Mike's Mics: TNC Audio ACM-4

Saturday, January 23, 2010

TNC Audio ACM-4

The TNC Audio ACM-4 ribbon microphone sports a short, dual-ribbon design and is a rebadged ShuaiYin SYR50. It’s exactly the same mic as the Apex 215 and the Alctron HRM-14B.

Ribbon microphones have a very low signal output and the dual-ribbon design of this microphone helps boost its output and sensitivity. When I compared the ACM-4 side-by-side with the ACM-1 and the NADY RSM-4, the ACM-4 definitely produced a noticeably higher output than the others. It also had a slightly brighter response in the upper frequencies; however, it was in no way “edgy” or harsh. In fact, the ACM-4 seemed to have the most balanced frequency response of all the ribbon mics I’ve tested so far. I would still prefer to use the ACM-1 long ribbon mic for baritone sax and low brass; however, if I were going to record flute or piccolo, the ACM-4 would be my choice.

I must admit to a bit of a bias toward ribbon microphones for horns, particularly trumpets. A good ribbon mic can take the brassy edge off a loud, screaming trumpet section in a jazz ensemble and give it just the right timbre in the mix.

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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.