Nashville Bassist, John Terrence, on the Equation F.20 Condensor Microphone
I’ve been using the Equation Audio F.20 Super Electret Condenser Microphone, for a little under a year. Over this period of time, it has proven to be a truly versatile instrument. I use it for micing my upright bass, both live and in studio. I’ve also used it to track vocals. I’ve got to say I’m in awe of this microphone.
The Equation Audio F.20 Microphone
My first impression was when I removed it from the box, which uncovered a classy Fender tweed covered, high-density foam padded carrying case. When I took the microphone out and examined it I was very pleased with its attractive appearance, including its retro swivel mount. Obviously, it was solidly constructed of superior materials. So far so good! I also discovered a hi pass filter and a pad, which is set at -16. I should mention that the mic package also includes an extremely high quality goose-neck mounted pop filter.
Now for the studio test:
The first test was in the studio, where I went direct, totally naked and with flat EQ settings. After finding that sweet spot, in this case about one foot away from, and 3 inches above the bridge on the treble side, we went to tape. After playing for minute or so, across the entire fingerboard, I anxiously went into the control room and listened to the playback. What I heard was my bass, uncolored, woody, and pure throughout the spectrum.
The Equation Audio F.20 Microphone
Live application:
I used the mic live for the first time in a medium to large sized hotel banquet hall. The room was fully carpeted with about forty tables covered with linen table cloths, so the room was pretty well dampened acoustically, other than a wooden dance floor. I plugged the mic into the PA, and with proper placement and a couple of minor EQ adjustments, I had the smooth yet punchy sound I was looking for, with just the perfect amount of right hand pizzicato finger sound. Since I had a bit more time before downbeat, I experimented by plugging the F.20 into my GK MB150E micro-bass amp. Again, with a few EQ adjustments to compensate for the room acoustics, I was able to dial in that sweet sound. Since I’ve owned the F.20, I haven’t had the need to utilize my bridge mounted transducer pickup, not even to blend with the mic. The F.20 does it all by itself. The F.20 retails for about $599.00, and I’ve used microphones that sell for many times that price, but I really prefer this mic, which is why I use it exclusively. I think that because of its relatively low price point and its unmatched versatility, it’s the absolute perfect choice for the home studio owner and the working musician. For more information visit the Equation Audio website.
Here are some specs:
• Transducer type — Condenser
• Frequency response — 20 – 20k Hz
• Polar pattern — Super Cardioid
• Open circuit voltage @ 1k(0 dB = 1V/Pa) — 30 dB
• Pre-attenuation (PAD) — 16 dB
• Nominal impedance — 180 – 200 Ohm
• Load impedance — 2G ohm
• Max. SPL — 148 dB
• Signal to noise ratio — 80dB
• Supply voltage — 48V phantom power
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