Avant Electronics Avantone BV-1 Multipattern Large-Diaphragm Tube Condenser Microphone
by Rob Tavaglione, 06.21.2010
If the multipattern, large-diaphragm, tube condenser Avantone BV-1
microphone was a $3,000 product, this review would be quite positive,
focusing on its useful sonic qualities yet tempered with a touch
of “I’ve seen it all at this price point” market-watching savvy.
However, the BV-1 is a $1,000 microphone,
so this review will praise its sonics while
trumpeting the impressiveness of its
unprecedented price-to-performance ratio.
Features
The BV-1 is presented in a classic form, a
LDC tube microphone with high-pass filter
and -10 dB pad in a padded wooden box;
power supply with a 9-position multipattern
switch (omni, to cardioid, to figure
8); 15-foot, Swiss-made Gotham GAC-7
tube mic cable; shockmount; removable
nickel-plated pop filter; all contained in an
elegant and plush tweed road case. The
BV-1 weighs in at 46 ounces; the total
package is 25 lbs.
Manufacturer-provided specifications
are as follows: the BV-1 offers a 34mm,
gold-sputtered Mylar capsule with 3-micron-thick diaphragm; frequency
response is 25 Hz to 20 kHz; maximum
SPL handling is 134 dB, 144 dB with pad;
and signal-to-noise ratio is 78 dB (ref.
1Pa, A-weighted). The tube is a “select
low-noise Russian 6072A.” Output transformer
and connectors are U.S.-made by
CineMag and Switchcraft, respectively.
Although built of primarily Chinese-manufactured
components in China, the
BV-1 was designed by Avant Electronics’
design engineers at the company’s
California headquarters. “Final
assembly and QC testing” is also conducted
at Avant’s U.S. office.
In Use
Over the long term of this review, I included
the BV-1 in quite a lineup of applications:
a wide variety of vocalists, spanning
gruff baritones, clean tenors, throaty
altos, and piercing sopranos. Artist after
artist chose the BV-1 for their vocal
tracks. I know that part of this has to do
with “listening with your eyes” — the phenomenon
of a performer, especially a
vocalist, feeling special by
using visually classy gear,
therefore performing especially
well. While in full effect here, that’s hardly
all of it.
Another part of it (also aesthetic) is
the unique little chrome pop filter, which
always elicits comments from the talent
and does admittedly look cool and Art
Deco. This filter is only about 1.5 inches
from the diaphragm and is small in
diameter, so one may have to be careful
about restraining plosives or rotating a
little off axis. The filter may work for bigbottomed
voiceovers, but isn’t sufficient
against aggressive heavy breathers or
yelling rockers, so you might need your
usual pop filter in addition.
But the biggest reason for the BV-1’s popularity was its “flattering neutrality,” based on a response
curve that worked well with all voices. It sounds flat and uncolored
on the bottom end (with workable proximity effect at four
inches and deep hugeness at two inches) with just a hint of
pleasant brightness on the top and a small, well-placed dip
between 400 Hz to 600 Hz; this response tends to nullify any
nasal problems and offers a very musical, yet realistic recording.
I found the cardioid pattern to be fairly tight, with a slight sensitivity
to high frequencies at 180 degrees off axis. In figure of 8,
the BV-1 was usable, if typical for a multipattern LDC: typical in
that it’s not quite as flat on the front side as it was in cardioid, a
little nasal and midrangy on the back side, with nulls on the
sides. In omni, the BV-1 is flattest (again, typically) with too little
sensitivity on the sides, sounding duller and carved out from
those directions. My personal favorite vocal position was one
click towards omni from cardioid, achieving the BV-1’s flattest
response and most utilitarian reproduction.
The -10 dB pad is clean and effective, but mute your channel
before switching: it’s a popper. The high-pass filter switch is
quiet and placed at a low frequency of 80 Hz, as compared to
the often-too-high positions of 150-200 Hz that some mics offer.
On electric guitar, the BV-1 sounded great, but required careful
use. The BV-1 has a typically hot LDC output, so the pad may
be needed. That proximity effect that was always useful on
vocals can overwhelm here, so either back off the amp or try out
the high-pass filter, or both. Things can get a little brittle here
with a distorted tone, so avoid the center of your speaker cone
and try angling a little off axis. When paired with a SM57, BV-1-based guitar tones were pleasantly full bandwidth and concise,
still with a meaty low-mid and fullness. Round, bell-ish clean
tones from an Egnater and throaty sounds from an old Marshall
were especially impressive.
On acoustic guitar, the BV-1 gets the classic, full-bodied LDC
sound, with a touch of tube compression. Strumming offered
guitar top resonance and was slightly compressed, while finger
picking translated with reasonable detail and delicateness (selfnoise
wasn’t a problem here, but could be with really quiet, soft
finger pickers). One might need to try the HPF, then EQ if some thing more like a SDC’s tight focus was desired.
On drums, it is going to be hard to get the BV-1 mounted anywhere
in close due to its bulk and the size of the shockmount.
For that matter, the shockmount has some trouble properly supporting
the BV-1, so placement options can be limiting. I have
mostly used it upside down, self-bracing, suspending the BV-1
from above. I did like the BV-1 on ride cymbal (omni), where it
was smooth enough to avoid stridency, and it was pretty sweet
on the hi-hat side, too. For drum ambience and room miking, the
BV-1 sounds like most LDCs, loaded with detail but with comparably
heavy cymbal emphasis.
Summary
The BV-1 sounds great and offers plenty of versatility with its
multiple polar patterns and curve-tailoring interplay, the useful
HPF and the pad. The accessories are all top notch except for the
shockmount — well built, but a bit finicky.
So how does Avant Electronics offer a microphone that performs
like, and is accessorized like, a $3,000 one for only
$999? The obvious answer is Chinese manufacturing, but I think that Avant’s engineers were very wise to carefully cut corners
to just the right degree. For example, the brass mic body and
the power supply chassis are slightly thinner, lighter weight and
less robust than a premium mic, but still thicker than budget
models I’ve disassembled (where I could hear the sacrifices).
In fact, a careful inspection of the BV-1’s insides revealed
good bones around its Cinemag transformer, 6072A tube, and
premium caps. It confirmed for me that this mic is built well
enough to parallel a top-shelf mic in performance while saving
two-thirds of the price. The sacrifice is that the BV-1 is not a
long-term investment in the traditional sense, with guaranteed
high resale value or big/commercial studio prestige. However, I
am going to buy this one lest my vocalist clients protest.
Rob Tavaglione owns and operates Catalyst Recording in Charlotte. He invites your questions and comments at rob@catalystrecording.com.