TECHNOLOGY REVIEW
Trevor Coley, Sontronics founder, designer, and MD, speaks with Audio Media editor Jory MacKay about the thought process behind the Aria.
What was the inspiration behind the Aria and how long was the development process? I have always loved using and hearing recordings made using valve microphones on vocals as they, especially the classic vintage models, impart something magical to the voice. For that reason, two valve mics, Omega and Helios, formed part of our line-up when we launched Sontronics in 2004. Over the years, I’ve always wanted to create a mic dedicated to vocals, which is how my first prototype for Saturn started out before it took a different, multi-pattern condenser path. After its release, I started
work on a valve vocal mic which ended up being three years in development from initial sketches and prototypes through the beta- testing stage (working with PJ Harvey, Paul Epworth,
start to hear the valve come into its own. When in many situations
an unprocessed vocal could be lost in the mix, the Aria was as clear as day with the detailed harmonics coming cleanly through. Tis is where I believe the Aria doesn’t just match other microphones of higher value but really starts to impress. Anyone who records with the Aria will probably find that their dry signal won’t need much work at the mixing stage, achieving an easy placement of vocals in the mix. We’ve spoken a lot about
Sontronics’ ‘task-specific’ design method and how great the Aria sounds on vocals, but when you look at the mic’s specifications on paper there is no reason it can’t suit other applications too.
I used the mic on a lot of different instruments and in
34 July 2014
and the Abbey Road engineers) to its launch at NAMM this year.
What applications was it designed for and where does it really shine? Te focus for Aria was always vocals, and thanks to the way we’ve crafted the capsule as well as the individually selected valves (which I do myself ), I’m proud to say that it excels on both female and male voices, sung and spoken. I’ve been lucky enough to hear Aria used on new tracks by PJ Harvey and Paul Weller – two voices that couldn’t be more different – and the results sound so lusciously smooth yet with a real crystal clarity and depth of character. Interestingly Aria has also become a real favourite with professional cellists. Te engineers at Abbey Road beta-tested Aria on
different placements to see what else I could achieve. Firstly, I used the Aria as a room mic for an electric guitar cabinet which I might do normally with a valve mic. Electric guitar room sounds can vary hugely and often either need additional processing or clever mix placement, but again the Aria captured a very clear sound which worked well in the mix. I also put the microphone
through its paces with Paul Clarvis, one of London’s best session percussionists. We ended up using the microphone on everything from shekeres and bells through to the low end of cajóns and an orchestral bass drum. We were both very impressed with the microphone. Nothing seemed to find a pitfall of the microphone or overload it in any way and the sound
piano and strings (as well as vocals), once on a session with Sherlock composer Michael Price, and he, along with cellist Peter Gregson and others have bought Arias and champion it as a cellist’s dream mic!
What are some of the features that set it apart from similar microphones? Although Aria may look more conventional a microphone than some of my other designs (Saturn or Apollo, for example), it does have certain features that make it sound very special indeed. Te materials used in the body construction and its size, the shape of the grille, the single-sided, edge-terminated capsule, the frequency response and the choice of vacuum tube all play a huge part. We actually tested more than 12 different types of tube before settling on the European-made
was prominent and clear. I really hope others start to realise the potential with this microphone and don’t just keep it for vocals as there are many applications where it sounds great. Although I haven’t had the chance yet, I understand that there have been reports of the microphone sounding great on cellos, which I can quite easily believe.
Conclusion
I wasn’t quite prepared for the results from this microphone. To be honest, I had my doubts. However, the Aria doesn’t just match what very expensive microphones achieve, it also shines a little of its own magic when inside a mix. It is a very versatile microphone that not only suits male and female vocals but other applications too. Due to its incredible price
12AX7 ECC83, but even in a small batch the tubes can be minutely different in character, which is why I personally select and test the valves before and after putting them in each mic. It’s an arduous process, but that personal approach and attention to detail is what helps the mic stand out from the crowd.
Why build another tube microphone? Just because a particular type of microphone exists
point, I think this microphone is a great choice for the growing market of home recording or small project studios. Tese smaller studios will also benefit from the mic’s almost ‘ready-made sound’
Simon Allen
is a full-time sound engineer and record producer. After a stint as senior engineer at City Studios in Cyprus where he headed up the new music studio, he can now mostly be found at Woodbury Studios in Hertfordshire.
INFORMATION
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in our range doesn’t mean that my imagination or our R&D stops there. I’m always experimenting with different components, body materials, mic shapes, and capsule designs, and Aria grew out of a desire to create something special both in look and sound that would inspire a singer and recreate the kind of sound that would only otherwise be achievable with a vintage microphone costing many thousands of pounds.
where you don’t have large- format analogue consoles or expensive recording chains. Tis is a modern take on a valve microphone, which is ideal for the digital age. A great British product!
The Reviewer
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