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Heil PR-40 Dynamic Studio Recording Microphone

4.5 out of 5 stars 40 customer reviews
| 12 answered questions

Price: $327.00 & FREE Shipping. Details
Only 3 left in stock.
Sold by Good source and Fulfilled by Amazon in easy-to-open packaging. Gift-wrap available.
  • Generating element: Copper-wound dynamic with neodymium magnet structure
  • Body: Steel body with zinc die-cast bottom ring
  • Frequency response: 28Hz to 18kHz
  • Impedance: 600 ohms balanced
  • Output level: -53.9dB @ 1,000 Hz
18 new from $297.46 6 used from $224.01
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$327.00 & FREE Shipping. Details Only 3 left in stock. Sold by Good source and Fulfilled by Amazon in easy-to-open packaging. Gift-wrap available.

Frequently Bought Together

  • Heil PR-40 Dynamic Studio Recording Microphone
  • +
  • Heil Sound PRSM-B Shockmount (Black)
  • +
  • Heil Sound PL-2T Overhead Broadcast Boom
Total price: $552.00
Buy the selected items together


Product Description

The Heil PR 40 represents completely new dynamic microphone technology designed for a wide range of professional applications such as sophisticated recording, live sound, and commercial broadcast. Producing the widest frequency range available in a dynamic microphone, the PR 40 outperforms most condenser microphones, and can withstand huge amounts of SPL. At the same time, it maintains the 25 year Heil Sound tradition of superbly natural voice articulation.

Product Information

Item Weight 2 pounds
Product Dimensions 10.5 x 7 x 4 inches
Shipping Weight 2 pounds (View shipping rates and policies)
Shipping Advisory This item must be shipped separately from other items in your order. Additional shipping charges will not apply.
ASIN B000SOYOTQ
Item model number PR40
Customer Reviews
4.5 out of 5 stars 40 customer reviews

4.5 out of 5 stars
Best Sellers Rank #18,333 in Musical Instruments (See Top 100 in Musical Instruments)
#54 in Musical Instruments > Live Sound & Stage > Microphones > Dynamic Microphones > Multipurpose
#6,734 in Musical Instruments > Recording Equipment
Date first available at Amazon.com April 13, 2004

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Customer Reviews

Top Customer Reviews

By Paul R. Potts on June 8, 2012
I've been recording podcasts on and off for the last six or seven years and have set up a home studio for amateur music recording. I started out using a PC or Mac laptop with a BLUE Snowball and a crappy USB headset mic: both worked, but I'd frequently get dropouts and glitches as audio buffers were lost. I did learn a lot about how to apply EQ and compression, but it became clear that if I wanted a quality sound, I'd need to look elsewhere.

Since then I've used several other kinds of mics for singing and voiceover, including some Russian-made Oktava condensers (the MK-219 and 319) and a ribbon (an ML-52), a Neumann broadcast mic (the BCM-705), and some miscellaneous dynamic microphones. I run them into an Apogee Ensemble with its prosumer-level preamps. All of them have aggravated me slightly.

The 219s sound "boinky," where you can hear a lot of tinny reflections from the microphone housing, and the tone is a little abrasive. The 319 is better, but it's awkward mounting a front-address condenser in such a way that you can get your face into the mic and still be able to look at papers on my desk. And even with acoustic foam and rock wool sound-absorbing panels on my studio wall, and an sE Reflexion filter, and a home-made foam isolation box around my computer, it picks up a lot of background computer noise, even when the computer is in the "null point" directly behind the microphone. I've had to use a noise-reduction application routinely, Izotope's RX, and that works well but it is a little tedious.

The Neumann, which should have sounded excellent for broadcast applications, was really "spitty," with no "balls" -- the bass response on male voices isn't beefy, and I had to mess with EQ a lot; I just didn't like it.
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Superbly flat frequency response means you have a very versatile microphone to apply EQ and processing to.

Run it flat into the board and see how rich this mic makes you sound. It has long been thought that if you want richness and detail, you have to use a condenser mic. The PR40 tosses this rule to the curbside.

Bright and rich like a condenser, but controlled and soft like a dynamic. One of this mic's biggest selling points is the end-fire pattern. It has incredible side and rear rejection. This goes a long way to make you sound better, especially if you're operating in a multiple-mic environment as it allows you to null out room noises and isolate each voice to a single microphone.

I use this microphone for both amateur radio and other voice work.
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Bob Heil's masterpiece is one of the best vocal mics I've had the pleasure to use, with a warm, full sound and excellent background noise rejection.

There is a reason that most of the podcasting pros at networks like TWIT and 5by5 swear by the PR-40. It is great for really bringing out the best in most folk's conversational vocals and minimizing environmental noise. And as someone who mostly records spoken word pieces in a home studio, this was *exactly* what I was looking for in a microphone.

One point to make is that this mic absolutely *needs* preamplification. Ideally, you want to use this with a preamp with a good clean 40dBs+ of preamplification. I use a Focusrite Saffire Pro 24DSP which works beautifully with this mic, but any comparable quality mic preamp will do.

The PR-40 is top-firing mic with one of Bob Heil's very specific pick up patterns (look on Heilsound's site for more info), so it also richly rewards good mic technique. I use mine on an Electro Voice 309a Shockmount and an OC White desk-mounted boom and I couldn't be more satisfied with the positioning and the workability of this setup for daily use.

'Highly recommended' is an understatement.
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I purchased the PR40 for use in audiobook production. It works very well for most voices...particularly the female voices with which I work. I have the mic running through the preamps on an M-Audio ProjectMix IO into Pro Tools 8.

The PR40's end-address capsule has great off-axis noise reduction. I often do recording sitting right in front of my computer, rather than requiring a sound-proof booth. And, being a diaphragm mic rather than a condenser, it is able to take higher SPLs. The salesman who sold me the PR40 uses his as a vocal mic in live stage performances. Large diaphragm dynamic mics are a fairly unusual breed of mic, so you have to know a little about them before you start using them in every situation. The large diaphragm picks up a lot of nuance and depth that you wouldn't find in, say, a Shure SM57. But it isn't a studio condenser.

In terms of quality, the mic is well-built--Heil usually puts out great products. It comes with a hard case and a mount, but not a shock mount. The built-in pop filters are pretty pathetic (i.e., they don't work at all...you'll pop just thinking about the letter 'P') so if you're going to close mic this for vocals, you're going to want to invest in a decent pop filter. The mic is designed for close mic'ing, but in my experience, if male voices get too close, the bass can get slightly overwhelming.

Overall, however, the Heil PR40 is a fantastic mic. Just do your research and make sure you understand what it can and can't do. If you're looking for an all-around studio microphone for recording music, this probably isn't the mic for you. But, if you're looking for something with which to record voiceovers, chances are you won't beat the PR40 without spending a whole lot more money.
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