TEST: Heil Sound Microphones

 For sound engineers who specialize in recording guitars, it's old hat; for advocates of other groups of instruments, the effort involved in guitar recordings, which sometimes borders on fanaticism, sometimes only causes astonished looks and perplexed shaking of the head. Why this monkey circus that is difficult to explain with rational arguments? Well, experts have long known that no single instrument is as complex in terms of tone formation as a distorted electric guitar. Anyone who wants to record real guitars with real amplifiers, real loudspeakers and real microphones is happy to travel kilometers between the control room and the recording room during a session, or maintain constant radio contact with the trainee who pushes the microphones. Just 5 millimeters change the sound dramatically, so that the sonic possibilities can be increased immeasurably. In this area, a new name, the American manufacturer Heil Sounds, has established itself in a comparatively short time, which is preparing to put the eternal dominance of the narrow protagonist with the 2 letters and 2 numbers into perspective.

Dynamic, condenser or what?

I venture the theory that without the inclusion of distorted guitars, the Shure SM57 (https://en.wikipedia.org/wiki/Shure_SM57), although it is of course still a snare classic to this day, would probably have been around ages ago would have been removed from the program, or at least would not continue to be priced well above the 100 euro mark. Instead, the dynamic microphone, equipped with the characteristic hollow “Mittennöck”, is THE guitar microphone par excellence and is at home millions of times on all stages and studios in the world.

Of course, there are a variety of options for recording guitars, even complex tube microphone solutions are favored by some artists, but when it comes to the global standard, to date no manufacturer has managed to economically match Shure's biggest revenue generator. So it seems suspicious that the manufacturer Heil Sound, or Heil for short, has been repeatedly mentioned in the same breath as the protagonist in recent months.

I first became aware of the company at the beginning of the year when the FOH Peter De Wint of my band GRAVE DIGGER (https://www.grave-digger-clan.de/) insisted on taking his own microphones with him on our European tour suggested the PR30 and PR31 models to me for live recording of the guitar. In order to be able to get a better picture in the studio, the Heil Sounds PR30, PR35 and PR40 models are now available for testing. This test deals exclusively with the recording of guitars, primarily in the crunch to high gain range, as the tonal differences are very massive due to the extremely high overtone content.

The structure of the Heil Sound PR30, PR35 and PR40 microphones

Heil Sound PR30

As with the PR40, the first thing to do with the PR30 is to clear up any optical confusion. Even if the microphone can easily be confused with a large diaphragm condenser microphone in terms of optics, the Heil Sound PR30 or PR40 is not discussed sideways, but axially. Aware of this, the manufacturer of a typical American operating manual has a warning about this in every conceivable place. placed. The champagne-colored microphone (also available with appendix B in black) has a cardioid characteristic and, despite its massive design, weighs just under 250 grams, which also allows it to be fixed to a long-stretched boom without massively crushing the screw fixation.

According to the manufacturer, the frequency response of the capsule is 40 Hz - 18 kHz, with the frequency response being comparatively linear. Only a subtle overemphasis at 80 Hz and a powerful boost of 10 dB at 4 kHz bend the curve a little, although the emphasis in the treble range is an advantage that should not be underestimated when recording guitars. As with almost all moving coil microphones, the Heil Sound PR30 is very tough when it comes to sound pressure. In this case it is 146 dB SPL.

When it comes to accessories, the manufacturer unfortunately only offers the absolute minimum, that is, a microphone clamp, which comes packed in foam in a cardboard box together with the microphone. For a microphone with a retail price of 349 euros, this is an indictment.

Heil Sound PR40

Visually quite close to the PR30 at first glance, the Heil Sound PR40 comes with a different capsule, which, like the PR30, has a comparatively large membrane and therefore great sensitivity for a dynamic microphone. The frequency response is a bit lower at 28 Hz - 18 kHz, and the maximum SPL is a touch higher at 148 dB.

The 4 kHz boost of the PR40 is missing here, but a slight treble exaggeration of 1.5 kHz rises evenly up to around 5 kHz, where it also remains with a boost of almost 10 dB up to around 10 kHz. An interesting curve, I'm curious to see how this affects guitar playback.

Heil Sound PR35

In contrast to the PR30 and PR40 models, the Heil Sound PR35 is designed as a handheld version and is toying with vocal transmission as its primary area of application, which is also reflected by the high-pass filter at 80 Hz, which can optionally be activated with a screwdriver. However, many vocal microphones have outstanding sound properties when it comes to guitar pickup; the SM58 is just one of many examples.

The Heil Sound PR35 also has a subtle emphasis between 70 - 100 Hz, but then runs almost linearly up to 1.5 kHz and only increases very moderately by 2 dB until just before 5 kHz, where it has another peak of almost 2 dB and then drop evenly back to the zero line up to 15 kHz.

The Heil Sound microphones in practice

As already mentioned, this test is “only” about distorted guitars, and even the 13 sound files can only reproduce a tiny part of the sound variations that can be produced with just 3 microphones. The sound files were recorded with a Celestion G12 65 12 inch speaker, built around 1981, in a matching 4x12 Marshall box. Three different channels of the Hughes & Kettner Triamp (https://www.amazona.de/hughes-kettner-triamp-mark-33/) were used as an amplifier without any pedals, and a Fame Forum IV Ironfinger was used as a guitar. All cabling was done with Cordial cables, and a Mackie 32-8-8 with deactivated tone control was used as a console.

Simply changing the amplifier, speaker or guitar would have increased the variety of sounds many times over, so I definitely recommend testing the respective microphone with your personal setup. The PR40 alone sounded catastrophic on a 75 watt Celestion speaker, with the same setting / amp / guitar on a 12 inch Koch speaker it sounded almost heavenly.

As a reference, in the first two setups one track was recorded with the SM57 as a reference, followed by the three protagonists. As a special feature, I then mixed two different Heil microphones, which resulted in some very interesting sounds due to certain phase cancellations and overemphasis.

Setup 1: Medium Crunch, Channel 2A

The Shure delivers the world-famous vintage retro sound as you know it. Lots of pressed high mids, little bass, some highs and an extremely high assertiveness.

The PR35 works completely differently here, more mids, less high-mids and the treble boost described produce a very pleasant sound with this level of distortion.

The PR40's larger diaphragm allows for a much more focused low-mid component, while still retaining a strong high-end component. The microphone also has significantly more headroom, which means more dynamics.

The PR30 focuses most clearly on the typical guitar frequencies. Lots of mids, subtly hollow, with a lot of punch and pressure.

The combination of two microphones creates a subtle scoop sound, which, depending on the gradation, excellently plugs the frequency holes that become available depending on the arrangement. Tonal diversity? Almost infinite.


Setup 2: Medium Crunch, Channel 2B

Here the whole thing with significantly more distortion and a different channel on the amplifier. Certain components are further exploited, others disappear completely. A completely new picture in terms of sound, even though only the amp channel was changed.

Setup 3: Medium Crunch, Channel 3A

This sound file was recorded with the third channel 3B of the Triamp on a Koch 60 watt 12 inch speaker in the matching 4x12 cabinet.

Conclusion

It's not for nothing that Heil Sounds is considered the current "hot shit" when it comes to guitar recording. The PR30, PR35 and PR40 models shine with their individual strengths and open up a wide range of sonic possibilities. Even if the comparatively high price may put some people off, you get a high value for money, which makes the purchase definitely worth it.

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Additional Informations:

Introduction:
Heil Sound stands as a testament to innovation and excellence in the realm of audio technology. Founded by Bob Heil in the late 1960s, the company has carved a niche for itself in the competitive landscape of sound equipment manufacturing. This article delves into the rich tapestry of Heil Sound's history, tracing its humble beginnings to its current status as a pioneering force in the industry.

Origins:
The story of Heil Sound begins with Bob Heil's passion for music and electronics. Born on October 5, 1940, in Marissa, Illinois, Heil demonstrated an early aptitude for tinkering with electronic devices. His fascination with sound engineering led him to establish a reputation as a skilled audio technician in his local community.

In the 1960s, Heil's expertise caught the attention of prominent musicians, including The Who and The Grateful Dead. He became their go-to sound engineer, earning accolades for his innovative approach to live sound reinforcement. However, Heil soon realized the limitations of existing microphone technology, particularly in capturing the nuances of musical performances.

Innovation:
Driven by his desire to enhance the audio experience, Heil set out to develop his line of microphones. Drawing inspiration from the principles of German engineering, he pioneered the use of large-diaphragm dynamic microphones in the music industry. This breakthrough innovation laid the foundation for Heil Sound's signature sound quality and reliability.

One of Heil's most significant contributions to microphone design was the PR-30, introduced in 1970. Unlike traditional microphones, the PR-30 featured a unique diaphragm design that improved transient response and frequency range. This innovation revolutionized the way sound engineers captured live performances, earning Heil Sound widespread acclaim in the professional audio community.

Expansion and Recognition:
As Heil Sound gained traction in the market, Bob Heil continued to expand his product line to cater to diverse audio applications. From broadcast studios to concert arenas, Heil microphones became synonymous with superior sound reproduction and durability. The company's commitment to quality and innovation garnered prestigious awards, including multiple TEC Awards for excellence in microphone design.

In addition to microphones, Heil Sound diversified its product portfolio to include speaker systems, headphone amplifiers, and audio accessories. Each product reflected Heil's relentless pursuit of sonic perfection, earning the trust of industry professionals and audiophiles worldwide.

Legacy:
Bob Heil's pioneering spirit and dedication to excellence remain the driving force behind Heil Sound's success. His vision of delivering uncompromising audio quality continues to shape the company's philosophy, inspiring a new generation of innovators in the field of sound engineering.

Today, Heil Sound stands as a beacon of innovation in the audio industry, with a global presence and a diverse range of products tailored to meet the needs of musicians, broadcasters, and sound engineers alike. From humble beginnings in a small town in Illinois to international acclaim, the journey of Heil Sound is a testament to the power of passion, perseverance, and innovation in shaping the future of sound technology.