M88TG, SR-2N review 2/2
SR-2N (Stager Microphones)
The basic impression I have on a ribbon microphone is natural.
It is often used in various sources because it reproduces the realistic nuances felt by the ears without forced high frequencies.
But there is no such naturalness in SR-2N microphone.
However, in SR-2N, there is no such naturalness of ribbon microphones.
Rather, it sounds quite decorated, but it is strangely attractive.
It's very stuffy somewhere and it's not a great acoustical characteristic, but it's a microphone that I keep getting my hands on.
"Put heavyweight punch into a featherweight fighter."
It is a phrase officially put forward by the manufacturer Stager Microphones.
With my experience with various sources, I don't think there's a phrase that expresses SR-2N microphone better than other phrases.
Through SR-2N microphone, any light-characteristic source is transformed into a very heavy sound.
The first time I used SR-2N for a base amplifier, it remains a strong memory, wanting to use the base amplifier that the artist brought himself at the time, and wanting to record it as warm and rich as possible.
At that time, I did not know the characteristics of SR-2N because I had not used it sufficiently, and I installed it as a test(closed set). When we heard the sound through the microphone in front of the console, we heard a satisfactory sound, so after recording it, we went into the booth together, curious about the sound of the amplifier itself.
Everyone, including myself, was surprised because it was making such a light and powerless sound unlike what we just heard.
It was the first time I felt how SR-2N microphone changed the source.
I mentioned that the M88TG microphone is good to implement Shaker's silky ticklishness, but the sound of the instrument itself is so light that it may have to be approached the other way around.
It is necessary to make the sound thick because it does not mix well if the tone is too light alone between the musical instruments composed of dark and rich sounds, and SR-2N microphone is good at this time.
It is transformed into a thick and rich sound. It is as if the instrument has been changed.
Manufacturers are also presenting many photos and videos of SR-2N used for drumming, and I use a pair of SR-2N as stereo room microphones for almost all drum recordings.
When used with Blumlein or Mid-Side stereo miking, you can get a very natural and spacious stereo image and space, which also adds weight to the sound of the entire drum.
It is very easy to use as stereo microphones for any source as well as drums.
Personally, I have a lot of things to record gayageum or geomungo, and I was most satisfied when I used a pair of SR-2N as a Mid-side.
Interestingly, there is a dedicated shock mount for use as a pair, and even a stereo SR-2N, which originally produce as a stereo product.
The provided shock mount when purchasing the SR-2N microphone matched pair products.
Stereo SR-2N product. It's set for use as Blumlein or Mid-Side.
It is impressive video that uses acoustic guitar and vocals with only one microphone.
Recording an acoustic guitar with SR-2N microphone in an arrangement without a bass instrument can easily compensate for the lack of a bass.
And it is also worth considering using this characteristic in vocals.
It can empower voices that lack presence, and sometimes make low-pitched vocals more attractive.
However, should be careful because the proximity effect is excessive. The proper distance should be considered above all else.
As in the case of the base amplifier mentioned earlier, you can intentionally use the proximity effect, so it would be good to try various things.
At the same time as the low-pitched band becomes thick, the high frequency is significantly suppressed, so when used in wind and string instruments, the distinctive unpleasant sharpness can be eliminated.
In a bad way, the clarity seems quite lacking, but it's strangely emotional. (It's a different charm than that of the M160 or SR-5)
Additionally, SR-2N's low-pitched mix has the advantage of being quite easy to secure sound pressure in mastering.
Too many low ranges often interfere with raising sound pressure, but SR-2N has enough harmonics, so making it sound more louder at the same level.
Unlike M88TG microphone, the SR-2N microphone is not considered to have versatility.
If you hear it for the first time, you might wonder why there is such a dim microphone.
However, like other Stager Microphone's Ribbon microphones, the lack of clarity is smoothly compensated by EQ, and this gloom can sometimes be a musical personality.
These characteristics are a really good microphone for expanding the range of expressions as an engineer, and if you have a chance, I recommend you to experience.
Perhaps the SR-2N for me, has already become commonly microphones used.