Heil PR 40 Dynamic Microphone for Streaming, Podcast, Recording, and Broadcast, XLR Microphone for Live Music, Wide Frequency Response, Smooth Sound, Superior Rear Noise Rejection - Champagne

HEIL PR 40B Microphone: Briefly, I became aware of “HEIL” a few years ago having bought two Heil’s Air Transformer studio quality loudspeakers, whose sound was/is unparalleled. Therefor, as HEIL has been producing legendary loud speakers, let see if HEIL could also develop the opposite end of the audio channel, the Microphone. As a Faculty member of a 30,000+ student, State of Florida University, FAU, I rarely have time to write product reviews. My exception is for true Excellence, the valedictorian of products. Today, I produce daily, morning HDTV 90+ minute pod-casts on a variety of technology topics, occasionally drifting to “Current Events.”In sum, the HEIL PR-40B Microphone is truly one of the best Cardioid Microphones available for 5-times the unit cost of $350. Frequency response is pure and clean, particularly at the low-end of the audio spectrum. If you are looking for truly Deep, Clear Voiced Podcasting, with superior rejection of side & rear distractions, this is a choice to consider. I have tested and own the best from EV, SHURE to SENNHEISER, where would you believe, HEIL clearly out-performs them all.If you deserve the Heil-PR40B (XLR fitted) microphone, you may likely be attaching it to a RODE Podcaster Pro-II or RODE’s new Podcaster-DUO, a mobile audio production sound-board, both offering phantom 48v power. Accordingly, SE-Electronics delivers (not included with the Heil purchase) their “in-line” $99 DYNAMITE DM1 Class-A amplifier, for Dynamic Microphone in-line pre-amplification; it delivers near “Lossless, Flat” preamplification of the 10-100,000 Hz audio spectrum, virtually eliminating line losses. Quality Dynamic microphones generally need an in-line 28db boost in signal amplitude, utilizing true Class-A amplifier technologies; this in line signal boost, avoids over-pushing the RODE sound-board, keeping its attenuation mid-range of its capability, with long or short cable runs. 2/22/25 JimW.

Being the owner of a couple different Heil microphones (the Heil Goldline Pro and the Heil Heritage) which never fail to impress, I decided it was time to step up to the Heil PR-40 to see what it was capable of as well. I purchased the Heil PR-40 to serve a few different purposes, mainly as a new mic for my ham radio, but also for use in VOIP applications, and finally to use for recording narration for videos. It suits all of these purposes just fine, but of course I knew this already since the same source is used for all those applications, that being my voice.The mic itself is everything I would expect of a Heil microphone. It build ruggedly, and has a beautiful, flawless finish. The PR-40 comes in a padded leatherette carrying case that also holds the included mic clamp. The clamp has an adapter that screws in to allow the clamp to be used on different sized stands and boom arms. Also included was a Heil Sound decal. I have to say I'm disappointed the Heil mics don't come in the wooden presentation boxes they used to, but I am quite happy with the padded case they use now too.The XLR jack on the mic is a little tight, it took a lot of effort to get the Neutrik XLR connector on my mic cable to lock into place. Removing the o-ring from the Neutrik connector on the mic cable allows the cable to lock into the PR-40 with no effort, but I prefer the slight amount of compression the o-ring provides to help keep dust out as well as prevent any rattling.The thing about Heil mics is they pretty much occupy their own audio space in the world of mics. Nothing else comes close to sounding like a Heil mic, their timbre is unmistakable, but in a good way. A lot of people have trouble getting used to Heil mics because they're used to older design mics that need a lot of EQ to make them sound good. With Heil mics, they don't require an obscene amount of EQ to make them sound great, they pretty much sound great with the EQ set flat.What I really like about the Heil PR-40 is it has a slightly scooped mid-range that takes the nasal "honk" and stuffiness out of my voice. I've never used a mic that sounded so broadcast-ready right out of box, and much of that is helped by the extended low-frequency response (when compared to most other dynamic mics) that picks up more of the deep chest resonance of the person talking or singing into the mic. Of course, this also makes the mic more prone to picking up low frequency rumble, but installing the mic in the optional accessory shock mount takes care of that problem without having to EQ out the low frequencies, which EQ really should always be left as a last-ditch bandaid only anyways, as you're essentially EQ'ing out an entire octave of the human voice.Proximity effect is really sweet on this mic. With the PR-40 anything more than 6 inches away from the mouth starts sounding way too thin, with the sweet spot being around 2-4 inches from the grill. However, you can literally get your lips right up against the grill and the proximity effect is still controlled to the point that the bass never becomes too thick or muddy, the mic just takes on an extremely warm, intimate sound that is absolutely spectacular.Even though the mic comes with an internal sorbothane shock mounted capsule, the mic is still fairly prone to picking up low frequency through the mic stand or boom arm. I highly recommend getting the accessory shock mount to go with this mic, I guarantee it will make a world of difference.What can I say? I'm more impressed by the mic than I thought I would be. I can gladly say I have absolutely no buyer's remorse whatsoever. This one is definitely a keeper.

The PR 40 is one of the best dynamic mics I've ever used. It's a no nonsense unit with spectacular frequency response and warmth. Almost like an old tube type with out the muddy sound I never liked. Every Heil mic I've tried sounded far superior to everything else in it's class. This one is even better. It is end fired, or fed, so be sure to aim not to the side. For best results you should mic directly to the source and talk across it using voice. Or you can use a good boom iso mount with a good screen and Bob can set you up with that. You'll find those accessories here on Amazon. I've thrown away every mic, including the plastic guts RE 20. The original EVs were very good mics, some of the best, but nothing like the old ones and no two sound the same. Every PR 40 I've used is identical and there is no need for preamping, unless of course you want to, and some EQ tweaking might be to your taste but try it naked first. For the money, it's a steal. I've told Bob that many times. He's wonderful to work with and knows audio like nobody I've ever met. But what convinced me is setting up this one on the studio and using it for v/o work. My former mic was a Samson Condenser which you can't beat for the money, though many don't like the USB II condenser mics, it is great for little projects, using your software. But, if you want studio quality with a separate recorder, the PR 40 is the only way to go. How good is it? I've compared it to the Sennheiser MD 441 and 421 which are among the best. If you want better, it will cost. Neumann makes a TLM 49, if memory serves but prepare to shell out some serious bucks for that. And, you'll need a preamp with phantom supply where your three hundred smackers will put you at the top with Bob's PR 40. It's clean, crisp, clear. Try this one before you buy anything else. Chances are you won't want anything else.