T.H.E Microphones

DAVE MARTIN studio tests several new microphones from T.H.E., and finds some transducers he doesn't want to part with.

Innovative microphone manufacturer T.H.E. (acronym standing for Taylor Hohendahl Engineering) has introduced a brand new microphone system, based on a single microphone body - the KA-04. The KA-04 microphone preamplifier, when joined by T.H.E's varied half-inch and large-diaphragm mic capsules, makes for a diverse and very able microphone series.

Designed by Andy Hohendahl, the KA-04 microphone preamplifier is a solid state transformerless preamplifier built from high quality components, including metal film resistors and polyester capacitors. The output impedance of the pre is less than 90 Ohms, and it draws 2.5Ma of current. The equivalent self-noise of the preamp is less than 2 µV RMS, and the dynamic range of the body exceeds 132dB.

Along with the KA-04 body, three capsules including a free field omni (KR-1F), a cardioid (KR-2C) and a hypercardioid (KR-3H) are available. In addition, T.H.E. has come up with a wide cardioid pattern, the KR-2W, as well as the KR-1D, a diffuse field omni capsule. Besides the small diaphragm capsules, T.H.E. also has two large diaphragm capsules available - the KR25A capsule and the KR-33A capsule. The numbers are represent the diaphragm size measured in millimeters.

Other microphones in T.H.E.'s product line include a couple of different reference/calibration microphones as well as the BS-3D binaural sphere (all of which will be reviewed in upcoming issues of Audio Media).

Impressions

I had the opportunity to work with a couple of KA-04 bodies, the two large diaphragm capsules and three of the small diameter capsules - the KR-1D, KR-2C and KR-3H - for a few weeks. My first impression of the microphone (whichever capsule was attached) was that these are enormously quiet mics. A look at the specs seem to confirm this impression - the published specs concerning the self-noise of T.H.E. mics (with any of the capsules) are better than either Neumann's KM-184 or AKG's 480/CK61 combination.

While I'm on the subject of the microphone body, I should add that T.H.E. beautifully balanced the desire to have a certain heft to the mic (so that it feels like a valuable tool rather than a trinket) with a very real need to minimize excess weight (important when using the full reach of an inexpensive boom stand). The KA-04 with a small diaphragm capsule is a little smaller than a typical small diaphragm mic such as a Shure SM-81 or an AKG 460, yet it feels more solid. The supplied mic clip is made of plastic, but has a thumbscrew, which allows the angle of the microphone to be locked into position.

The small-diaphragm cardioid and hypercardioid capsules seemed to be variations on a theme. I found them to be very smooth and natural, with no harshness or anomalies in response. The overall tone of the two capsules was similar, with the hyper having a more pronounced proximity response. The KR-1D, however, seemed to have a bit of a high-end boost when used in close proximity to the signal source. This is part of the nature of diffuse field omni's - they are voiced to have a reasonably flat frequency response when used at a distance. Since air absorbs high frequencies, diffuse field mics have what appears to be a high end bump in the frequency response curve to compensate for this absorption (frequency response graphs are typically done in the close field.) When used either in situations where I wanted to include the ambience of the room in the recording, or when I wanted to hear a bit more of the high end of the instrument, the KR-1D capsule worked very well. I would suggest that the KA-04 body with any (or all) of the small-diaphragm capsules would be welcome additions to even a reasonably comprehensive mic locker.

The large diaphragm capsules are what immediately engage your attention when opening the box, as well they should. The KR-25A is a one-inch capsule, while the KR33A is an inch and a quarter in diameter. These capsules have gold colored mesh on the business side and chrome on the other side, with the model number and polar pattern silkscreened on the top of the capsule.

Lollipop mics aren't all that unusual (though not particularly common in modern microphones), but they do catch the eye (my wife said they looked 'cute'). T.H.E.'s design approach - putting a large diaphragm mic onto a small microphone body - has some advantages. One of the biggest is that reflections from the body don't interfere with sound entering the capsule.

The smaller capsule, the KR-25A, has a maximum dynamic range of 140dB, while the larger KR-33A can handle up to 136dB.

In Use

After using this microphone system daily for a month, I can safely say that all of the capsules are eminently useful, and a couple may have become necessities. The KR-1D, the diffuse omni capsule worked very well as an ambient mic 10-15 feet from a drum set, as well across the room from a vocal group. As I mentioned earlier, I also liked it in a close-up situation, on instruments where I needed to avoid any proximity effect (for instance, when recording autoharp or a baby Taylor guitar). The cardioid capsule was more of a general use capsule, which I used on percussion, acoustic guitars and for spot miking a drum set. The hypercardioid capsule was more of the same, though I was able to take advantage of the small size of the body and use it both on the top and bottom of a snare.

I found that the two large-diaphragm capsules seem to have distinctly different personalities. The larger 33mm capsule seemed darker than the 25mm to my ears, though I'm not certain whether that was because the high frequencies were attenuated or if it was simply that the low frequencies were more emphasized. But on male voices - especially baritones - the 33mm capsule was full and rich. That was the a great strength with the larger capsule: it added a nice fullness to those sources that either needed a little help on the low end, or those where I simply wanted to avoid harshness. I found the 33mm capsule to work especially well on classical guitar, tenor sax and harmonica.

The 25mm capsule quickly became a favorite as a general acoustic instrument mic. Guitars, banjo, dobro and especially mandolin sounded great. The mandolin player said that it was probably the best mic that she'd ever heard used on her instrument. Like most engineers, I tend to assign microphones to default positions in a session: mic A for acoustic, mic B for kick drum, etc. I tend to set the same mics up for specific instruments because I know that they'll work well. With that philosophy, the T.H.E. mic with the 25mm capsule would be worth buying just to use on mandolin and dobro.

Summation

If I were going to complain about something, it would be this: neither the brochure nor the T.H.E. web site offer any sort of polar pattern or frequency response graphs. I find these charts to be a very useful starting place when trying to decide whether or not to order something. With a product like T.H.E. microphones, which are not available at every corner store, that sort of information is very helpful.

Other than that comment - which isn't germane to the sound of the mics - I have no complaints. T.H.E. microphones sound great, are extremely versatile and offer good value. At a time where the trend in microphone manufacturing seems to be based on how cheap a product can be made, it's nice to see that some folks are still spending their time and energy seeing how good they can make it sound.