On-axis sound is remarkably clear and balanced, with only gentle proximity effect and no tendency to harshness or sibilance. This is a by-product of the mic’s extended low-frequency response and can be held in check by using a highpass filter or a foam windscreen (in some cases, I opted for the windscreen). The pop screen extends down almost half of the microphone, which should also aid in keeping vocalists’ hands in the proper position.

Over the past 30 years I've used or owned pretty much every vocal mic out there - starting with the old workhorse - the Shure SM58 - and most recently, as mentioned, the Earthworks SR40V. when I used to gig in the UK 10+ years ago, the one consistently great guy we had was also the promoter for the venue, so had a vested interest). It’s a high-definition handheld vocal mic intended for live use, but let’s see what it can do in the studio as well.Singers get right up on the mic during live performances, and the screen did a nice job in catching most of it, but some heavily emphasized P’s still popped through. Please give us the reason for your assessment in the following text box and – if possible – your e-mail address for further questions. If I'm doing a handheld in the studio, I'd probably just give them an SM7b - or whatever they felt most comfortable with. It delivers uncoloured rejection of off-axis sound, ensuring a high-quality sound at all times that highlights your voice and nothing else.

Earthworks precision-engineered their SR314 handheld condenser microphone to offer a fresh approach to miking live vocals. The SR314 requires 24-48 V phantom power, and like all Earthworks mics, it draws the maximum permissible 10mA current. I haven't done a big band on stage with it so I don't know how it holds up in terms of feedback with a drummer plus percussionist right behind you. Unless you go big enough, any problem is the sound engineer, any success is the musicians or the gear. Especially in a vocal/guitar setup, having the voice sound as great as it can is worth every penny IMHO.Capable of handling sound pressure levels of up to 145dB without distortion, the SR314 can handle nearly any vocalist. The rejection of sources at 180 degrees is superb, and it still offers a reasonably wide sweet spot to allow the vocalist a good range of movement without drastic changes in sound quality. No issues with feedback, dials in easily (didn't even touch the gain), just send it phantom and you're good to go.

As is the case with most handheld vocal microphones, there are no switches or controls on the body of the SR314. it's not correct to compare a powered speaker without having plugged anything in to a fully rigged system.There were a couple of instances of the pop-screen letting a few plosives through, but for the most part, it held up decently well.

Agreed - being the in-house sound guy at your average small venue is thankless - a parade of no-hopers with the occasional bright light.It’s not often that you find a practical and attractive design in a microphone intended for live use.