This is going to be shorter than my usual overly wordy review – not because the product doesn’t warrant the page space, but because the message is fairly simple. So, let me give the conclusion right up front and then explain what I actually mean: The Soyuz 1973 is an excellent mic, especially if your sonic goal is clarity and articulation instead of warm and gooey tones.
First of all, Soyuz makes excellent mics. The products are primarily designed in the U.S. and manufactured in Russia by hand. Everything they make displays fantastic build quality, suggesting a product that will last a very long time. Their stated goal is to create hand-built, classic mics that aren’t clones of previous designs, but rather an intentional and new sonic signature, using traditional manufacturing techniques. Their initial offerings were in the direction of vintage-style large and small diaphragm condensers, using tubes and transformers or, in some cases, FET circuits instead of tubes. The 1973 takes a bit of a different approach.
No company wants to make every mic they make sound the same; having some sonic choices is a good thing. That seems to be one of the goals of the 1973. It is a transformerless mic, unlike their other offerings – but this is not the only facet contributing to its sonic character; it’s only one of many important elements. Making a sweeping generalization, transformerless mics can sometimes have a more open and articulate sound than transformer-based circuits. That seems to be the case here. The 1973 doesn’t have the lower mid presence of some transformer-based mics we listened to comparatively, but it certainly has the midrange focus that can cut through a mix. The great thing is that it accomplishes mid and upper-midrange articulation without falling into the category of getting shrill or harsh in the way some similarly voiced microphones can. Staying true to their design and build quality goals, the mic doesn’t sound unbalanced or peaky, but instead is balanced while being voiced with a more present character in mind.
Not everything about the mic is a new design. The S23 capsule is the same as the one in their more expensive 023 Bomblet [Tape Op #140] side address large diaphragm mic. A couple of items to note about the capsule: It is a modern re-creation of a classic LOMO design from the ’60s and uses a unique triple backplate construction inspired by the AKG CK12 capsule. Soyuz makes backplates on their lathe, and capsule diaphragms are tuned and sputtered by hand. Now, I’d like to pretend that I know conclusively how this specifically affects the character of the mic, but I don’t! I do, however, know that those vintage capsules are well regarded, so having this modern re-creation is a good thing. Another interesting feature of the mic is that it has a built-in resonator that is supposed to minimize unwanted resonances and plosives from vocals. This is another example of the extent to which Soyuz has gone to create a mic with a specific, articulate sonic character.
Soyuz is also trying to make this mic a little more affordable compared to other products in their lineup. Therefore, it only has some of the features of its more expensive mics. It’s cardioid only, which will be sufficient for many recording applications. It doesn’t have a built-in high-pass filter. But it does have a two-position pad (-10 and -20 dB). This is a crucial feature, as it greatly increases the applications for this mic. I know of another popular “no-frills” large diaphragm condenser made by a prominent German company that does not have a pad and therefore overloads on many hotter sources, making it unusable in some situations. I’m very glad Soyuz included the pad on 1973, allowing it to be used on louder sources such as electric guitar amps.
The 1973 is side address, and its body departs from the standard Soyuz “lollypop” type design, instead using a compact, more common body with grill built into the side. As a result, the mic is surprisingly small, making it very easy to set up and place in different mic’ing scenarios.
On various sources, the mic stayed true to itself, offering a little more energy in the mids and upper mids with perhaps a little less low mid character than some of the other mics we listened to. On grand piano, the 1973 brought out the clarity of the notes but not as much of the “woodiness” of the sound. At mix, I included the 1973 with other large diaphragm mics because I felt the piano performance didn’t “speak” as well without the 1973.
On acoustic guitar, this mic is going to naturally bring out the midrange articulation (something that I’ll often have to reach for an EQ to bring out when using other mics). On kick drum (the pad comes in handy here), the mic brought out the attack and beater sound if used as one would a FET 47-style mic, outside the resonant head of the kick. On an electric guitar amp, the 1973 again naturally brought out the midrange focus that with other mics I sometimes find needs help to make the track push through the mix. As for vocals, it really depends on the individual voice, but the 1973 again lives up to its design goals by bringing the presence forward without being at all harsh or unbalanced.
This versatile mic is quite affordable, considering the amazing sonic quality it delivers. The brushed aluminum mic body (available in black or silver) is extremely well made. There’s nothing about this mic that feels like Soyuz has cut any corners, especially considering the pedigree of the capsule choice. Perhaps the cardboard box mic case reveals some cost-cutting tactics, but it is certainly different than the polished wood case found with their other mics. Also note that dated cards from the machinist, assembler, and tester are included in the box, along with a sturdy mic mount. However, you’ll need to purchase your own shock mount.
I’ll end this review where I began: The Soyuz 1973 is a very well thought out and built mic that excels at clarity and articulation, rather than huge lower mids. And it delivers that for the very reasonable price of $799. If that fits your application, it’s a mic to consider seriously.
Dang it. I was overly wordy, after all.
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