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The SR40V from Earthworks adapts to your vocal environment for true presence and depth for vocals. The revolutionary circuitry from Earthworks makes the SR40V the first High Definition vocal mic on the planet, a true testament to Earthworks engineering and expertise.
The SR40V combines flat, extended frequency response with lightning fast impulse response, making this the perfect vocal mic for all vocal artists, singers and songwriters.
The main features of SR40V include:
•First and Only High Definition Vocal Microphone
•Hand-tuned and tested
•Reproduces subtle details other vocals microphones miss
•No need for excessive EQ or effects
•Textbook perfect hypercardioid polar pattern with natural on- and off-axis performance
•Fastest transient response of any vocal microphone on the market
•Extreme accuracy in the time domain for faithful reproduction and no smearing or distortion
•Low handling noise
•Circuitry is handcrafted to match each capsule for optimum performance
•Frequency range spanning from 30Hz – 40kHz
•Peak Acoustic Output rating of 145 dB SPL
•Self-noise rating of just 22 dB SPL (A weighted)
•Sensitivity rating of 10 mV/Pa (-40 dBV/Pa)
|Short Description||High Definition Handheld Vocal Microphone|
|Delivery Time||Usually shipped in 1-3 days|
|Valve / Solid State||N/A|
|High Pass Filter||N/A|
- SR40 v KMS105 Review by KMR (Posted on 26/02/2013)
A customer recently wanted to know if the Earthworks SR40v was worth the extra money over the Neumann KMS105. Here's what he reported :
The Earthworks is undoubtedly an astounding microphone. It’s flat response and accurate reproduction were as I expected. The only problem is that, unless you maintain a relatively constant distance from it – as you would in a studio situation – the proximity effect is quite detrimental. Because of this, I found I had to roll off quite a lot of lower-mid (I tend to ‘kiss’ the mic at times) to get the best results. This then causes the sound to get a little too thin when ‘backing off’ for big notes. It’s a great mic, but I think I would probably need to employ some in-line compression so I could maintain a fixed distance from the mic and would also have to ‘unlearn’ the mic technique I’ve acquired over the many years I have been singing. In short, I think it would require quite a lot of effort to get the most from it.
I think the Neumann, with it’s subtle bass roll-off and slight lift at around 12Khz is a little better thought out as far as singing in the real world is concerned. I found I could move into the mic for quieter passages without fear. The ‘glassy’ high-end also gives the mic a quality often missing in live vocals. Of course, this relies on a decent PA for it to be truly appreciated, but I used the KMS105 in a rehearsal studio last week and, given the quality of PA that was there, the mic made it sound better than it had any right to!
So, of the 2, it has to be the Neumann.
Many thanks to Howard Rogers for his excellent feedback.