My name is Tim Shapiro. I wanted to let you know of my recent experience using a pair of Equation Audio F.20 microphones.

I have been fortunate enough in my career as an audio engineer to get called on various occasions to mix musical guests for broadcast television. That was the case for the week prior to the Super bowl, in Miami . Once again I was to mix the musical guests for the ‘CBS Early Show’ on their live broadcasts on the days leading up to the big game. Musical guests would include Gloria Estefan, Justin Beiber and Wynonna Judd. I have used Equation Audio microphones with great results in the past on many tours, as well as other broadcasts. The DMI.104.SLF kick drum microphone has become the staple of my drum sound, with the CMI.103 condenser mics being found on all of my productions, in any one of a variety of situations.

The Equation Audio F.20 Microphone On Location At Pre Super Bowl Festivities

“The F.20 noise floor was remarkable in comparison. I never noticed the inherent noise in the others, until I found it missing in the F.20.”

I wanted to use this time to try out the F.20, and find any key strengths or weaknesses. I was given a respectable list of gear to mix the shows on, including a Digidesign Venue Profile console, Genelec monitors and slightly isolated in a production trailer far enough from stage as to not color my hearing with live signal. After a quick listen as a live audience response microphone, my interest was peaked. I did a low-tech comparison, using these on hand production elements, and compared the F.20 to old standards for live mics, including a Shure KSM 32 and Audio Technica 4033 and 4047. I have used and respected those microphones in the past, and know the results I have had. When I tested them next to the F.20, I was truly amazed at the difference. The F.20 noise floor was remarkable in comparison. I never noticed the inherent noise in the others, until I found it missing in the F.20. I instantly started to review my input sheets for the week to find the best locations and uses for the F.20.

“…gave the additional power and depth I had desired in the mix.”

For Gloria Estefan, we had a strange situation. This was a full band and live vocals, playing along to tracks. We wanted to add some of the live signal with the tracks, to give it a better ‘live’ sound. This included overheads on drums, percussion and more notably- a six piece horn section. I felt his would be an ideal location to use the F.20. While we were outside, on the beach, I had to use windscreens. The outcome was positive, and gave the additional power and depth I had desired in the mix.

“The F.20s gave a zest that added to the live mix.”

On Justin Beiber, I had a full live band, using lots of monitors and a healthy stage volume. I have always had good luck on broadcast mixing, by including live ‘stage wash’ mics to pick up an airy stage source. I wanted to try this with using the F.20s and listen to what I may get. After listening to the band play for sound check, while walking around the stage, I found the best locations audibly. A few quick mic cables later, I was back in the trailer, building a mix. The F.20s gave a zest that added to the live mix. While panned hard stereo, it added width to the mix. A dimension I feel is missed at times on live television.

“The F.20’s let me capture the sound, in a pristine state…”

For Wynonna Judd, the use of the F.20s came from rehearsal and camera blocking in front of a live audience. Wynonna’s fans are diehard. They sing along to EVERY song, almost to the extent of being additional background vocals. During rehearsal, this became evident to the director and producers, and not lost on myself. I placed the F.20s a short distance in front of the stage, a few feet from the 2 groups of fans that had the loudest voices while singing along. While having to find the correct placement in respects to the PA system, I eventually found the ideal spots, with the best outcomes. I was trying to get a backing vocal, studio quality, while dealing with wind, stage noise, production limitations, and all while relying on an audience that could change in the blink of an eye. The F.20’s let me capture the sound, in a pristine state, and allowed me to decide the qualities, not being forced by the sounds of the microphones. The final outcome, I feel, added something I would not have been as satisfied with, had I used other mics.

“If you can dream it, the F.20 can capture it.”

A microphone has many parts, including its casing, element, suspension, and head amp, to name just a few. The F.20 has obviously been designed to be used in multiple situations, and handle all these situations remarkably well. In the past I had thought of microphones as a tool in creating a mix. With the F.20’s, I now think of them a part of the talent that helps me get the mix I imagine and desire, to become reality. You can hear what you have imagined. If you can dream it, the F.20 can capture it.