Heil PR-40 Dynamic Studio Recording Microphone

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Price: $310.00    

Product Feature

• Generating element: Copper-wound dynamic with neodymium magnet structure
• Body: Steel body with zinc die-cast bottom ring
• Frequency response: 28Hz to 18kHz
• Impedance: 600 ohms balanced
• Output level: -53.9dB @ 1,000 Hz

Product Description

The Heil PR 40 represents completely new dynamic microphone technology designed for a wide range of professional applications such as sophisticated recording, live sound, and commercial broadcast. Producing the widest frequency range available in a dynamic microphone, the PR 40 outperforms most condenser microphones, and can withstand huge amounts of SPL. At the same time, it maintains the 25 year Heil Sound tradition of superbly natural voice articulation.

Heil PR-40 Dynamic Studio Recording Microphone Review

The microphone I was using (for voice-over) prior to buying the PR40 was a Blue Yeti. Now while that is a great microphone I don't exactly have the best recording environment so I had to put it in a portable "vocal booth" (essentially a foam box). Even then the Yeti would do what condensers do and pick up noise other than my voice. I wanted to eliminate that unwanted noise and that portable booth so I started looking around for a solution. Dynamics seemed like my best bet and fortunately there are a number of great broadcast dynamics out there. Why did I choose the PR40 over, say, a RE20/SM7b/MD 421-II? Well, let's get into specifics.

Extended frequency response. 28Hz-18Khz. My voice predominantly resides in the lower frequencies so I wanted to capture as much of that as I could while still not being overly muddy/bassy/muddled etc. I also don't have a whole lot of high end so it's nice that the mic can capture what little I have while also amplifying it (Heil mics have a "articulation bump"). The PR40 amplifies everything from around 1.5Khz to 12Khz. This is both good and bad. On one hand I believe this (along with that extended low end) is why the sound provided by the PR40 is compared to condensers. Broadcast dynamics typically have over-hyped lows and mids (think of radio voices). This bump is bad because it amplifies the frequencies where sibilance lies. Mouth noises might also be made worse by it. However, when you find the right distance (odds are no more than 6 inches away) it captures speech beautifully. Run it through a tube preamp if you want to make it even sweeter. Speaking of preamps...

You're going to want 60db of gain. You can make do with 40db but you're going to be talking right up on that mic to get decent levels. This can easily make your recordings far too bass heavy. I'm using a Shure X2u with my PR40 and if I want to get a good signal to noise ratio in a noisy environment I've gotta talk within a couple inches of the mic. I should also mention that you shouldn't talk directly into the microphone without some kind of pop filter or training to lessen the force of your plosives. While the mic does have integrated pop filters they don't work magic like you find with a RE20. It is possible to talk within a inch or two of the mic without popping though, just talk across it rather than directly at it.

As a parting bit of information I will say that the PR40 offers good off axis rejection. I have to worry less about airplanes, the sounds of people talking, birds, etc. and can just focus on recording. It's actually very liberating not needing to pause every time an airplane passes overhead. Ideally I'd just buy/make a silent space so I could then be free to pick a microphone that best suits my voice, but until then the Heil PR40 is a great solution.

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