I Like it So Far

I bought this microphone specifically to replace a Blue Snowball and several cheaper microphones I was using for podcast recording. I'm running it into an Apogee Ensemble. Basically, I didn't want the mic or the audio interface to be the weak link any more -- if my voice or performance is the weak link, that's fine, it's my own fault.

I have just recorded my first short story using this microphone, and I am quite happy with the results so far. It seems to be slightly less sensitive to background and room noise than the Snowball (a condenser), so I was able to record in the same room with a Mac Pro down on the floor; the computer's fan noise is audible if you really listen for it, but it is not a big problem. An air conditioner downstairs was providing just a bit of noise through the floor, but the built-in rubber mount seemed to get rid of most of that noise.

Things I like about this mic:

- I can hang it from above, which makes it more suitable for recording something I'm reading. I positioned it so that it is a couple of inches from my nose, and I can see what I'm reading.

- Because it's not extremely directional, if I tilt my head a bit or go slightly off axis I don't get a dramatic drop in volume.

- I like having a bit of proximity effect since my voice is a little on the thin side.

- I also like its resistance to sibilance and pops -- even when I got a bit dramatic in my reading it didn't pop much.

I'm not experienced enough doing close listening to a lot of different mics to know whether another one would be better, but I think this is definitely a high-quality device. There are a few things I'm not really happy with:

- It puts out a relatively low level, which means I have to bring up the gain on the Apogee's input channel quite a bit to bring it anywhere close to where I want it, in terms of average peaks and headroom. Maybe that's not a problem, but I'm always a bit concerned when I have to turn a gain control up most of the way. In practice so far it does not seem to be a problem, and I get a much smoother range of levels out of it when recording at 24 bit than I did with the 16-bit Snowball.

- It is rather sensitive to mouth noise which can sound almost too detailed and realistic at times. I'm not certain if another mic would be better; I'd hate to lose the detail.

Maybe someday I will have the chance to do an A/B comparison with a similar Neumann condenser mic. I would certainly consider buying a second one to do interview-type recordings.

A temperamental beauty, better suited to something else

I want to preface this review by saying that the BCM 705 is a fine instrument and a well built professional tool. It's also quite beautiful in person. However, judging from the fact that it is sold primarily as a voiceover microphone, I found it disappointing in that regard. If you work with only professional voice talent, who are experienced in working close to the mic, then you will probably like this product. I found it to be clear, detailed to a fault, and unless you work very close to it, rather unimpressive in the balls department. I much prefer an RE20 or 27 for around the same price. The proximity effect, which allows you very little latitude in talent movement, and the bright crisp top end makes the BCM 705 a bit unforgiving of non-professional talent, especially if they have dentures or a sibilance issue. I have pulled it from the boom many times now in favor of an alternative. Now it's only in the booth to make the boss happy. He thinks it looks impressive when he gives tours of the facility. At the same time, it's still a very fine microphone with potential use elsewhere in the professional audio world. I just won't use it for VO's if I don't have to. I will also say that if they dropped the price drastically, I would be tempted to buy a couple and do some experimenting.