Review: Violet Design Wedge & Black Knight

Clearly, Violet Design microphones are not designed by committee. The distinctive and unusual shapes found right across its range can only be the result of one man’s vision. Responsible for all of Violet’s microphone designs, Juris Zarins first gained experience restoring vintage mics before eventually turning his hand to creating a range of exotic, high-end recording mics that aim to deliver the sonic qualities of classic vintage mics while simultaneously showcasing modern technical innovations. Of course, most companies say something like this about their microphones… the real question is whether the Violets are any different.

Certainly the most obvious point of difference is that all Violet Design microphones are hand made in Latvia. The Black Knight, which was first released back in 2006 is the ‘entry-level’ model, under scrutiny here along with The Wedge, which was added to the collection last year and which occupies a position a couple of rungs up the economic ladder. Both models are a large diaphragm cardioid condenser design aimed primarily at studio recording, but other potential applications include live sound, TV and broadcasting. Both feature distinctive looks and Class-A solid-state transformerless electronics with the stated sonic aim of providing a natural sound with accurate transients and extended low-frequency response.

The specs for both mics are impressive with low output impedance (50Ω), high sensitivity and very low self-noise (6dBA) combined with a stated frequency response of 20Hz – 20kHz. Unusually for this type of microphone, neither model provides a high-pass filter (HPF) or pad switch. Both models are supplied with simple hard mounts but optional shock mounts are also available and both come packaged in protective wooden boxes.

The well-named Black Knight really does look like the Black Knight from Monty Python’s Holy Grail, although some Australians might find it more reminiscent of a fabled character closer to home. On top of its textured black cylindrical body rides a Ned Kelly-like headstock that houses the 27mm dual-diaphragm capsule inside a steel grille. The Black Knight’s special feature is the way the head can swivel from side to side and back and forth. It’s connected to the body via a ball-joint with additional stalks on the body and head limiting its range of movement. The head can be rotated nearly 90º from side to side, angled back approximately 10º and forward approximately 15º. The idea is that you can make small adjustments to the head to refine its position relative to the source without having to move the mic stand or body. In practice though, it’s initially hard to escape the idea that the mic simply looks like it’s adopting different attitudes: looking up and laughing; head tilted thoughtfully to the side etc… either that or it simply looks broken.

KELLY COUNTRY

The Black Knight is nothing if not easy to set up and its characteristic tiltable headstock adds an element of fun to mic positioning. A motorised version with a wireless remote control that would allow it to be driven from the comfort of the control room is the only improvement I could suggest! Comparing it to a range of other large diaphragm condensers revealed the Black Knight to be a warm, neutral sounding microphone. There’s a little added presence there but nothing like the exaggerated highs common amongst so many of its competitors.

The polar pattern is interesting, only barely meeting the criteria of a traditional cardioid shape. The response is even and focused across the front of the capsule but moving around the side reveals a deep null approximately 100° off-axis. When you continue past this point, heading towards the rear, the response changes again, back to almost full-range directly behind the mic. It’s attenuated compared to the front – but not much – and this gives the mic an almost figure-eight quality. If it’s on the right angle this level of rejection can be handy under some circumstances, but regardless, it pays to be aware of the sound arriving from the rear of the Black Knight in many situations.

When you’re miking up a source, you need to pay careful attention to the low-frequency response of the Black Knight, given how low its frequency response runs. Even though I was using the optional shock mount there was still some unwanted rumbly low stuff from floor movement (in my studio at least) and even breathing close to the mic had me reaching for the HPF – not on the mic of course, because there isn’t one. Instead I engaged the high-pass filter on my mixing desk even though I’d have preferred to do it at the source. The single-mesh steel grille offers some physical protection to the capsule but doesn’t stop plosives very well so a separate pop-shield is definitely required for recording vocals.

THICK END OF THE WEDGE

The less imaginative (but still appropriately named) Wedge meanwhile has a small cylindrical body made from textured deep-red metal with a large wedge-shaped grille placed on top. Beneath this cage, the 21mm capsule sits mounted on top of a stalk, clearly visible and seemingly precariously balanced. The Wedge’s special feature is definitely its looks – distinctive and unusual with simultaneous elements of retro and contemporary design, again finely balanced. When using the mics on a live stage recently it was The Wedge that first caught the artist’s eye, although on closer inspection it was the tiltable head of The Black Knight that eventually drew the greatest depth of interest.

The Wedge is also easy to set up, having no HPF or pad, and from a live perspective at least, this means two less things to check. In my multi-mic comparison, The Wedge was noticeably different to The Black Knight, offering a more spacious, less-focused on-axis sound and a slightly increased presence boost centred higher up the frequency range. The biggest difference was in the polar response. Compared to The Black Knight there was no deep null off-axis and the sound arriving at the rear of the capsule was evenly attenuated in the mids and highs. Consequently, the off-axis response was more natural making it my preferred choice for distant miking. There are two layers of steel mesh on The Wedge that provide physical protection for the capsule, but these still don’t stop pops very well.