£209 / $199 / €219, warmaudio.com
It looks like every bit of traditional studio gear is offered in some kind or one other today. The clue’s typically within the numbers — an ‘87’ right here, a ‘73’ there — to not point out the digital emulations of historic recording amenities, classic {hardware} and iconic acoustic areas.
After we heard about Heat Audio’s WA-19 dynamic microphone, we figured it could be a recreation of the legendary AKG D19c. Whereas it’s shocking there hasn’t beforehand been a duplicate of this traditional all-purpose dynamic mic from the Nineteen Sixties, it’s no shock that classic specialist Heat Audio needs to be the model to create it.
Lengthy earlier than the Shure SM57 earned its fame because the go-to selection of cardioid dynamic mic for studio and stay functions, the D19c could possibly be discovered within the fingers of everybody from maverick producer Joe Meek to the engineers at EMI’s Abbey Highway Studios, in addition to in stay and broadcast periods. Most famously, the mic was used extensively on The Beatles’ recording periods, notably on Ringo Starr’s drums, although as their engineer Ken Scott as soon as recalled, “We used the D19 on the whole lot… it was used on piano fairly a bit.”
Out there in nickel or black, the previous (designated WA19N) extra precisely evokes the look of the historic mic, whereas our evaluation pattern (a WA-19B in black) appears to be like extra trendy. The mic is slim sufficient to be simply positioned when near particular person drums for instance, but with its robust metallic development it feels reassuringly sturdy, weighing in at 200 grams.
The fastened cardioid response is extra targeted than many different mics with the identical sample as a result of wonderful off-axis rejection, notably within the decrease frequencies. That is helpful when recording loud bands in small areas, lowering boomy bleed from bass cabs. It additionally makes the WA-19 a superb selection for under-snare placement to minimise spill from the kick drum.
Low frequencies will be additional tamed with the variable acoustic high-pass filter ring, which cuts as much as 10 dB at 50 Hz with none discernible part shift, whereas ventilated slots alongside the physique behind the capsule reduce the bass tip-up of the proximity impact, facilitating the correct seize of sources at shut vary.
Loud volumes aren’t any downside both, with a quoted most stage of 145 decibels, so heavy rock guitarists and screaming metallic vocalists are properly catered-for.
As you could rightly assume, the WA-19 is an extremely versatile microphone, one which can be utilized for a similar jobs as the ever present SM57. Nonetheless, at roughly twice the worth of the ‘57 does it justify the worth tag?
![The WA-19 with its stand clip and padded pouch](https://musictech.com/wp-content/uploads/2024/06/Warm-Audio-WA-19-stand-clip-padded-pouch@1400x1050.jpg)
The reply is a convincing “sure”. The WA19 has a sound attribute in contrast to most different dynamic mics. With a superlative excessive frequency response, it expresses most of the traits of a small diaphragm condenser, such is the readability and treble element on provide.
For drums, the WA-19’s inherently snappy and scorching response is great, dropping nothing of the zing from cymbals when used as an overhead (the place you may in any other case choose a condenser) and accentuating the crack of a close-mic snare drum with out the necessity for a lot EQ sweetening. Toms are notably properly served because the mic is much less liable to low-end ringing and increase than easier mics with out a high-pass-filter or the tuned-in proximity discount.
Whereas its chic high-end is flattering to most sources, the WA-19 doesn’t fairly attain the stratospheric heights of a condenser when ultra-bright extension is desired. Relatively, its voicing favours functions the place presence and brilliance is required to chop via busy mixes. That is made clear when used to file electrical guitar. It may be used fairly efficiently positioned proper up in opposition to the speaker grille certain sufficient, nonetheless considered inserting at a bit distance away from the speaker yields very good outcomes, capturing the complete, direct tone of the guitar and amp with out extreme room atmosphere. Experimenting with the variable high-pass filter pays dividends right here, eradicating any low-mid muddiness to highlight vivid musical communication and readability.
Such is the extent of articulation the WA-19 expresses, it successfully reproduces all of the filigree element and delicacy of acoustic devices and voices. It even serves properly sufficient as a vocal mic if choices are restricted.
![The WA-19 on a snare](https://musictech.com/wp-content/uploads/2024/06/Warm-Audio-WA-19-on-snare@1400x1050.jpg)
Many potential customers will, after all, be interested in the mic due to its documented use on Beatles recordings. In any case, Waves’ Abbey Highway plugins recreate just about all of the outboard results and acoustic areas of EMI’s studios within the Nineteen Sixties and past.
With all that handy, it’s an apparent transfer to attempt to seize a few of that magic by recreating the straightforward but efficient two-mic arrange used to file Ringo’s drum equipment. Utilizing an AKG D12 (the direct descendent of the D20 used on these periods) on bass drum with the WA-19 positioned above the equipment at head top, a fairly convincing splashy 60s drum sound is achieved when squashed via a Fairchild 660 compressor plugin.
Heat Audio’s WA-19 is a cracking, versatile dynamic microphone with a complicated sound that units it aside from the competitors. Whereas its classic vibe and funky retro appears to be like will attraction to traditional gear nerds and 60s freaks, it is a brilliantly succesful, meticulous recreation that’s ideally suited to trendy pop and rock recording.
Within the studio or on stage, the WA19 is a category act, delivering pristine audio in a large number of conditions. Strive it on drums and electrical guitar — you received’t be disillusioned.
Key options
- Dynamic, cardioid design
- Variable 50 Hz acoustic high-pass filter
- XLR connector
- Frequency response: 30 Hz – 18 kHz
- Max SPL: 145 dB
- Impedance: 200 Ohms
- Weight: 200 g
- Color: nickel or black
- Comes with stand clip and padded pouch