Mike's Mics: Cascade VX20

Thursday, January 7, 2010

Cascade VX20

Like the MXL 992 below, the Cascade VX20 has a 10db pad for high SPL sources, plus a low-cut switch to reduce proximity effect with close-in vocalists. The Cascade VX20 also comes with a shock mount of respectable quality.

The sonic characteristics of the Cascade VX20 are interestingly similar to the MXL 992; however, I notice ever-so-slightly less definition in the midrange frequencies with the Cascade mic. This is a very subtle difference and I would consider it a matter of personal taste as to which of the two microphones I would prefer for a particular acoustic instrument.

Given a choice between the two microphones, I might be inclined to choose the Cascade VX20 over the MXL 992 if I were called upon to record a harpsichord (for example). I feel the Cascade mic would give me good transient response and a clean sound, but not so much “edge” as to over-emphasize the plucking of the strings. I feel this microphone would also work well on banjo or steel string acoustic guitar.

5 comments:

AdminJune 20, 2010 at 1:05 PM
Hey where can I get a shock mount for this mic?

Thanks
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Mike PittsleyOctober 1, 2010 at 1:00 AM
The shock mount for this mic came supplied in an unbranded white box; however, a Samson CO1 shock mount will work fine with this microphone if a 1/8" thick felt or Neoprene (or similar material) shim is placed between the mic and where it screws into the shock mount.
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Larry DSeptember 21, 2020 at 6:33 PM
I have a VX-20 I am selling.
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Mike's Mics

Here, you'll find reviews of inexpensive condenser and ribbon microphones with the emphasis on acoustic instruments. If you’re a pianist, percussionist, clarinetist, harpist, violinist, trombonist, etc., this blog may give you enough helpful information to make a more informed decision regarding which budget-priced studio microphone will work best for you.

Most online user reviews of inexpensive studio microphones seem to relate only to how these mics sound on drums, electric guitar cabs and vocals. There is relatively little information about how these microphones work on acoustic instruments and ensembles.

There are currently only a few companies in China that build most of the inexpensive condenser and ribbon microphones available here in the United States. They are almost always “rebadged” and sold under various company monikers (MXL, Nady, Behringer, Apex – to name a few).

There’s an unfortunate tendency to sneer and bad-mouth any equipment that comes from China, particularly microphones. Some of this is justified as quality control is frequently inconsistent and noticeable variations in the sonic character of these Chinese microphones can be very noticeable between samples of the same make and model.

Inexpensive Chinese microphones certainly don’t compare to the high-dollar “boutique” microphones by Neumann and Telefunken. Nonetheless, the overall quality of these inexpensive microphones is surprisingly good for their price range and many of them prove quite adequate for acoustic instrument/ensemble recording projects.

The question then becomes,” Should I spend $5,000.00 on a microphone when a $500.00 microphone will work almost as well?” Yes, the $5,000.00 Neumann U87 will sound better, but does it sound $4,500.00 better? For many musicians on a tight budget (like me), the answer is almost always no.

If you play an acoustic instrument, this blog will hopefully give you enough helpful information so you can make a more informed decision regarding which budget-priced studio microphone will work best for you.

Enjoy.