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Photo: Mike Cameron

Three new large-diaphragm mics from MXL include a model which attempts to recreate the sound of valves using solid-state technology.

Serum crack mac 2018. MXL mics are built in China, but their body designs and finishes are quite distinctive and their circuitry is optimised especially for each model. Under review this month are three of their new large-diaphragm mics: the new V6, with its intriguing Silicon Valve technology, the 990, and the 992.

By contrast with the V6, the MXL 990 is a more conventional mic, albeit with a short body, giving it a somewhat stubby profile. Most of the mic comprises the basket, with the electronics and connector occupying around one third of the length of the mic. SKU: MX-990 Category: Complete Control Tag: mx990 Eliminate the need for multiple remotes in to control. Your home theater. Our top of the Complete Control lineup of universal remotes, the MX-990 is a versatile programmable universal remote that provides single-room IR control - TV, A/V components, cable and satellite boxes.

Silicone Valve Technology

Their V6 is slightly unusual insomuch as the California-based design team have deliberately sought to create a classic valve-mic sound using solid-state circuitry — it's no surprise that a FET is at the heart of their circuit, as FETs have similar characteristics to tubes. The FET circuit (the 'Silicone Valve') differs slightly from the FET preamps used in countless other capacitor mics, because it is biased to produce a similar level of second-harmonic distortion as is characteristic of a tube circuit. The output stage is transformerless, which surprised me, as the characteristics of transformers are often an integral part of what users think of as the tube sound. Full 48V phantom powering is required to run the mic, and the conventionally wired XLR output has gold-plated pins to ensure a good connection.

The capsule itself is fairly conventional. It's a one-inch cardioid element with a six-micron gold-coated mylar diaphragm and, like many classic mics, it is centre terminated. The mic's frequency range is quoted as being 30Hz-20kHz, but this is a pretty meaningless figure given that there are no limits specified and no frequency plot to refer to. The sensitivity is rather better specified at 22mV/Pa and the maximum SPL before distortion exceeds one percent is 130dB. This is high enough for all normal studio applications, including vocals, and is again typical for the type of microphone. There are no pads or roll-off switches on the mic, so in high-SPL situations, it may be necessary to use the pad on the mic preamp or mixer to which the mic is connected. At 1kHz, the dynamic range is a healthy 116dB. Noise-wise, the quoted figure is 16dBA, which is a respectable figure, though not as quiet as that of some of today's mics. A standard phantom-power supply (48V ±4V) is required for operation as it is for all three mics in this review.

Cosmetically, the mic follows the same classic cylindrical lines as the MXL V69, weighs in at 0.52kg, and measures 55 x 55 x 215mm. It is heavy enough to feel substantial, but not so heavy that it gives a mic stand a case of the droops. The mesh basket is finer than usual, and support metalwork is plated with 24-caret gold, which is certainly distinctive and also practical, as gold is very resistant to tarnishing. A green/grey metallic paint is used on the body, and the live side of the mic is denoted by the embossed MXL logo and the cardioid icon at the bottom of the basket.

Internally, the microphone follows the type of construction favoured by most Chinese manufacturers, where two metal rails run the length of the microphone, supporting both the circuit boards and the connector. The tubular body sleeve is held in place by a machined locking ring around the XLR outlet, and peeking inside reveals two glass-fibre circuit boards, one using surface-mount components and the other containing the discrete components that comprise the FET 'Silicon Valve' part of the circuitry. The standard of construction raises no concerns as regards reliability, but perhaps a little more could have been done to damp ringing in the metalwork, specifically the grille and the body sleeve.

The microphone is supplied in a neat, velvet-lined cherry-wood box with a separately packed shockmount. For recording studio vocals, a pop shield is also mandatory, but, as almost nobody seems to include these, one needs to be purchased separately.

Auditioning The V6

MXL kindly supplied one of their V69 tube microphones for comparison, and as this is certainly the tube mic they tried to get close to with the V6, it provides an ideal reference. After working with the two mics for a while, I came to the conclusion that neither model sounded obviously tube-like, which is generally a good thing, as a tube mic with too much character has probably been engineered to introduce excessive levels of distortion. The V69 has a fairly neutral and open sound unless used close up, in which case the proximity effect can be used to introduce an enhanced impression of weight and depth. With some voices the mic can sound a little sibilant, but rotating the mic so you're working at around 45 degrees off axis fixes that nicely without otherwise dulling the tone unacceptably.

The V6 has perhaps slightly less lower mid-range density than its true tube counterpart, but it actually comes very close the sound of the V69. Because of the observations regarding sibilance, and by observing the way the mic behaved with typical vocalists, it's clear that there is a deliberate presence peak and, in my view, the mic is best suited to those seeking a more airy or intimate sound. It is perhaps less well suited to those with thinner-sounding voices unless it is used slightly off axis and close up to capitalise on the proximity bass boost. Because of its open, articulate sound, the V6 also works well on acoustic guitar and percussion instruments, making it a good all-rounder for the small studio.

MXL 990

By contrast with the V6, the MXL 990 is a more conventional mic, albeit with a short body, giving it a somewhat stubby profile. Most of the mic comprises the basket, with the electronics and connector occupying around one third of the length of the mic. Overall the standard of construction is what you'd expect from a competent mic of Chinese provenance, and the metalwork is nicely finished and satin plated in what the manufacturers describe as a Champagne finish. A shockmount is included, as well as a regular stand adaptor, and the whole kit comes in a practical foam-lined plastic case. The MXL 990 is designed primarily as a cardioid-pattern vocal mic, based around a gold-sputtered six-micron diaphragm (20mm) in a capsule that has a nominally flat response from 30Hz to 20kHz. There's a gentle presence peak centred around 8kHz, but the effect of this is fairly subtle and it helps balance the proximity bass boost when the mic is used close up.

The circuitry uses all discrete components (including a FET preamp) mounted on a single glass-fibre circuit board, and the output stage is transformerless. There are no external pad or roll-off switches (the MXL 992 model has both a low-cut switch and a 10dB pad). This is a strictly no-frills cardioid mic, but the technical spec is generally respectable with a 20dBA equivalent noise level. This isn't exactly low by today's standards, but is more than adequate for close-miking vocals. While the maximum 130dBSPL isn't as high as some, it's more than enough for routine studio work, though I probably wouldn't stick it in a kick drum. The sensitivity is a fairly typical 15mV/Pa. The MXL 990 weighs 1.2Ibs and measures 60 x 130mm.

As a vocal mic, the MXL 990 produces a subjectively neutral and nicely balanced sound with just a hint of high-end sizzle that can help out vocalists who have difficulty getting the definition they need. I used it on a serious session with a respected New Zealand female vocalist, and it suited her voice very well. It is subjectively quiet in this application and delivers a reasonable amount of weight without sounding muddy or out of focus. Being ruthlessly honest, I'd say that a lot of similarly priced Chinese mics offer similar characteristics, but tha

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