SUPERLUX MICS

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CMH8 Series Capacitor Microphones

Published in SOS January 2002
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Reviews : Microphone

Paul White

With so many high-quality, low-cost capacitor microphones now on the market, many of which originate from the same factory in China, it begs the question why the factory don't simply sell their mics under their own name rather than making them for third parties. According to SCV London, who distribute the Superlux range of microphones in the UK, this is exactly what they are now doing, which means one less price markup between the manufacturer and the end user.

The range of mics reviewed here are the CMH8 series, comprising A, B, C and D models. My guess is that the CMH8A will draw the biggest crowds simply because of its cost/performance ratio. This is a fixed-cardioid large-diaphragm (one inch) model with an evaporated-gold diaphragm only three microns thick. The onboard electronics comprise a transformer-balanced FET preamp and a low-cut slide switch on the circuit board, although there are no switches accessible from outside the mic. A swivel standmount comes with the mic as standard, though there's also a sensibly priced shockmount available as an optional extra, and the mic itself comes in a rigid, foam-lined plastic case.

The frequency response of the mic shows a gentle drop-off below 80Hz, though with the low-cut switch active the roll-off starts above 200Hz to compensate for the proximity effect when using the mic u

Superlux CMH8 Series pros Eminently affordable Nicely engineered and styled Good sound quality cons None at these prices. summary An attractive range of affordable capacitor mics which are able to deliver good vocal sound quality and which can double up for recording acoustic instruments.

This product is rather nicely engineered both inside and out, with moulded plastic circuit board supports used to cut down on metalwork costs without compromising performance. The body itself has a rather attractive bulbous shape and conductive springs keep this in electrical contact with the grounded parts of the PCB. A dual mesh basket structure protects and screens the capsule, while the aluminium mic body has an attractive satin silver finish with the printed model number denoting the live side.

The slightly more expensive CMH8C model features a dual-diaphragm capsule and is cosmetically similar to the CMH8A. It also has quite a similar frequency response, but can be switched for cardioid, omni or figure-of-eight responses and has on-body switching for the low-cut filter and a 10dB pad. Between these two models comes the fixed cardioid CMH8B, which is essentially a CMH8A with external pad and roll-off switches. All three solid-state models are optionally available as boxed matched pairs suitable for stereo recording -- the model numbers are SKMH8A, SKMH8B and SKMH8C respectively.

Again visually very similar to the previous models in the range, and with the same general frequency-response characteristics, the CMH8D features switchable cardioid or omnidirectional patterns (like the C

In my tests, the CMH8A turned out to be a nicely neutral vocal mic, similar in sensitivity and overall tonal characteristics to my reference Rode NT1, though with perhaps marginally less 'weight' at chest frequencies. The high end is less splashy than some of the transformerless models I've tested in the past and, because the presence colorations are quite subtle, the mic should suit a wide range of voic

As expected, the CMH8C switchable-pattern model sounded similar in cardioid mode, though the presence characteristics weren't exactly the same because of the dual-diaphragm capsule. In omni mode, the pickup pattern was nicely even, though possibly less transparent and natural sounding than some of the high-end, small-diaphragm models available. Used in figure-of-eight mode, the mic delivered more or less the same punch and clarity as in cardioid mode. As

Finally I checked out the CMH8D valve mic, which, although less overtly coloured than many of the valve mics I've used, does seem to open out the high end without adding harshness or splashiness. There's also a subjective increase in low-end warmth, but my impression is that the high end is the most noticeably enhanced part of the spectrum, lending the sound more 'airiness' than the other models in the range. Unfortunately, this model only has the cardioid and omni options, so the benefits of figure-of-eight recording are denied to the owner, but when you take the low cost into account there are really no grounds for complaint, especially as you get an effective shockmount thrown in.

Having so many inexpensive mics on the market is a mixed blessing in that it det

Judging the Superlux mics against other Far East budget capacitor models is no easy task. Even though most of them sound slightly different to each other (which can be due to something as simple as basket design), the general quality tends to be much the same, which is not surprising when you consider that pretty much all the capsules, and often the electronics too, are made in the same factory. Transformer models in general sound less splashy (some people would say 'warmer' while others might say 'less transparent') than transformerless models as their high end roll-off tends to start at a lower frequency, but, other than that, they all offer incredible performance given their UK price.

In addition to sounding good, these Superlux models have the advantage of very low cost, pleasing cosmetic design and generally good build quality, coupled with the fact that the range offers a number of options to suit different needs. They may not be anything radically new, other than even better value, but that's probably enough to guarantee them a successful future.