HyperX Procast in the test: Good microphone hardly allows itself any weaknesses

The HyberX Procast already meets professional demands with its sound qualities and its processing. Its price is designed accordingly. Ultimately, there is no real point of criticism apart from the investment that one has to make.

Table of contents

All inclusive

External hardware required
Technical equipment
1. Small frame for the best Results
Tonally convincing
1. Sample recordings: HyperX Procast
2. Sample recordings of the competitors
Conclusion

Design and processing

At least the knowledgeable public should already recognize the manufacturer at first glance can assign. With its black exterior and spider's red rubber mounts, it quickly reveals itself to be the new offspring of HyperX. Due to this circumstance, the microphone fits seamlessly into the company's existing portfolio.

Made entirely of metal and shaped as a tube, it appears rather unspectacular in terms of design, as other manufacturers such as beyerdynamic also use the rather inconspicuous shape, which in turn is almost conspicuous. The materials used also make the condenser microphone appear very robust, but at 503 g they also have an impact on the weight. However, it shouldn't be a big problem for common microphone arms. For them, the Procast provides rotary threads in sizes of both 3/8 inch and 5/8 inch.

The good workmanship and the tonal aspects, which will be discussed later should be dealt with in more detail, but also have their price. With a rather unusual RRP of 356.99 euros, the Procast is by no means a cheap entry-level model.

All inclusive

A good decoupling, which the manufacturer advertises as “integrated vibration and shock-proof mount”, but which is basically a normal spider and can be used to reduce noise caused by vibrations, is already taken care of at the factory. The protective device described also has a connection to a microphone arm with the already mentioned thread. While most other manufacturers include an adapter for the different thread sizes, HyperX provides the connection with a double thread, where the smaller diameter is behind the larger. The obligatory joint, with which the angle of the microphone can be adjusted, is also located on the thread. It does not have a table stand.

Due to the shape chosen, the sound pickup can, at least in theory, be operated on most universal spiders. To do this, however, the supplied copy would first have to be unscrewed, which in turn would result in unsightly holes from the loosened screws. A frequently used clamping solution would certainly have been the more user-friendly choice for handling. HyperX does not include replacement straps for the suspension in the package, and due to the arrangement a new “threading” would not be so easy. The spectacular names are continued with the detachable “Shield metal filter”, which is just a metal pop filter that is simply attached to the spider and is intended to protect the recordings from plosive noise.

External hardware required

Finally, the XLR connection is located on the underside, which quickly becomes clear that an external audio interface is required to use the microphone. It must also have 48V phantom power. A corresponding cable is not included in the content.

The Procast also has a built-in PAD function that can be used to attenuate the incoming signal by 10dB for greater dynamic range. The microphone also has a built-in high-pass filter, which when activated only forwards signals above 80 Hz and is also intended to reduce low-frequency interference. The selector switches required for both functions are located somewhat unhappily on the back of the microphone. Screwed onto a microphone arm, they are therefore difficult to reach. In addition, the respective position, which is nowhere else displayed in any form, cannot be recognized. As a result, there is a risk of unwanted activation, especially at the beginning, which can no longer be corrected, especially with the filter. As is usually the case with XLR microphones, the Procast does not have an integrated mute switch either, such a function must be solved either via the audio hardware or the corresponding software. The user will also look in vain for a monitor function in the form of a headphone jack, you also have to use your own peripherals here – including any latencies.

Technical Equipment

HyperX provides the Procast with a frequency response of 20 Hz to 20 kHz. This means that the microphone can theoretically cover a large number of usage scenarios, even if the manufacturer sees its use primarily in voice recording. The sound is converted via a “gold-coated” large-diaphragm condenser with a diameter of 1 inch, although the question remains to what extent the former can be attributed to advertising. The Procast uses the cardioid as the directional characteristic, which is the most frequently used characteristic, especially for voice recordings. This means that primarily only signals coming from the front are converted – the sound coming from behind or the sides, on the other hand, is masked out or at least weakened. The disadvantage of the technology used is the so-called “proximity effect” – the closer the speaker is to the microphone, the more the lower parts of the voice come into play, which is reflected in the increasing bass. A recording with the same frequencies at different distances cannot be implemented with the Procast.

Small frame for best results

HyperX does not specify an optimal distance for the Procast; in the test, a distance between speaker and microphone of 5 to 10 cm delivered the best results, which the test recordings will make clear. At such a small distance, however, the microphone is quite sensitive to plosive sounds, which means that the supplied pop filter should be used primarily in such cases. The level of the Procast could also be a bit higher. With the Behringer UMC204HD used as the audio interface in the test, the input control had to be turned up by almost three quarters in order to achieve a reasonably loud recording at the specified distances. In the case of an audio interface equipped with inferior components, this circumstance could lead to a higher background noise.

As already described, the Procast has a so-called PAD function, with which the signal can be reduced by 10 dB in the present case. The procedure is particularly advantageous for louder recordings, as it enables a higher dynamic range. However, any good audio interface should have this function, and in such cases it should also be better matched to the internal hardware. The same applies to the high-pass filter (also called low-cut filter), which only passes signals above 80 Hz. This is intended to reduce unsightly “rumble” noises, but frequency parts that are important for the recording are often left behind. Therefore, such a filter should only be applied in post-processing if possible. As a preset in the equalizer, this has long been part of the basic equipment of any better audio software and has the advantage that it can be set precisely in terms of frequencies and intensity. In this case, the result will be significantly better.

Sounds convincing

Assuming a correspondingly high-quality interface, the Procast knows how to reproduce the voice well, and the warm recording associated with it is particularly convincing. Here the microphone can also compete with the price competitor M 90 Pro X from beyerdynamic (test). With the model, however, the general orientation quickly becomes clear, which also makes the M 90 Pro X a good recording unit for instruments. The competitor seems much more “lively”, especially in the high frequencies, while the Procast appears to have had a warm voice reproduction in the foreground during development – which also succeeds without any ifs or buts.

However, the sound pickup is somewhat sensitive to plosive sounds, which means that the enclosed or other protection should be used at short distances. On the other hand, the microphone seems rather gentle when faced with low-frequency background noise, but higher tones, such as typing on a keyboard, are audibly transmitted.

As already described, optimal voice reproduction is achieved at a distance of 5 to 10 cm. With the resulting voice mapping, the Procast is a good choice for podcasts and streams, but also for dubbing. With increasing distance, however, the recording becomes thinner with every centimeter and the room acoustics take over more and more the lead, which means that the Procast is less able to do so suitable for conversations with several participants who sit at a greater distance from the microphone. Microphones with other characteristics are preferable for such scenarios.

Example recordings: HyperX Procast

HyperX Procast – Clean – 5 cm

HyperX Procast – Clean – 10 cm

HyperX Procast – Clean – 20 cm

HyperX Procast – Clean – 50 cm

HyperX Procast – Clean – High Pass Filter – 5 cm

HyperX Procast – Clean – High Pass Filter – 10 cm

HyperX Procast – Clean – High Pass Filter – 20 cm

HyperX Procast – Clean – High Pass Filter – 50 cm

HyperX Procast – Clean – Pop Shield – 5 cm

HyperX Procast – Clean – Pop Shield – 10 cm

< figure class="text-asset text-width"> HyperX Procast – Clean – High Pass Filter – Pop Protection – 5 cm

HyperX Procast – Clean – High-Pass-Filter – Pop protection – 10 cm

HyperX Procast – Noise – 20 cm

HyperX Procast – Noise – High Pass Filter – 20 cm

Competitor example shots

Example recordings: Elgato Wave DX

Microphone quality recordings with and without noise(s)

Elgato Wave DX – 5 cm

Elgato Wave DX – 10 cm

Elgato Wave DX – 20 cm

Elgato Wave DX – 50 cm

Elgato Wave DX – 10cm filter 80Hz

Elgato Wave DX – 10cm filter 120Hz

Elgato Wave DX – 10 cm noise

beyerdynamic M 90 Pro X

Microphone quality recordings with and without noise(s)

beyerdynamic M 90 Pro X – Clean – with pop protection – 5 cm

beyerdynamic M 90 Pro X – Clean – with Pop filter – 10 cm

beyerdynamic M 90 Pro X – Clean – with pop filter – 20 cm

beyerdynamic M 90 Pro X – Clean – without pop filter – 5 cm

beyerdynamic M 90 Pro X – Clean – without pop filter – 10 cm

beyerdynamic M 90 Pro X – Clean – without pop protection – 20 cm

beyerdynamic M 90 Pro X – noise – with pop protection – 10 cm

beyerdynamic M 90 Pro X – background noise – without pop filter – 10 cm

beyerdynamic M 70 Pro X

Microphone quality recordings with and without background noise(s)

beyerdynamic M 70 Pro X – Clean – with pop filter – 5 cm

beyerdynamic M 70 Pro X – Clean – with pop filter – 10 cm

beyerdynamic M 70 Pro X – Clean – with pop protection – 20 cm

beyerdynamic M 70 Pro X – Clean – without pop protection – 5 cm

beyerdynamic M 70 Pro X – Clean – without pop protection – 10 cm

beyerdynamic M 70 Pro X – Clean – without pop protection – 20 cm

beyerdynamic M 70 Pro X – noise – with pop protection – 10 cm

beyerdynamic M 70 Pro X – background noise – without pop filter – 10 cm

Neat King Bee II

Microphone quality recordings with and without noise(s)

Neat King Bee – Clean – 5 cm

Neat King Bee – Clean – 10 cm

Neat King Bee – Clean – 20 cm

Neat King Bee – Clean – 50 cm

Neat King Bee – Noise – 20 cm

Neat Worker Bee II

Microphone quality recordings with and without noise(s)

Neat Worker Bee – Clean – 5 cm

Neat Worker Bee – Clean – 10 cm

Neat Worker Bee – Clean – 20 cm

Neat Worker Bee – Clean – 50 cm

Neat Worker Bee – Clean – 5 cm pop screen

Neat Worker Bee – Clean – 10 cm pop screen

Neat Worker Bee – Noise – 20 cm

Neat Bumblebee II

Microphone quality recordings with and without noise (n)

Neat Bumblebee II – Clean – 5 cm

Neat Bumblebee II – Clean – 10 cm

Neat Bumblebee II – Clean – 20 cm

Neat Bumblebee II – Clean – 50 cm

Neat Bumblebee II – Clean – Pop Shield – 5 cm

Neat Bumblebee II – Clean – Pop Shield – 10 cm

Neat Bumblebee II – Noise

Sample recordings: Blue Yeti

Microphone quality recordings with and without noise(s)

Blue Yeti – Clean 5 cm

Blue Yeti – Clean 10 cm

Blue Yeti – Clean 20 cm

Blue Yeti – Clean 50 cm

Logitech Yeti – Clean 5 cm pop protection

Blue Yeti – Clean 10 Stereo

Blue Yeti – Clean – Preset Broadcaster – 5 cm

Blue Yeti – Clean – Preset Broadcaster – 10 cm

Blue Yeti – Clean – Preset Broadcaster – 20 cm

Blue Yeti – Clean – Preset Broadcaster – 50 cm

Blue Yeti – Clean – Broadcaster Preset – 2″ pop filter

Blue Yeti – Clean – Classic Radio Preset – 2″

Blue Yeti – Clean – Classic Radio Preset – 10 cm

Blue Yeti – Clean – Classic Radio Preset – 20 cm

< figure class="text-asset text-width"> Blue Yeti – Clean – Classic Radio Preset – 50 cm

Blue Yeti – Clean – Preset Classic Radio – 5 cm pop protection

Blue Yeti – Noise 10 cm

Blue Yeti – Clean – Preset Classic Radio – Noise 10 cm

Blue Yeti – Clean – Preset Broadcaster – Noise 10 cm

Logitech Yeti – Voice Effects

Logitech Yeti – Mute noise microphone arm

Dockin MP1000

Microphone quality recordings with and without noise(s)

Dockin MP 1000 – Clean – 5 cm

Dockin MP 1000 – Clean – 10 cm

Dockin MP 1000 – Clean – 20 cm

Dockin MP 1000 – Clean – 50 cm

Dockin MP 1000 – Clean – Pop protection – 5 cm

Dockin MP 1000 – Noise

Dockin MP 1000 – Noise – Pop protection

Dockin MP2000

Microphone quality recordings with and without noise(s)

Dockin MP 2000 – Clean – 5 cm

Dockin MP 2000 – Clean – 10 cm

Dockin MP 1000 – Clean – 20 cm

Dockin MP 2000 – Clean – 50 cm

Dockin MP 2000 – Clean – Pop screen – 5 cm

Dockin MP 2000 – Clean – Pop screen – 10 cm

Dockin MP 2000 – Noise

Dockin MP 2000 – Noise – Pop protection

SPC Gear SM950

Microphone quality recordings with and without noise(s)

SPC Gear SM950 – Clean – Pop filter – 5 cm

SPC Gear SM950 – Clean – Pop filter – 10 cm

SPC Gear SM950 – Clean – Pop Filter – 20 cm

SPC Gear SM950 – Clean – without pop filter – 5 cm

SPC Gear SM950 – Noise – without pop filter – 5 cm

SPC Gear SM950 – Noise – Pop filter – 5 cm

SPC Gear SM950T

Microphone quality recordings with and without noise(s)

SPC Gear SM950T – Clean – Pop-Filter – 5 cm

SPC Gear SM950T – Clean – Pop Filter – 10 cm

SPC Gear SM950T – Clean – Pop Filter – 20 cm

SPC Gear SM950T – Clean – without pop filter – 5 cm

SPC Gear SM950T – Noise – pop filter – 5 cm

SPC Gear SM950T – Noise – without pop filter – 5 cm

SPC Gear SM950T – Clean – no pop filter – 5 cm Off Axis 45°

SPC Gear SM950T – Clean – no pop filter – 5 cm Off Axis 90 °

SPC Gear SM950T – Clean – without pop filter – 5 cm Off Axis 45°

SPC Gear SM950T – Clean – without pop filter – 5 cm Off Axis 90°

Roccat Torch

Microphone quality recordings with and without noise(s)

Roccat Torch – 5 cm table stand

Roccat Torch – 10 cm table stand

Roccat Torch – 20 cm table stand

Roccat Torch – 30 cm table stand

Roccat Torch – 30 cm Table Stand Whisper

Roccat Torch – 5 cm Microphone Arm

Roccat Torch – 5 cm microphone arm pop screen

Roccat Torch – 10 cm microphone arm

Roccat Torch – 20 cm Microphone Arm

Roccat Torch – 20 cm Microphone Arm Whisper

Roccat Torch – 20 cm microphone arm noise

Conclusion

At around 360 euros, the Procast should be a good notch in your own budget, especially since a corresponding audio interface with 48-volt phantom power plus cable may be added to the price. But the purchase completely justifies it in terms of quality in all directions. The new microphone from HyperX offers a very good and, above all, warm voice reproduction, which is particularly suitable for podcasts, streams or dubbing. However, the level could have been a little higher. The large-diaphragm condenser should not be approached with plosives without appropriate protection, as they will be heard in the recording. On the other hand, the microphone has no problem with other background noises in low frequencies, but high frequencies are easy to hear. Meanwhile, the Procast can't do much with instrument recordings. So anyone looking for a more universal solution is better off with the M 90 Pro X from beyerdynamic.

The integrated high-pass filter and the PAD function are nice bonuses. However, the latter should preferably be implemented via the appropriate audio hardware and the filter on the software side.

The positive aspects also relate to the processing, which is not least due to the choice of material. With metal as the predominant component, the Procast is also very robust, which makes it suitable for mobile use to a certain extent. The only negative aspect, if you can call it that, is the suspension for the spider included in the package, which is firmly connected to the microphone. Should damage occur and you want to use a universal solution, the existing suspension must first be unscrewed .

The Procast from HyperX is certainly not an entry-level device for its price, but it is a good choice for anyone who wants to create professional-quality recordings.

ComputerBase was loaned the Procast by HyperX for the test. The manufacturer did not influence the test report and there was no obligation to publish it. There was no NDA.

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