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00:00:00 – 00:17:41
The video provides an in-depth review of the Earthworks Ethos broadcast condenser microphone and compares it with several other microphones in terms of sound quality and performance. Priced at $700 for the basic version and $750 for the matte black variant, the Ethos microphone is praised for its high build quality, excellent off-axis and plosive rejection, and suitability for spoken word applications. The presenter conducts various tests, such as proximity effect, distance handling, noise rejection, and performance in treated and untreated rooms, to showcase the microphone's capabilities.
Comparisons are made with other well-known microphones like the Shure SM7B, Road Broadcaster, Electro-Voice RE20, Earthworks Icon Pro, Lauton Audio LS208, Neumann KMS105, Neumann BCM705, and Neumann U87ai. These comparisons highlight differences in sound quality, cost, and application suitability. The Ethos is noted for its detailed and clear sound, particularly for spoken word and broadcasting, though it may not be as ideal for musical applications. The video concludes with the presenter's assertion that the Ethos is the best-sounding broadcast condenser microphone they have tried, despite some minor drawbacks like proximity effect and slight keyboard noise pickup. Viewer engagement is encouraged through comments, likes, and subscriptions.
00:00:00
In this segment of the video, the presenter reviews the Earthworks Ethos broadcast condenser microphone, priced at $700 for the basic version and $750 for the matte black variant. Earthworks provided the microphone for review. The microphone is connected to a Focusrite 18i20 second gen, with gain set at around one o’clock, recording in 24-bit/48 kHz. The package includes the microphone, a pre-installed foam windscreen, a triad-orbit microphone mount, a 5/8 to 3/8 inch stand adapter, and documentation. The build quality is praised, featuring a single-piece stainless steel body and robust components. The microphone has a super cardioid pattern, 20 Hz to 30 kHz frequency response, -34 dB sensitivity, 16 dBA self-noise, 145 dB max SPL, 65 ohms impedance, and requires +24 to +48 volts phantom power. The video also demonstrates the microphone’s off-axis rejection and plosive rejection capabilities.
00:03:00
In this part of the video, the presenter demonstrates various aspects of a microphone’s performance. They start by testing the proximity effect and distance handling by speaking at different distances from the microphone. They also type on a keyboard with different key switches to show how much keyboard noise the microphone picks up compared to the voice. The presenter shows how the microphone sounds in well-treated and untreated rooms and tests the microphone’s shock rejection by tapping on the desk, boom arm, and the microphone body.
Additionally, the effect of a foam windscreen on the microphone’s tone is analyzed—first with the windscreen on and then off—to highlight the differences in sound. The presenter also performs a spoken word comparison between the microphone under review and several other microphones on the market, starting with a high-end model, the SM7B, to provide context and comparisons.
00:06:00
In this part of the video, the presenter compares several microphones, focusing on sound quality and price. The Shure SM7B is tested in neutral mode with 100% gain, and compared with the Earthworks Ethos, Road Broadcaster, and Electro-Voice RE20, each described with their settings and how they sound. The comparisons continue with the more affordable Earthworks Icon Pro and the Lauton Audio LS208, noting differences in cost and sound quality. The segment concludes with tests of the Neumann KMS105, highlighting their relative performance and features.
00:09:00
In this segment, the host compares different microphones to showcase their sound qualities. Initially, they test a handheld stage condenser microphone against a broadcast condenser microphone. They use the Ethos broadcast microphone and then switch to the Earthworks SR314, a $700 handheld stage condenser mic. The host asks viewers to note the differences and comment. They continue with the Neumann BCM705 broadcast dynamic microphone and finally compare everything to the Neumann U87ai, a multi-pattern condenser microphone priced at $3600, used as a benchmark across multiple videos. The segment concludes with a transition to a music test to assess the microphones further.
00:12:00
In this segment of the video, the speaker concludes their review of a broadcast condenser microphone, asserting that it is the best sounding one they’ve ever tried. They highlight several pros, including excellent plosive rejection with the provided foam windscreen, superior noise and shock rejection, and high build quality. They also praise the convenience of the triad orbit mount. On the downside, they mention the proximity effect can be overwhelming, and the microphone picks up some keyboard noise and room tone. For electric guitar, the microphone has a controlled low end, pleasing mids, and a highly articulate top end, though it can be a bit fizzy. For acoustic guitar, it offers smooth mids and articulate highs. When used for singing, the speaker finds the provided foam windscreen too suppressive of the top end, suggesting an external pop filter for better detail. Lastly, for spoken word, the microphone excels, providing appealing low-end weight and body, detailed mids, and clear, clean sound.
00:15:00
In this part of the video, the speaker discusses the Earthworks Ethos microphone, emphasizing its suitability for spoken word due to its non-fatiguing, detailed, yet not overly sibilant sound quality. They compare it to other microphones, noting that it may not be as exciting for music applications but excels in long-form podcasts and broadcasting. The speaker concludes by inviting viewers to share their opinions on the microphone and encourages engagement through likes, dislikes, subscriptions, and channel support.