UA’s new range brings mic modelling to the masses!
When Universal Audio acquired mic modelling maestros Townsend Labs, the obvious intention was to deploy their Sphere technology in more affordable, simpler products. The first step along this road was last year’s Sphere LX, and UA have now gone much further.
The Sphere DLX and LX have separate outputs for the front and rear sides of the capsule, allowing the polar pattern to be manipulated in the Sphere plug‑in, but requiring two matched preamp channels. The new generation of UA modelling mics are fixed‑cardioid designs that connect to a single preamp input, just like any other mic. There are separate large‑diaphragm, small‑diaphragm and moving‑coil models, plus a cut‑down version of the Sphere plug‑in named Hemisphere, which can run natively or on UAD hardware DSP platforms.
Depending on which source mic you have, Hemisphere delivers a curated selection of modelled mics that use the same operating principle. For the SP‑1 pencil mic, that means a Neumann‑heavy catalogue including the KM54, 56, 84 and 86, plus an AKG C451/CK1, whilst SD‑1 dynamic mic owners get a virtual Shure SM7, Electro‑Voice RE20, RCA 77DX, beyerdynamic M88 and Sennheiser MD441. The large‑diaphragm SC‑1 was supplied for review, and offers the widest choice of all, with Neumann U87, U47, U67 and TLM103 models joined by a Sony C800G, Telefunken ELA M 251 and AKG C12 and C414 B‑ULS.
Physically, the SC‑1 is a smart, distinctive and reasonably compact mic. It boasts a self‑noise of 12dBA and, notably, the ability to tolerate SPLs up to 145dB. It comes with a standmount rather than a shockmount, but will fit a Rycote USM or similar if necessary.
Rounded Out
Some Sphere features depend on that mic’s dual‑output capability, and others probably go unused in most recording contexts. Hemisphere thus does away with controls such as off‑axis correction and compensation for the effects of portable recording booths. It also lacks the Sphere plug‑in’s ability to mix and match two virtual mics within the same window, though there’s nothing to stop you duplicating a track and using a second instance of Hemisphere. So, along with output level trim and polarity controls, you just get a three‑position filter switch, and dials for Proximity and Axis. And, in all honesty, that’s all you need for most situations.
I wasn’t able to compare the SC‑1 directly to a Sphere, but I did put it up against my U87 and C414B‑ULS, and in both cases it got very close to the originals on close‑miked vocals, the main application for this product. In fact, although I could probably tell the SC‑1’s U87 model apart from the real thing in a blind test, I certainly couldn’t tell you which of the two I preferred. It sounded noticeably more like my own U87 than Warm Audio’s WA‑87 MkII did in the same test. All the other models sounded like I’d expect the real thing to sound, too, with the C12 and 251 offering different flavours of airy brightness and the 67 and 47 producing complex, rich, mid‑focused sounds. I’d rather have a C414 EB or Sony C37 than a virtual TLM103, but between the eight options on offer, you should be able to find at least one that works on any vocal.
The SC‑1 and Hemisphere deliver exactly what most people need most of the time.
Verdict
The Sphere is a remarkable product, but its immense versatility comes with a learning curve and a price attached, and is unlikely to be needed in a straightforward vocal tracking session. The SC‑1 and Hemisphere deliver exactly what most people need most of the time, in a good‑sounding package that is child’s play to use. It’s flexible enough for probably 90 percent of real‑world applications, and affordable enough to open up a whole new market for UA’s modelling technology.
Summary
Effectively eight mics in one, UA’s SC‑1 is an affordable and friendly introduction to the world of mic modelling.
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