I really like the Yaesu FTDX3000 that I purchased used, last summer. It's a great radio. I've already added a very popular page on parametric EQ settings for the MH-31b hand mic HERE. But sometimes people want to add the fuller, richer sound of a dynamic mic to really catch attention. The Parametric EQ found in radios like the FTDX series gives you a lot to work with. This can be confusing for some, but it doesn't have to be! The Parametric EQ really shines when you upgrade to a nicer mic.
Enter the Behringer Ultravoice XM8500 dynamic microphone. For under $25, and a little EQ'ing, you can make your radio sound like you purchased an expensive high-end microphone. In fact, because the internal EQ of the Yaesu is so good, I've had people ask me what kind of outboard equipment I'm using! My answer -- none! And they're amazed when they hear how much this microphone costs.
Now, before I continue about the wonderful sound of this mic, I want to opine a bit about adding a dynamic XLR microphone to your Yaesu FTDX3000 (or any newer Yaesu with Parametric EQ). The XM8500 sounds great, there's no doubt, but in the long run, you might find it a better option to pony-up the approximately $150 cash new, or $100 used, and purchase the Yaesu MD-100 microphone. Why? Simple -- when you buy the MD-100, you get a mic combined with a nice switch, internal settings, attractive 2-way cable that works with all newer Yaesu radios, and no need to purchase a patch cable, foot switch, boom/mic stand. A $25 mic is great, but you have to keep in mind that you're likely buying several other items that will add to the cost. You're also adding cables and other things that are less attractive. Here's one more thing people rarely consider -- the back end of the sale. If/when you go to sell your mic and accessories, you're going to get much of your money back (probably all, if you bought used) if you had purchased the Yaesu MD-100. When you go with a non-Yaesu mic, you're going to end up with additional things you may or may not sell (patch cable, mic stand or boom, etc). Think long and hard, because you will get great sound with an MD-100, also.
That said, if you still want to go with an XLR mic, the Behringer is a bargain choice that sounds expensive.
The settings will provide clear mids and highs, along with smooth bass punch. You may want to tweak the bass up or down a little, per your voice, but I think you will find this to be a great starting point:
1. Set Mic gain about 8 to 10 if using no compression (PROC), or 10 to 20 if PROC is on. Depends on your shack, voice, noise levels, etc., but this is a starting point.
2. Set Processor Level: 5 to 30 per your preference (found on PROC/CAR knob, but can be changed to TX PWR in Menu 177)
3. Set Menu 104 MODE SSB: 200-2800, 100-2900, 100-3000, or 3000WB.
4. Speak about 2 inches from the mic and adjust levels as needed to account for room noise and compression desired. Works best to me to be off-angle from the mic 45 degrees, instead of head-on.
- 159 TX AUDIO: 100 (adjust the low bass freq center point in Hz. Try 200 or 300 if you want bass cut)
- 160 TX AUDIO: -8 (adjust how much you add/subtract from low bass setting -- adjust as needed)
- 161 TX AUDIO: 4 (adjust the bandwidth area covered by low bass frequency peak)
- 162 TX AUDIO: 1300 (adjust mids frequency center point in Hz)
- 163 TX AUDIO: 8 (adjust how much you add/subtract from the mid setting)
- 164 TX AUDIO: 2 (adjust the bandwidth covered by mids frequency peak)
- 165 TX AUDIO: 2200 (adjust the highs freq center point in Hz)
- 166 TX AUDIO: 5 (adjust how much you add/subtract from the highs setting)
- 167 TX AUDIO: 2 (adjust the bandwidth covered by the high freq peak)
- 168 TX AUDIO P-PRMTRC: 200 (from setting 168 is for COMP ON)
- 169 TX AUDIO P-PRMTRC: -15
- 170 TX AUDIO P-PRMTRC: 1
- 171 TX AUDIO P-PRMTRC: 1500
- 172 TX AUDIO P-PRMTRC: 1
- 173 TX AUDIO P-PRMTRC: 1
- 174 TX AUDIO P-PRMTRC: 2100
- 175 TX AUDIO P-PRMTRC: 5 (Note, if you want max comp before pegging ALC, lower to 3)
- 176 TX AUDIO P-PRMTRC: 1
End note... you will need a mic stand or boom, and a patch cable to go from the Yaesu 8-pin plug to the XLR input on the mic (or you will need a different patch cable for the FT-891, for example). HEIL sells them on their website, or you can buy them from E-bay sellers like W7YEN. You'll also need a momentary foot or hand switch, sold by HEIL, or many E-bay sellers. This one seems to come wired with the 1/8" plug.
Lastly, I'd like to say that I feel this mic is GREAT for DX, as well as rag chew, with these settings. If you want a local rag chew, set the bandwidth wider (if you have the space) and turn your PROC off. Peak your volume, keeping the ALC in the lower 1/3 to 1/2 of the ALC line. Speak about 1 to 2 inches from the mic.
If you want to DX, set the mic to a bandwidth of 200-2800, and turn the PROC on, and boost your mic gain a bit until you get around 5% to 7% peak compression (Note that thanks to an observation by AB2UE, I am editing this and the previous paragraph. The BAR meter, which I originally used, has an odd ALC reading, so I removed comments about exceeding the ALC. I now use the S-METER view).
I have tested these settings with DX contacts out 4,000 to 5,000+ miles, and they all agree that the compressed punch of this mic is far better in an A/B test, compared to a sharp, high-pitched DX mic with the lows removed.
Traditionally, people have held that the high-pitched sound of a tight-bandwidthed DX mic will "cut through a pile-up" and "concentrate more power where you need it." I now believe this is urban folklore. Perhaps this thinking was started to sell pricey mic elements, and perpetuated itself as high-powered DX stations bought into the idea. After a lot of A/B testing, however, I no longer buy it. I didn't form this opinion by myself -- multiple DX contacts told me their preference, and they don't lie. You want both the clean highs and some low/mid punch.
With these settings, you get both. I'll take what the DX'ers tell me they can hear better, in an A/B test, over urban legend any day!
