The splash-proof iXM microphone from Yellowtec is a combination of handheld microphone and audio recorder. The device was developed at the suggestion of public broadcasters who wanted a reliable and easy-to-use recording device for interviews.

A standard SD card, as used in DSLR cameras, is inserted at the bottom as a recording medium. It is operated with large buttons, which are also completely silent. Operation is almost self-explanatory. However, the device must first be switched on by pressing the REC and STOP buttons simultaneously. Depending on the size of the memory card, the boot process takes a few seconds – in my case around 24 seconds – but as the internal battery lasts for 18 hours, you can do this in advance. And if the battery is empty, the device automatically switches to the additional battery compartment with three standard AA batteries without interruption or cracking.

When the boot process is complete, this is indicated by the flashing red LED. Then press the REC button and the recording starts. This is indicated by the permanently lit red LED. Press the REC button again to set a marker. In addition, a pre-roll time of up to 30 seconds can be set via the software so that the beginning of an interview cannot be missed.

The device has a 3.5 millimetre yellow line-in socket on the underside, which can also be used to record line signals – but only in mono. You should make sure that the level is set correctly via the software. On delivery, it was far too low for me, so that the sound from the headphone output of my ThinkPad was barely audible. But to check this, there is a 3.5 millimetre headphone socket marked in green right next to it, which can be used to listen to the sound during both recording and playback. Playback and volume are controlled using the buttons on the back of the device. A voice announcement tells you which file is being played. This is very practical and replaces the missing display. The markers can also be started using the control buttons.

The solid metal housing has an edge to prevent the microphone from rolling away so easily. The microphone capsule from Beyerdynamic is screwed on and is available in three characteristics – omnidirectional, cardioid and supercardioid, each with premium electret condenser capsules, which we received with our test set
received with our test set. There is also a slightly cheaper dynamic version of the two cardioids from Yellowtec.

And how does the microphone sound?

The integrated LEA levelling technology ensures distortion-free levelling and the suppression of interference signals. Even if you shout into the microphone and it already sounds distorted on the headphones, the recording itself is distortion-free because the LEA technology is bypassed in the monitoring path to avoid latency problems. The level control is rather slow. Technically, this is realised by two differently levelled preamplifiers, between whose signals the best levelled signal is always written to the memory card, depending on the level. This means that there is no pumping as with automatic levelling or compression from other devices and the volume can be subsequently adjusted in audio software. This creates a homogeneous sound image. Adjustments are only made in the event of extreme level fluctuations anyway. Even with the omnidirectional capsule and strong background noise from a trade fair, speech intelligibility is still very good.

Software

To make further settings, you must first install the software. There is user and admin software. After starting the user software, you should first click on the Help button. The help window will then open, in which you can find out what is possible and how you can connect the iXM Micro in the first place. To do this, you first have to find out which com port the microphone is connected to in the Windows Device Manager. Unfortunately, this is not particularly intuitive and should at least be mentioned in the briefing book supplied. After that, you can also fine-tune the LEA Engine via the software and save the settings in the nine different presets, which you can then call up with the user software.

To get a good comparison, my friend Jan Kalt set up two classics next to the iXM in the recording room of his Schraubfabrik recording studio in Musikpark Mannheim and recorded them. A Neumann U87 and a Shure SMB7. I also plugged in a DJI and a Hollyland Lark MAX wireless microphone. While the two wireless microphones are easy to understand but sound quite mid-range, just like the SMB7, which is at least a little more brilliant, the iXM sounds full and transparent. Not quite as brilliant as the U87, of course, but a little fuller in the bass – but that’s my subjective listening impression. If you want to see for yourself, you can watch the video on my postproduction-tutorials.net website.

Conclusion

The iXM from Yellowtec really is a very good microphone, especially for voice recordings, even in difficult environments. It is optimised to work intuitively in every situation, which is invaluable, especially for non-repeatable events and interviews. However, this also comes at a price. It costs 899 euros with a dynamic capsule and 1099 euros with a premium capsule. You should definitely order a microphone holder, as the microphone is really very thick and does not fit into a standard holder. You shouldn’t skimp on pop protection either, as the supercardioid is particularly sensitive to pop sounds. It is a pity that the microphone cannot be used as an audio interface via USB. Perhaps there will be a firmware update in the future. After all, you can already see the level change in the iXM User software. If you want something a little cheaper, the iXM Podcaster with dynamic cardioid capsule is an alternative for 639 euros. However, you will then have to do without the internal battery and the interchangeable microphone capsules. Otherwise, the functions are the same.

The post That’s not a microphone. THAT is a MICROPHONE first appeared on DIGITAL PRODUCTION and was written by Nils Calles.

In a nutshell, the Yellowtec Mika system is a set of columns, clamps, arms and brackets that mount microphones and other heavy equipment to a desk, wall or wherever and position everything as it should be in use.

What is it actually? It’s called “m!ka”, but internal punctuation… we call it Mika. You can find the overview at is.gd/yellowtec_mika – but that’s not all, because the accessories are where it gets really exciting – mounts, various arms and all kinds of accessories. Brackets are rods, clamps and rails that can be used to attach everything in the system, from the ceiling to the wall to the table (with and without holes) and so on. The arms are mounts for microphones, screens, cameras and tablets. And then there are on-air systems, monitor mounts, tablet clamps and much more.

The arm

Available in a wide range of sizes and designs, the microphone arms can support loads of up to 1.5 kg (there are probably few microphones out there that can go that far). There are also monitor arms in the range that can support up to 8 kg with VESA-compatible mounts – that’s easily enough for normal screens, and no-one hangs broadcast monitors from FSI, Eizo, Sony etc. on an arm anyway. The arm itself is made of sturdy aluminium and finished with a 5/8-inch steel thread – that’s “audio” standard. If you want to attach something else, you can find thread converters in all sizes – or probably already have some lying around somewhere.

The joints are made of solid plastic and can be locked securely, or, if the system is balanced
the system is balanced (counterweight screws are in the base of the respective arm), they can also be left open in order to have a movable arm – for example, if you want to reposition the microphone frequently for different people. The arm is not all “fully” rotatable, but the radius is sufficient and is described precisely in the documentation.

The built-in LEDs on the microphone arms are a delicacy – the indicators are directly above the microphone and switch with the “On Air” lights – each microphone shows whether it is live, communicates with the various mixing consoles (of which Yellowtec also has some in its range, but that would go too far for us VFXers) and thus provides built-in feedback.

In the test, we set up a column, the cam stud and three arms. The entire system is very stable and contains a complete set, from the cable holder to the shim disc. Everything is designed for “hard” use and is made of high-quality materials such as aluminium, solid plastic and stainless steel screws. Nothing wobbles, squeaks or rattles.

In our test version, we had several extension variants available. The system can be attached to the ceiling, wall, table or floor as required. The large columns in particular can be used to create flexible work areas that offer monitors and storage space without everything standing on the table and transmitting vibrations to the microphone or camera.

Another advantage is that you can order and extend everything individually. If you need another monitor, that’s no problem. You can simply add a bracket and an arm and attach it
to the column. Markers, screws, brackets and other elements can be exchanged, extended or personalised.

Enough praise, now for the grumbles! The first point is that it is relatively expensive compared to gaming/streaming accessories. Although it is more stable and flexible, it is not a bargain. If you can’t afford it as essential equipment, you might want to recalculate.

The second point of criticism concerns the selection. There is currently only one USB-C arm, while the rest of the range is supplied with a 5-pin XLR or XLR-compatible cable. However, this is probably only a matter of time. It would be desirable if the range were expanded.

And there is another point to criticise: Three different Allen key sizes are required for the table column mount, the mounting screws on the column and the settings to achieve a “normal” setup. You should therefore be careful not to throw any of the spanners away during assembly, as all of them are required.

If you browse the Yellowtec website, you will also see the “iXm” series – microphone-shaped recorders with built-in autolevelling. If you’re thinking: That can’t be right, you always have to level audio recordings! Nils Calles is already testing the device and will let you know how it works on page 128 of this issue.

Conclusion

If you want to set up a “professional studio”, there’s no getting around them – it’s not for nothing that the arms are used by all the well-known broadcasting companies. The interaction between the arms, the mixing consoles and the mounting options in all directions, including stands, brackets and the like, is perfectly coordinated – and stable enough that the broadcasting station is more likely to collapse than the brackets.

The post The icing on the cake first appeared on DIGITAL PRODUCTION and was written by Bela Beier.