Oktava MKL5000 Multi-pattern Tube Microphone
A striking new vintage-style mic from Oktava not only gives a
great rock vocal sound, but also offers the flexibility of
multiple polar patterns.
The Russian company Oktava have been producing transducers of
one sort or another almost since such devices were invented, and
they now have an interesting range of affordable ribbon and
condenser mics. Quality control was an issue in the very early
days, but every microphone is now tested individually, both in
Russia and on arrival in the UK, and Western techniques and
equipment are employed on the Russian production lines. The
subject of this review is the new MKL5000 — a large-diaphragm,
multi-pattern valve condenser microphone launched at this year's
Frankfurt Musikmesse. In essence, this mic is a remodelled and
expanded version of the fixed-cardioid MKL2500 valve microphone,
which Paul White reviewed back in SOS in October 2003. The
MKL5000 microphone is supplied in a foam-lined metal flightcase,
complete with a power supply unit, a surprisingly short
interconnecting cable, and a handbook printed entirely in Russian
on recycled paper! Stapled into the back of the handbook are
individual quality-control charts showing the measured frequency
responses for each of the mic's polar patterns. In the review
model, the foam lining was cut in a rather amateurish way, but
that may simply be because this was an early review sample.
Construction This model is easily Oktava's largest
microphone to date, styled to resemble the classic 'bottle' shape
of the first Neumann microphones. The removable capsule 'disk'
head measures a massive 64mm in diameter, and the body tube is
65mm in diameter, while the entire assembly measures about 255mm
in length. A rather feeble-looking stand bracket is fixed to the
bottom of the tube by a threaded ring around a six-pin XLR output
connector. This bracket allows the mic to be mounted vertically on
a suitable stand and, although there is a swivel joint built in,
the bracket isn't really man enough to support the heavy
microphone at any angle other than vertical. The bracket is
machined with the standard American 5/8-inch thread, but a
European 3/8-inch adaptor is not included. The mic is not supplied
as standard with an external shockmount, but one is available as
an option. The capsule disk is connected to the body via a
threaded locking ring, with three spring-loaded contact terminals
connecting the back-to-back capsules to the electronics. The
capsule assembly appears to use the same 33mm gold-sputtered unit
employed in the MKL2500 microphone, and is supported inside the
disk on rubber suspensions. The diaphragms are protected behind
dual-layer wire-mesh grilles, but a decent pop screen is mandatory
if you intend to use this mic for close vocal work. A bespoke
rotary toggle switch at the base of the amplifier tube enables the
polar pattern to be configured as figure of eight, cardioid, or
omnidirectional. Just like on the MKL2500, there are no other
controls on the microphone at all — no pad or high-pass filter.
The front side of the mic is indicated by the Oktava logo and
model number engraved on the black painted metal body. The
separate power supply is encased in a very plain black steel case
measuring 45 x 210 x 160mm (hwd). On the front panel is a mains
power rocker switch and red LED, a screw-locking Hirschmann
connector for the microphone, a three-pin output XLR, and a button
which provides an earth-lift facility. The rear panel carries a
fused IEC mains inlet and a mains voltage selector. This PSU
supplies 100V DC to the preamp valve anode, along with a 4.5V DC
feed, presumably for the valve heaters. The multicore cable
supplied with the mic is just under two meters in length, which
seems a little stingy and forces the PSU to be placed at the base
of the mic stand. The frequency response plots supplied with the
mic indicated a slightly tilted response, peaking at about 5kHz
and falling gently below that roughly in a straight line to about
100Hz, where the roll-off becomes more pronounced. At the high
end, the chart shows a suck-out between 5kHz and 12kHz, where
there is a distinct peak before the response plummets away. These
general characteristics seemed fairly consistent for all three
polar modes. Using The MKL5000 The MKL5000 is intended
primarily for recording vocals, and the design seems to have been
optimised with that role in mind. Like its fixed-pattern sibling,
the MKL5000 immediately impresses with a 'larger than life' sound,
and if worked quite close it provides a full, rich lower register
with a detailed presence region. If anything, I'd say the presence
was a tad over-emphasised, but that often proves beneficial within
a mix. With most of the vocalists I was able to try the mic with
it acquitted itself very well, although care had to be taken with
placement if the singer had a tendency towards sibilance. Like all
large-diaphragm mics, tilting or rotating it so that the singer
was off-axis helped to control the mic's sensitivity to higher
frequencies. However, the short lead became a real frustration in
this context, as it made it very difficult to suspend the mic
above a vocalist, which I find often helps to reduce sibilance.
The MKL5000 was respectably quiet for a tube mic, but it didn't
have the silky smooth sheen that I associate with the very best of
the genre. To me it sounds a little rougher — evidence of a
relatively high level of harmonic distortion — although this often
suits many voices in a rock music setting. The MKL5000 certainly
boasts the usual valve qualities of a rich, full-bodied and
musically flattering sound, although it's clearly not in the same
sonic league as, for example, the Neumann M149, the Blue Bottle,
or the Brauner VM. Coming back to a more realistic UK price
comparison, though, the most obvious competition comes from the
impressive Rode K2, and a decision really would come down to
personal preferences. The K2 has technically superior
specifications and a slightly smoother, more polished sound, but
the MKL5000 looks a lot more impressive (to my eyes) and has a
character that may well appeal to some over its antipodean
counterpart. One of Paul White's complaints about the MKL2500
was a problem with the lack of mechanical damping of the mic body
and valve, and their resulting tendency to 'ring' if subject to
mechanical vibrations. The MKL5000 still suffers in this regard,
which makes a shockmount an essential accessory. Other than that
relatively minor irritant, though, the mic works well. It delivers
plenty of detail and presents a distinctly 'thermionic' sound,
with a rich and full bottom end. The valve character is more
overstated than many other tube mics, but that will be part of the
attraction for many potential users. Considering the UK price,
the MKL5000 offers an attractive blend of styling, sound quality,
and versatility. The omni and figure-of-eight patterns offer
useful alternatives in the appropriate circumstances, but I
suspect few users will actually switch away from the cardioid
polar pattern, so the MKL2500 may therefore be the more
cost-effective buy. However, if you are seeking something a little
bit usual, with a distinctive sound character and vintage looks,
and if you have a suitable recording environment and techniques to
warrant a multi-pattern mic, then the MKL5000 offers a relatively
affordable package
Paul White, SOS August 2004 |
