"I used the
Enhanced Audio M600 extensively during the making of the
David Gilmour album 'On An Island'. Apart from the vocal,
the other main application I used them on was on some of
the drum mics, and on the bass guitar amplifier. The M600
makes the mic more focused and bigger sounding, particularly
the bottom end which is tighter and cleaner.
It's like switching from 16bit to 24bit."
Andy Jackson
Engineer (David Gilmour / Pink Floyd)
Enhanced Audios very first customer, David Gilmour's Astoria studio
purchased 10 Enhanced Audio M600 Universal Microphone Mounts.
Remember That Night -
David Gilmour -
Live At The Royal Albert Hall
Disc 2 of this live DVD contains a documentary entitled:
The Making Of 'On An Island'
The documentary contains studio footage in which you can see the Enhanced Audio M600 as used during the recording of the album 'On An Island'
"Revelatory is the word that I would use to describe the M600."
I have been recording for the last thirty years in top
class professional studios around the world and I must
admit that I had never realised just how much difference
the mic mount can make. I had always slightly preferred
certain mounts but now all I want to use is the M600. I
only wish that I had access to these units years ago.
I’ve just finished two albums for Los Angeles based
artists (Chris Botti and Jennifer Crestol) at AIR studios
and am mid way through an album with a top UK artist (Katie
Melua). The mounts have become integral to the way I work
now and I can’t wait to get my hands on another ten
at least, for multi microphone applications.
The sonic difference is not subtle. The signal when employing
the M600 actually is louder as well as having increased depth,
a smoother middle and a “sweeter” more open high
end. For acoustic recording applications where the dimensional
and spectral purity is of paramount importance, these are
without any doubt in my mind the absolute best mounts that
I have ever used.
"The difference is more dramatic than I could imagine."
I've spent a couple of days with the M600 now and I'm really
impressed. I have recorded vocals and acoustic guitars so
far and used the M600 on my restored, up-to-spec vintage
Neumann bottle with a M7 capsule.
The difference is more dramatic than I could imagine. The
M7 capsule has a strong proximity effect (that singers love
of course, for better or worse...) and the first thing I
noticed was that the proximity effect was more controlled
and less boomy, a lot less boomy in fact. The low end was
solid and deep instead of extremely exaggerated when the
singer was up close to the mic.
Next thing I noticed was the sound of the mic being smoother
overall.
Especially the upper mid-range harshness that can be a problem
on loud,
screaming singers was not there. The high end sounded a tad
more open and "expensive", Low mids solid and present. Overall the performance of the mic was more detailed and
dynamic and for lack of better words this vintage piece sounded
a little more "modern" and controlled in a good
way. It's beautifully engineered and feels like it will never
break,
super high quality,
also the space-age look keeps the singer
in a good mood as well ;)
Yeah, this is the best 200 euros I spent in a long time.
Thanks for making a great product.
"I am a user and a believer in the Enhanced
Audio M600 microphone system, and if you give it a chance,
it will make you a believer too, hearing is believing."
"Vibration control" has been a constant problem
that has affected us as engineers when dealing with stereo
pairs of microphones or single source mics. The accumulation
of such unwanted vibrations had lead us to use HPF's just
to get rid of such unecesary frequencies that would cloud
our low end response. The Enhanced Audio M600 has solved
these problems and it has given me the option to avoid the
use of such filters. It has enabled me to have a much more "truthful
low end" by allowing the mic to capture both ends of
the frequency spectrum that previously were clouded or not
present. For Brian Welch's record which makes extensive use
of baritone guitars, it forced me to look into alternative
solutions to capture the low end pureness of the guitar tones
that were used, without a doubt the M600 allowed us to capture
from day one of the project this and much more. The final
results will speak for themselves once the album gets released
later on 2006. I am a user and a believer in the Enhanced
Audio M600 microphone system, and if you give it a chance,
it will make you a believer too, hearing is believing.
Carlos Castro; a producer, engineer & writer; has a
career span of fifteen years in the recording industry. At
the early stages of his career Carlos studied under the mentorship
of Bruce Swedien (considered as one of the most important
engineers in the world, whose vast list of clients include
Michael Jackson, Quincy Jones, etc.) during those three years
Carlos participated in projects such as Michael Jackson's "Dangerous",
the Soundtrack For "Free Willy" amongst others.
Later he became an assistant engineer at Hollywood's Ocean
Way Recording Studios, Ocean Studios in Burbank and Mad Dog
Studios.
From 1996 to 1999 he was able to build from the ground up a
state of the art facility known as Watersound Studios (www.watersoundproductions.com).
During the last eight years Carlos's engineering career has
produced an eclectic but impressive list of clients that include:
Brian Welch, Aleks Syntek, Marco Antonio Sol ís, Luis
Miguel, Robenn Ford, Nicho Hinojosa, Jumbo, Alicia Villareal,
Pedro Fernandez, Molotov, Mercurio, Caló, Aimee Mann,
Coward, Sara Evans to name a few. At the same time, Carlos
is building a carrer as an independent producer in the Latin
Pop Field developing new up and coming talent. As a featured
monthly writer on Sound:Check Magazine (a prominent Latin American
Technical Magazine distribuited and read in Mexico, South America
and Spain) Carlos is responsible for the colum "Entre
Bulbos Y Transistores" ("Between tubes & transistors"
Carlos Castro,
Producer/Engineer - Studio Owner
Watersound Studios
Los
Angeles, California www.studioexpresso.com
"I love what the M600’s do for the sound of the mics.
Everything
sounds more real. I didn't think that a mount could make this much
difference."
After working with mainly M600s for a few months now I've
been really impressed with the cumulative effect when I come to mixing
in Protools. My tracks definitely have a more transparent three dimensional sound. I've also come to appreciate the flexibility of the M600s
when
positioning microphones. They allow me for example to get
very accurate angles with X/Y pairs.
I've used them now with a number of mics ranging from the
expensive to the downright cheap and nasty on various sources and in
each case they have improved the results. The best bit is that they've
brought some of my old faves back to life (in particular a pair of
Gefell um70s and a 60's B+O stereo ribbon). I could never find a
mount for these that I was happy with 'till now.
Gary Clark ,
Producer/Engineer
(Selected credits: (Songwriter/producer)
Natalie Imbruglia, Liz Phair,
Skin,
David McAlmont, Skye Gordon (Morcheeba), Mel C, Lloyd Cole, K.D
Lang.) www.myspace.com/garyclarkmusic
Click to enlarge
"The clarity and depth achieved while using the
M600 is
unparalled."
"Having had a chance to spend some time in the studio
with the M600 I came
away from the sessions with a new understanding of the true
sound of
microphones. The clarity and depth achieved while using the
M600 is
unparalled. These mounts will always be included in my studio
work from now on!"
Rob Eaton
Producer/Engineer (Pat Metheny,Jeff Beck,Eric Clapton)
"If the M600 mount can improve the sound of an established
great classic microphone like an M269, it certainly should
be useful for many others."
I have been in the classical and light music recording business
since the early 1970’s, and every once in a while products
come along promising something revelatory to make engineers’ recordings
sound better than they ever did before. Some are ‘smoke
and mirrors’ devices, some last the course because
they really do consistently make a worthwhile difference.
The M600 microphone mounts are very useful pieces of kit
for me, with my Neumann M269 and AKG C24 mics especially.
I have used them with several piano recordings – both
solo, and in concertos – also for solo mics. in other
instrumental concertos. The immediate improvement for me
is in firming up the bass end of the microphone, and subjectively
extending the l.f.. Many directional mics. lack bass extension,
and my preference for mics. such as the Neumann M269 and
M49 when I need directionals especially in reverberant halls
and churches, is because they communicate something useful
below 50Hz. With the M600, the bass is better defined and
less spongey. Additionally, the mid frequencies sound less
forward and less hard. Generally they tighten up, and clean
up the sound, without losing any of the native immediacy
of the sound of the microphone.
If the M600 mount can improve the sound of an established
great classic microphone like an M269, it certainly should
be useful for many others.
Tony Faulkner,
Renowned British Classical Engineer
Click to enlarge
* The microphones pictured are not affiliated with Enhanced
Audio
"The Enhanced Audio M600 shows that it really does make a tremendous difference
to the sound of the microphone."
"Every now and then in pro audio, a bit of percieved
wisdom is
completely turned around. One such case is that of microphone
mounts.
We don't generally pay much attention to this issue, but
the Enhanced
Audio M600 shows that it really does make a tremendous difference
to
the sound of the microphone."
"The
immediate impression was of enhanced spaciality and well
defined
imaging which sustained through to the mix."
"I was invited to try the Enhanced Audio M600 Universal
microphone
mount by a respected friend and colleague who is also an
engineer/producer. His description was enthusiastic but 'mysterious'
-
he wouldn't say exactly what he thought it did!
I
tried a pair of the mounts with Neumann U89 microphones as
overheads
on a drum kit during a Jazz session. This was an important
test for me,
as coming from the 'three mics on drums are enough' school,
the
overheads frame the sound I get on the kit.
Naturally, I was also using the usual configuration of spot
mics on the toms, snare etc. The
immediate impression was of enhanced spaciality and well
defined
imaging which sustained through to the mix.
Interestingly, I casually asked my assistant what he though
of the M600’s and without prompting he said he also
felt they gave enhanced
transparency to the microphones.
... and what is more it has given us plenty of opportunity
to expound theories as to how and why over a beer or three!!"
"Working
with an A/B situation the M600 captured the natural sound
of the human voice without any coloration and the sonic quality
was very pleasing to the ear."
I have for many years now suspected that the microphone mount's
from many manufacturers have an adverse effect on the sonic
quality of the sound, effects like mid range harshness and
a reduction in the bottom end of the signal particularly
on vocal quality.
I have recently been amazed by a new product the M600 microphone
mount, I approached this new product with some scepticism,
but on trial I simply could not believe my ears, working
with an A/B situation the M600 captured the natural sound
of the human voice without any coloration and the sonic quality
was very pleasing to the ear.
Without the M600 there was some mid-range harshness with
a much reduced bottom end and a feeling that some EQ had
been used. The difference was as large as the difference between two
microphones and got me wondering that over the years when
I have been changing microphones all I needed to do was look
at the microphone mount.
The difference was simply staggering I have now changed
my opinion about not just choosing the correct microphones
but choosing the right microphone mount. I can certainly recommend the M600 microphone mount and
this has now become an essential part of my kit and when
this well kept secret is found out I can see the M600 microphone
mounts becoming an everyday part of our recording lives,
listening is believing and I challenge you not to be impressed.
"I believe this is the beauty of the M600’s they make
my recordings sound more present, more transparent. In short,
I am very pleased."
“I finally got to try out the M600’s and we were
all very impressed especially using my new Microtech Gefell
UM75 mics as a stereo pair.
We did a comparison with the shockmounts provided with the
UM75’s and the M600’s provided a more stable
and solid image. They enhance the low
mid frequencies to the great benefit of the source. By enhance I don’t mean make louder, I mean make more
present.
I believe this is the beauty of the M600’s they make
my recordings sound more present, more transparent. In short,
I am very pleased”.
Multi-Platinum Producer/Engineer Michael Wagener fine tunes his tracks with Soundelux mics and Enhanced Audio Mounts.
"For
thirty years, I lived without it," he concludes. "Then all of a sudden,
I heard what the M600 could do. I don't
want to miss that anymore."
NASHVILLE, TENNESSEE: Michael Wagener
- legendary rock producer, engineer,
and mixer who has contributed to some
of the most successful projects by rock
acts such as Metallica and Ozzy Osbourne
- is a self-professed gear aficionado.
Name a microphone, a pre-amp, or an outboard
processor, and in most instances, he
has tried it.
But now that he has discovered Enhanced
Audio's M600 universal microphone mount,
he's likely to try his favorites all
over again. According to Wagener, using
an M600 mount helps great microphones
sound even greater.
Since trying one late last year, he has
bought two for Wireworld, his Nashville-area
private recording facility.
"I started using it on the Soundelux
251, which is my 'go to' vocal microphone," Wagener
recalls. "Anything that has a 'natural'
sound gets the
251 or a ribbon mic as a first try. When
I tried the M600 with the 251, I was
very impressed. All of the 251's bottom
was still there, but the top seemed 'see
through' and clearer. It's really hard
to describe. Before there was something
not there that was covering things over
the whole frequency range. It's very
noticeable - not night and day - but
now that I've heard it, I would miss
it if it weren't there."
The uniquely designed M600 offers increased
musical headroom and greater dynamic
transient capability via a reduction
in low-level mechanical noise and increasing
low-level 'information.' Comprised of
two low-resonant aluminum rings and thoughtfully
designed mount hardware, the M600 effectively
improves fidelity by significantly reducing
the transmission of infrasonic vibrations.
It is easily used with a wide variety
of microphones and stand thread types.
"I'm not exactly sure how it does
it, but it does," Wagener confirms. "It
takes out sub-low frequencies that affect
the performance of the mic by being there.
They're low-frequency rumbles that you
would probably not even hear. But when
those frequencies are missing, it does
seem to clear up the whole picture. The
M600 is a rigid mount so, to me, it goes
against what I think would've happened.
I would think that it would transfer
what's going on in the room to the mic,
but it doesn't. I don't question it though.
It just works!"
Since Wagener
left behind "one
of those rubber ring mounts - the one
the 251 came with, actually," what
he is getting from his 251 and other
mic selections are continually amazing.
No where is this more apparent than in
the realm of vocal recording. "Normally,
vocals are the loudest in the mix,"
he explains. "They're up front and,
especially on slower songs, you hear
every little inflection of the voice,
as well as every little thing that would
disturb it. This is where the M600 really
shines."
So chances are, if you hear any product
of Wagener's post-2005 productions recorded
at Wireworld, you'll also experience
'the M600 effect' as he has.
And that's one effect this advocate of
superior microphone selection and placement
is more than happy to use. "For
thirty years, I lived without it," he concludes. "Then all of a sudden,
I heard what the M600 could do. I don't
want to miss that anymore."
"As soon as I put the headphones on I could have sworn
I was
hearing another mic, Amazing."
I ordered an M600 to use for my custom Zentech condenser/tube
microphone designed by Howard Gale. It came without a mount
and I was forced to buy a $30 suspension mount. I was impressed
by the sound of the microphone and would still have the $30
mount if it weren’t for seeing an ad for the M600 in
Mix magazine. I had already recorded a French Horn line with
the old mount so I switched to the M600 and recorded the
same line again. On playback, my engineer, Terry Jennings
and I were blown away. Firstly, we had to lower the gain
on my Avalon mic pre when setting up the gain stage. What
came back was a well-defined low end, a really smooth and
present mid range and transparent highs. Also, the Horn’s
image in the mix was more apparent.
With this result, I ordered another
M600. This time I recorded a line with my Royer 122 and then
switched to the M600.
As soon as I put the headphones on I could have sworn
I was
hearing another mic, Amazing.
In short, the results with the Royer were the same as the
Zentech.
10th Grammy Award winning Producer/Engineer
Rafa Sardina records using the Enhanced Audio M600.
"I have just tracked drums with Vinnie Colaiuta using
two Enhanced Audio M600's with AKG C12's on the overheads and I
can really hear the difference."
"I have just tracked drums with Vinnie Colaiuta using
two Enhanced Audio M600's with AKG C12's on the overheads.
I purposely removed the M600's for one of the songs and I
can really hear the difference.
I have used repeatedly now and they do work".
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