Microphones Guide 2014

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Microphones Guide 2014

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INTERNA TIONAL EDITION

CONTENTS

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>>> CONTENTS

THE

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

GUIDE TO A Special Promotional Publication From Intent Media

Microphones Guide 2014

>

4

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Studio Microphone Mecca

Produced By:

In association with:

INTERNA TIONAL EDITION

8 Live Mic Guide

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12 AKG

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14 Audio-Technica

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16 Audix

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18 Blue Microphones

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20 DPA

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22 Funky Junk

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24 Sennheiser

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26 Sony Professional

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Within the pages of this Guide you’ll find promotional and informative articles featuring a number of of the most well-respected microphone brands worldwide, plus contact details for more than 90 other specialist microphone manufacturers.

Although technological advances have made it easier to ‘clean the audio up in post’, those who spend their days and nights capturing sounds know that the cleaner the original source material is captured, the better the end result will be. With this in mind, it’s easy to understand why microphone selection is a matter of pride for anyone in the audio industry with producers, engineers, and musicians maintaining fierce loyalty to their favourite microphones.

But where do you begin when looking to expand your microphone arsenal? Do you follow trends and stick to the household names or go for something more specialist and esoteric? Do you maintain traditional values or look at new technologies that are changing the way we capture sound? Are you a steadfast supporter of analogue or a digital convert?

That’s where this guide comes in. Along with promotional articles from manufacturers we’ve asked those in the know to help you with your choice.

Are you looking for live mics? Ben Hammond, FOH engineer for Deaf Havana, Saxon, and Fozzy, runs us through his top picks for microphones that marry roadworthy ruggedness with superb sound quality.

What about the ever-changing world of studio microphones?

Marco Pasquariello, engineer and studio manager at the awardwinning Snap Studios, gives us his take on the best mics for vocals, drums, acoustic instruments, amps, and more.

Whatever your discipline and whatever your skill level, the International Guide to Microphones 2014 will provide you with the knowledge you need to start your search.

This Guide, along with the others in the series (DAWs & Plugins, Theatre Sound, Monitors & Headphones, Broadcast Audio, and Consoles) are Audio Media projects and are designed to help you navigate your way through the swaths of pro-audio products available.

For more details visit www.audiomedia.com Jory MacKay, Editor

>>> MEET THE TEAM

28 RĂ˜DE

>

Welcome to the International Guide to Microphones, updated and expanded for 2014.

> Commercial Director

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Darrell Carter darrell.carter@intentmedia.co.uk

Manufacturer Directory

> Editor Jory MacKay jory.mackay@intentmedia.co.uk

>

Advertiser

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AKG

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Audio-Technica

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Blue Microphones

32

DPA

2

Funky Junk

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RĂ˜DE

9

ADVERTISER INDEX

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AUDIO MEDIA (UK) Audio Media is published by Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England. www.audiomedia.com Telephone: 0207 354 6001 www.nbmedia.com

Jat Garcha jat.garcha@intentmedia.co.uk The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor.

The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. Š 2014 NewBay Media. All rights reserved.

July 2014 3

STUDIO ENGINEER’S MIC GUIDE

Microphone Mecca Marco Pasquariello, engineer and studio manager at the award-winning Snap Studios in London, runs us through his top picks for studio microphones.

Snap Studios in North London is a special place for anyone looking to combine the sound and warmth of vintage kit with a modern workflow. The heart of the studio is a vintage, discrete Neve 5316 analogue recording console with 48 inputs and custom Flying Fader automation complemented by a droolworthy selection of classic outboard including a Fairchild 670, two Pultec EQP1A-3s, a Teletronix LA2A, and two blackface Urei 1176s.

A studio with this pedigree of kit is sure to have an impressive selection of microphones and Snap does not disappoint. Open the mic cupboard and you’ll be presented with vintage Neumann, AKG, Telefunken, Royer, and more.

Here, studio manager and engineer Marco Pasquariello runs us through his top picks for a number of common studio mic’ing situations…

MALE VOCALS My choice would always depend on the type of voice and the context of the vocal within the track, but I do tend to favour large-diaphragm condensers for vocals.

I often use dynamics too, particularly if the vocal is being recorded in the same room as the band or in the control room. I really like Neumann U47s on male voices since they tend to sound full, and have a soft-ish top end.

It’s a very flattering sounding mic, which can sound really big on the right voice. They all sound different though, and some are certainly brighter than others.

We have a VF14 tube U47 at Snap, as well as a Nu Vistor 47, which both sound very different to each other. They are beautiful but expensive mics!

I also really like U87s, with a preference for the original version (although the newer black version is still a really nice mic). 87s never really seem to get all that much love from people, but I find them to work great on a variety of voices, and they’re really unfussy.

They’re not overly bright, have a good amount of bottom end, and they take EQ really well.

Despite having a pretty pronounced midrange I find that they rarely get too hard sounding.

My third choice would probably be the Shure SM7. They are really useful for keeping a natural sounding vocal when used really close, which also helps to keep spill out of the 4 July 2014

Snap Studios engineer Marco Pasquariello

mic in loud tracking situations. They’re also a good choice when recording loud singers. I like this mic for more than just vocals, and they’re relatively affordable too.

I rarely use ribbons for vocals as I find them a little too …errrr, ribbony, but I’ve had decent results with an RCA 44BX before, and have enjoyed the AEA stuff on test. Sometimes a single ribbon mic can be just the right thing for group vocals, and being fig 8 they can work great for duets.

FEMALE VOCALS I’d still go for the same mics as I would for a male vocal, but there’s a couple that really shine on female voices for me.

The AKG C12 is definitely one of them. It’s such a beautiful and big sounding microphone, with incredible detail – but without sounding too bright. On the right voice, this mic can kill every other. It’s a special girl. Again, they all sound very different, but they are real beauties.

The Neumann U67 is another favourite for female vocals. It’s a very smooth mic with a thick midrange that can sound really sophisticated on the right voice. Even better than the U67 is the M269c, which uses an Ac701k tube. It is a very similar design to the 67, even looking the same, but has a much sweeter top end.

DRUMS This isn’t a very straightforward question to

answer! The way I mic a kit depends largely on the type of music being recorded and the sound we’re going for.

Generally speaking, however, I like to work out from a good pair of overheads. I’ll spot mic the essentials and also use a couple of rooms alongside something crunchy to get the life out of the drums.

OVERHEADS For a modern/clean pop drum sound, I generally like to use a pair of condensers – something not too hard/bright, like DPA4011s.

I’ll occasionally use C414s instead, or Milab VIP50s if I need something brighter.

I quite like the Neumann KM56 too – these are particularly good on a jazz setup and despite being the most temperamental microphone in the world, they sound really sweet!

For a more natural or dry sort of sound, I’ll often go for Coles 4038s, or a pair of U87s if I want something a bit tougher. The Coles have a lovely organic tone, and being a ribbon they help to soften transients a little. They usually benefit from a bit of top end being added, and they take EQ really well.

A vintage Neumann (Telefunken) U47

Sometimes I like to use a big ribbon like an RCA 44BX just as a mono overhead directly above the drummer’s head, which works great for a stripped back kit sound.

The International Guide To Microphones 2014

STUDIO ENGINEER’S MIC GUIDE

KICK DRUM I’ll usually run two mics on kick drum – sometimes three if I’m taking a sub too. The AKG D20, and D12 are two of my favourite mics for inside the kick. I also really like the D112 sometimes, and the Audix D6.

For outside, a Neumann Fet 47 can sound great. There’s a good amount of attack and solid low end from these mics.

Other condensers can sound great on the outside of the kick drum too, or angled down at the top of the kick shell. An NS10 speaker (or any speaker for that matter) also works if you want to capture the extreme low end of a kick drum. On a jazz kit, a single AKG D36 would be my first choice at the studio, but any good quality dynamic mic should do the trick just for adding that bit of weight.

SNARE DRUM Pretty boring here but you can’t really go wrong with an SM57 on snare drum. I’ll usually run another one underneath for brightness too.

The AKG D224e, and Sennheiser MD441s are other favourites of mine for top of snare.

Sometimes I like to use condenser mics on snare drum, particularly for more detailed playing – Neumann KM84s are great for this, as are AKG C414s, and Neumann KM86s.

Occasionally I’ll use a condenser and dynamic together on the top and scrap the bottom mic.

If the drummer isn’t playing very hard (and there’s no risk of the mic being struck!), a single small diaphragm/tube condenser four or so inches above the drum can be wonderful.

TOMS I like Sennheiser 421s on toms but other dynamics can work just as well. I also quite like 414s on toms in hypercardiod.

Floor toms can sound great with a big condenser or a dynamic. The SM7 works great here.

6 July 2014

kick drum usually works well for the low end. I like to use a U67 for this when possible. These mics tend to get heavily eq’d and compressed and often really help to shape the character of the drum sound.

A classic RCA 44BX

ROOM/AMBIENT MICS For room mics a good pair of condensers usually does the trick, but for darker tracks or music with a lot of cymbals, a pair of ribbons can work wonders.

A pair of omni-directional condensers in a good sounding part of the room can be nice, as can a pair of ribbons in Blumlein a couple of meters in front of the kit. Both are good, but with very different results.

Compression can be your friend here, but not always. I find that parallel compression can work very well on room mics.

I usually try to run an additional mic much further away, or in another room to catch a different ambience on the kit for bigger sounding recordings.

You can have loads of fun with this kind of ambient mic’ing, and even the most bizarre places can yield really cool results. Corners of rooms, underneath/inside pianos, etc can all sound really good.

TRASH/CHARACTER MICS Unless I’m going for a really stripped back sound, I like to have something extra to pick up some life in the snare and the chunk of the kick drum.

We have an RCA DX77 at Snap, which works perfectly for the snare crunch, and a good LDC a few metres in front of the

ACOUSTIC GUITAR My approach to recording acoustic guitar always depends on the type of playing, and how it will sit in the track. If it’s loud-ish strummed acoustic, I like a decent large condenser a few feet away from the body of the guitar, and something like an SM7 or a 57 near the sound hole.

For detailed and picked stuff a decent condenser to the side of the sound hole, close to the fretboard usually works nicely. C12s and U67s are glamorous choices, but most good condensers should work. I’ve had good results using the Pearl ELM mics, as well as Milab, DPA, and Schoeps. It all depends on the tone you’re looking for.

I also like using a small diaphragm condenser pointing either towards the body or the neck too, which allows a bit of stereo in the mix. Beyer makes a great affordable SDC called an MC930, which I like very much for this.

Occasionally I’ll use ribbons on acoustic guitar, especially if the player is singing at the same time.

The Royer R122/R121 can works great for this.

PIANO I tend to mic acoustic pianos with a pair inside around Middle C or a little higher up the register. DPAs in ORTF work great for this, as do C414s as a close-ish pair towards the front of the piano.

I’ll sometimes use a pair of LDCs on the top and bottom of the instrument, and occasionally mic up directly over the hammers if I want a more direct sound. The Milab VIP-50s are great for this, as they can have a wide cardioid pattern. Coles 4038s are another favourite, but further away from the piano near to the lid.

For a more classical tone, I’ll use a pair of omni mics looking into the piano a few feet away.

You need a good sounding room for this though.

STRINGS When recording strings, it’s usually more about the overall sound in the room as opposed to the sound of the instrument up close. A good pair of cardioid SDCs work great as a main pair, as do ribbons in Blumlein at about head height. I tend to spot mic individual sections too, and add omni side fills to get a bit more space and low end.

AMPLIFIERS When recording guitar amps I’ll usually use two mics. I tend to blend a mic alongside a very close SM57. U67s and U87s are great for this as are Royer 121s.

For smoother and cleaner tones I really like Coles 4038s (with a popshield!) a foot or so away. A bit of compression helps to bring up sustain, and room mics often get taken too.

When recording bass, I pretty much always take a DI and an amp. I usually go for something like an RE20, or occasionally a large diaphragm condenser such as a U47, C12, or 414.

We have some great DIs at the studio that really shine on bass.

The Class A Radial is great, as is the Reddi. My favourite DI is a custom one which we picked up from Lansdowne Studios. It sounds incredible! www.snapstudios.co.uk

A typical drum mic set-up

The International Guide To Microphones 2014

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LIVE ENGINEER’S MIC GUIDE

A FOH Engineer’s Guide to Microphones Ben Hammond, FOH engineer for Saxon, Deaf Havana, and Fozzy, runs us through the best options of mics for any live situation.

Ben Hammond has quickly risen through the ranks to become one of the most sought after FOH engineers in the UK. But his plan wasn’t always to be on the road for most of the year – far from it. From his start in a small studio in York, Ben progressed to in-house engineer at The Chairworks Studios just outside Leeds.

When the rise of the home studio slowed down his workload he took to the road and years later has just returned home.

Here he tells us about his top picks for live microphones and how his studio background has informed his sensibility on stage…

Is there a fundamental difference between microphones for in a studio and for on stage?

The obvious difference is the need for function as well as sound. In the studio its 100% about the exact sound we need, so trying out many different mics on one instrument is common.

In a live scenario, many more factors come into play than just sound: handling noise, feedback rejection, polar pattern, and with some bands the ability to take a battering! Also size plays a big key. Certainly with Saxon I rely on many smaller mics for the drums as Nigel [Glockler] has a huge kit with a lot going on. Then at the other end of the scale with things like strings, we need the mic to be as invisible and unobtrusive to the player as possible.

It seems like more acts are trying to recreate their studio tracks in a live environment. Has this changed the way people use microphones, or the ways they are designed?

Certainly more and more manufacturers known mainly for studio mics are bringing out new mics aimed at the stage, which is giving the live engineer much more choice. With things like in-ear monitoring being accessible to more bands (with the advent of much lower priced digital consoles etc...) the stage is becoming quieter and thus gives the live engineer a little room to find the right mic for the source.

Again with Saxon, the band are on in-ears, and also use the Kemper amp modellers, so the stage has become much quieter which gives me 8 July 2014

scope to try different things, which in the past may have caused more problems than not!

With Deaf Havana the guys went all out on the last album which featured strings, brass, choirs etc. They are against using backing tracks as in a very admirable move, they want everything the audience hears to be played live, so all of a sudden we found ourselves in a position where we had 14 people on stage. This presents a whole new set of challenges in that you can’t just throw a dynamic mic at a violin, but having condensers all over a noisy stage effectively just gives me a load more overheads!

So we used a collection of perspex screens, contact pickups for the direct ‘individual feed’, and then pairs of large-diaphragm condensers for the more natural sound.

Give me a rundown of your top three microphones for male vocals. What are the individual characteristics of each that draws you to them?

I’m an Audio-Technica guy when it comes to mics, and my go-to vocal mic for almost everyone is the Artist Elite 4100. It’s a really great full-sounding mic with plenty of output.

It’s a cardioid pattern but is very controlled and doesn’t give me much stage bleed even when pushed hard. I prefer the sound of cardioid mics to hypercardioid mics as I always find the top end to be a little softer and more natural.

Having said that, hypercardioids can be hugely useful in the right setting and my

number two go-to mic is the ATM610. This is indeed a hypercardioid dynamic, which really handles being thrown about well. The feedback rejection is great, and again it’s a great fullsounding mic that really works well for singers who aren’t tied to a mic stand and spend all night running around the stage.

Number three is the Artist Elite 5400.

This is a cardioid condenser mic and it sounds stunning. It’s not really for noisy stages, or guys who run around, but I use these on the acoustic shows we do with Deaf Havana and the detail and clarity is like nothing else. I have them running into Avalon 737s and that combination is perfect on James [VeckGilodi’s] vocal.

Are there any different ones you would reach for when working with a female vocalist?

I settled on the AE3300 as my go-to mic for female vocals, mainly for its fuller sounding top end. You obviously lose a lot of the lower mid frequencies with female vocals as it tends not to be in their range for the most part. These frequencies are the ones that give the vocal power and weight, so the most important thing for me is that I get a full sounding upper mid range which keeps the vocal thick even in the higher registers. This keeps me from having to apply additive EQ in that range, which almost always will result in a harsher vocal sound and only cause feedback issues.

The International Guide To Microphones 2014

LIVE ENGINEER’S MIC GUIDE

Lets run through some other common mic’ing scenarios and look at what your top picks would be: Guitars: AE2500s. Done. Two great sounding elements perfectly in phase, dial your high and low pass filters in, push the faders up and its exactly what comes out of the amp, but through the PA – no colouration, no phase problems, a massive time saver, and a great sounding mic.

With Saxon we have some live cabs in conjunction with the Kempers, which I use 4050s on as I’m just looking for the warmth to thicken up the direct feed. Usually, I add 4-6ms of channel delay to the Kemper feed to line them up, and it works wonderfully.

I usually aim directly at the middle of the cone for guitars to give me the widest range of frequencies. I’m a big believer with guitars that the guitarist’s sound is their voice and should be left untouched (as long as they know what they are doing!) FOH engineers should respect the guitarist’s choice in tone and reproduce it as accurately as possible through FOH, just using filters to sit it in the mix.

Bass: Along with the usual DI, I use ATM250s on the bass cab. They can handle high SPLs, and have a wonderful warm and thick character to them, again straight at the middle of the cone.

Brass: I’m a big fan of the ATM350 – small and lightweight, clips straight onto the bell of the instrument. As much as I prefer to see mics rather then a trumpet player’s face, they don’t tend to agree! Bigger brass instruments, and Trombones etc, things that are in lower registers, is again a job for the ATM250.

Strings: As I have previously mentioned, after trying various options, the monitor engineer and I opted for Schertler contact pickups, which gives us a clean direct signal. These are not too complimentary in the top end and are very mid heavy. This gives you great tone and cut in with everything else, but isn’t too pleasing to the ear on its own. We added a pair of AT4050s over the string quartet and brought that in alongside the pickups which really softened things up and helped to give a much more natural sound.

Drums: Kick: This is the only exception to the AT rule as its a Beta 91. I like to have two kick mics that do different jobs. The combination of a 91 and an ATM250 in the sound hole works perfect for me. I use the 91 to give the top end an attack and leave the bottom end flat, then the 250 gives me power in the bottom end.

Having two kick mics in different places and 10 July 2014

Overheads: 4050s for the same reason I love the 5100s – highly detailed but very soft sounding. When panned hard left and hard right they give me a really wide stereo image.

treating them the same never makes sense to me. Apply 1-2ms of channel delay on the 91 to really open up the bottom end and that’s the magic formula!

Snare: I change snare mics a lot. At the moment I’m using the ATM650, which is essentially AT’s take on the 57. Obviously a snare mic needs to be rugged (as it will inevitably take a beating once in a while) and also handle noise rejection. I clamp the mic to the snare with an LP Claw so the mic needs to be able to take the vibration from a rim shot, and not thump. I don’t like to high pass snares too high as I like it to kick you in the chest as much as the kick so I want to dictate my HPF frequency and not my snare mic.

Underneath I’m using an AT4047 as again it gives me the bottom end from the resonant head, and the snare wires don’t come across too brash. It’s a very musical mic in this position.

Hats and ride: My main choice for these are the AE5100 as it’s got great top end detail and clarity but also still manages to sound very soft.

A lot of small-diaphragm condensers tend to break up/overload and become a little harsh sounding at close quarters. When I’m mic’ing much bigger, busier kits, the ATM450 is a great alternative due to its side address nature, and high SPL handling.

Toms: I love the ATM250s on toms – loads of power, and always very complimentary, even to a not-so-tuned kit. They have bottom end for days but are very controlled and usable.

The downside to these mics is with them being designed for kick drum they are a little big so I always have some ATM350s for the guys with smaller drums, or a lot of drums!

What about placement? Any tips and tricks for drum mic placements?

I’m very particular about drum mic placement.

Nothing out of the ordinary, just 1in above the rim looking at the centre of the drum. I find this gives me the right balance of attack and tone.

Snare bottom I always position the mic so the diaphragm is parallel to the drumhead looking at the centre of the drum. This means you get more of the tone of the drum rather then just useless snare wire noise.

As for overheads I always measure the same distance from the snare drum mic so I have a good guestimate of the phase relationship between the close mics and overheads in a quick changeover situation. Again with overheads/hats/ride etc.. I always try to go over the top so the mic is looking at the point where the stick hits the cymbal. Putting the mic underneath is great for separation but it always sounds washy to me. The transient of the stick hitting the cymbal is an important part of the sound.

What about acoustic instruments like guitar, or piano?

Mic’ing acoustic instruments is tricky live, as they sound best with the mic at least a good distance away from the instrument, this isn’t really possible on a loud stage so the DI tends to be the way forward. On much quieter stages I prefer to mic acoustic guitars with a large diaphragm condenser about 6-12in away from where the neck meets the body, just above the sound hole. This gives me the right amount of string noise, and body from the instrument.

Lastly, what are your top pieces of advice for mic’ing a live group?

Always go for sound first. Take time to audition mics and find the one that sonically is best suited to the source, then look at if that particular mic will function on your stage. If not, then look at similar mics in that range with different patterns, or maybe look into isolation boxes, reflection filters etc.

We have the technology now where sound shouldn’t have to suffer for functionality.

Make sure that the players are comfortable with the mics you are giving them. We are there to capture what the artist does so nothing we present them with should get in the way of that. www.facebook.com/thevegasrooms The International Guide To Microphones 2014

The International Audio Guide series from Audio Media Each International Audio Guide focuses on an important pro-audio product line, giving independent articles followed by in depth advertorials, covering the history and current range from the leading manufacturers in their field.

Available now: 2014 International Console Guide 2014 International DAW & plugins Guide 2014 Live Sound & Theatre Guide 2014 International Monitors & Headphone Guide 2014 International Microphone Guide

Later in the year: 2014 Broadcast Audio Guide 2015 International Console Guide

Contact me today to discuss your requirements and to make sure your company is represented.

Darrell Carter Tel:+44 (0) 20 7226 7246 e-mail: darrell.carter@intentmedia.co.uk

AKG

AKG® PROJECT STUDIO SERIES

Built from the stuff of legends

For over 65 years, leading musicians and engineers have used legendary AKG products to capture their sound so their audience hears every nuance.

The C414 family has been one of the world’s most widely-used and respected studio and stage microphones in audio history. AKG has continually set new benchmarks for useful features, improved technical specifications and ease of use in order to be the professional solution for ever-demanding recording studios, broadcast stations and audio engineers.

Building on the experience in developing worldclass microphone technology, the new models in AKG’s Project Studio line of microphones are designed for enthusiasts and professionals alike, meeting the needs of makeshift project studios as well as professional environments.

“As more and more manufacturers continue to enter the marketplace, it’s becoming increasingly difficult for end-users to identify 12 July 2014

the best microphones for their needs,” said Erich Gaertner, Product Line Manager, AKG. “Therefore, we chose to update the Project Studio line with professional-grade microphones at accessible prices, thereby making it easier for our customers to find the perfect microphone to meet their demands. Thanks to AKG’s depth of research and development resources, the new Project Studio line of microphones are both

high-quality and affordable.”

The new additions to the Project Studio line include: the P120 general purpose recording microphone; the P170 general purpose instrument microphone; the P220 large-diaphragm true condenser microphone; the P420 large-diaphragm dual-capsule true condenser microphone and the flagship of the line, the P820 dual-capsule tube microphone.

The International Guide To Microphones 2014

AKG

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P820 TUBE CONDENSER MICROPHONE

OPHONE

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GREATER IN SPIRIT, LARGER THAN LIFE The P820 Tube high-performance multipattern microphone is an excellent tool for highlighting lead vocals, brass instruments, electric guitars and drums. With its dual one-inch diaphragm capsule and the advanced ECC83 dual-triode circuitry, the P820 Tube raises the bar in its class of affordable tube microphones.

The remote control unit allows selection of nine different pickup patterns from omnidirectional to cardioid to figure-eight. It also offers controls for the switchable bass-cut filter and the attenuation pad.

D12 VR REFERENCE LARGE-DIAPHRAGM DYNAMIC MICROPHONE

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[ ]

The D12 VR is a reference large-diaphragm dynamic microphone with cardioid polar pattern. Designed specifically for kick-drum recording applications, the microphone has a thin diaphragm to enhance the low frequency performance. Its warm sound is realized by the original C414 transformer, especially impressive at high signal levels.

The D12 VR features three active filter presets to match its sound shape with the kick drum’s character.

When activated, the output level is automatically reduced by 10 dB. The filter settings can be controlled using a switch on the microphone body. Without phantom power, the microphone operates in passive mode and delivers the instruments’ pure sound.

INFORMATION

AKG Acoustics GmbH Laxenburger StraĂ&#x;e 254 A-1230 Vienna, Austria T: +43 1 86654-0 W: www.akg.com

July 2014 13

AUDIO-TECHNICA

The Drive For Innovation, Quality and Consistency Driven by innovation, Audio-Technica has consistently employed forward-thinking design and advanced manufacturing to consistently break the price/performance barrier with leading products for studio, broadcast, installation and live production applications.

Audio-Technica’s flagship AT5040 features an unusual four diaphragm design for exceptional purity and depth of tone

As a world leader in the design and manufacture of high performance microphones and wireless microphone systems, AudioTechnica has developed market leading product ranges for a huge range of applications.

In each of these areas Audio-Technica delivers products that have raised the performance bar and established a reputation for engineering and manufacturing excellence that is second to none.

The focus on innovative design is a philosophy that originates with the company’s inception in 1962 when founder Hideo Matsushita introduced a moving-magnet-type stereo phonograph cartridge. The company went on to design and produce phono cartridges and tone arms, both under its own brand and for others, including the legendary NHK broadcast.

The same high precision design and engineering techniques that made the company’s various design cartridge designs so successful were also applied to the manufacture of microphone and headphone products throughout the 1970s and 1980s, earning the brand prestigious status among audio professionals.

IN THE STUDIO It was with the introduction of the AT4033 in 1992 that the company established a leading position on the studio recording market.

The AT4033 was the first ever high performance large studio condenser microphones priced at under USD$1000, exploiting the very latest design, engineering and production techniques, the AT4033 provided performance from a back electret design that rivalled famous studio condenser models several times more expensive.

Special accelerated diaphragm aging methods ensured performance remained consistent over time, providing a more linear response over a wide frequency range, even at high SPLs. Modern production methods enabled a 14 July 2014

level of consistency that ensured the identical performance of every microphone with no necessity to produce the microphones in ‘matched pairs’ for stereo recording. Selling in thousands, the success of the AT4033 established the company’s reputation as a high-end studio microphone manufacturer and spawned the 40 Series large diaphragm condenser range. All models in the 40

Series adhere to the same paradigm of high performance and value for money and – as testament to their quality – also come with the company’s Lifetime Warranty.

The most recent addition (or re-addition) to the 40 Series range comes in the shape of the AT4060a tube microphone, reintroduced to the series for 2014 in response to customer demand. The cardioid condenser mic The International Guide To Microphones 2014

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The dual-element dynamic/condenser AE2500 model is one of the stars of the Artist Elite range and popular with FOH engineers around the world

The tube-powered AT4060a condenser microphone was reintroduced to the 40 Series in 2014

ON STAGE In recent years Audio-Technica has won devotees among artists and sound engineers alike for its Artist Elite series stage microphones. With users and endorsees as diverse as Metallica, Gwen Stefani, Katherine Jenkins and Alicia Keys, AE Series handheld models – both condenser and dynamic – are famed for their sound quality. On backline too, Audio-Technica is a de facto standard for many world-class engineers including ‘Big’ Mick Hughes (Metallica, Slipknot), Dave

INFORMATION

Audio-Technica Ltd (UK) Unit 5 Millennium Way Leeds LS11 5AL T: +44 (0) 113 277 1441 W: www.audio-technica.com Tom Harrold Pro audio marketing manager T: +44 (0) 113 277 1441 E: tharrold@audio-technica.co.uk

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Bracey (Robbie Williams) and Ben Hammond (Deaf Havana, Devin Townsend Project).

For these and many others, models like the AE2500 dual element design, the AE3000, AT4050 and ATM350 are essential tools of the trade. These live production mics are now joined by the re-engineered Artist Series, offering unrivalled performance at competitive price points. Among the highlights, the high-performing AT510 cardioid and AT610 hypercardioid dynamic mics are rugged, great-sounding workhorses built for smooth, natural vocal reproduction and to handle life on the road.

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combines warm, round vintage tone with a dynamic range that far exceeds that of other tube microphones. Coupled to its high SPL capabilities, the AT4060a is capable of capturing everything from the subtlest nuances of vocal and instrumental performances to high-powered guitar cabinets. The new version of the microphone also benefits from a newly designed power supply unit (AT8560), engineered for improved performance and lower noise.

Created to deliver outstanding tone, the AT4060a’s two-micron-thick, vapourdeposited gold diaphragms undergo a five-step aging process to ensure constant, consistent performance, while the dual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range of the mic.

Featuring a hand-selected, individually tested and aged Sovtek 6922 tube, the AT4060a achieves the coveted, classic sound of tube design without compromising the specification standards required for the most demanding modern recording situations.

Building on the reputation of the 40 Series, Audio-Technica’s AT5040 – introduced in 2013 – is the first model in Audio-Technica’s flagship 50 Series of elite studio microphones.

The hand-built side-address condenser offers remarkably musical high-fidelity performance, with profound realism and depth, presence and purity of sound. Featuring a proprietary breakthrough element design, the AT5040 employs four ultra-thin (2 micron) rectangular diaphragms that function together to provide a combined surface area unachievable in a standard round diaphragm.

By using four diaphragms as a single capsule, the AT5040 achieves remarkably large surface area without the increased weight and decreased transient response that are the expected limitations of expansive size.

Another key AT5040 design feature is advanced internal shock mounting that effectively decouples the capsule from the microphone body. For additional isolation, each AT5040 is also provided with AudioTechnica’s new AT8480 shock mount.

Featuring a proprietary design, the AT8480 was engineered not only to isolate the microphone, but to rid the apparatus itself of any unwanted resonances and other audio aberrations that could be transmitted to the microphone. It also features a unique locking mechanism that holds the microphone securely in place.

Every AT5040 is hand-built and inspected for 100% quality control and is housed in an elegant case of aluminium and brass with grey chrome plating for durability and low reflectivity. Discreet components have been selected for optimised capsule performance; in fact, every aspect of the microphone has been carefully considered to minimise any effects on the audio signal.

Designed as a first-choice vocal microphone with smooth top end and controlled sibilance, the AT5040’s large-diaphragm characteristics and fast transient response also make it ideal for recording acoustic instruments such as piano, guitar, strings, and saxophone.

July 2014 15

AUDIX

LYTOS

ANI DIFRANCO

THE COMMANDER-IN-CHEIF

Audix –Performance, Innovation and Excellence Year after year, Audix microphones are recognised for their innovative design, performance, quality, durability, and value. Audix’s state-of-the-art manufacturing facility located at the firm’s Wilsonville, Oregon USA headquarters focuses on R&D, automation, and CNC machining equipment. This not only enables Audix to control the quality of the products from start to finish, but also allows for continual improvements and enhancements as new materials and processes become available. This is apparent from the design and performance of products such as the OM Series, VX5, VX10, D Series, i5, SCX25A, and the Micros™.

OM SERIES – PIONEERING VLM™ CAPSULE TECHNOLOGY

The OM5, OM6, and OM7 are the vocal microphones of choice amongst sound engineers and top touring artists such as Alanis Morissette, Pearl Jam, George Strait, Red Hot Chili Peppers, Willie Nelson, Bonnie Raitt, The Doobie Brothers, Blink 182, Jimmy Eat World and Crosby, Stills & Nash; to name a few.

Audix designed a proprietary capsule for the OM Series utilising VLM (Very Low Mass) technology. VLM technology is based on a very lightweight diaphragm, which allows for extremely fast, accurate processing of incoming signals. The result is clear and natural sound reproduction, extended frequency response, and high SPL (Sound Pressure Level) handling.

VLM technology, combined with a very tight hypercardioid polar pattern and aerodynamic body design has made the series a legend in the industry.

16 July 2014

VX5 AND VX10 – ACHIEVING NEW STANDARDS IN HANDHELD VOCAL CONDENSER PERFORMANCE Audix has responded to the demand and overcome the challenges of providing studio-quality sound on stage with two outstanding condenser microphones: the VX10 and the VX5.

The VX10 features a 21mm capsule and requires 48-52 volts phantom power for operation. Ideally suited for stages with one featured vocal artist, the VX10 will provide unmatched studio quality sound for live broadcasts and performances.

The VX5 features a 14mm capsule and switches for -10 dB pad and bass roll-off. The VX5 is an electret condenser vocal microphone requiring phantom power of 18-52 volts.

Providing a very wide frequency response with rich lows and detailed highs, the VX5 will meet the most demanding requirements for a wide variety of live sound applications.

THE D SERIES AND I5 DYNAMIC VLM™ INSTRUMENT MICROPHONES — COMPACT DESIGN, POWERFUL PERFORMANCE The introduction of the D Series broadened the category of dynamic instrument microphones

and created new possibilities for drum and percussion applications. Audix combined VLM capsule technology, transformerless design, and precision machined aluminum housings to achieve new performance standards in live sound and recording.

With the D6, Audix shifted the paradigm for kick drum microphones. The i5 is a wellrounded general-purpose utility mic with outstanding results on snare and guitar cabs.

Audix Dynamic VLM instrument microphones are chosen for live performance due to their ruggedness, utility, high SPL handling, and pattern control.

LEADER OF THE PACK — PRE-PACKAGED MICROPHONE COLLECTIONS Being the first to introduce the concept of professional microphone assortments, Audix simplified the approach to selecting The International Guide To Microphones 2014

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ALEX CLARE

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THE MICROS™ — PUSHING THE LIMITS OF SIZE AND PERFORMANCE Representing one the most intriguing innovations in microphone technology, the Micros™ are the world’s smallest condenser microphones with integrated preamp and detachable cable. The Micros™ also feature studio-quality sound, very low self-noise, and up to 129 dB of dynamic range. Additional characteristics of these mics include complete

immunity from RF, tailored frequency response, three application specific levels of sensitivity, and a wide variety of optional clips and accessories.

Coupled with the MicroBoom™, a portable lightweight carbon fibre boom arm available in varying lengths of 24, 50, and 84 inches, the Micros™ have raised the bar when it comes to overhead choir miking applications.

The M1255B features an unprecedented output sensitivity of 32 mV/Pa and operates on a minimum phantom voltage of 18 volts.

It is ideally suited for distance learning and conference systems. The most recent products developed utilising this highly sensitive capsule include the M3, M40, M55 and M70 ceiling microphones, which are designed for permanent installation.

While the process of capturing acoustic sound waves and converting them to electronic impulse is a very complex process, Audix always strives for the most simple and elegant solution.

INFORMATION

Audix Corporation 9400 SW Barber Street, Wilsonville, OR 97090, USA T: +1 503 682 6933 W: www.audixusa.com UK Distribution: SCV Electronics Ltd. 40 Chigwell Lane, Oakwood Hill Ind. Estate, Loughton, Essex, IG10 3NY T: +44 (0) 208 418 1470 W: www.scvlondon.co.uk

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SCX25A – DESTINED TO BECOME A CLASSIC In the world of studio condensers, a microphone only becomes a classic when it proves itself to be indispensable. The SCX25A

is just that. The mic has a large diaphragm capsule housed within a unique, patented internal shock mount that is isolated in an intricate machined brass ring. This microphone delivers its own signature, pure, open-air sound with exceptional detail and realism.

The SCX25A has proven to be an outstanding microphone on piano. Because of its small footprint and acoustic behavior, it can successfully be used on a short stick or in a closed lid environment; one of the biggest challenges facing any microphone. It is also ideally suited for any acoustical application including vocals, guitar, strings, brass, overheads, woodwinds, ensembles, and room miking.

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microphones for drum kits, percussion ensembles, piano and general studio sessions, by offering an array of pre-packaged microphone collections. These signature ‘mic packs’ contain models designed to operate congruently while capturing and isolating each individual sound distinctively and naturally.

All microphone packs are equipped with a variety of clips and accessories, which are packed securely into a handsome aluminum carrying case. The Audix microphone collections provide extraordinary value and a lifetime of performance.

STEPHEN “DOC” KUPKA, TOWER OF POWER

July 2014 17

BLUE MICROPHONES

Your Microphone, Your Sound In an age of indistinguishable mics, Blue’s designs are as unique as the artists who use them.

Each microphone is engineered with a unique sonic signature for specific recording needs, including new products unlike anything seen or heard before.

ABOUT BLUE Blue Microphones was founded in 1995 with the belief that technical innovation and cutting-edge design can combine to create a family of audio tools that not only look inspiring, but sound like nothing else on the planet. Blue has created a line of mics with custom-designed sonic signatures that make each microphone truly unique and perfectly situated to take advantage of today’s increased digital bandwidths. Or to put it simply: the perfect analogue devices for the digital age.

Starting with state-of-the-art technology that ensures the purest possible signal path, along with Class A fully discrete circuitry (no ICs, pads, or filters), each microphone contains its own hand-tested propriety capsule and is designed to capture specific sonic signatures in precise ways. The result is a portfolio of professional microphones that create a full palette of sounds, enabling artists to realise the sonic landscape of their vision.

INTERCHANGEABLE CAPSULE SERIES Designed for the most discerning recordists, the Interchangeable Capsule Series contains microphones capable of providing a wide palette of tonal characteristics and pick-up patterns to satisfy even the most discriminating tastes. The series integrates the best of Blue’s discrete Class A circuitry with a unique and revolutionary system of interchangeable capsules that provide the engineer with a wide range of potential tonal characteristics. This series is employed in the world’s most respected studios and is recognised by industry insiders as the world’s premier microphone system.

BOTTLE • Flagship tube mic with custom transformer and interchangeable capsule system BOTTLE ROCKET: STAGE TWO • Class A discrete tube mic with interchangeable capsule system BOTTLE ROCKET: STAGE ONE • Class A discrete solid state mic with interchangeable capsule system

18 July 2014

The International Guide To Microphones 2014

BLUE MICROPHONES

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MULTI-PATTERN SERIES When your recording environment requires a bit of versatility, Blue’s Multi-Pattern Series microphones deliver. Designed around Blue’s custom hand-tuned capsules, these uniquely designed mics offer a diverse sonic landscape whether it’s a guitar in cardioid mode, background vocals in figure-of-eight, or an orchestra in omni. Plus, if your recording application requires M/S, X/Y, or a simple stereo set-up, a pair of these multi-pattern mics opens up your recording space to even more possibilities. ./-5R Large diaphragm Class A discrete multi-pattern (9) tube mic #1#5R Large diaphragm transformerless solid state Class A discrete multi-pattern (9) condenser mic

SIGNATURE SERIES Every Blue microphone in the Signature Series contains its own propriety capsule that is hand-tested to capture a specific sonic signature. Blue’s philosophy is to create microphones that are unparalleled for their intended application. For example, the Mouse is a low-frequency focused microphone that specialises in capturing the bigger-than-life lows of kick drums, bass amps, and deep vocals; whereas the Dragonfly is designed specifically to capture and thicken thin sounds from soprano vocals and instruments like drum overheads. )/- 5R Large diaphragm Class A discrete cardioid condenser mic with rotating head &/ ,,35R Large diaphragm Class A discrete cardioid condenser mic , !)( &35R5Large diaphragm Class A discrete cardioid condenser mic with rotating head

ESSENTIAL SERIES Designed to be the versatile microphone every musician craves, the Essential Series is capable of capturing the essence of any audio source. From guitars, basses, and drums to woodwinds, brass, and vocals, these microphones deliver the full spectrum of audio for today’s demanding digital recording environment.

Whether you’re just starting out and need your first great mic or you’re looking for the perfect ‘go-to’ mic in the studio, the Essential Series mics offer the best range – and value – for your recording needs.

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35 )..& 5R Large diaphragm Class A discrete cardioid condenser mic &/ #, 5R5Versatile large diaphragm Class A discrete cardioid condenser mic * ,%5R Solid state cardioid condenser mic with Focus Control

EN•CORE PERFORMANCE SERIES All of the knowledge, craftsmanship and innovative technology we’ve poured into our high-end studio microphones has now been transferred to the stage. Designed to deliver exceptional all-around performance and *./, 53)/,5/(#+/ 65#( #0# / &5-)/( 65." 5 (R 5 '#&35 )' #( -5-.3& 65 craftsmanship, and gorgeous durable plating finishes with Blue’s proprietary capsule technology. Each mic capsule is hand-tuned for the utmost in detail and clarity, delivering minimal handling noise without pads or filters. From its heavy-gauge grill and barrel to its reinforced ring and durable plated finishes, 0 ,35 (R 5'# 5 (5. % 5 5 .#(!5 ( 5-.#&&5 &#0 ,5." 5* , ),' ( 5) 5 5 lifetime, for a lifetime of performances.

INFORMATION

Blue Microphones (North America) W: www.bluemic.com T: + 1 818 879 5200 F: + 1 818 879 7259 E: service@bluemic.com

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Blue Microphones (Europe) Music Psych Limited 33 Ripplevale Grove, London, N1 1HS T:+ 44 (0) 207 607 6005 E: support@musicpsych.com W: www.musicpsych.com

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BLUE FOR YOUR DIGITAL LIFE In 2005, Blue burst into the realm of consumer electronics with the Snowball, the world’s first professional USB mic. While the Snowball was designed specifically for recording vocals, instruments, and bands directly to computer via USB, it was quickly and readily adopted by those seeking high-quality audio for other applications like creating podcasts, recording voice-overs, narrating videos, capturing sound effects, and even chatting online.

Blue’s audio DNA continues today with exciting innovative products like Tiki with its noise-cancelling technology to improve the intelligibility of online communication, and Spark Digital, which is the world’s first studio condenser microphone to offer both USB and iPad connectivity.

July 2014 19

DPA MICROPHONES

Professional microphone solutions born from a single idea – sonic excellence Whether doing live concerts, studio, theatre, film, broadcast, or sports, microphones and accessories from DPA Microphones can perfectly capture the moment. DPA Microphones produces the best, most accurate microphones available, guaranteeing stunningly natural sound quality and zero coloration.

d:screet™ MINIATURE MICROPHONES 9- , .Y5 #(# ./, 5 # ,)*")( -5 , 5." 50 ,- .#& 51),%"),- -5." .5 *.5.)53)/,5( -85 #."5 5( 165, #( ), 5 & 5, &# 65 '#( (.5-)/( 5 +/ &#.365 5& ,! 5, (! 5) 5 --),# -5 ( 5 *. ,-5 0 #& & 5 ),5 &&5*,)5 1#, & --5-3-. '-65." 5 9- , .5 #(# ./, 5 # ,)*")( -5 , 5." 5) 0#)/-5 ")# 5 ),5 (35 **&# .#)(5, +/#,#(!5 5 #!5-)/( 5 ( 5 5-' &&5 )).*,#(.85 " 5 9- , .5 )' -5#(5 5-. ( , 65" 035 /.35 ( 5( %& 50 ,-#)(8

d:fine™ HEADSET MICROPHONES 9 #( Y5 - .5 # ,)*")( -5- .5." 5-. ( , 5 ),5" 1),(5 ., (- / ,-85 " 35 , 5# &5 ),5-#(! ,-65*/ &# 5-* % ,-65 .),-65'/-# # (-5 ( 5 ,) -.5*,) --#)( &-51")5#(-#-.5)(5-/* ,#),50)# 5, *,) / .#)(65 )' ),.65 -35- ./*5 ( 5 5 #- , .5&))%85 " 5 9 #( 5 - .-5 , 5) , 5 #(5-#(!& 75),5 / &7 ,5')/(.-5 ( 51#&&5 #.5 (35" 5 ( 5 ,5-#4 85 " 35 )' 5#(5- 0 , &5 )&),-65.1)5 # , (.5* .. ,(-65 ( 51#."5 # , (.5 ))'5 -#!(-5 ( 5& (!."-5.)5' . "5." 50 ,#)/-5 **&# .#)(-85 " 5 9 #( 5 - .-5 , 5()15 &-)5 0 #& & 51#."5)/,5& ! ( ,355 jfll5 ( 5jfnn5 *-/& -8

d:screet™ MINIATURE MICROPHONES R5 2., ' &35,/!! 5 ( 5, &# & R5 2 *.#)( &5 / #)5+/ &#.351#."5&)15()#- 5 ( 5"#!"5- (-#.#0#.3 R5 *.-5.)5 &&5*,)51#, & --5-3-. 'R5 ,! 5- & .#)(5) 5 --),# 20 July 2014

d:fine™ HEADSET MICROPHONES R5 ,#-.#( 5 / #)5+/ &#.3 R5 #(!& 75),5 / &7 ,5')/(.5 R5 #(#' &50#-/ &5#'* .

R5 *.-5.)5 &&5*,)51#, & --5-3-. 'The International Guide To Microphones 2014

DPA MICROPHONES

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d:facto™ VOCAL MICROPHONES The d:facto™ Vocal Microphones brings true studio sound to the live stage. Where sound pressure levels are a challenge, the d:facto is up to the task with its 160 dB SPL threshold, three-step pop-protection grid and the best-in-class handling noise. The d:facto offers excellent sonic reproduction with all the detail and balanced, linear phase and frequency response, that users have grown to trust from DPA Microphones.

d:facto™ – WIRED OR WIRELESS? R5 2., ), #( ,#&35( ./, &5-)/( R5 ,35&)15" ( &#(!5()#- R5 2., ' 5 5" ( &#(!95glf5 R5 & 2# & 5 *. ,-5 ),51#, & --5-3-. '-

d:vote™ 4099 INSTRUMENT MICROPHONES R5 /* ,#),5! #(7 ), 7 % R5 & 2# & 5 ( 5 -35')/(.#(!

R5 ./, &5-)/( 5@5 -35.)5 & ( 51#."5*# %7/* R5 )/(.5" -5()5#'* .5)(5 )/-.# 5-)/( ABOUT DPA MICROPHONES Drawing on more than five decades of world-class condenser microphone design, the Danish Professional Audio manufacturer DPA Microphones has manufactured ground-breaking products in its own name since 1992. The company is represented by professional audio distributors and dealers in more than 50 countries worldwide. DPA’s design ethic embodies a nocompromise attitude in the quest for quality. All products are made on-site at our factory in Denmark, giving us complete control over all aspects of manufacturing.

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d:dicate™ RECORDING MICROPHONES DPA’s legacy as a manufacturer of high-quality test and measurement transducers is embodied in the versatile line of d:dicate™ Recording Microphones. This specialised range of microphones feature technical specs that are the envy of the industry, bringing low noise and pristine accuracy to live, broadcast, and studio applications.

d:vote™ 4099 INSTRUMENT MICROPHONES The d:vote™ 4099 line of instrument microphones feature a low profile, rugged design optimized for close placement in broadcast and live applications. The d:vote 4099 comes in low or high sensitivity versions for capturing the loudest drum kit or the most subtle nuances of orchestral instruments. Optional adapters are also available for wired or wireless connections.

INFORMATION

Contact Head Office DPA Microphones A/S, Gydevang 42-44, DK-3450 Alleroed, Denmark T: +45 4814 2828 F: +45 4814 2700 E: info@dpamicrophones.com W: www.dpamicrophones.com US Sales Office DPA Microphones, Inc. 1500 Kansas Avenue, Unit 3A, Longmont, CO 80501, USA T: +1 303 485 1025 F: +1 303 485 6470 E: info-usa@dpamicrophones.com

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APAC Sales Office DPA Microphones Ltd. Unit 801-2, 8/F, Asia Orient Tower, 33 Lockhart Road, Wanchai, Hong Kong T: +852 2617 9990 F: +852 2617 9887 E: info-apac@dpamicrophones.com

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MODULAR FLEXIBILITY WITH d:dicate™ R5 (. , " (! & 5 *-/& -65*, '*-65 .#0 5 & 5*, '*-55 and booms R5 . . 7) 7." 7 ,.5-#!( &5#(. !,#.3 R5 2., ' 5()#- 5 &#'#( .#)( R5 -.7#(7 & --5-* # # .#)(-

July 2014 21

FUNKY JUNK

Forgotten Heroes As Europe’s leading supplier of professional studio equipment, Funky Junk has extensive knowledge of all kinds of microphones. Unlike other dealers, we not only supply but also repair and, crucially, test products in demanding sessions at our award-winning SNAP! recording studios. We therefore understand the technology and appreciate the myths and realities first hand rather than relying on dubious posts on websites and pro-audio forums or manufacturer’s inflated advertising claims.

In an age where many users mistakenly believe that the quality of a microphone is determined by price, we know that what really matters is suitability for specific applications rather than cost. Recording is a process where no one tool will ever suit all purposes, where different technologies shine in different situations and where the best recordings owe as much to microphone positioning, room acoustics, cabling, engineering skills and, of course, great performances, as to the technology employed.

As both users and suppliers, we strive to keep an open mind because as in so many walks of life, opinion can easily be swayed by fashion.

Maybe we’re obstinate, but we try to be guided by results rather than preconceptions. For example, we spent a decade promoting ribbon microphones in an era where the mainstream industry dismissed the technology as outdated but gradually, partly thanks to our distribution partnership with Royer Laboratories, ribbon mics joined the mainstream to the point where now, Royer are amongst the best respected microphones in the world.

Now we devote time and energy to promoting the virtues of quality dynamic microphones, another technology sadly overlooked in this blinkered age.

22 July 2014

A quality cable often improves recording quality to a greater extent than a new microphone or preamp.

The audible difference can be remarkable.

Vovox are hand wound in Switzerland to minimise signal loss and capture frequencies too often lost with conventional cables.

We rate them so highly, we’re prepared to offer 30 days sale or return on all Vovox products.

The International Guide To Microphones 2014

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Pearl Microphones have been hand made in Sweden for over seventy years.

The microphones are designed in-house and all parts made locally. Pearl adopt a unique design philosophy, employing rectangular capsules which offer reduced resonance and therefore a flatter frequency response and lower noise level than conventional circular diaphragms, making them exceptional for instrumental recording, especially for pianos, strings and orchestral sessions.

We’re huge fans as Pearl Microphones offer a level of performance unmatched by any other mic in their price range.

Indeed, for certain applications they cannot be bettered…period.

We’re always pleased, although never surprised, at the positive feedback from clients who try high-end dynamic mics in demanding sessions.

Many of the current crop of musicians and engineers are unaware that dynamic microphones are capable of superb results, particularly for sources with fast transients and high levels, such as drums, percussion, electric guitars and Dave Groll’s voice (other vocalists are available…).

Indeed, we’re often called upon to justify why dynamic mics cost less than equivalent condensers. Quite simply, the technologies are different.

Dynamics are generally less expensive to manufacture than condensers so the fact they’re cheaper doesn’t mean they’re worse, they’re just different.

Indeed, for certain applications they deliver significantly better results.

Ultimately, a key skill for the sound engineer must be an ability to select the right tool for the job.

Funky Junk has always sought to encourage smaller manufacturers, believing these companies can offer outstanding value in relation to their bigger brothers and that innovation is frequently driven by individual designers rather than corporate teams. After all, the best professional audio equipment is a combination of art and technology… what matters is how a piece of equipment sounds, not how the output measures on a scope. If at times we seem evangelical about promoting the virtues of little-known equipment, it’s because everyone at Funky Junk and SNAP! shares a love of music and in particular, a commitment to helping clients capture performances as faithfully as possible.

We are frequently approached to represent new products but only choose two or three a year after extensive tests in the studio, on location and in our workshops because we believe that reliability and quality of construction are as important as performance to professional users.

We therefore partner with only a selected few but when we do, our commitment is total, long term and enthusiastic.

We stock and support the widest range of professional recording mics in Europe and are always happy to discuss a client’s specific requirements, application and budget. If we suggest you try models you’re not familiar with, it’s purely because we believe these unsung heroes deserve more attention. After all, most of today’s household names were unknown when they first started.

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Another Scandinavian manufacturer that has impressed us recently are Sandhill who make beautiful mics, designed and handmade in Finland by a team with expertise in metallurgy, acoustics and mainstream manufacturing. Their objective was to produce a ribbon microphone combining sensitivity with robust performance, and in our opinion, they’ve succeeded. Trumpets sound like trumpets, saxophones like saxophones, pianos like… well, you guessed it… but crucially, the Sandhill doesn’t collapse when faced with a kick drum or the loudest bass guitar cab.

INFORMATION

Funky Junk Ltd Unit 10, 407-409 Hornsey Road London N19 4DX

T: +44 (0) )207 281 4478 W: www.proaudioeurope.com E: sales@funky-junk.com

July 2014 23

SENNHEISER

Danmarks Radio used Digital 9000 for the Eurovision Song Contest 2014 (Photo credit: ralph@larmann.com)

Sennheiser – The Audio Specialists For almost seventy years, the name Sennheiser has been synonymous with state-of-the-art microphones. Bands, artists, live sound engineers, recording engineers and amateurs, broadcast professionals and film crews worldwide rely on Sennheiser microphones.

WIRELESS MICROPHONES The name Sennheiser has become synonymous with reliable RF wireless transmission, whether it’s a small gig with just a few wireless mics on stage or a large broadcast event involving multi-channel systems and complex RF environments.

Sennheiser’s new top-of-the-range system is Digital 9000, a digital wireless system that can transmit completely uncompressed audio in the UHF range, artefact-free and with superb dynamics. The system includes the EM 9046 receiver, SKM 9000 handheld transmitter, SK 9000 bodypack transmitter and a comprehensive suite of accessories.

Targeting broadcasting professionals, (musical) theatres and high-profile live audio events, Digital 9000 sets a new benchmark in digital wireless transmission. It offers unprecedented ease of use and sound quality, with a wide range of capsules to choose from, including four dedicated 9000 Series heads.

With Digital 9000 users no longer have to calculate and circumvent intermodulation frequencies but can conveniently place their transmission frequencies in an equidistant grid. The system has been meticulously designed for the highest channel counts in today’s increasingly dense frequency environment.

On the analogue side, Sennheiser offers its renowned 5000, 3000 and 2000 Series. Large touring productions, TV shows, broadcasts, and 24 July 2014

Digital 9000: Designed for the highest channel counts, Digital 9000 is able to transmit full, uncompressed audio in the UHF range

globally active bands rely on the SKM 5200-II and SKM 2000 handheld transmitters, SK 5212-II and SK 2000 bodypack transmitters, and the EM 3732-II and EM 2050 dual-channel receivers, which are setting standards in multi-channel capability and reliability.

For more than one million users worldwide, evolution wireless is their no.1 choice for stage and live use. Whether wireless instrument transmitters or acclaimed vocal mics – this series contains wireless solutions for almost every application. Great sound, quality workmanship, and exciting extras for up-and-coming bands, established performers, presenters, musicians, reporting teams, and PA companies.

The International Guide To Microphones 2014

SENNHEISER

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An evolution wireless handheld. To date, evolution wireless is Sennheiser’s most successful radio microphone series

WIRED MICROPHONES

TRUE CONDENSER MICROPHONES With the MK 4, Sennheiser has launched an extraordinary studio microphone whose shock-mounted capsule is based on that of the e 965. The affordable side-address mic has a warm and direct sound, ideal for vocals and speech but also for guitars, guitar amps, string, and wind instruments, as well as drums and percussion.

MKH MICROPHONES The choice for recording, broadcast, and filming specialists, Sennheiser’s MKH microphones are a sophisticated class of condenser microphones, operating according to the RF principle and using a unique symmetrical push-pull transducer.

They offer an unchanging acoustic impedance, extremely low distortion figures, a higher capsule output with much lower noise, and thus a very clear signal. They are uniquely insensitive to unfavourable climatic conditions, have a wide dynamic range and an excellent low-frequency response even with small capsules. Although their capsule is grounded, they possess a genuine fully

THE MD RANGE OF DYNAMIC MICROPHONES Sennheiser’s rugged, easy-to-use dynamic microphones include all-time classics such as the MD 21, MD 421, and MD 441, but also reporters’ microphones like the MD 42 and MD 46.

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The MKH 8000 Series can be used in analogue and digital environments, simply by exchanging a module

INFORMATION

Sennheiser electronic GmbH & Co. KG Am Labor 1, 30900 Wedemark, Germany t +49 (0) 5130 6000 e info@sennheiser.com w www.sennheiser.com Sennheiser UK Ltd

The MK 4 excels both as a recording and a live microphone

t +44 (0) 1628 402 200 w www.sennheiser.co.uk

]

PERMANENTLY POLARISED CONDENSER MICROPHONES Everything from professional sub-miniature clip-on microphones for use with Sennheiser’s wireless technology to headset microphones and small camcorder microphones. Among the classics are the legendary MKE 2 clip-on, and the K6 Series, where the user can tailor the microphone to the recording situation

DIGITAL MICROPHONES… …are a sound investment in the future of audio.

Simply by adding a digital module, the renowned MKH 8000 series can be turned into digital microphones. Perfectly matched to the MKH microphone heads, the MZD 8000 digital module directly ‘translates’ the clear, warm, and responsive sound of the microphones into the digital world, avoiding the losses or signal disruptions to which cables are prone. The microphones can be remotely controlled, allowing parameter settings such as the low-cut filter and attenuation to be adjusted via a suitable mixing desk, a portable AES 42 interface, or a standard AES 42 interface and a PC.

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EVOLUTION SERIES STAGE MICROPHONES Designed with the aim of providing a complete range of microphones for vocals and backline, evolution microphones were launched in 1998. Since then, they have become a standard on stages around the world, and are known as rugged, reliable tools for the live sound engineer. The evolution 600 line offers instrument microphones for the complete backline, while the 800 line are vocal microphones that cater for any stage situation.

The award-winning evolution e 900 series is the pinnacle of evolution live microphones, including both vocal and instrument microphones. The range encompasses everything from dynamic drum mics (the e 901, e 902, and e 904) to the e 906 guitar amp mic and small-diaphragm condenser models such as the e 914 and the clip-on e 908. Vocal microphones are the cardioid e 935, super-cardioid e 945 (both dynamic mics), and the e 965, a true condenser, largediaphragm stage microphone with switchable pick-up pattern (cardioid/super-cardioid).

The latest model in the evolution range is the e 835 fx, which has a special effects button to conveniently control the effects units of vocal effects expert TC-Helicon.

by adding microphone heads of varying directivity to the basic power module. The portfolio also comprises the award-winning HSP 2 and HSP 4 headset microphones, the single-sided Earset 1 and Earset 4 mics, the MKE 400 and MKE 600 camcorder microphones, and Sennheiser’s smallest clip-on, the MKE 1.

floating, balanced output without the need to use a transformer. The line comprises such classics as the MKH 416 and the MKH 20 to 70 models, while the more recent MKH 8000 series includes the MKH 8020 (omni), MKH 8040 (cardioid), MKH 8050 (super-cardioid), MKH 8060 (short gun), MKH 8070 (long gun) and the MKH 8090 (wide cardioid) as well as the MKH 800 Twin, a double-capsule microphone whose pick-up pattern can be remotely controlled at the mixing desk and modified during post-production.

July 2014 25

SONY

Sony – The Power to Move The history of the Sony microphone began in 1950, now over 60 years later Sony remains synonymous with the innovative development, production and distribution of high-quality professional audio products for news gathering, video production, live events and broadcast.

SONY DIGITAL WIRELESS Offering superior digital sound quality and multi-channel operation the Sony DWX series offers world-leading digital microphone expertise, including WiDIF-HP codec, which captures the subtlety of analogue, but with the advantages of an all-digital architecture.

The DWX series offers a new era in live stage and broadcast audio equipment, not just because it’s all digital, but because this system with user-focused technology comes in the smallest, lightest and most ergonomic packages available without any compromise to the sound quality. Using the WiDIF-HP codec it achieves low system latency, great reliability and first class digital 24-bit AES/EBU audio with up to 72MHz bandwidth. Unlike other systems the DWX series does not need a compander unit which can adversely affect the sound quality. Additionally full control of the receiver and transmitters can be gained over cross-remote function via Wireless Studio 3.0 software on a PC, which means the engineer has full control of all parameters in the system.

The DWX series determines a highly 26 July 2014

Sony DWM-02 handheld microphone and Sony capsules

efficient use of available bandwidth, using up to 16 transmissions in 8MHz (one TVchannel) simultaneously and unlimited upscale of sequential TV-channels is also available (limited only by the available bandwidth).

DWX series uses QPSK modulation (quadrature phase shiftkeying) – a digital modulation which is extremely robust against all types of interferences for peace of mind.

With the DWR-R02D 2 channel digital wireless rackmount receiver or the DWRS02D 2 channel digital wireless slot-in receiver, there is a range suitable for all applications.

Paired with the DWM-02 digital handheld

microphone, the DWT-B01/E digital beltpack transmitter or DWT-P01 48V phantom power digital plug-on transmitter you can achieve legendary performance in a digital wireless microphone system. The beauty of the DWX series means an unlimited number of simultaneous channels can be used (500KHz spacing). The belt-pack gives a lightweight and rugged design you can really rely on with a full body of magnesium, only weighing 125g including batteries. This can be used with a miniature or headset mics or a guitar cable for wireless transmission, and the interchangeable capsules on the DWM-02 handheld microphone gives the choice of using over 50 different capsules from various manufacturers.

Sony also offers three interchangeable heads for the DWM-02 microphone, the CU-C31 condenser cardioid, CU-F31 dynamic super cardioid and CU-F32 dynamic wide cardioid.

SONY UWP-D SERIES The newest addition to the Sony audio line up is the UWP-D wireless microphone series which is a perfect system to be used in The International Guide To Microphones 2014

SONY

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Sony UWP-D series components

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ELECTRET CONDENSER MICROPHONES Building on decades of experience in audio acquisition, Sony offers a comprehensive choice of wired shotgun and lavalier microphones that offer musicians, broadcasters and producers uncompromised audio for a dependable performance. The ECM-VG1 electret condenser microphone has excellent sensitivity of -33db and a low inherent noise level of less than 18db SPL, and the ECM-MS2 a compact MS stereo back Electret condenser shotgun microphone has a compact and lightweight design, only 137mm length and offers both stereo and mono operation increasing the versatility of the microphone. The ECM-678, ECM-674 and ECM-673 all have flat-andwide frequency response (40Hz to 20KHz) with built-in low cut filter, and the ECM-678 also offers an extremely low inherent noise of less than 16db SPL.

URX-P03 portable receiver mounted on the Alpha7 using the SMAD-P3 MI shoe adapter

DIGITAL WIRELESS AUDIO USING 2.4GHZ ISM BAND With the Sony DWZ series you get highquality digital sound with reliable RF transmission, using unique transmission technology using 2.4GHz ISM band. Available

DEALER LOCATER All Sony Professional Audio dealers can be found on www.pro.sony.eu/spss

Sony DWZ-B50GB digital wireless guitar set

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a wide number of applications, not only for ENG (electronic news gathering) or EFP (electronic field production), but also for live concerts, sport events, documentaries and weddings. Using Sony’s newly developed Digital Audio Processing technology, which uses DSP (digital signal processing) for digital companding, it improves transient response performance and realises high quality sound.

The clear channel scan function searches for a channel that is not being used by another transmission. This makes it very easy to find a channel which can be used without interference. The receiver can then transfer the desired frequency to the transmitter via IR connection which allows for a very quick and simple user setup. With up to 72MHz operating bandwidth the system also achieves great mobility and by utilising a true diversity reception system it achieves a highly stable reception because of its two receiving antennas, each with RF circuits.

With additional features such as a headphone output for monitoring available on the portable receiver (URX-P03), microUSB for power supply or recharging batteries and interchangeable capsule design on the handheld microphone (UTX-M03), plus compatibility with previous Sony UWP series, Freedom series and WL-800 series, exceptional performance can be achieved across a wide number of operating frequencies.

In three available packages, the UWP-D11, UWP-D12 and UWP-D16 users can choose between a handheld microphone (UTX-M03), a belt-pack transmitter (UTX-B03) and a 48V phantom power plug-on transmitter (UTXP03), alongside a portable receiver (URX-P03).

The wireless receiver of the UWP-D series (URX-P03) can also be mounted to camcorders or interchangeable-lens cameras that have an MI (Multi-Interface) shoe using the MI shoe adapter (SMAD-P3). This eliminates the need for any connecting cables between the receiver and the camera. By using the MI shoe adapter, audio signals can be transmitted from the wireless receiver to a camera. In addition, the wireless receiver can get power from the camera, also eliminating

the need for batteries, and the camera can control power ON/OFF of the receiver, unifying power management.

in six different versions you will find one that is ideal for solo guitar, bass players and musical performances, including bands and live concerts and packages for applications in schools, universities, churches and hotels. Including options for a rack mount kit to mount the half rack receiver to a 19-inch EIA standard rack and a contactless battery charger (for ZTXB02RC belt-pack and ZTX-M02RC handheld microphone). The interchangeable microphone capsules mechanism on the ZTX-M01 and ZTX-M02RC handheld microphones are also designed for use with third-party capsules.

The DWZ series offers high-quality sound combined with Sony’s renowned digital wireless reliability in a simple to set-up-anduse design.

INFORMATION

Sony Professional Europe Jays Close Viables Basingstoke RG22 4SB United Kingdom

T: +44 1256 355011 W:www.pro.sony.eu/proaudio

July 2014 27

RØDE MICROPHONES

The new NT1 embodies the spirit of RØDE’s original microphone but leverages the company’s advanced manufacturing technology to provide unparalleled value for money

ABOUT RØDE Founded at a time when the only recording solutions available were either incredibly expensive or poor quality, RØDE set out to change the status quo. Twenty years on and still based in Sydney, RØDE continues to manufacture some of the world’s very best microphones, regardless of price.

That’s The RØDE Difference PRECISION MAKES THE RØDE DIFFERENCE A handful of grey-haired, highly-trained engineers in pristine lab coats, tirelessly handcrafting every microphone in between quiet cups of tea. While some companies would have you believe that this is how they ‘hand make’ microphones, the reality isn’t nearly as glamorous. Instead, ‘hand-made’ usually means ‘assembled by poorly paid and generally unskilled process workers’.

Now, consider The RØDE Difference.

First: one of our core principles is to always be a technology leader, which means using the most advanced machinery to build our high- quality products. Our continual pursuit of excellence through innovation results in products that last a lifetime. These are concepts that other manufacturers simply cannot achieve using primitive manual processes.

There are very few premium manufacturers in Europe and the USA who understand this, and they generally outsource these components of manufacturing, making their products even more expensive.

28 July 2014

Which leads to the second facet of RØDE’s precision difference: having the technology in-house dramatically lowers our cost without sacrificing quality. Our state-of-the-art manufacturing plant in Sydney, Australia, is a unique combination of specially commissioned machinery that may have otherwise found a home in a leading German automotive manufacturer or one of Switzerland’s finest watchmakers. We’ve adapted this technology to sculpt the best raw materials into the world’s best microphones. That’s the RØDE Difference.

PASSION MAKES THE RØDE DIFFERENCE Here at RØDE we recognise that to make the very best microphones you need to live and breathe audio, and this shared creative vision drives our team every day.

Peter Freedman, RØDE’s founder and company President: “Growing up I was always around sound and my earliest memories are being surrounded by recording and audio equipment as well as live performances in the early 1960s. We have some very clever people

here at RØDE, but what we really look for in our employees is passion. I’d rather have someone working for us who sees a career in audio as their dream, who comes to work every day seeing it as an opportunity to do something great, and empower millions of like-minded creative people.”

The working environment at RØDE is quite different to what you’d expect of a company of our size and international reputation. Rather than wearing uniforms and sitting in generic cubicles while we work, we maintain a casual, social atmosphere that fosters the creativity that drives us.

Our Product Development team interacts with world-renowned musicians, engineers, producers, and filmmakers on a daily basis, ensuring that the products we bring to market are the very best they can be.

That’s the RØDE Difference.

COMMUNITY MAKES THE RØDE DIFFERENCE The RØDE family consists of over 10,000 online artists (and counting!) performing over The International Guide To Microphones 2014

RØDE MICROPHONES

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RØDE’s headquarters and manufacturing plant is based just outside of Sydney, Australia

100,000 tracks that easily combine to over 100 million online views!

Many YouTube ‘superstars’ have used our microphones since the start of their careers, and their success has inspired countless others to trust their vocal and instrumental talents to our microphones.

Millions of creative experiences all joined by a common thread – RØDE Microphones.

That’s the RØDE Difference.

VALUE MAKES THE RØDE DIFFERENCE We’re the good guys, leveraging our investments in manufacturing and economies of scale to bring you mics that perform better than those at several times the price. We bring our products to the market in both an ethical and environmentally conscious way.

RØDE was conceived as a brand that would make high-quality recording equipment accessible to more than just ‘the chosen few’.

It doesn’t just make us feel good, it’s good business sense. This kind of focus doesn’t just happen though – it required a huge investment and a lot of risk for the company in its formative years – another reason why RØDE isn’t just another cookie-cutter manufacturer.

That’s the RØDE Difference.

because we are confident that our microphones will last a lifetime, thanks to the meticulous manufacturing process that only RØDE employs. You won’t find any bad solders caused by an overworked, underpaid plant worker on our products!

When you buy a RØDE microphone you are also buying our product service guarantee – our customer support teams are available around the clock to provide insight on pre-sales questions, technical support on product issues, and even general recording advice.

Peace of mind that your investment is protected by a skilled team of customer service professionals for many years to come.

That’s the RØDE Difference.

The iXY is the world’s first iPhone microphone capable of recording at 24-bit/96kHz

SUPPORT MAKES THE RØDE DIFFERENCE We realise that a company lives and dies by its commitment to customers. That’s why we’re proud to offer the industry’s very best customer support and product warranties.

We are the only microphone manufacturer to offer a five to 10 year warranty across our entire range of microphones. This level of confidence pleasantly surprises many customers, but for us it’s simply a reflection of the quality of our design and manufacturing.

We know we can offer a 10 year warranty

[

After a chance meeting at a NAMM show way back in the 90s, London-based Source Distribution has been the exclusive UK distributor of RØDE products almost from day one, so has witnessed the meteoric rise of the brand from its genesis through to its current position at the very top of the microphone tree.

Source’s Marketing Co-ordinator Alex Theakston explains: “Every year RØDE continues to be our biggest selling brand, and has proved to be absolutely recessionproof, primarily because it represents such extraordinary value for money and offers something compelling for every sector of the market – whether it’s music recording, broadcast, live sound, or the growing consumer DSLR market. RØDE just has that happy knack of identifying a product that customers genuinely need – and then building it at a price that the competition doesn’t seem to be able to get anywhere near.”

Source sees ‘the RØDE Difference’ as embodying what makes RØDE special and feels it goes a long way to explaining not only how the company hits the price points it does, but also how it achieves such consistency in performance and such outstanding reliability.

Theakston comments: “The beauty of RØDE’s commitment to large-scale automation and quality control in their manufacturing is that we know that a RØDE microphone landing in our warehouse this month will perform absolutely identically to the same mic that arrived here last month – or even last year. That consistency gives us – and the customer – total confidence in RØDE products.”

RØDE www.rodemic.com @rodemics RØDE Headquarters Sydney, Australia T: +61 2 9648 5855 RØDE Microphones LLC Signal Hill, CA T: +1 562 364 7400

]

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INFORMATION

July 2014 29

DIRECTORY

ADK Microphones www.adkmic.com

beyerdynamic www.beyerdynamic.com

Groove Tubes www.groovetubes.com

AEA www.ribbonmics.com

Blue Microphones www.bluemic.com

Hebden Sound www.hebdensound.co.uk

Aevox Audio www.aevox.be

Bock Audio www.bockaudiodesigns.com

Heil Sound www.heilsound.com

AKG uk.akg.com

Brauner Microphones www.brauner-microphones.de

Holophone www.holophone.com

Ambient www.ambient.de

CAD Audio www.cadaudio.com

Horch www.horchaudio.de

AMG Electronics www.amgelectronics.co.uk

Cascade Microphones www.cascademicrophones.com

iSK Microphones www.iskmic.com

Applied Microphone Technology www.appliedmicrophone.com

Chameleon Labs www.chameleonlabs.com

JJ Audio www.jjaudiomic.com

ART Pro Audio www.artproaudio.com

CharterOak Acoustics www.charteroakacoustics.com

Joemeek www.joemeek.com

Audio Ltd www.audioltd.com

Cloud Microphones www.cloudmicrophones.com

Josephson Engineering www.josephson.com

Audio-Technica www.audio-technica.com

Coles Electroacoustics www.coleselectroacoustics.com

JTS www.jts.com.tw

Audix www.audixusa.com

Countryman Associates www.countryman.com

JZ Microphones www.jzmic.com

Avantone Pro www.avantonepro.com

DPA Microphones www.dpamicrophones.com

Karma Mics www.karmamics.com

Avlex www.avlex.com

Earthworks www.earthworksaudio.com

Katamount Enterprises www.katamount.com

Azden www.azden.com

Elation www.elationmiclab.com

Lauten Audio www.lautenaudio.com

Beesneez Microphones www.beesneezmicrophones.com.au

Electro-Voice www.electrovoice.com

Lawson Microphones www.lawsonmicrophones.com

Behringer www.behringer.com

Fostex www.fostexinternational.com

LeWilson Microphones www.lewilsonmicrophones.com

Berliner Microphones www.berlineraudio.com

Golden Age Music www.goldenagemusic.se

Lewitt www.lewitt-audio.com

30 July 2014

The International Guide To Microphones 2014

DIRECTORY

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Manley www.manley.com

Prodipe

www.prodipe.com

Soundking www.soundking.com

M-Audio www.m-audio.com

Que Audio www.queaudiousa.com

Soundman www.soundman.de

MBHO www.mbho.de Mercenary Audio www.mercenary.com Microtech Gefell www.microtechgefell.de MicW www.mic-w.com Milab Microphones www.milabmic.com Mipro www.mipro.com.tw Mojave Audio www.mojaveaudio.com MXL Microphones www.mxlmics.com Nady www.nady.com

Ricsonix www.ricsonix.com RĂ˜DE Microphones www.rodemic.com RoXdon www.roxdon.com Royer Labs www.royerlabs.com Sabine www.sabine.com Sage Electronics www.sageelectronics.com Samson Technologies www.samsontech.com Sanken Microphone www.sanken-mic.com Schertler www.schertler.com Schoeps www.schoeps.de

Sterling Audio www.sterlingaudio.net Studio Projects www.studioprojectsusa.com Superlux Microphones www.superlux.us Symphotec www.symphotec.de Telefunken www.telefunken-elektroakustik.com T.H.E. Audio www.theaudio.com Tram www.trammicrophones.com Trantec www.trantec.co.uk Trinnov Audio www.trinnov.com

Neumann www.neumann.com

SDSystems www.sdsystems.com

TSL Products www.tslproducts.com

Nevaton Microphones www.nevatonmics.com

sE Electronics www.seelectronics.com

Violet Design www.violet-design.com

Oktava www.oktava-online.com

Sennheiser www.sennheiser.com

Voice Technologies www.voicetechnologies.co.uk

Pearl Microphones www.pearlmicrophones.com

Shure www.shure.co.uk

Wunder Audio www.wunderaudio.com

Peavey www.peavey.com Peluso Microphone Lab www.pelusomicrophonelab.com

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Sontronics www.sontronics.com Sony www.sony.co.uk

XXL www.xxlinside.com Zaxcom www.zaxcom.com

July 2014 31

Hand-built in California.

“You gotta hear this microphone!”

—Pro Audio Review BOTTLE

“…its performance is definitely high-end.”

—Mix Magazine BLUEBERRY

Detailed highs with mid presence to sit up front in mix

“…it was never less than sublime.”

—Sound On Sound KIWI

“…the best mic I’ve heard for recording a guitar amp. Ever.”

—Recording Magazine DRAGONFLY

Silky, extended top end with a low bump

bluemic.com

Renowned multi-pattern mic with superior detail

Stunning classic tube with interchangeable capsules