Short review of microphones from the Universal Audio Standard series: these may be the only drum microphones you will ever need

Universal Audio has a long history of developing innovative products to help artists push creative boundaries. We covered everything from the company’s entry-level interfaces to their portable processing engines for guitarists. In 2023 we were especially impressed by the UA Sphere DLX modeling microphone. And UA’s latest foray into microphone modeling continues that tradition: imagine being able to change the position, angle, and even type of microphone on your drums long after you’ve recorded your recording and put your kit away.

Called the SD-3, SD-5And SD-7these three dynamic microphones are tailor-made for recording snare drum, kick drum and toms respectively. In this review, we’ll explore what these microphones sound like, experiment with their modeling capabilities, and discover what it’s like to work with them in a studio environment.

Simple hardware combined with versatile software

At the heart of Universal Audio’s line of modeling microphones is the included Hemisphere Mic Collection, a software plug-in that shapes, shapes and alters the basic sound of these microphones to emulate dozens of classic microphone designs from throughout recorded music history. Hemisphere offers five unique modeling options for each of the Standard Series drum microphones, giving each an unprecedented level of versatility not normally found in a traditional microphone.

Despite their ability to shape-shift and inspire creative experimentation, each individual microphone still primarily excels in one or two specific use cases. The smallest of the bunch, the SD-3 is ideal for handling snare drum and guitar amp duties. The SD-5 is the largest and is ideal for kick drum and bass amplifiers thanks to its larger diaphragm and chassis. The third, the SD-7, sits between the others in size and sound range, making it a great all-round choice for vocals, guitars and almost any type of drum.

Here’s a quick overview of each of these microphone models, alongside their modeled counterparts and some recommended applications for each version:

The SD-3, SD-5, and SD-7 cost $109, $179, and $129 respectively and are intended to tackle the duties of a multi-thousand dollar microphone cabinet – one that includes even pricier vintage models – for just over $400. . This is a steal in any universe, especially when you consider the near-infinite creative flexibility you get when you use the Hemisphere plugin to fine-tune the sound of these microphones.

Let’s take a closer look at how Universal Audio’s Standard Series drum microphones fare in a studio recording environment.

Setting up the Universal Audio SD-3, SD-5 and SD-7

One of the best and perhaps most important things about these microphones is that despite their deeply customizable sound palette, you can still set them up like any traditional microphone. The SD-5 and SD-7 are ready for mounting thanks to the integrated microphone stand thread, while the smaller SD-3 includes a separate microphone clip for your mounting needs. The microphones have a clean, minimalist black and white design and all the modeling takes place on the software side. So once the microphones are in place, connected and routed to your DAW, you’re done with the physical part of the setup.

Next, download the Hemisphere plug-in from Universal Audio. They offer two versions: one for corporate users Apollo or UAD satellite hardware (interfaces that provide latency-free monitoring) and one for other users. After downloading and installing the software, simply add the Hemisphere plugin to your microphone channels and you’re off to the races.

The Hemisphere plugin

Universal Audio’s Hemisphere plug-in makes it easy to explore and play with the sonic possibilities of any microphone. Once you tell the plugin which microphone it works with, you can access each of the five specific variants, along with phase-flip, high-pass, proximity, and axis control filters. If you record your audio before applying the Hemisphere settings, you can listen to, adjust, and fine-tune these settings to your heart’s content. We can’t underestimate the creative significance of this fact: it’s like being able to go back and move or even change your microphone long after you’ve recorded – at least, in theory.

How do the Universal Audio SD-3, SD-5 and SD-7 sound?

Before diving into the world of modeling, we tested the SD-3, SD-5 and SD-7 on a drum kit without Hemisphere to hear the raw sound of the microphones. On their own, these microphones are powerful and powerful, with a relatively broad frequency response spectrum. They provide a good amount of high-quality information and fast transient response, which is characteristic of their dynamic design.

The SD-5 in particular sounds very versatile for a kick mic, delivering plenty of desirable sonic information across the spectrum. On snare, the SD-3’s basic sound is mid-range and pleasantly warm, similar to a Shure SM57 with a bit more low-end woolliness. The SD-7 also delivers plenty of smooth mids on toms and some extra snap in the high frequency range.

When Hemisphere is enabled, the incredible versatility of this microphone set becomes immediately apparent. Each modeling option changes the character of the basic microphone to a different extent, some subtly and some less so. Some options, notably the SD-5’s Shure Beta 52A emulation and the SD-7’s Beyerdynamic M160 emulation, delivered perfect modeling of those microphones’ high-end roll-off. Others, especially the Audix models, accentuated the characteristic high-end click of stick and beater attack for which their original hardware is known. In many cases, these presets feel like very intentional and carefully designed EQ curves with the ability to take all the guesswork out of mixing and deliver immediate results.

I was also impressed with the plugin’s proximity setting, which gives the impression of moving the microphone further from or closer to the sound source and is roughly expressed by a low-frequency cut or boost, respectively. If you know what you’re doing, you might be able to achieve the same effect with EQ with a little time and effort, but this plugin makes it easy for beginners and experts alike to achieve the same effect with a simple turn of a knob.

So, are the Universal Audio SD-3, SD-5 and SD-7 right for you?

While I couldn’t directly compare the original hardware and each modeled microphone, the more important question for me is not whether these microphones can perfectly emulate pre-existing designs, but rather whether they can truly offer 15 musical-sounding variations. The answer is yes, absolutely. These are microphones that anyone can work with to get a usable, customized sound, regardless of their skill level.

For just over $400, the microphone set from the UA Standard series It’s a bargain whether you’re looking to buy your first drum mics or are just looking for a new toy to add to your existing collection. Of course, there is no silver bullet for creativity, but any product that inspires you and puts you on the fast track to results is worth considering in my book.