Whenever I get a pair of mics for review, I like to hear them over a drum kit and piano right off the bat. It is well-made and tested, and comes with quality accessories and packaging. DO YOU WANT MO-JAVE The diaphragm is 1” in diameter and is “gold sputtered”. 48 22 47 vacuum-tube mic, CEMC-6 solid-state mic by Henry Robinett. One Synth Challenge V - The Filter Strikes Back! Royer, known for his ribbon-mic designs, has applied his craft to an assortment of USA-designed, assembled-in-China microphones, including the subject of this review, the Mojave MA301 FET. Additionally, the MA-50 comes with a rigid carrying case that measures 9” x 4.5”. Russ Long ⋅ Published: June 4, 2018 The Mojave family of microphones has become a studio staple around the world. The MA-1000, however, is a bit different. The views expressed are those of the contributors and not necessarily those of the publishers. The difference between a very good mic and a brilliant mic is its dynamic range. I got good results on a voiceover recording, and my impression was of a clean, crisp‑sounding microphone with a restrained proximity effect. For me, a tube mic is too gritty for high percussion that needs the clarity of an FET or ribbon through a good-quality preamp. There’s a pleasant midrange that particularly flattered this singer; that can be harder to capture with “cleaner” mics. To download the files, head to: https://sosm.ag/mojave-ma50-audio. An acoustic guitar recording was its first audition in my studio and when I pulled up the faders it seemed well suited to what was quite a dynamic strummed guitar part. So impressed that I wanted to check out the whole line. The Mojave MA-1000 is an audio gem that can hold its own against any microphone manufactured today. When they were founded in the 1980s, Mojave were ahead of the curve with the ‘offshore’ manufacturing process, but it’s a well‑trodden route for many microphone manufacturers nowadays. I would probably add a bit of top end for a mix but not a lot. He returned the early production test models and made sure subsequent attempts closely followed the design spec before he approved the final build. Placed as overheads over a kit, the MA-300s rendered transients beautifully, with an even and pleasant balance of lows, mids and highs. His first official microphone in the Mojave Audio brand was the MA-200. The build inside is based around a military-grade JAN 5840 vacuum tube and Jensen transformer. The MA-300 ships in a sturdy briefcase that contains the mic, cable, power supply and shock-mount. 08/14/2010. Web site designed & maintained by PB Associates & SOS. Re: One Synth Challenge V - The Filter Strikes Back! This is always welcome in a multipattern mic because it offers infinite possibilities in the amount of room you let into your recording. If you’re looking for an all‑round studio mic in this price range then the MA‑50 would be a very solid option indeed. There’s no compression or recoil from the mic whether I’m doing subtle, quiet parts or hard-hitting bombastic sections - I can feel and hear exactly what I’m doing vocally at all times. Update your browser to view this website correctly. By Kevin Becka Published: 12/01/2006 . REVIEW: Mojave Audio MA-200 Tube Condenser Microphone. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. This mic wouldn’t be my first choice for certain hand percussion. And as insurance, it’s made under the watchful eye of David Royer. The MA-1000, however, is a bit different. Fantastic creation, going to be a hard one to top. A little history about Mojave … Review: Mojave MA-1000 Large-Diaphragm Tube Condenser Microphone: MA-1000: Mix: … LARGE-CAPSULE FIXED CARDIOID FROM DAVID ROYER. A few trade shows ago, I had a meeting with David Royer and John Jennings in the Royer booth and saw a work in progress — the large-capsule MA-200 cardioid condenser soon to be released under the Mojave banner. The MA‑50 doesn’t sound like a ‘flat’ mic, and a quick look at the stated frequency response confirmed my perception that there was a little lift around the 5kHz range. It seems like the cardioid pattern offers some tonal forgiveness when not directly on-axis: it sounds great at zero or up to 30 degrees left and right. I wrote a review in Tape Op #44 about the Peluso 22 251 vacuum tube condenser. That said, you get what you pay for. It always seemed to be within the realms of being easily tamable with minimal mix processing — which is a good sign! It was easy to set up and place the mic in all applications. It’s this kind of attention to detail that makes or breaks a product, especially when it’s manufactured 6,000 miles and 15 time zones away. In a less than stellar‑sounding room, I got a very usable picture of the whole kit when I tried it as a mono overhead. It has the wrong personality for accurate and clinical applications; I prefer a super-clean condenser or a ribbon depending on the instrument. For this reason the Mojave line has picked up some serious street cred. It is well-made and tested, and comes with quality accessories and packaging. THE BODY AND BUILD The MA-300’s two capsules are 3 microns thick and based on the design of Mojave’s MA-200. I also placed an SM57 and Sterling ST6050 Allen Sides Edition in relatively similar positions. The brainchild of David Royer (of Royer ribbon mic fame), Mojave have a small range of large‑diaphragm capacitor mics that they have gradually refined and added to over the last few decades. As I expected, the MA-300 had much more bottom than the 57, which rolls off naturally starting at about 150 Hz. It’s the most affordable microphone in their range and is a highly usable all‑round studio mic that should appeal to many home recordists or studios looking to fill out their mic locker. Sonically, the MA-300 delivers, bringing its wonderful tube-y personality and great transient response to any recording. Everything about the physical product is top-notch. Over the past decade-plus, Mojave mics have become favored by many A-list engineers, and I also see them in many home and project studios. The design, and the sourcing of key components like tubes and transformers, are all done by David Royer himself, however, and he still personally signs off each microphone after the quality control process is carried out at their base in Burbank, California. This seemed to work well on most sources, and on a male vocal it produced a nice ‘present’ sound that sat very nicely in the mix. The sixth model in a growing line of microphones, Mojave Audio’s MA-300 comes from the mind of David Royer, a stickler for details. While I didn’t review that model, I did review its multipattern variant, the MA-300, in our January 2012 issue. What is a "hybrid" audio interface anyway? Why Are Some A-B Stereo Arrays Angled Outwards? Although I didn’t have a pair of MA‑50s to try out, the role I was perhaps most impressed with the MA‑50 on was as a drum overhead. The mic's capsule employs a three-micron-thick, gold-sputtered diaphragm approximately one inch across, and is modelled after the K67 capsule found in Neumann's classic U67 tube mic.