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MediaBiz, 10/2007 -
NEVATON MICROPHONE TEST BY THE CHIEF TECHNICIAN OF THE WORLD REKNOWN FESTIVAL "SALZBURGER FESTSPIELE" EDWIN PFANZAGL CARDONE!!
Find the article in "Media Biz", one of the leading trade magazines predominantly focussing on broadcasting, film and event industries in Austria. (...)Nevaton microphones sound incredibly natural and are a perfect choice for recordings of classical music – and like that for all acoustic instruments.
(...)Nevaton microphones are comparable with Neumann U87. If one of my U87 will not function once, I will not hesitate to replace it with a Nevaton microphone. I can only recommend to use the possibility and give that microphones a try.
Nevaton MC Series Studio Condenser Microphones, 03/2009 -
Nevaton microphones ultimately won me over. They proved themselves to be reliable, consistent performers and capable of a wide range of recording duties.
Read the full article here -> NEVATON PRO AUDIO REVIEW
SOUND ON SOUND Magazine - Nevaton MC 51 -
(...) During the brief time I have spent working with the MC51, I have thoroughly enjoyed its warm, revealing sound and its versatility. It costs just a little more than a budget fixed-pattern capacitor mic, but at the same time, it performs as well as some of the top-name capacitor mics costing over twice as much. To sum up, it is a strong all-rounder, it is attractively priced and it does not look like a piece of shrapnel! If you are after a new mic, make sure that this one gets a look in before you make up your mind.
Keyboard Magazine 08/2004 -
Test of 12 large-diaphragm condenser mics, including Nevaton MC416, Neumann M149+U87AI+TLM103, Brauner Valvet, Lawson L251, Microtech Gefell M930(...)
(...) Nevaton microphones are extremely well manufactured (...) and as the mechanical manufacture is still one of the most important parts of a microphone, it shows that the MC 416 is a first-rate mic, which can compete with microphones on the top level, even if its price is one step lower.
(...) The MC 416 was immediately the first choice for the congas of our percussionist, it had a very good spatial representation which was warm and round, like on old cuban recordings.
(...) With the saxophone the basic characteristic of the microphone obtains a very pleasurable sound which becomes smokey, charming and lends a colour which could remind one of old jazz-recordings.
Keyboard Magazine 02/2005 -
Test of Russian microphones - Elation KM901, Nevaton MC51, Nevaton MC416, Oktava MC012 & Lomo M6-Kapsel
(...) Vocals sound delicate with a lot of air, the recording has a kind of elegance and a fine open sound.
(...) Used with acoustic guitar, both Nevaton microphones sound excellent and expensive, if you like a clear and brilliant sound.
(...) This sound is often in demand, especially if the high frequencies are as well represented as here.
The Mix, 05/95 -
(...) the MC51 is certainly good value, and well worth a listen.
I liked the Nevaton a great deal.
Studio Sound, 12/96 -
The most remarkable thing about the whole Nevaton range is its low price, in line with the trend for unknown Soviet microphones to compete on virtually equel terms with established Western models at a fractions of the price.
Echochamber-Studio/Microphone Test
Several audiofiles to compare the sound of Nevaton with Neumann, AKG, Rode (...)
OPINIONS
Burghard Gruber, GBC-Records, Austria- (06/2008) www.gbc-records.at
Ich bin begeistert von den Möglichkeiten die dieses Mikrofon bietet.
Ich konnte es zwar nicht direkt mit dem Originalen U87 vergleichen jedoch das TLM 103 steckt es auf jeden Fall weg.
Auch die Möglichkeit der verschiedenen Richt-Charakteren macht das Mikrofon für uns zu einer sinnvollen Anschaffung für unser Studio.
Beim Vergleich mit dem Brauner Phantom kann ich feststellen dass hier das Brauner
mehr Output bringt und im Bass und Mid Bass Bereich wärmer klingt was wahrscheinlich an der Schaltung und leichten Betonung in diesem Bereich liegt.
Das Mikrofon hat keine auffällige Färbung und ist sehr neutral - klingt wunderbar seidig im Oberton Bereich was ev. die leichte aber harmonische Anhebung im Bereich um die 12 bis 15 kHz anbelangt was aber nicht negativ auffällt.
Auch durch laute Stimmen lässt sich das Mikrofon nicht beirren bleibt auch dort noch sehr sauber - im Klangbild vom hören her wirkt das Klangbild transparenter und cleaner - was bei den anderen Mikros (TLM und Phantom) nicht so ohne weiteres zu behaupten ist - jedoch durch etwas mehr Abstand zum Mikrofon ausgeglichen werden kann.
Alles in allem jedenfalls ist das Mikrofon für Gitarrenabnahme und Gesang auf jeden Fall empfehlenswert - und für alle die dieses Mikrofon universell einsetzen möchten durch die verschiedenen Richt-Charakteren bestens geeignet.
Getestet und verglichen haben wir alle drei Mikrofone mit derselben identischen Einstellung über einen Focusrite Liquid Channel Preamp - in Pro Tools 7.4 auf System Digi HD3.
Ich behalte in diesem Sinne das Mikrofon auf jeden Fall und kann es jedem nur weiterempfehlen.
Ing. Alexandr Rebjonok, PhD, Gunjah Studio, CZ (06/2007)
I have to say that you make great microphones. I have found the MC 416 very unusual. I have tried a couple of different microphones lately and almost everyone promote their microphones with words like silky and creamy, which often simply is not true, especially with the harsh modern ones. Your MC 416 is really everything it says and it makes serious competition to the well known brands, being a sort of modern vintage.
Eric Somers, Acousmatic Designer
The Sandbook Studio Professor, Dutchess Community College of the State University of New York
Tonight my students and I tested the Nevaton MC-48 against various stereo pairs made up of AKG mics. We had a pianist play the same piece several times and we used two different mic setups for each performance. All of the performances were placed in the same spot on a 16-track tape so that as we played back the tape we could crossfade between any two or more tests and still be in approximately the same part of the piece. We used AKG 460s with cardiod capsules for X-Y and ORTF placement, and with omni capsules for A-B placement. We varied the distance from the piano for all of the mics, also. Thus we have X-Y tests with the Nevaton and AKG near the piano, and with them farther away. The same with the A-G and ORTF patterns. All of the mics were fed into our Mackie digital console and from there to two interlocked ADAT M-20 recorders. In virtually every test the Nevaton way outperformed the AKGs. The sound was warmer and richer. I do a lot of piano recording and this seems to be an EXCELLENT piano mic. I am very happy. Now I can not decide whether I want to buy two small capsule mics (for my personal collection, the AKGs we used belong to the College) or two standard Nevaton mics with switchable pickup patterns. Do they make a model that can be switched to cardiod, omni and figure-of-eight? Sunday I will be recording a piano recital in a hall about 90 miles from here. I will use the Nevaton along with an Amek-Neve high end mic pre I just bought feeding a DAT recorder directly. (The pre is the latest standalone mic pre designed by Rupert Neve). I will keep you posted with the result but I think it should be very impressive. If we can still set up a visit to Nevaton this summer just before or just after I have to be in Finland (for a conference July 28-August 2), I would like to take photos and write an article about Nevaton mics for an American audio magazine. I feel confident I can get something into Electronic Musician (they keep asking me to write for them) or another similar publication. In the meanwhile, I am happy to recommend the mic to anyone. It is a superb value for the price. Sometime this summer I would like to try and borrow a Neumann U-69 and compare the two (with the Neumann set for X-Y position). I was expecting to like the Nevaton sound for the price but I did not expect it would be quite as good as it is. I would think that every classical engineer would want one, even if just for an emergency backup if nothing else. I feel confident very few musicians would complain about the sound, even if they were used to being recorded by more expensive mics.
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