Equation F.20 Large-Diaphragm Mic
by Randy Poole, 03.09.2010
A relative newcomer, the Nashville-based manufacturer
Equation Audio has unveiled its latest microphone, the F.20
super-electret, large-diaphragm condenser.
Designed as a multipurpose mic, it is
aimed at a broad range of users, from
seasoned industry professionals to discriminating
self-recordists.
Features
The F.20’s first example of Equation’s
promising attention to detail is in its
packaging; it comes in an attractive and
soft, zippered and tweed-covered
clamshell carrying case filled with cut
foam with an included metal pop filter.
[According to the manufacturer, its
unique soft “bag” style case “allows for
great protection without impacting the
total cost,” explaining that some “hard
cases at the same cost tend to be easily
destroyed, contain cheap foam, and
afford no better protection and are cosmetically
attractive until used a few
times.” — Ed.]
The F.20 has a 16 dB pad and a highpass
filter (at 80 Hz). Its switches are
located on the front side of the microphone,
distinguished by the Equation
logo. The microphone is internally shockmounted,
using a straightforward yoke
design for mounting to a mic stand. For
its head amp, Equation explains that the
F.20 utilizes “a completely new” design
claiming low noise (80 dB S/N), high
headroom 150 dB max. SPL @ 1 kHz), and
a very broad frequency response
(according to manufacturer-supplied
specs, 20 Hz to 20 kHz with notable 3-5
dB bumps at around 3 kHz to 6 kHz and a
nearly 6 dB peak around 12 kHz). The
transducer is an electret type with a
diaphragm that measures
0.8 inches (20 mm)
and sports a supercardioid
pattern.
In Use
First up for the F.20 was
vocals, comparing it to
several vocal mics in its
price range and a few
costing three times as
much. The results with
the F.20 were very nice; in
comparison to the other
mics I auditioned, it had a
smoothness to the frequency
response the others
couldn’t match, especially on
female vocals. On “darker”-sounding singers, the mic didn’t place
quite as high on the list, but I found
that, even when EQ’d to add some air,
the F.20 still didn’t become harsh-sounding.
Even though the F.20 is a super-cardioid,
it possesses a subtle proximity
effect that proved quite useful for our
vocalists and never became overbearing
or muddy. One subtle quality I noticed
during mic comparisons and during mixdown
was that the vocals recorded on the
F.20 seemed more focused in the stereo
image, and slightly more forward-sounding
than the other models tested. This
phenomenon allowed them to sit in the
mix nicely and still be heard without as
much processing as other mics.
During my long term testing of the
F.20, I found several
more good applications,
such as on
acoustic guitar. There,
it sounded very pleasing
and full spectrum
without too much low
end, and without the
harshness that
some condensers
accentuate via pick
noise. With the 16 dB
pad engaged, drum
overheads also sounded
good. It was probably
my second favorite of all
my overhead choices,
again showing off its
excellent imaging. The
mics blended well with
the close mics. Close
miking on drums for
pop/rock was my least
favorite application for the
F.20, mainly because I prefer
(or am accustomed to) dynamic
mics on drums. With appropriate
EQ, they still sounded quite good,
though; for different styles of music (say
jazz, for instance), they might be a welcomed
choice on drums.
I should note that my favorite app for
the F.20 is on an organ Leslie cabinet. In
the past, I have always preferred dynamic
mics on Leslie cabinets, partly because
they pick up less wind noise, squeaks,
etc. With the F.20’s pads engaged and the
flanking the top rotor in a stereo pattern
of the Leslie, I was really impressed; it
translated all the richness desired, and
the distortion and overtones came
through during the mix better than with
the dynamic mics I typically use.
Summary
It’s clear that Equation Audio aimed for a lot of versatility in the
F.20. They aimed to make an AKG 414-type of microphone, yet
more versatile, more forgiving, and at a lower price point. In
my opinion, they have accomplished that goal. Overall, it has
a velvety smoothness that comes through on vocals, a variety
of instruments, in a variety of positions. It does all this
while creating a solid image in the stereo field that will be
appreciated even more on mix day. At under $600 street, it is
a winner in my book.
Randy Poole is an engineer and mixer based in Nashville.