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Aston points out that these different tonal balances are achieved via the use of what they term “contour networks”, mostly avoiding the usual phase contribution of more typical EQ/filter voicing circuits, for a more transparent quality overall. The proximity effect becomes a little overly pronounced, especially on plosives but otherwise, the voice sounds huge. This ‘panel’ was asked to listen blind to a variety of possible voicings for the Stealth, alongside other microphones, including the Shure SM7B and Neumann U87. Specs This Audio Precision plot is a very rough-and-ready comparison of the Stealth's four tonal options in both active and passive modes, with a Sennheiser MKH20 and Shure SM57 as references for each mode. We find out how the revered DJ and producer gets inspiration and why the pandemic has made him get more serious about producing. As with its previous microphones, Aston developed the Stealth with a team of top engineers, producers and musicians to ensure that the final voicing was something that professionals would be happy to use. Relative to V1, V2 falls off a little more rapidly below 200Hz, and there’s a little extra rise of a dB or so between 800Hz and 3k. In either scenario, you will still need an external mic preamp, but the difference in level is significant enough that you will find it much easier to get a healthy level with the active mode engaged. Read our interview with Aston Microphones’ James Young and Jack Munro on its new Stealth model. The V2 pushes the upper-midrange forward at the expense of the low end, giving the resulting performance a slightly nasal and scratchy characteristic. He's also taught all aspects of recording and music technology at several NY audio schools, and has been writing articles for Recording magaz... Read More. Despite this, there doesn’t seem to be any air around the voice either, leaving it sounding decidedly weak compared with the V1 setting. The Stealth mic’s frequency-response curves for positions V1, V2, G, and D. As you can see, the basic response is pretty consistent in all the positions (except maybe for position D)—in position V1 there’s a very slight dip at around 700Hz, relatively flat response from 900Hz up to 4k, another small dip at 5k, and a rise of abut 4dB between 6k and 10k; the low end falls off very gently below 400Hz. Stealth’s features, L->R: ring for selecting the four voicings; internal shockmount; Faraday cage; XLR and quick-release mic clip attachment. (You can hear all of this clearly in the recordings.) $334.39. I set up the Stealth on acoustic guitar first, using a fairly standard positioning about a foot out, aimed between the twelfth fret and the neck joint. Since one of the suggested applications for Stealth is as a broadcast mic, I decided to try it on my own voice, which is decidedly not your classic deep, rich announcer’s voice. Switching to V2, the open chords lose a little of their energy, but the barre and finger-picked styles start to come into their own more, with more of the guitars’ natural presence being picked up by the slightly more enhanced upper midrange. A better singer may well get better results with the V1, but it’s great to have the D voicing there to switch to. In passive mode, the mic’s sensitivity and output is typical of a (high-quality) dynamic mic. The Shure SM7B has become something of a standard in broadcast studios, and is even a favoured vocal microphone for many engineers and performers. The G setting is more open and honest to the character of the amp, and perhaps paired with the humbuckers of a Les Paul rather than the single-coils of a Strat, would take the prize. 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