M600 Testimonials

"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)

www.davidgilmour.com
View the David Gilmour electronic press kit, see if you can spot the M600 ( Windows Media File )

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'

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.

Haydn Bendall,
Producer/Engineer (Elton John, Kate Bush, XTC)

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.

Marcus Black,
Producer/Engineer

www.detonamusic.com

"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

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.)

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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

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* The microphones pictured are not affiliated with Enhanced Audio

"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."

Mick Glossop
Producer/Engineer (Van Morrison,Frank Zappa,Waterboys)

www.artistdirect.com/nad/music/artist/links
http://homepage.mac.com/mickglossop
www.myspace.com/mickglossop

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"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!!"

Tony Platt,
Producer/Engineer ( AC/DC, Bob Marley, Foreigner )

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.

Mike Ross-Trevor
Recording Engineer (John Williams, Andrew Lloyd Webber)

"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".

Ken Nelson,
Producer / Engineer (Coldplay, Badly Drawn Boy, Kings of Convenience)

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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."

Michael Wagener
Producer / Engineer

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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.

Ken Wiley,
Producer and solo French Horn recording artist

"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".

Rafa Sardina
Producer/Engineer (Stevie Wonder, Dr Dre, Macy Gray, Sheryl Crow)

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