Aseyer公司出品的高级电容麦克风一直备受国内外广大用户的关注，这是来自美国recordinghacks对该公司产品L36B、D36B电容话筒的最新评测。作者Tony SanFilippo是位于伊利诺斯州布卢明顿市（Bloomington）的Oxide Lounge Recording工作室的总录音师，制作人及老板。他为专业音频杂志Tape Op Magazine 和很多专业音频网站撰稿。下面全文转载该文，英文附后。大家也可直接登录recordinghacks网站浏览。

MATT问我愿不愿意试用几支来自一间叫做ASEYER的公司的麦克风，并写一写我的感受。我之前从未听说过他们，不过我觉得不能因此就拒绝把他们插上，听听它们的声音。

当我收到这些话筒的时候，发现他们的外形并没有经过特别的设计，用的就是市场上可以买到那些的外壳。我对这些毫不觉得意外，也并不觉得有什么大不 了。我宁愿一个话筒制造商更注重他们产品的内在品质而不是外观。L36B是圆筒形的，从网罩到外壳都是一般粗，看起来有点像纽曼的FET 47经过了少许的抛光之后似的，外壳上蚀刻了“EYE”的LOGO，看上去很漂亮，只是觉得体型有点大了。D36B有着锥型的外壳和网罩，外表经过糙面精 整的处理。好吧，好吧，我知道啦，说重点……

那么，它们听起来如何呢？答案是非常好！通常我拿到了麦克风以后所做的第一件事就是用他们来录我的套鼓，由我亲自来演奏。我打了一辈子鼓，我知道它 们听起来应该是什么样的。所以当我用麦克风来录了之后再回听，就能对所测试的麦克风的品质了解一二了。这一次当我将这两支麦克风的声音一起回听的时候，我觉得那声音棒极了。这两款麦克风一起可以组成非常棒的架到鼓的上方的录音话筒（overhead）。而当我分别听这两支话筒的声音的时候，它们之间的差别 很明显。L36B的中低频非常好，在高频的部分声音清晰、优美。在中频的偏高部分有一个弯，这让声音避免了过分刺耳的感觉。低频的部分非常的干净。相比较 而言，D36B的中频的偏高的部分相比中频的偏低的部分少了一些温暖的感觉，高频较明亮。可能就是因为这两款话筒的这些不同才让我那么喜欢他们两个一起回 放的时候的声音。

我第一次真正用他们来录制作品是和Patrick Jenkins一起录一个吉他独奏加人声，我正在和他一起制作一个专辑。他是一个很好的歌手，可是却算不上是一个很棒的吉他手。这次录的这首歌的构想是只有吉他和人声，可能会再加上一点和声。

我知道因此我要录一个立体的吉他声和一些房间的声音。为了录房间的声音，我用了D36B，我希望可以用它录进一些环境音，就算是在混音后听起来并不 明显。当我搭环境的时候我发现我应该用L36B录人声。两支麦克风的表现都非常好。L36B录制的人声音调平稳，D36B录到的环境音恰如其分。录和声的 时候我们希望更随意、更有趣一些，我让他站在原地不要动，但是只用D36B来录这一轨，麦克风和歌手之间的距离使得录下来的声音有一种很奇妙的怪异的感 觉，让人想起Bruce Springsteen的Nebraska。

稍后我们在录制一段福音音乐的时候又把D36B用作close room mic录鼓。这个鼓手的特点是军鼓的声音很紧，鼓点清晰。我把麦克风放在军鼓的高度，离开4英尺，得到了非常结实的整个鼓组的声音。我之前和他们合作过， 所以后来我和乐队的全部成员还有5 个歌手一起进行调试。我让基调和低音部进入一部小的PA，歌手们并不对着麦克风演唱，吉他手在过道里演奏，房门开着。D36B心型指向的背面对着PA的扬 声器，尽管它离扬声器只有18英寸，也不觉得收到的声音太大。

我录了一次之后，把L36B架起来放在歌手的前面，不过和预期的一样，因为环境音太大，结果是声音听起来只是一个房间麦克风（room mic）不小心录进了人声。不过，后来当我们切割人声，用杂音过滤布把主唱歌手和背景音乐分开的时候，发现L36B录进的主唱声音非常好，D36B录的伴 唱也不错。想再说一下的是，L36B（比较贵的那支）在录女声的时候在很宽的音域里的声音都很平稳。对于声音没有任何的修饰、染色，忠实地还原了声音。 D36B的音质有点薄，用来录伴唱很合适，可以让他们的声音不至于盖过主唱的声音，尽管她们有四个人同时演唱。

总而言之，我觉得这两款都是相当不错的话筒。价位较低的D36B挺好，可惜没有什么个性特点。而L36B，在我看来，经过时间的验证，最终你将会发现买它是一个明智的决定。

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附英文原文：

Aseyer Mic Review: D36B and L36B

Thursday, October 13th, 2011 | by Tony SanFilippo

So, Matt asked me if I’d be willing to review some microphones from a company called Aseyer. I had never heard of them, but why would that stop me from plugging them in to see how they sound?

When the mics arrived they seemed to be made from “off the shelf” bodies. This wasn’t a huge surprise or concern of mine. I’d rather a company focus on what’s inside the mic than on its casing. The L36B is round with a non-tapering body and looks vaguely like a slightly polished FET47 with the catching ‘eye’ logo etched into the metal that looks quite nice, if a little large. The D36B Pro has a tapered body and grill and a matte finish. Yea, yea I know, move on…

So, how do they sound? The answer is pretty good. Often when I get mics the first thing I do is put them over my drum set, and record myself playing. I’m a lifelong drummer so I know what sound will be produced and I can often get a feel for a mic after listening to playback. When I heard these tracks together I thought the sound was really great. These two mics make one excellent overhead. When I listened to each individually the differences were quite striking. The L36B has a really nice low mid, good articulation and nice sound in the top end. There’s a slight scoop in the upper mids, which keeps it from getting too harsh. The low was fairly clean. The D36B, on the other hand, is much more upper-mid-forward with less of the low-mid warmth, and a brighter top. These differences are probably why I enjoyed the sound of the two mics together.

My first use of the mics in an actual session was a solo acoustic guitar and vocal, with Patrick Jenkins, an artist I’ve been slowly chipping away on a record with. He’s a very good singer and writer, but not a ‘fancy’ guitarist. This particular song was designed to be just guitar and vocal, maybe with a harmony.

I knew that I’d want stereo guitar and some room sound. For the room I used the D36B, thinking that I’d be able to capture the ambience, even if it is low in the mix. I figured while I was at it I’d put the L36B on the vocal. Both mics did quite well. The L36B has a very even tonality on vocals and the D36B worked really well for some room splash. For the harmony vocal we wanted something more based in feel, and more interesting. I had Patrick stay where he was, but I only used the room mic to record the track. The distance and sound of the mic gave it a very cool, eerie feeling, reminiscent of Bruce Springsteen’s Nebraska.

A little while later I used the D36B as a close room mic on drums for a gospel session. The drummer had a pretty tight snare sound, and nice articulation. I put the mic at snare height about 4 feet from the drum, and got a really nice hard sound of the full drum-set. I’ve worked with this group before and we end up workshopping [read: learning] the tunes with the full band and five singers. I have keys and bass going through a small PA, the singers singing without mics, and the guitar in the hall, with the door open. I pointed the D36B’s null at the PA speaker, and had no issues with bleed being too loud, even though the mic was only 18 inches from the speaker.

I put the L36B up in front of the singers after a take, but as expected there was just too much sound in the room to hear it as anything but a room mic with vocal bleed. BUT, when it came time to cut vocals, with the lead singer and the backgrounds separated by a gobo, the L36B sounded really nice on the lead vocal, and the D36B worked fine for the backing vocals. Again the L36B (the more expensive mic) sounded very even on a female singer with a wide range. It’s not a color mic by any stretch, but a solid performer. The D36B being thinner in tone worked well for backing vocals, helping them not take over the lead, even though four ladies were singing into it at once.

All in all I think these are pretty decent mics. The less expensive D36B is useful, but far from special. The L36B seems like a mic that would, in time, prove to be a pretty smart purchase.

Tony SanFilippo is the owner and chief engineer and producer at Oxide Lounge Recording in Bloomington, IL. He has written for Tape Op Magazine and numerous web publications.

关于Tony SanFilippo：

Tony SanFilippo is the owner and chief engineer and producer at Oxide Lounge Recording in Bloomington IL. He has written for Tape Op Magazine and numerous web publications.
He’s a lifelong musician, starting with drumsticks and practice pad when he was just 3. He holds a degree in Music from Northern Illinois University and has been making records for fifteen years. He started his professional engineering career at Shiny On Top Records where he was chief engineer and studio manager. He spent almost six years there until the owner decided it was time to move on. SanFilippo bought out his boss and opened the Oxide Lounge.
SanFilippo has recorded hundreds of projects ranging from Rock to Jazz, Classical to Hip-Hop. His client list includes Kenny Rogers, Backyard Tire Fire, Dan Hubbard and the Humidors, Chicago Farmer and many others.

Tony SanFilippo是位于伊利诺斯州布卢明顿市（Bloomington）的Oxide Lounge Recording工作室的总录音师，制作人，也是那儿的老板。他为专业音频杂志Tape Op Magazine 和很多专业音频网站撰稿。

Tony SanFilippo一生都致力于音乐事业。他从3岁的时候就开始接触鼓槌和哑鼓，他拥有北伊利诺斯州立大学的音乐表演专业学位，从事录音和唱片制作已经 有15年了。他专业录音师的生涯开始于Shiny On Top Records工作室，他在那儿担任总录音师和工作室的经理。他在那工作了大概六年之后，他的老板决定转做其他行业，于是Tony SanFilippo从他的老板手里买下的这间工作室，改名为Oxide Lounge。

Tony SanFilippo制作过几百张各种风格的专辑，从摇滚，到爵士，从古典到Hip-Hop。他的顾客有很多，其中有：Kenny Rogers, Backyard Tire Fire, Dan Hubbard and the Humidors, Chicago Farmer等等。

关于Oxide Lounge Recording：

Oxide Lounge Recording is designed to be a great sounding comfortable, creative atmosphere, featuring the 14-foot ceilings, wood floors and comfy couches, convenient load in, and enough gear to sink a battle ship. Nestled in Downtown Bloomington around the corner from first class dining, antique and specialty shops, neighborhood bars and only two blocks from the historic Castle Theater, it’s the perfect place to make a record.

Oxide Lounge Recording工作室的设计给人以听感舒适，和充满创作灵感的氛围。这体现在它从14英尺高的屋顶，到木质地板，舒服的沙发，便捷的服务，还有大量可用的设备。

它位于布卢明顿市（Bloomington）市中心，与那里最好的食肆、专卖店、古董店、酒吧比邻而居，离历史悠久的城堡剧院（Castle Theater）也只有两个街口的距离。是您制作录音专辑的完美选择。

关于Recordinghacks:
RecordingHacks is an online magazine about recording gear and techniques, a microphone database and search engine, a directory of commercial mic modders, and the official home of the Tape Op Mic Review Archive.

Recordinghacks是一个关于音频设备、录音技术、麦克风数据和资料的网上杂志和搜索引擎。是一个麦克风制造商的名录，也是收录了全部Tape Op Magazine上关于麦克风的评测文章的官方档案馆。

关于马特：
Matt Mcglynn is the founder of what is arguably the best microphone website in the world, RecordingHacks.com. He is a lifelong technologist with a super-power of making order out of chaos and an unhealthy fascination with professional audio gear.

Matt Mcglynn是www.recordinghacks.com网站的创办人。这个网站可能是世界上最好的关于麦克风的网站。他是一个技术专家，有着让繁杂的事务变得有秩序的超能力，并且对于专业音频设备有着近乎痴狂的迷恋。