Interesting read about Adk microphones

J

Jonkan

New member
ok, I just recieved an email from Larry Villella at ADK answering some questions I had about their microphones I thought you might enjoy reading (on top are my questions for reference). Im sure Larry doesn't mind me reposting it here (I also posted this on the 3audio's recording forum, but im shure you won't mind the double post?),
Jonas H

"-----Original Message-----
From: Jonas Hagberth [mailto:Instant_exit@home.se]
Sent: Wednesday, October 23, 2002 12:22 PM
To: info@adkmic.com
Subject: adk 51s and ST questions

Hi, Im currently looking around for some new condensers to buy for my studio and I have some questions about some of your microphones.


* What is improved upon in the a51s type 6 microphone comparing to older revisions? electronics?, capsule?, or what? * And also, What does it sound like, is it brighter, darker, "better", "worse", etc than the previous revisions? What change in sound does the type 6 bring?

* What are your window tolerances in sensitivity and frequency response unit from unit?

I also have some questions about the new 51ST microphone.

* How does it sound compared to the 51s in cardioid pattern?

* What vintage microphone does it try to emulate in tone?

* What are the 51ST specs? self noise, spl, freq curve, off axis response etc..

I've heard some really nice things about the a51 type 2,3, and 5...and I want to know how the sound of 51ST measures up to these microphones and the new type 6.

* How even are the sides in the fig8 pattern? I'm just a bit worried considering the difficulties making a good fig8 pattern from chinese capsules and electronics that I heard (from pretty reliable sources) can vary alot from unit to unit. How do you tackle this problem?

* Should i just get the 51s instead? Or can you honestly recommend the ST, both cost about the same here (I would much rather have one good pattern than three halfbad)

Thank you very much,

Jonas Hagberth
lousy house recordings."

reply from larry:

"Lots of good questions here! Let’s talk first about the evolution of the A-51 / A-51s Fixed Cardioid 1” Six Micron Class A.


Version II was an attempt to replicate the tone of Serial # 144 U-67. And apparently it succeeded in that (see Rob Shrock’s Review in EQ).

Version III was our first attempt to put Japanese Components with Chinese Capsule and Assembly. Same Curve, lower self noise.

Version IV was brought out as an alternative color. III was German-sounding / IV was Austrian-sounding. Nashville loved the III, LA the IV!

Version V was the first Modified Curve we attempted. C-12 / U-67 Blend. Everyone (Nashville to NY to LA) seemed to love this mic ! !

Version VI is an exact Sonic Replica of a V – but with additional Panasonic Components and a New Hemi-Head Grille. Delivery early Nov.


So you can see that we have been trying for going on five years to have our U.S. Engineers and Musicians be the driver in constant upgrades!


Our Gold Quadrangle of nearly a dozen beta testers did a recent mic shoot-out. U-87, TLM-103, 414, A-T, Rode, etc etc. And Three ADK’s:

Area 51 TT Multi-Tube, New ST and New Series 6 A-51s. According to our golden ear beta guys, the ADK came in 1,2,3 (TT, ST, S).

Focusrite Platinum Series Pre, Guitar and Vocals as Sound Sources. We were certainly pleased! But in blind listening tests for a number of years people have picked an A-51 thru an $99 ART Pre-Amp over a Stephen Paul Custom U-87 thru an Avalon 737. We have performed this test on hundreds of people! So how does a $250 (street price) mic thru a hundred dollar pre sound better than a custom $4000 mic thru a $2000 pre??? (The ’67 trumps the ’87 is the quick answer – the ’87 is more nasal, the ’67 more round-toned). And these listeners haven’t been just aging metal band members. Some of the industry icons have done this test and just plain flipped out. We don’t want to over-state the case, but if Lennie Kravitz and Manhattan Transfer use ADK, it’s not about the price of the mics – Sir Elton isn’t exactly shopping for bargains!!!!!


Ref: the ST. This mic, like the new Series Six, is barely out of Beta. So we have done the ear tests. What we haven’t done is our trip into Westlake Audio for Spectrum Analysis, etc. Specs will be forthcoming, but the Specs for the “S” and “ST” will be similar in Cardioid.


We will have B&K System Spectrum Analyzed Matched Pairs of the Model ST. One of the issues (for me) has been that you cannot seem to get a matched pair in all three patterns without tremendous amounts of extra effort. We guarantee less than 2 dB (typically less than 1 dB !) from 20 to 20 K Hz on our matched pairs – IN CARDIOID. But getting matched pairs to also match that closely in all three patterns is a tough one.


So if this means that “capsule matching” is not perfect in the Neumann sense of the word (back to front capsule) – I’d have to say “yes” there are small inconsistencies. That being said, the ST has a Great Sound in all three patterns. The Bluegrass guys love the Omni for “Point Source”.

The ST seems to love the human voice – and, for my money, covers Male Vocals as well as Female (whereas the “S” favors the ladies and tenor male voices). Again, the ultimate Pure Vocal Mics are still our TC and TT Tube mics, but both the S and ST are serious vocal microphones, too.


The best ST feature in figure 8 – for me – is on certain male voices, and especially broadcast voice talent. It gives you that Barry White / James Earl Jones quality. Very deep-chested. Extreme Bass Proximity Boost. Again, critical advance mic technique tests are ongoing. But our beta group liked the ST so well that eight members actually placed orders for a personal matched pairs of ST. All Thumbs Up on this new model!!


If you are going to do advance recording technique, M/S Blumlein, or Decca tree, then we would actually recommend our Orchestral Mic – the Model TL. This is from our Audiophile Series – a 1.06” 3 micron / Four Polar Pattern Transformerless Class A F.E.T. designed for critical recordings. The Tampa Symphony, Livermore Symphony, as well as a half dozen other Orchestras and Pops Orchestras have been using these mics with great success. The “T” Series is our Top-of-the-Line, and the capsule consistency is, along with the electronics, built to more exacting standards. So For Close Vocals – the S / ST / or one of our Six Micron Tube Mics would be preferred. For Ensemble Recordings, I prefer the TL (Jaci Velasquez and Kathy Mattea both tour with this mic and use them on horns and strings and guitars and so on).

So in the real world of microphone design, the challenge to make more “refined” transducers at affordable prices means that there are degrees of exactness that only higher cost components can solve. Our model S is a runaway best seller, but the ST has a little more “extended” response that makes it better for baritone and bass male voice. And the T Series do have a bit higher quality everything – but, again, we design mics to be APPLICATIONS SPECIFIC, so while I like the TL better for Orchestral Recordings (Vanessa Williams / Oprah Winfrey’s new Feature length film was almost entirely recorded on “S” / TL / and TT Model ADK’s). However, the Six Micron S (or TC / TT) are better suited for Vocals.


Did this long-winded email help??? I am available today until about 2:30 PM P.D.T to discuss this on the phone.

Respectfully,

Larry J. Villella, ADK"

He sure seems like a helpful guy, being very willing to answer my questions over the phone and all. A good customer service is always nice.
Well, I hope you got something out of this reading, I sure did. Im probaby getting the 51ST, since it costs about the same here as a 51s. Perhaps I might buy an SP C1, but I think I like the ST versatility more. Or should i get the a51s? Or all of them hehe! (man i have g.a.s)
It'll mostly be used for a "medium bright" voice who benefits from some proximity effect and mostly sings in the middle range, but sometimes a little bit higher (you can listen to the voice here: http://figuresfromhere.iuma.com
So, whaddaya think?
/Jonas H
 
I have a line on regular type III and Type V with shockmounts, brand new unused that I can ship to you for $155 even. I might make about $3 off of that if shipping is cheaper, but get over it its a killer price.
He has I think 2 more Type III and two more Type V. I suggest getting one of each. I think I am going with a Type III myself. I am picking one up fpr me, one for someone else, here in the next few days, so if you want one, let me know right away.
Here is a second email I got from them:

ADK’s entire premise is based upon the following facts:

The founders of ADK have been collecting Vintage European Microphones for over 30 years. The founders of ADK are both Musician’s and Engineers. Not to toot our own horn here (it took my associates three years to convince me to put my “credentials” up on the web site!) but

go to the About Us page and you will discover that ADK is Totally Run by End Users! http://www.adkmic.com/


So when we say it sounds like a U-67 – Serial # 0144 to be exact!

And if that isn’t enough to convince you, read Rob Shrock’s 1999 Review. “I was reminded of a U-67.” Rob is a well respected producer and engineer and happens to be Burt Bacharach’s Music Director. We deliver the sonic signature of some of the great mics!! Forget the price!

Many people complain that we don’t charge enough – that folks don’t take us seriously enough because of our great prices! (So it goes).


Type III are rare in the market. Nashville loved the III, LA wasn’t so keen on it. IV did ok in LA, but Nashville didn’t like it.

Type V are the current model being sold. It seems that LA and Nashville both agreed on this model!

In a nutshell:


The III used a pure U-67 curve (hence the Review)

The IV used a C-12 curve.

The Type V actually blends both of these curves. More Air than the ’67, but smoother than the C-12.

Our beta group – all 11 of them from Atlanta to LA, Seattle, Nashville and NY – were unanimously in favor of the Type V.


As for consistency, it is typically within 2 dB for each production run. However, we do offer B&K System Spectrum Analyzed Matched Pairs – the model “LE” – Limited Edition Silver (or as Ziggy Marley dubbed them: the Silver Bullets). Guaranteed less than 2 dB – and Many WELL UNDER 1 dB from 20 to 20K Hz. About half of the last 24 matched pairs were within 0.2 dB at 1000 Hz. It’s a matter of how close you need it.

Smokey, dark, mellow: these are the way that I would describe the U-47 and to a less extent the U-67. With the Type V ADK you get just a bit more ‘sparkle’ in the upper mids than a ‘67, without the Harshness associated with the Austrian mics (414 / C-12 / etc).


And as any seasoned engineer will tell you, it’s easier pull down too much presence with a little broadband attenuation, then it is to push up these frequencies and get all the attendant thermal (self) noise that comes along with any high end boost!


So did I answer all your questions? I have been working 7 days a week since before the AES show, so I have had little sleep lately!

If I missed any important points, please let me know!



If we don’t have the market share of some of the other companies that have gotten into the microphone business in the past few years,

it’s because we are not businessmen: we are actual End Users. So we don’t play the Hype Game. We let our Artists speak for us!


As we enter our fifth year of service to the Pro Audio Industry, we continue to put Artist Satisfaction ahead of the bottom line. Our bottom line is this: if ADK the right Paintbrush for your creative use, then we both win! Which is why there are nearly a dozen “flavors” of ADK mics out there!

Finding the right one for your applications – this requires making sure we know what these actual applications are going to be.



One of our Tube Mics replicates the Vintage C-12. One of our Tube Mics is Very Telefunken-Toned. One of our Orchestral Mics has a pure Shoeps Curve. The Type V is – again – the C-12 / U-67 Blend. So it’s a matter of finding the right Flavor/Color for YOUR needs!



Let me know a little more about your specific applications! And Thanks!!



Respectfully,



Larry J. Villella, Pres. ADK Microphones



Let me know if you want one, quickly.
 
Oh, and if you want one, email me directly at musikaldude@aol.com this is a one time offer and I'm not going after them again once I pick mine up.
if you decide you want one, you need to send a check pretty quickly so it can clear 1st. I'll let you paypal me if you pay the paypal charges, which would be about $5 I think.
 
Tube-

We had this conversation before, but for the sake of everyone else...

I've got a sequential pair of the Type III's, and, while not knowing that they were patterned after the U-67, have ended up using them in quite a few applications. They're nice...

PS...I didn't forget about posting the clip I promised, Tube. I was out of town for a couple of days. It'll probably happen over the weekend.
 
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