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The UA SD-3, SD-5, and SD-7 use cutting-edge modeling tech to offer 15 microphones in three.
Julian Cubillos
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Universal Audio has a long history of developing innovative products to help artists push to and through creative boundaries. We’ve covered everything from the company’s entry-level interfaces to their portable processing engines for guitarists. In 2023, we were particularly impressed by the UA Sphere DLX Modeling Microphone. And UA’s latest foray into microphone modeling follows in that tradition: Imagine being able to change the position, angle, and even type of microphone on your drums long after you’ve made your recording and put away your kit.
Dubbed the SD-3, SD-5, and SD-7, these three dynamic microphones are tailor-made for recording snare drum, kick drum, and toms, respectively. In this review, we’ll explore how these mics sound, experiment with their modeling capabilities, and unpack what it’s like to work with them in a studio setting.
Julian Cubillos
Straightforward hardware meets versatile software
At the core of Universal Audio’s modeling microphone series lies the included Hemisphere Mic Collection, a software plugin that works to sculpt, shape, and alter the base sound of these microphones to emulate dozens of classic mic designs from throughout recorded music history. Hemisphere offers five unique modeling options for each of the Standard-series drum mics, giving each an unprecedented level of versatility not normally found in a traditional microphone.
Despite their abilities to shapeshift and inspire creative experimentation, each individual microphone still primarily excels at one or two specific use cases. The smallest of the bunch, the SD-3, features a cardioid polar pattern with high SPL handling, making it ideal for performing snare drum and guitar amp duties. The SD-5 is the largest and has a supercardioid polar pattern; it’s ideal for kick drum and bass amps thanks to its larger diaphragm and chassis. The third, the SD-7, sits in between the others both in size and sonic range, featuring a hypercardioid polar pattern, so it’s a great all-around choice for vocals, guitars, and almost every type of drum.
Here’s a quick breakdown of each of these microphone models, alongside their modeled counterparts and some recommended uses for each version:
Base MicrophoneModeled MicrophonesUse ideasSD-3Audix D4Snare drum, toms, guitar cabinetShure SM57Snare drum, guitar cabinet, vocalsSennheiser MD 409Snare drum (bottom), guitar cabinetShure 545SDSnare drum, guitar cabinet, vocalsSennheiser E 604Snare drum, tomsSD-5Audix D6Kick drumAKG D12Kick drumShure Beta 52AKick drum, bass cabinetAKG D112Kick drumGeneric Sub micKick drum, bass cabinetSD-7Beyerdynamic M160Toms, guitar cabinet, hornsSennheiser MD 409 (vintage)Guitar cabinet, vocalsSennheiser MD 421Toms, brassSennheiser MD 421 (vintage)Toms, guitar cabinetsSennheiser MD 441Vocals, snare drum, guitar cabinet
Costing $109, $179, and $129, respectively, the SD-3, SD-5, and SD-7 aim to tackle the duties of a multi-thousand dollar microphone cabinet—one that even includes more expensive vintage models—for just over $400. This is a great bargain in any universe, especially when considering the almost infinite creative flexibility you gain when using the Hemisphere plugin to fine-tune the sound of these microphones.
Let’s dive a little deeper into how Universal Audio’s Standard series drum mics fare in a studio recording setting.
Setting up the Universal Audio SD-3, SD-5, and SD-7
One of the best and perhaps most important things about these microphones is that, despite their deeply customizable sonic palette, you still set them up like any traditional microphone. The SD-5 and SD-7 are ready to mount out of the box thanks to their integrated mic stand threads, while the smaller SD-3 includes a separate mic clip for your mounting needs. The mics feature a sleek, minimalist black-and-white design, and all of the modeling takes place on the software side. So once the mics are placed, plugged in, and routed to your DAW, you’re done with the physical part of the setup.
Next up, you’ll download Universal Audio’s Hemisphere plugin, which is available for both macOS and Windows. They offer two versions: one for users of the company’s Apollo or UAD Satellite hardware (interfaces offering latency-free monitoring), and one for other users. After downloading and installing the software, simply add the Hemisphere plugin to your microphone channels, and you’re off to the races.
The Hemisphere plugin
Universal Audio’s Hemisphere plugin makes it easy to explore and play around with the sonic capabilities of each microphone. After telling the plugin which microphone it’s working with, you’ll have access to each of its specific five variants along with phase flip, highpass, proximity, and axis control filters. If you record your audio before applying the Hemisphere settings, you can audition, tweak, and fine-tune these settings to your heart’s content. We can’t understate the creative significance of this fact: It’s like being able to go back and move your microphone or even swap it out long after you’ve recorded—at least, in theory.
How do the Universal Audio SD-3, SD-5, and SD-7 sound?
Before diving into the world of modeling, we tested the SD-3, SD-5, and SD-7 on a drum kit without Hemisphere to hear the raw sound of the microphones. On their own, these mics are punchy and full-bodied with a relatively wide frequency response spectrum. They offer a good amount of high-end information and quick transient response, which is characteristic of their dynamic design.
The SD-5, in particular, sounds very versatile for a kick mic, delivering plenty of desirable sonic information across the whole spectrum. On snare, the SD-3’s base sound is midrange-forward and pleasingly warm, similar to a Shure SM57 with a little more low wooliness. The SD-7 also delivers lots of smooth midrange on toms and some extra snap in the high-frequency range.
With Hemisphere engaged, the incredible versatility of this microphone set immediately becomes apparent. Each modeling option changes the character of its base mic to a different degree, some subtle and others less so. Some options, particularly the SD-5’s Shure Beta 52A emulation and the SD-7’s Beyerdynamic M160 emulation, delivered spot-on modeling of those mics’ high-end roll-off. Others, especially the Audix models, accentuated the characteristic high-end click of stick and beater attack for which their original hardware is known. In many cases, these presets feel like very intentional and carefully crafted EQ curves with the ability to take all of the guesswork out of mixing and deliver immediate results.
I was also blown away by the plugin’s proximity setting, which gives the impression of moving the microphone farther from or closer to the sound source and is roughly expressed by a low-frequency cut or boost, respectively. If you know what you’re doing, you might be able to achieve the same effect using EQ with some time and labor, but this plugin makes it easy for beginners and experts alike to achieve the same effect with the simple turn of a knob.
So, are the Universal Audio SD-3, SD-5, and SD-7 right for you?
While I couldn’t directly compare the original hardware and every modeled microphone, the most important question to me is not whether these mics can perfectly emulate pre-existing designs but rather whether they can truly offer 32 musical-sounding variations—a mix of dynamic, condenser, and ribbon mic tones across various mic emulations. The answer is yes, absolutely. These are microphones that anybody can work with to get a usable, custom-tailored sound, regardless of their skill level.
For just over $400, the UA Standard Series mic set is a bargain whether you’re looking to buy your first drum mics or just looking for some new toys to add to your existing collection. Of course, there’s no silver bullet to creativity, but any product that inspires you and puts you on the fast track to results is worth considering in my book.
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Source : Popular Science