REVIEWED
MXL LSC-1B Condenser Mic MXLLSC-1B Condenser Stage Microphone
Condenser mics are usually restricted to the recording environment but the MXL LSC-1B’s interchangeable capsules claim to make this unique stage condenser mic ‘three mics in one’.
Words: DP Wilson
With the seemingly consistent reduction in price of condenser microphones due to far-eastern manufacture there seems to be an increasingly popular trend for creating more rugged versions of these condenser microphones for
MXL LSC-1B
SRP £179.00
All prices include VAT CONT
ACT
Musictrack T:
01767 313447 W:
www.musictrack.co.uk
live use. The latest guest at this table is the new LSC-1B from popular affordable mic manufacturers MXL. Part of MXL’s ‘Live Series Collection’ the LSC-1B has been specifically designed for live and stage use whereby it’s more accurate reproduction characteristics should show it outshining its Dynamic competitors. Playmusic has already covered the main differences between Dynamics and Condenser but to reiterate quickly Condensers usually exhibit a much flatter frequency response with greater high frequency extension as well as being much more sensitive to quiet or distant sounds. The main upside of Dynamics is that they are generally much more robust and designed for the rigours of life on the road. For many, Dynamics also just have that sound and are often used for rock vocals or close mic’ing electric guitar cabs. Condenser microphones also require power, usually from a 48 volt Phantom Power circuit, and this MXL is no exception, although most modern PA systems these days have this option and as long as you mic leads are all up to scratch you should have no problem running a combination of dynamics and condenser microphones.
Despite the possible concern over
lack of robustness the latest wave of live oriented condensers all seem certainly geared up for life on the road, so lets take look...
Construction The microphone itself is a pretty standard looking hand held design whose lightweight metal casing feels pretty stage-worthy. Our review model is finished in a nicely applied satin black although a brushed nickel finish is also available. The back of the microphone is completed by a small recessed switch for selecting the low pass filter (LPF) which will help counteract boomy voices or stage borne vibrations. The package comes complete with the now de-rigeur foam lined flight- case (in black plastic), along with
30 3
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a mic holder and an XLR – XLR microphone lead. The unique thing about this microphone is that it comes complete with interchangeable capsules (see separate box). Whilst it is essentially a live microphone, each capsule has a different shaped pick-up pattern, which makes this microphone potentially very flexible in any live situation.
In Use
I have to be honest, the inclusion of an Omni-Directional pattern in a live mic seemed a little strange it could potentially present a feedback nightmare in most live sound applications. At the opposite end of the spectrum, Hyper-Cardioid should make placing stage monitors in a feedback free zone a breeze! Fortunately, I had the opportunity to try the LSC-1B at a couple of gigs, one rather small and intimate and one in a rather larger hall with full monitoring rig. It should go without saying that the most important thing with any microphone is the sound quality, and at both sound-checks the MXL delivered a very clear, clean and almost ‘studio’ type sound. The output level was good and loud and required much less gain from the PA than the dynamic microphones at the gig. This is important. Requiring less gain from the PA should relate to a superior feedback performance. On my own voice, the MXL produced a confident tone that almost popped out of the monitors and made it very easy to hear oneself and judgements
on microphone technique were very easy. The other vocalist in the band tried the MXL too and at first found the sound a little Hi-Fi and forward sounding, which I personally put down to lifetime of using dynamics and not being used this new clean sound coming through the monitors and PA speakers.
As an experiment I tried the MXL
as a snare mic and drum overhead at the larger gig, and again it performed admirably giving a faithful reproduction of the transients of the drum kit. Experimentation with the different capsules also proved interesting, the difference in sound between the Cardioid and Hyper- Cardioid capsules is actually quite small but the latter capsule really works well if you have quite a high stage volume level with monitors a little in front and to the side of the vocalists. As expected the Omni capsule was more susceptible to feedback, but not unusably so, and probably gave the most faithful reproduction of all. I would imagine this would work very well in more quiet, sound reinforcement roles like orchestras, choirs or the like. On stage, the Omni-capsule sounded great over the kit and I can also see this MXL turning in a decent and flexible performance in the studio too! Through the main PA the Hyper- capsule really made a difference compared to a standard dynamic mic, and the vocal sounded simply more clear and dynamic, requiring far less EQ to get the desired sound. PM
SHOULD I BUY ONE?
The MXL – SLC 1B is a little different from the norm but it’s a decent price and delivers a good performance. The sonic difference between condensers and dynamics can sometimes feel a bit like you’ve just removed earplugs: everything just sounds brighter and less congested. It take a little while to adjust but it’s well worth the effort, especially when you can hear yourself so much better than before.
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