512 Audio 512-LLT Limelight Dynamic Vocal XLR Microphone featuring a Hypercardioid Polar Pattern, 60.8 mm*167.5 mm*60.8 mm
Limelight is precision-tuned to focus on the frequencies that capture the richness of voice and speech so your audience can enjoy your talk-focused content with the clarity you’d expect from a world-class broadcast facility.
Limelight features the combination of a modern circuit and professional dynamic capsule custom-tuned for exceptional clarity. Limelight features a tailor-made frequency response of 50Hz – 20kHz, sculpted for close-range vocal frequencies and designed to reduce the noise.
PRODUCT FEATURES
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|---|---|---|---|
Built-in Pop ShieldBuilt-in pop shield blocks intrusive plosives, like ppp’s, bbb’s, and fff’s, for an uncompromised sound and less audio cleanup in post. | Low-frequency FilterUser-switchable low-frequency filter prevents unwanted noise and low-end rumble, for more control over your sound. | HypercardioidWith a hyper-focused pickup pattern that’s nearly 20% narrower than a standard cardioid microphone, Limelight captures your voice while rejecting unwanted room noise around you. | 360-Degree Swivel MountFor perfect placement on a mic stand or boom arm. |
Created by the dedicated team behind Warm Audio, a professional audio manufacturer of high-end, classic-inspired microphones, preamps, guitar pedals and more.
| Weight: | 381 g |
| Dimensions: | 16.75 x 6.08 x 6.08 cm; 381.02 Grams |
| Model: | 512-LLT |
I’m actually quite surprised by the tonal quality of this microphone. I have a number of dynamics, including a Shure SM7B, and have to say that the Limelight is a good alternative.
The construction is quite light weight. I’m not sure how much of the mic body construction is alloy and plastic but it is light in weight compared to how it looks. This actually helps for cheaper boom arms and scissor stands. The mounting clip is high density plastic, which is absolutely no problem for the weight. The mount also has rubber that grips the mic.
I’m not sure how well its construction would stand up over time if being moved about and remounted constantly. However, for a typical vlog/podcast setup where a dialogue mic is essentially set once and never moved. Then there will be absolutely no issues with wear and construction issues over time. That said, even an SM7B, which is a much heavier constructed microphone, doesn’t stand up well to being moved etc. and the 7B scratches very easily of your not careful.
The tonal response is quite well balanced. It’s maybe not as thick at the bottom end compared to some dynamics but it does have some nice clarity in the mid and upper mid for dialogue. It actually has tonal characteristics similar to a condenser, as in, quite a clear response and not as muddy as typical low cost condenser.
Off axis rejection is quite good and is definitely not a problem for typical dialogue such as podcasting or talking head shots for YouTube, which is how I have used it. I have quite a lively room and when the mic is in a close position, which it should be for dialogue, it manages to pick up more of my voice over the room acoustics than other similar dynamics.
Acoustic/vibration rejection for the likes of bumps on tables, the mic and stand/boom isn’t so good. But I’d argue that you should be carful of such things anyway. It’s not too bad for noises off controllers, keyboards etc. when gaming etc. If you’re going mad banging things on tables, then no mic is going to be able to reject that type of acoustically transmitted noise anyway.
As for plosives, it’s no worse than other similar mics. Although, you have to bear in mind that it does not come with any add on external pop filter. I’ve used the official RODE foam filter for the NT1/NT1a and it works really well when getting very close to the mic, with little impact on tonal response.
The one big plus point about this mic for me is that it mounts right at the base on the mount for the XLR socket. This gives you a load of clearance to the front end of the mic and makes it much easier to position close to a face without any cumbersome shock mount getting in the way. It’s very similar to a RE20’s standard mounting position, which makes on camera framing much easier.
The second big plus point is that its output isn’t as low as other similar dynamics. I connect this directly to my camcorder, a Sony FDR-AX100, via its 3.5mm mic socket and the output from the Limelight is easily high enough for the camera to pre-amp it without any noticeable noise gain. Using a typical USB audio interface or preamp with this mic is also easy and you don’t need any pre-gain such as a Fethead or Cloudlifter. Inherent noise is very low, as is usual with most dynamics.
All in all it’s a very nice mic. Not heavy, has a nice overall tonal response, looks good on camera, easy to gain and stands up very well against similar low-ish end dynamics.
It sounds nothing like a 7B or RE20 if you’re thinking along those lines but it also costs nowhere near either of those mics either. It sounds thinner by comparison, especially to the 7B but again, you’ve got to be realistic as to what you are paying.
As for recommending it. When first released, at least here in the UK, I thought the price was a bit steep. However, it does seem to have taken a fairly healthy drop in price in recent times and at the current price @ 115 I’d say it’s definitely worth taking a look at it. However, like all microphones, it’s a very personal choice as the same mic will sound different with different voices and mic choices, especially for dialogue, are a very personal decision. None the less, I would recommend it at its current lower price.