Heil Sound PR40 Microphone VE3SP

Heil Sound PR 40 Microphone

The Heil PR 40 microphone boasts the widest frequency range of any dynamic mic in the Heil PR series. The PR 40 incorporates Heil’s sage-like understanding of phasing plug placement, along with the use of a very large (1.5"), low mass diaphragm, and custom magnet metals housed in a specially designed microphone body.

The PR 40 diaphragm is shock mounted such that it is completely de-coupled from the anodized Champaign matte-finished steel body. In addition to dual mesh screens, each made with different diameter screen apertures, there is an internal breath blast filter on the diaphragm element itself, providing superb response for the human voice across the entire vocal range, without "popping" noises. In fact, the PR 40 will provide flawless, smooth, flat response from 28 Hz all the way up to the 18k Hz, making this a great microphone for everything from vocals, to bass drums and tom drums, to guitar and bass cabinet mic’ing and more.

In short, the PR 40 is known by professionals as the "thoroughbred work-horse" of professional sound recording and reinforcement.

With the PR 40 you get an adjustable cast metal microphone holder in a padded Leatherette bag with molded foam insert.


Output Connection: 3 pin XLR
Element Type: Dynamic
Frequency Response: 28 Hz - 18 kHz
Polar Pattern: Cardioid
Rear Rejection @ 180 degrees off axis: -40 dB
Impedance: 600 ohms balanced
Output Level: -53.9 dB @ 1 kHz
Weight : 13.5 oz
Max SPL: 148 dB

SM-2 Shock Mount

Product Details
The SM-2 Shock Mount is a flexible support system that helps suppress low-frequency rumble on the microphone line by absorbing and damping vibrations picked up from the studio desk or console.

The SM-2 is designed for use with the large-diameter professional-grade Heil Sound microphones, including the PR 30 and PR 40. Its 5/8" threads mount onto the PL-2T "Topless" and other mounts, for easy installation. Champagne (SM-2/C) color.

Specifications :

  • Supresses low frequency rumble
  • Champagne Color
  • Designed for use with Heil large-diameter mics


Anonymous said...

Is there any reason to choose the PR-40 over the PR-781 considering that it's about $200 more? I'm just wondering what the PR-40 brings to the table that the 781 does not. The 781 was specifically designed for ham use (according the the Heil website) whereas the PR-40 seems to have been designed as a general-purpose studio mike.

In a related question, what are the benefits of a boom mike over a headset mike? I currently use a Heil Pro Set. Better sound quality? Something else? I always use headphones while operating, so the headset seems to offer one less piece of equipment to buy/maintain. Another advantage of the headset is that it's not directional -- I don't have to worry about turning my head away from mike.

Anonymous said...

Well the PR-40 and the 781 can booth sound superb, if the radio #1 has the TX filters set to a wider bandwidth. #2 menus and levels set to optimum. I own many microphones and the RE-20 -27 is the most forgiving Mic
you will ever use when it comes to sibilance and pee-pops. The PR-40 IS NOT GOOD TO CLOSE TALK and most will need to use a pop screen or a sputter cover to control it. I think the PR-40 has a little brighter sound than
the RE-20, still a great mic. Don’t ask the owner how his mic sounds, for rarely do they record it. Ask the others that listen on the air with their RX open to 3 KHz and better headphones or speakers ! Most Hams still listen on
a small speaker inside the radio that kills the fidelity of a good microphone. I don’t know how many times I have had the listener play with the IF shift or pass band tuning to enhance the sound of a SSB signal. WOW it sounds
soooooooo much better ! ! The radio is the bigger factor for high quality. Example, my TS 430s will never justify using a $300.00 mic on it. My TS 870s will blow you away using a Rat Shack microphone and High Boost. Now
a PR-40 or the RE-20 and even better. Even Bob Heil on his weekly cast, made the statement that modern SSB Ham Radio requires using an equalizer. It is no longer 1959 and with the newer DSP radios and quality after market
microphones, SSB/AM/FM can sound amazing. We are Americans and buy what we want and not just what we need, so be confident that any of these microphones you mentioned will do well set up CORRECTLY ! You might
want to look over this ( NU9N.com ) for a better understanding of how it all comes together. Very best and thanks for improving the quality your station.


Anonymous said...

The PR-40 is a great "close talk" microphone. It has a shock mounted diaphragm, two layers of foam filtering (inside), and two layers of metal screening with different sized apertures and is really made for close talking. Actually, it's really made for close-miking very loud percussion instruments, like kick drums.

Anonymous said...

Hi. I recently received a Heil PR 781G. I opted for the G version because I preferred the color scheme of black and gold. Prices for the microphone vary significantly from dealer to dealer, so shopping around for the best price is advisable.

The PR 781 is a studio type microphone with no PTT switching including. It integrated well into my station that uses a footswitch for the PTT. Audio reports have been favorable. When compared to an Electrovoice RE27 I use most of the time, the hams I work on a regular basis could not really tell a significant difference between the two. The PR 781 seems to be well built and is compact enough to be unobtrusive in the shack. I have no complaints about this microphone

1 said...

I got the PR 781 to replace a 10 year old MD2 (Heil via Elecraft) that had gotten damaged from extensive Field Day use.

I work mostly with a boom and foot pedal. This mic was obviously designed for this use, it clamps in well, adjusts easily and holds its position. Professional studio quality.

Working on the K3 the mic setting needs to be configured high with bias off and it needs more gain than the previous mic, but it delivers strong audio once configured properly. It is front loaded, which again is ideal for a boom mic. You talk into it, not across.

I started by setting the K3's Tx EQ flat and, using the monitor feature, I was pretty quickly able to get a strong, clear, natural sounding and yet penetrating voice adjusting only compression and gain. It needs only about 10 to 15% compression. This is obviously a quality piece of audio equipment.

I tried it out and got great signal reports despite initially difficult conditions. I proved I could penetrate a pileup at a distance with only one or two calls.

With just about half an hour of fiddling I seem to be ready to go. I may use the K3's EQ to tune the unit to my voice but it does not need much.

There may be cheaper units out there that perform well, but the prices on this unit are now under $140 for the mic and clamp.

I am happy with the purchase.

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