**The Beacon Mic: A Review and Experimentation**

As I set up my equipment for this stream, I couldn't help but think about the microphone I was using. The Beacon mic is a popular choice among streamers, and I had high hopes for it. However, as I began to experiment with it, I realized that there were some limitations to its sound quality.

One of the first things I noticed when I turned on the mic was that it was setting up in an unusual way. It seemed like the software was trying to adjust itself automatically, and I had to intervene to get it set up just right. "so you know we set that up and cut here and i think this is also kind of affecting the because if i put it up i get real muddy but i think that cut also affects things so i'm leaving it here as is one thing that i have run into though is if i try to add a base roll off or a high pass filter i think it destroys the audio and i don't like that because i think as is i'm a little too boomy even if i turn off the sub bass and all of that stuff like i think it's a little too boomy"

As I continued to experiment with the mic, I realized that its frequency response was limited. It only had a range of 50-500 Hz to 20000 Hz, which is significantly lower than many other microphones on the market. This limitation became apparent when I compared the Beacon mic's sound to some of the cheaper dynamics that release these days, which often have a more compressed or squished quality to them.

To try and combat this issue, I added a high pass filter to the mic using software EQ tools. However, this proved to be a bit of a challenge. "i'm gonna add a band i'm gonna set it as a high pass filter we're gonna slide it over you know somewhere over here we don't want it to be too high that it affects our boost that we were getting test test one two three you may disagree maybe that i'm listening it differently it's gonna sound a little bit better now but i was feeling like suddenly this somehow makes it more abrasive even though it should roll off some of that bass i i don't really know what's going on here like as i roll it out here it's just like it's hurting the audio somehow and of course if i come up too close then i lose all of the warmth all together as it starts cutting all of that out"

As I continued to experiment with the EQ settings, I realized that finding the right balance was key. The mic had a tendency to sound abrasive or harsh when I pushed the high pass filter too far, but if I backed off just enough, I could get a more balanced sound.

The issue with the mic's proximity effect became even more apparent as I began to experiment with different recording techniques. As I moved the microphone closer and closer to my mouth, the sound changed dramatically. "i realize i think i'm becoming jaded to kind of streaming practices and that i'm moving to wanting mics out of frame or shotgun mics or lav mics that i don't have to worry about and all my big on camera videos are shot on shotgun mics now and i'm kind of becoming a little like i said jaded to some of these practices but i feel like a mic should be able to handle that and that's something why i always love and go back to the electro voice re20 because it doesn't have proximity effect it has what's called variable d in that whether it's right up on your mouth or like a foot away as long as your environment's treated and gains set properly and whatever it sounds the same"

In contrast, I had found that shotgun microphones and lavalier mics were much more forgiving when it came to proximity effect. They could handle being moved in close without significantly affecting the sound quality.

**Conclusion**

Overall, my experience with the Beacon mic was mixed. While it had some limitations, I was able to experiment with its settings and EQ tools to find a balance that worked for me. However, I couldn't help but feel that the mic's proximity effect issues were a major drawback. As someone who is becoming increasingly jaded to certain streaming practices, I found myself wanting mics that could handle different recording techniques without issue. The Beacon mic just didn't cut it in this regard.

**Recommendation**

If you're considering using the Beacon mic for your streaming setup, I would recommend experimenting with its EQ settings and proximity effect handling to find a balance that works for you. However, if you're looking for a mic that can handle different recording techniques without issue, you may want to consider other options such as shotgun microphones or lavalier mics.

**Additional Tips**

For those who are interested in experimenting with the Beacon mic's EQ settings, I would recommend starting by making small adjustments and listening carefully to how the sound changes. It's also a good idea to refer to online resources and community forums for advice on using the mic effectively.

Ultimately, finding the right balance with the Beacon mic required some trial and error, but it was worth the effort in the end. With its limitations in mind, I was able to find a setup that worked for me, and I'm confident that others will be able to do the same.

"WEBVTTKind: captionsLanguage: enit's possible i misled you as the beacon mic can actually sound really freaking good i just think it takes a little bit more work and there's some factors at play so i want to show you how we got here and why it sounded like it did in my review i'm eposvox the stream professor and i just posted my review of the beacon mic and got about four hours of sleep after three straight days of working on it because that's all i really had time for it and despite the fact that i had some really cool stuff going on in that video ah most the comments were about how bad the mic sounded and honestly i'm kind of shocked like i didn't think it sounded great but i also don't think it sounds that offensive all of its processing in 32-bit float and that is where the real magic begins however i can explain why it sounds the way it did so right now you're listening to it completely flat where we've disabled everything noise suppression and everything and honestly i think it sounds as i described it's still a little compressed sounding a little crunchy i forgot to turn off the exciter and the de-esser and everything all right so this is completely flat and completely natural i still you know all my thoughts about how it originally sounded still apply i still feel the way that i do however i was able to tune things after watching everyone's videos because i couldn't figure out why all the comments were so mad about it like if we scroll through all the comments it is about how bad the mic is and very little about the review itself which is fine like i think i'm more sensitive to it because i worked so hard on it like because it was such a crunch period and whatever but people don't like how it sounds and i was kind of surprised like that so finally you know i got the chance to check out some other people's reviews i'm not calling anyone out here if anything i'm learning from what they did harris's probably sounded close to the most natural i'd say knackers sounded the best here two six like seven six seven seconds so instead of just having to rely off of a single meter that just has a bouncing at least if you don't crank up your headphones when i have my headphones on super high settings here uh it doesn't sound great but you know at normal headphone ranges it sounds signal pretty solid knockers is actually really good at getting his mic audio where he wants however i will point out these are some aggressive adjustments that i would not normally make and did not make on any of the other microphones i compare to you'll also notice how close he is to the microphone that's going to be a consistent theme and why you see me basically having my lips on it here now this guy sounds his voice doesn't sound like mine but his audio quality sounds almost identical to mine in my review finally here the beacon mic the beacon mix and the beacon mix create it's got that weird frequency that sounds a little crunchy now sam also his honestly sounds okay 4500 and if you increase that amount you added he's a little muddy but he's also again cranking these eq curves a little bit more than i would for other microphones then we have harris where you can see here he's his lips how powerful some of these built-in tools are to polish your voice are literally touching the microphone and he's having to angle his mic to not get those breath sounds and to not plosive it a little bit more so here's what went on in my review you can see in every single one of these shots i am more than three inches away from the microphone be it the paper backdrop up close even in this setup this was on purpose because i don't feel these days that a lot of people want to have to eat their microphone i feel like that era is kind of leaving especially as the markiplier and joe rogan like i'm gonna eat my mic and have this overly boomy podcast sound kind of has died out of a trend a lot of people are moving to not wanting this happening so many of my questions and my feedback in my reviews are how to avoid this exact scenario and you're benefiting from proximity effect proximity effect is the act of whenever you get closer to your microphone there is a higher emphasis on the lower end frequencies giving you a little bit more warmth and a little bit more oomph this is something radio podcast you know radio djs and podcasters take advantage of to get a certain type of sound that is also why during these mic comparisons at the end now granted again my production time on this was super limited so i didn't get to talk about it i guess as much as i had hoped but like during this sample i get full benefit of the proximity effect just as a really goofy test here we're doing the proximity effect we're getting right up on the microphone like i am now so what i have determined is that there is a weird frequency if i turn on the guide here in this broadcast range and in the 2 000 hertz range there is a weird frequency that's resonating weirdly in other people's audio systems and i'm not sure why but i think that's the most fatiguing part that is kind of driving people nuts so i have figured out an eq curve here that i think sounds a lot better because we have as i mentioned we have basically three things working against us first and foremost the lack of proximity effect which means as i get more and more away from the microphone and i have to project into it you have a lot more emphasis on the higher end frequencies coming out of my mouth and you're losing so much of that lower end you've got those weird frequencies that i mentioned that i think are getting over emphasized or like resonating weirdly in people's setups and then some of it just comes down to you know some of the settings i i still think that a microphone should not require a ton of super aggressive eq'ing in order to sound great that is something i stand behind and i did not do any sort of aggressive eq with the other microphones i compared it to like i think i need to emphasize that is i did not have to do very much with those but it also comes up to the gain staging so i talked about the flex of the 32-bit float audio and gaining and all of that and that's still important however by being further away from the microphone i then had to turn up the gain and now that i'm like trying to figure this out i have learned if you crank the gain up to max which i didn't have at max but if you crank it up to max there's a fair bit of electrical noise going on here it's it's hidden by the adaptive noise suppression but if i turn that and the expander off and then we crank this up don't know how much it's going to come through but there is a bunch of weird little high-pitched electrical noises coming through and i've tried a couple different usb cables trying to make sure they're not sitting on anything they're not supposed to it's there so i probably had my gain like up to here because i was i was back further off the microphone so i was trying to set it up like this so between all of those factors which mainly comes down to physics a lot of that was at play and there was a couple samples in the video where i had the expander set a little too aggressive so it was doing that pulsing uh but the gain staging was the main blame factor there with some of the um some of the higher hiss going on and then the compressor the compressor seems to work a little differently i don't know how than other compressors i've used in that in most of my post-processing that i do with say you know most of my videos just for context here i think this this is where i'm misleading people as well is most of my standard videos where i'm on camera and you don't see a microphone those are shot on a one thousand dollar microphone the sennheiser mk h416 and i have had four or five years now to learn it and maximize my processing of it so i have the advantage of the experience and it is a 1 000 microphone so i i kind of set people up for failure i guess by using such high end gear in the first place but typically with my post processing i will often go to minus 16 db for my threshold for my gain uh you're supposed to kind of get an average of like minus 3 to minus 6 db of attenuation but if i crank up my mic monitor here like if you're listening to this super loudly it's it's abrasive it doesn't sound great and i don't usually experience that with a lot of my settings so i have had to turn this down to like minus 23 ish seems to work if i'm right up on the microphone here again i just use a four to one ratio so it's nothing super offensive in that regard uh however i will say i think the simple versus the advanced kind of i think they use different settings and that's a problem actually you can tell right now if i go to simple it has a completely different threshold that is unacceptable like if i set a setting and it happens the software happens to kick back to simple because i think it loads it by default it shouldn't screw with your settings and so given how many crashes and blue screens and whatever i had i'm sure it got kicked over to simple a few times and that's some of the inconsistency now it comes down to eq i've learned a little bit here mainly from knackers video uh if we go back to knackers you see here so a lot of people were calling out in the comments that i had way too aggressive of a mids cut and i disagree because knackers is actually more knackers is great in that he builds on the classic strategy that everyone should honestly go with is that you cut before you boost and so he starts cutting and then only boosts like a tiny bit here and in fact i could probably turn this down a little bit that might sound a little better i'm not sure at this point i'm messing with things that i had working but then he also has this big o cut at 2 000 hertz which i have never done before but by doing it it does seem to improve things so i'm going to do the frequency sweeping where i sweep it up so this is the frequency that the i'm going to actually turn my mic monitor up as well this is the frequency that the 2000 ish hertz uh you know cut is affecting so it gets this is where a lot of the abrasiveness this is where that sits in my video is this is that weird crunchiness i think a lot of it comes from right here so then when i turn it all the way down i start to i start to lose some clarity if i go too far but if i turn it down a little bit like right here it sounds pretty good and if i go flat you can kind of see where it's getting emphasized in your curve here mine's coming up around a little bit more than 2000 so i'm going to cut like right there and that should help some of that i'm going to leave my nasal cut because i i think it's necessary for this microphone and for my voice now i also wanted to look at the broadcast range because in some of the clips in my video i didn't notice it at the time again i only had so much time to work with this but as i'm talking there's a lot of spikes in this 500 hertz range that they call broadcast i can't say i know what that means i've ever heard i've never heard it referred to as broadcast but again if we crank this up test test one two three we get some weird muddiness going on here obviously it's bringing up the 250 range with it so if we turn up our q range here test test one two three all right by the way the software has this little record feature down on the bottom left so you can sample it three rings for the oven kings under the sky three rings for the elven kings under the sky three rings for the oven kings under the sky three rings for the oven kings under the sky three rings for the elven kings under the sky three rings for the elven kings under the sky so like there is something going on in those frequencies that i think is not ideal so i set up a little bit of a cut here in my original settings to kind of remove some of that and then it's just a matter of playing with the warmth versus the muddiness again i think during my original long cut tutorial so by the way for that video i recorded a software tutorial that was supposed to be quick and dirty to go in that video and it was 20 minutes long so i had to re-record it but in that i started messing around and i was like okay well what if i add my usual 250 hertz mud cut because i don't like that so you know we set that up and cut here and i think this is also kind of affecting the because if i put it up i get real muddy but i think that cut also affects things so i'm leaving it here as is one thing that i have run into though is if i try to add a base roll off or a high pass filter i think it destroys the audio and i don't like that because i think as is i'm a little too boomy even if i turn off the sub bass and all of that stuff like i think it's a little too boomy the issue is is this microphone much like the at2040 i reviewed a couple months ago it only has a frequency response of 50 to 50 hertz to 20 kilohertz whereas most mics i cover are 20 hertz to 20 kilohertz and something about that missing frequency range just really mucks with my voice and i and i completely highlighted it in the at2040 review like i thought it really messed things up and i think that's happening to hear me here so for i'm gonna run this as an example i'm gonna add a band i'm gonna set it as a high pass filter we're gonna slide it over you know somewhere over here we don't want it to be too high that it affects our boost that we were getting test test one two three you may disagree maybe that i'm listening it differently it's gonna sound a little bit better now but i was feeling like suddenly this somehow makes it more abrasive even though it should roll off some of that bass i i don't really know what's going on here like as i roll it out here it's just like it's hurting the audio somehow and of course if i come up too close then i lose all of the warmth all together as it starts cutting all of that out so it's really obviously it takes some fine tuning to get the settings right in here and i think that's the benefit of having all of this kind of educational tools with guides and everything you know you got your loudness meters you got your eq things like that i think there's some value in that and i love that they kind of add all this so that you can learn what you're doing but i mean at the end of the day the mic sounds how it sounds i think out of box and even in the raw audio if we switch back to that real quick here if we go to the raw flat audio personally i feel it still has that kind of tight choked sounding feeling on my voice everyone's voices are different i think i have a certain low frequency range that is a specific quality that we've come to grow custom with with my voice that gets cut off in that missing frequency range in the frequency response and for my voice it sounds super tight and like squished and a little crunchy much like a lot of the cheaper dynamics that release these days most modern dynamic mics that release these days sound like this where they sound kind of compressed or whatever whereas the old school ones don't and you have to play with that and work with that but i think between that factor and the proximity effect not being in play here it didn't sound great so here's my walkthrough it's not even a software tutorial i'll still post the original software tutorial cut over on the stream guides channel but this is how to make the beacon mic sound good i i don't know i i like it and i like the sound that i can get out of it now i don't like eating the microphone like this like this is uncomfortable this is unnatural i realize i think i'm becoming jaded to kind of streaming practices and that i'm moving to wanting mics out of frame or shotgun mics or lav mics that i don't have to worry about and all my big on camera videos are shot on shotgun mics now and i'm kind of becoming a little like i said jaded to some of these practices but i feel like a mic should be able to handle that and that's something why i always love and go back to the electro voice re20 because it doesn't have proximity effect it has what's called variable d in that whether it's right up on your mouth or like a foot away as long as your environment's treated and gains set properly and whatever it sounds the same and i love that mike's you know i love when mike's do that and i don't know i wanted to make this video to clarify because i was honestly kind of shocked the way to wake up and see so much discussion focusing on how bad the mic sound when i thought it was okay but here you go hope you enjoyed check out the other reviews if you haven't already and go check out the reviews of everyone that i pointed out here if you missed them and yeah hope you enjoyed remember be kind rewindit's possible i misled you as the beacon mic can actually sound really freaking good i just think it takes a little bit more work and there's some factors at play so i want to show you how we got here and why it sounded like it did in my review i'm eposvox the stream professor and i just posted my review of the beacon mic and got about four hours of sleep after three straight days of working on it because that's all i really had time for it and despite the fact that i had some really cool stuff going on in that video ah most the comments were about how bad the mic sounded and honestly i'm kind of shocked like i didn't think it sounded great but i also don't think it sounds that offensive all of its processing in 32-bit float and that is where the real magic begins however i can explain why it sounds the way it did so right now you're listening to it completely flat where we've disabled everything noise suppression and everything and honestly i think it sounds as i described it's still a little compressed sounding a little crunchy i forgot to turn off the exciter and the de-esser and everything all right so this is completely flat and completely natural i still you know all my thoughts about how it originally sounded still apply i still feel the way that i do however i was able to tune things after watching everyone's videos because i couldn't figure out why all the comments were so mad about it like if we scroll through all the comments it is about how bad the mic is and very little about the review itself which is fine like i think i'm more sensitive to it because i worked so hard on it like because it was such a crunch period and whatever but people don't like how it sounds and i was kind of surprised like that so finally you know i got the chance to check out some other people's reviews i'm not calling anyone out here if anything i'm learning from what they did harris's probably sounded close to the most natural i'd say knackers sounded the best here two six like seven six seven seconds so instead of just having to rely off of a single meter that just has a bouncing at least if you don't crank up your headphones when i have my headphones on super high settings here uh it doesn't sound great but you know at normal headphone ranges it sounds signal pretty solid knockers is actually really good at getting his mic audio where he wants however i will point out these are some aggressive adjustments that i would not normally make and did not make on any of the other microphones i compare to you'll also notice how close he is to the microphone that's going to be a consistent theme and why you see me basically having my lips on it here now this guy sounds his voice doesn't sound like mine but his audio quality sounds almost identical to mine in my review finally here the beacon mic the beacon mix and the beacon mix create it's got that weird frequency that sounds a little crunchy now sam also his honestly sounds okay 4500 and if you increase that amount you added he's a little muddy but he's also again cranking these eq curves a little bit more than i would for other microphones then we have harris where you can see here he's his lips how powerful some of these built-in tools are to polish your voice are literally touching the microphone and he's having to angle his mic to not get those breath sounds and to not plosive it a little bit more so here's what went on in my review you can see in every single one of these shots i am more than three inches away from the microphone be it the paper backdrop up close even in this setup this was on purpose because i don't feel these days that a lot of people want to have to eat their microphone i feel like that era is kind of leaving especially as the markiplier and joe rogan like i'm gonna eat my mic and have this overly boomy podcast sound kind of has died out of a trend a lot of people are moving to not wanting this happening so many of my questions and my feedback in my reviews are how to avoid this exact scenario and you're benefiting from proximity effect proximity effect is the act of whenever you get closer to your microphone there is a higher emphasis on the lower end frequencies giving you a little bit more warmth and a little bit more oomph this is something radio podcast you know radio djs and podcasters take advantage of to get a certain type of sound that is also why during these mic comparisons at the end now granted again my production time on this was super limited so i didn't get to talk about it i guess as much as i had hoped but like during this sample i get full benefit of the proximity effect just as a really goofy test here we're doing the proximity effect we're getting right up on the microphone like i am now so what i have determined is that there is a weird frequency if i turn on the guide here in this broadcast range and in the 2 000 hertz range there is a weird frequency that's resonating weirdly in other people's audio systems and i'm not sure why but i think that's the most fatiguing part that is kind of driving people nuts so i have figured out an eq curve here that i think sounds a lot better because we have as i mentioned we have basically three things working against us first and foremost the lack of proximity effect which means as i get more and more away from the microphone and i have to project into it you have a lot more emphasis on the higher end frequencies coming out of my mouth and you're losing so much of that lower end you've got those weird frequencies that i mentioned that i think are getting over emphasized or like resonating weirdly in people's setups and then some of it just comes down to you know some of the settings i i still think that a microphone should not require a ton of super aggressive eq'ing in order to sound great that is something i stand behind and i did not do any sort of aggressive eq with the other microphones i compared it to like i think i need to emphasize that is i did not have to do very much with those but it also comes up to the gain staging so i talked about the flex of the 32-bit float audio and gaining and all of that and that's still important however by being further away from the microphone i then had to turn up the gain and now that i'm like trying to figure this out i have learned if you crank the gain up to max which i didn't have at max but if you crank it up to max there's a fair bit of electrical noise going on here it's it's hidden by the adaptive noise suppression but if i turn that and the expander off and then we crank this up don't know how much it's going to come through but there is a bunch of weird little high-pitched electrical noises coming through and i've tried a couple different usb cables trying to make sure they're not sitting on anything they're not supposed to it's there so i probably had my gain like up to here because i was i was back further off the microphone so i was trying to set it up like this so between all of those factors which mainly comes down to physics a lot of that was at play and there was a couple samples in the video where i had the expander set a little too aggressive so it was doing that pulsing uh but the gain staging was the main blame factor there with some of the um some of the higher hiss going on and then the compressor the compressor seems to work a little differently i don't know how than other compressors i've used in that in most of my post-processing that i do with say you know most of my videos just for context here i think this this is where i'm misleading people as well is most of my standard videos where i'm on camera and you don't see a microphone those are shot on a one thousand dollar microphone the sennheiser mk h416 and i have had four or five years now to learn it and maximize my processing of it so i have the advantage of the experience and it is a 1 000 microphone so i i kind of set people up for failure i guess by using such high end gear in the first place but typically with my post processing i will often go to minus 16 db for my threshold for my gain uh you're supposed to kind of get an average of like minus 3 to minus 6 db of attenuation but if i crank up my mic monitor here like if you're listening to this super loudly it's it's abrasive it doesn't sound great and i don't usually experience that with a lot of my settings so i have had to turn this down to like minus 23 ish seems to work if i'm right up on the microphone here again i just use a four to one ratio so it's nothing super offensive in that regard uh however i will say i think the simple versus the advanced kind of i think they use different settings and that's a problem actually you can tell right now if i go to simple it has a completely different threshold that is unacceptable like if i set a setting and it happens the software happens to kick back to simple because i think it loads it by default it shouldn't screw with your settings and so given how many crashes and blue screens and whatever i had i'm sure it got kicked over to simple a few times and that's some of the inconsistency now it comes down to eq i've learned a little bit here mainly from knackers video uh if we go back to knackers you see here so a lot of people were calling out in the comments that i had way too aggressive of a mids cut and i disagree because knackers is actually more knackers is great in that he builds on the classic strategy that everyone should honestly go with is that you cut before you boost and so he starts cutting and then only boosts like a tiny bit here and in fact i could probably turn this down a little bit that might sound a little better i'm not sure at this point i'm messing with things that i had working but then he also has this big o cut at 2 000 hertz which i have never done before but by doing it it does seem to improve things so i'm going to do the frequency sweeping where i sweep it up so this is the frequency that the i'm going to actually turn my mic monitor up as well this is the frequency that the 2000 ish hertz uh you know cut is affecting so it gets this is where a lot of the abrasiveness this is where that sits in my video is this is that weird crunchiness i think a lot of it comes from right here so then when i turn it all the way down i start to i start to lose some clarity if i go too far but if i turn it down a little bit like right here it sounds pretty good and if i go flat you can kind of see where it's getting emphasized in your curve here mine's coming up around a little bit more than 2000 so i'm going to cut like right there and that should help some of that i'm going to leave my nasal cut because i i think it's necessary for this microphone and for my voice now i also wanted to look at the broadcast range because in some of the clips in my video i didn't notice it at the time again i only had so much time to work with this but as i'm talking there's a lot of spikes in this 500 hertz range that they call broadcast i can't say i know what that means i've ever heard i've never heard it referred to as broadcast but again if we crank this up test test one two three we get some weird muddiness going on here obviously it's bringing up the 250 range with it so if we turn up our q range here test test one two three all right by the way the software has this little record feature down on the bottom left so you can sample it three rings for the oven kings under the sky three rings for the elven kings under the sky three rings for the oven kings under the sky three rings for the oven kings under the sky three rings for the elven kings under the sky three rings for the elven kings under the sky so like there is something going on in those frequencies that i think is not ideal so i set up a little bit of a cut here in my original settings to kind of remove some of that and then it's just a matter of playing with the warmth versus the muddiness again i think during my original long cut tutorial so by the way for that video i recorded a software tutorial that was supposed to be quick and dirty to go in that video and it was 20 minutes long so i had to re-record it but in that i started messing around and i was like okay well what if i add my usual 250 hertz mud cut because i don't like that so you know we set that up and cut here and i think this is also kind of affecting the because if i put it up i get real muddy but i think that cut also affects things so i'm leaving it here as is one thing that i have run into though is if i try to add a base roll off or a high pass filter i think it destroys the audio and i don't like that because i think as is i'm a little too boomy even if i turn off the sub bass and all of that stuff like i think it's a little too boomy the issue is is this microphone much like the at2040 i reviewed a couple months ago it only has a frequency response of 50 to 50 hertz to 20 kilohertz whereas most mics i cover are 20 hertz to 20 kilohertz and something about that missing frequency range just really mucks with my voice and i and i completely highlighted it in the at2040 review like i thought it really messed things up and i think that's happening to hear me here so for i'm gonna run this as an example i'm gonna add a band i'm gonna set it as a high pass filter we're gonna slide it over you know somewhere over here we don't want it to be too high that it affects our boost that we were getting test test one two three you may disagree maybe that i'm listening it differently it's gonna sound a little bit better now but i was feeling like suddenly this somehow makes it more abrasive even though it should roll off some of that bass i i don't really know what's going on here like as i roll it out here it's just like it's hurting the audio somehow and of course if i come up too close then i lose all of the warmth all together as it starts cutting all of that out so it's really obviously it takes some fine tuning to get the settings right in here and i think that's the benefit of having all of this kind of educational tools with guides and everything you know you got your loudness meters you got your eq things like that i think there's some value in that and i love that they kind of add all this so that you can learn what you're doing but i mean at the end of the day the mic sounds how it sounds i think out of box and even in the raw audio if we switch back to that real quick here if we go to the raw flat audio personally i feel it still has that kind of tight choked sounding feeling on my voice everyone's voices are different i think i have a certain low frequency range that is a specific quality that we've come to grow custom with with my voice that gets cut off in that missing frequency range in the frequency response and for my voice it sounds super tight and like squished and a little crunchy much like a lot of the cheaper dynamics that release these days most modern dynamic mics that release these days sound like this where they sound kind of compressed or whatever whereas the old school ones don't and you have to play with that and work with that but i think between that factor and the proximity effect not being in play here it didn't sound great so here's my walkthrough it's not even a software tutorial i'll still post the original software tutorial cut over on the stream guides channel but this is how to make the beacon mic sound good i i don't know i i like it and i like the sound that i can get out of it now i don't like eating the microphone like this like this is uncomfortable this is unnatural i realize i think i'm becoming jaded to kind of streaming practices and that i'm moving to wanting mics out of frame or shotgun mics or lav mics that i don't have to worry about and all my big on camera videos are shot on shotgun mics now and i'm kind of becoming a little like i said jaded to some of these practices but i feel like a mic should be able to handle that and that's something why i always love and go back to the electro voice re20 because it doesn't have proximity effect it has what's called variable d in that whether it's right up on your mouth or like a foot away as long as your environment's treated and gains set properly and whatever it sounds the same and i love that mike's you know i love when mike's do that and i don't know i wanted to make this video to clarify because i was honestly kind of shocked the way to wake up and see so much discussion focusing on how bad the mic sound when i thought it was okay but here you go hope you enjoyed check out the other reviews if you haven't already and go check out the reviews of everyone that i pointed out here if you missed them and yeah hope you enjoyed remember be kind rewind\n"