情你的(如果我没有记错的话,你好像和大眼睛ASEYER纠缠很久了,在AUDiOBAR上被人吐得满脸,好呕心),今天看你如此发作,难怪人家说你。真不知你们之间有什么深仇大恨,只是劝你不要再污染论坛环境了,更不要自己气坏了,为别人的产品,可笑不可笑呀!怎么感觉你尽在为别人做广告,当吹鼓手。你傻不傻呀。唉,这年头哟

  • 2011-11-05 匿名
    回复:此人看来真的有点圣经病,而且病得不轻。冒充TONY并且在国外论坛上被真的老外TONY质问,丢死人啦。何必呢,为了一个国产麦克风,洋相出到国外去了。唉,真是丑陋的中国人。
  • 2011-11-05 匿名

    比较厉害

    NB被吹得比牛身子粗 比较有肺活量

  • 2011-11-05 匿名

    没有办法

    这年代,

    吹牛并不可怕,但是千万不要把NB吹破了, 如果你把NB吹破了,那就弄得你满脸的液体

    吹噪声低啊,动态大啊,都可以,但必须在国家规定的范围内,超过那个范围,就是自己跟天下人宣布自己在吹NB,而且吹破了。

  • 2011-11-05 匿名

    这里也有一个

    http://homerecordingmasters.com/News/introducing-the-aseyer-l36b/comment-page-1/#comment-1365

    最后的结论是 shit 话筒的生产者 连简单的加减算术题都不会

  • 2011-11-05 匿名
  • 2011-11-05 匿名

    如果信噪比=100 dB-A, 那么等效噪声= 94-100 = -6dB-A.
    但那L36B的狗屎规格书上却说等效噪声级 : 11 dB-A

    如果最大声压级 138dB SPL, 同时动态 134 dB, 那么噪声级应该是 138-134 = 4 dB SPL.
    但那L36B的狗屎规格书上却说等效噪声级 : 11 dB-A

  • 2011-11-05 匿名
    回复:前面听圈内人说,此“鬼”被大眼睛ASEYER气得吐血垂危,差点一命呜呼,所以好长时间不见出来骂人了,想不到又“过来”了。偶原来不相信三国演义,现在不能不信了:既生瑜何生亮!哈哈哈,可以传为麦话界的奇谈!
    回复:这是鬼子的评论吗?怎么找了半天没有看见。什么人在这里胡编,活见鬼了。
  • 2011-11-05 匿名
    回复:这是鬼子的评论吗?怎么找了半天没有看见。什么人在这里胡编,活见鬼了。

    翻译一下鬼子的评论:

    KIM 评论
    时间  2011年11月4日 8:52 上午
    很遗憾,你这个家伙一点都不懂麦克风,居然敢写麦克风的评论。
    你这家伙在给一个麦克风作评论前,至少得看看厂家的说明书吧?(不会只要钱,连样品都不要就写狗屁评论吧?)
    很显然的,说明书上写着 信噪比100dB,噪声11dB,你这家伙见到过世界上哪个录音话筒的信噪比能达到100dB?
    SB 一个。


    KIM 评论
    时间 2011年11月4日  9:05 上午
    L36B的规格书上很显然写着:
    信噪比=100dB (-A)
    等效噪声 : 11 dB (-A).
    动态 : 134dB
    最大声压级: 138 dB (SPL).

    如果信噪比=100 dB-A, 那么等效噪声= 94-100 = -6dB-A.
    但那L36B的狗屎规格书上却说等效噪声级 : 11 dB-A

    如果最大声压级 138dB SPL, 同时动态 134 dB, 那么噪声级应该是 138-134 = 4 dB SPL.
    但那L36B的狗屎规格书上却说等效噪声级 : 11 dB-A

    所以,你这无耻的家伙应该知道了吧,那个所谓的“厂家” 对于话筒技术是一窍不通的。

    你这家伙却为了免费的垃圾话筒,无聊的去写啥评论,也变成了 SB

  • 2011-11-05 匿名
    回复:你的讲话很“风趣”,感觉不像人说的,至更不像是中国人说的。你到底是什么东西呢?

    哈 更加有意思的是 中国的"SB"居然都到鬼子网站上了

     

  • 2011-11-05 匿名

    翻译一下鬼子的评论:

    KIM 评论
    时间  2011年11月4日 8:52 上午
    很遗憾,你这个家伙一点都不懂麦克风,居然敢写麦克风的评论。
    你这家伙在给一个麦克风作评论前,至少得看看厂家的说明书吧?(不会只要钱,连样品都不要就写狗屁评论吧?)
    很显然的,说明书上写着 信噪比100dB,噪声11dB,你这家伙见到过世界上哪个录音话筒的信噪比能达到100dB?
    SB 一个。


    KIM 评论
    时间 2011年11月4日  9:05 上午
    L36B的规格书上很显然写着:
    信噪比=100dB (-A)
    等效噪声 : 11 dB (-A).
    动态 : 134dB
    最大声压级: 138 dB (SPL).

    如果信噪比=100 dB-A, 那么等效噪声= 94-100 = -6dB-A.
    但那L36B的狗屎规格书上却说等效噪声级 : 11 dB-A

    如果最大声压级 138dB SPL, 同时动态 134 dB, 那么噪声级应该是 138-134 = 4 dB SPL.
    但那L36B的狗屎规格书上却说等效噪声级 : 11 dB-A

    所以,你这无耻的家伙应该知道了吧,那个所谓的“厂家” 对于话筒技术是一窍不通的。

    你这家伙却为了免费的垃圾话筒,无聊的去写啥评论,也变成了 SB

  • 2011-11-05 匿名
    1. KIM

      Your comment is being moderated.

      November 4th, 2011 at 8:52 am

      http://recordinghacks.com/2011/10/13/aseyer-d36b-l36b-review/

      it is a pity you guys almost know nothing about microphones, how can you guys post reviews..
      before you guys did review. you could have got the specification sheet from the “manufacturer”.
      it is said on the specification sheet of the L36B microphone: S/N 100dB, equivelend noise level 11dB. have you guys even saw any recording microphone in the word can reach 100dB S/N?

      SB…

    2. KIM

      Your comment is being moderated.

      November 4th, 2011 at 9:05 am

      http://recordinghacks.com/2011/10/13/aseyer-d36b-l36b-review/
      on the specification sheet of L36B ? it is said:
      S/N=100dB (-A)
      equivalent noise level : 11 dB (-A).
      dynamic range : 134dB
      Max. SPL: 138 dB (SPL).

      if S/N=100 dB-A, then equivalent noise level could be 94-100 = -6dB-A.
      but on the specifications sheet, it says : 11 dB-A

      if Max. SPL is 138dB SPL, and dynamic range is 134 dB, then the noise level could be 138-134 = 4 dB SPL.
      but on the specifications sheet, it says : 11 dB-A

      so you can see that the “manufacturer ” know nothing about microphone.

      so you guys and the “manufacturer ” are both bitch.