Large Diaphragm Condenser

The MK-101 is large diaphragm condenser microphone with interchangable capsule. Introduced as a transition from earlier Oktava models, it retains some of the vintage character of the popular MK-219/319 capsule but offers transformerless output clarity. The Capsule The Oktava MK-101 uses the successful 26mm 219/319 capsule much loved for its classic midrange presence and sibilance-free top end. The Headbasket & Body The MK-101 headbasket features a large open area “forehead” for excellent off-axis response in the vertical as well as horizontal planes. Vertical asymmetry of the headbasket allows the recordist to explore different polar responses when using the mic upright or inverted. The small headbasket and body size make for easy placement and minimal reflection between sound source and microphone body. The Circuit Building on the marketplace success of the legendary MK-012, the MK-101 uses the same impedance converter / output circuit and body design made famous by the MK-012. The Sound On Axis – The MK-101 offers a powerful midrange presence and natural top end response with excellent rejection of sibilance. Off-Axis - The MK-101 has moderate attenuation at 90 degrees giving the mic a wide cardioid pick up pattern. 180 degree response has a warm spectral balance with strongest output below 200Hz, smooth amplitude reduction to 3 kHz followed by a moderate high frequency ambient sound presence peak. The MK-101 excels on vocals or guitar cabinets where the recordist wants classic midrange presence, sibilant-free top end and a warm room sound with just a touch of top end room presence. Specifications: Freq. Response, Hz: 20-20000 Output sensitivity, mV/Pa: 16 Max SPL, dB for 0,5% THD: 122 Self Noise (DIN), dBa:

The MK 319 is the successor to the MK219, providing the same relentless attention to detail and legendary performance in an improved form. The MK319 is housed in a new casing which has been acoustically designed to cut down the sound refractions inside the grill, allowing a smoother and more open sound, as well as being more rugged and shock resistant. The Switches are also improved and whilst still using magnetic reed switches the mechanism has been redesigned for extra durability and easier operation. A switch located at the left (High-Pass Filter) allows to change the microphone's cutoff frequency. This reduces low frequency interference directly at the input of the microphone amplifier. This setting also compensates for the unavoidable bass boost that occurs with all pressure gradient transducers when they are used at close distance (proximity effect).   The second switch attenuates the sensitivity by 10 dB. This option should be used in high SPL environments or by recording of loud instruments (for example saxophone).   The Mic is a fixed-pattern, cardioid, large diaphragm mic intended for studio and broadcast usage. featuring a classic design gold spattered teflon capsule teamed with low noise discreet preamplifier circuitry, resulting in a smooth frequency response from 40 hz to 16khz, with a gentle presence rise giving especial warmth and clarity to the human voice. This microphone is also ideally suited to guitars, overheads and any other application where a warm clear sound is required. The design of the mic is specifically tuned to bringing the sound that it is used with up front in a sympathetic and flattering manner. Specifications: Freq. Response, Hz: 20-18000 Output sensitivity, mV/Pa: 13 Max SPL, dB for 0,5% THD: 122 Self Noise (DIN), dBa:

Versatile voice/instrument microphone for studio or for live situations, with a capsule large dual diaphragm (34 mm) with 1" diaphragm, a high pass filter and a 10 dB pad. With its smoothness and neutrality, it will let you achieve an extremely effective sound pickup.   The STC-3D MK2 by Ludovic Lanen - Sound Engineer "The reason I have become the sound engineer for all the top French singers is because I never compromise on the quality of my recordings and that is why PRODIPE wanted my expertise. I have chosen a new versatile voice/instrument microphone that you can use in the studio or in many live situations. I wanted it to be uni, omni and bi-directional, and to be equipped with a high pass filter and a 10 dB fade margin so that you have an immediate response in any situation. With its smoothness and neutrality, this new microphone will let you achieve an extremely effective sound pickup. It's one of the best microphones I have for every day use. But that's not all! I believe in PRODIPE because I know that this new brand has continually tried to cut out the middlemen and reduce manufacturing costs, without lowering the quality, so that previously unobtainable professional products could be made available to everyone. The Lanen model follows the same rule. A success. All my requirements are taken into account, this excellent product is available today thanks to PRODIPE. Yes to PRODIPE!"   Specifications: Microphone's range :Condenser microphones Studio / Live - Instrument microphones Kind of microphone : condenser Brand : Prodipe Alimentation : 48V DC Phantom Dimensions : Ø54 x 201mm Directivity : cardioid Impedance :  Load impedance :≥1000Ω Weight : 590g Sensitivity : -31dB/-34dB/-35dB±2dB(0dB=1V/Pa at 1kHz) Self noise : 14/15/16dB A Max. SPL input : 130dB (at 1kHz ≤1% T.H.D) - 140dB (with 10dB pad)  Low pass filter : 10 dB Width capsule : large dual diaphragm (34 mm) with 1" diaphragm Signal - noise : 80/79/78dB Frequency response : 20Hz-20kHz

Join us in welcoming the AKG C314 professional multi-pattern condenser microphone to the studio, stage, and wherever your sound takes you. Born from our commitment to total precision, and a team of the finest microphone engineers, the C314 makes use of the best materials and components found throughout the world. It has gone through an exacting design and highly detailed manufacturing process to bring you the end result: A microphone that captures every detail with the precision your creativity deserves.Specifications:Microphone typeCondensorPolar PatternsCardioid, Supercardioid, Omnidirectional, Figure of eightAudio frequency bandwidth20 - 20000 HzEquivalent noise level8 dB-ASensitivity20 mV/PaSignal to Noise86 dB-APreattenuation Pad-20 dBBass cut filter100 Hz, 12dB/octaveElectrical impedance200 OhmsRecommended load impedance1000 Ohms 

Join us in welcoming the AKG C314 professional multi-pattern condenser microphone to the studio, stage, and wherever your sound takes you. Born from our commitment to total precision, and a team of the finest microphone engineers, the C314 makes use of the best materials and components found throughout the world. It has gone through an exacting design and highly detailed manufacturing process to bring you the end result: A microphone that captures every detail with the precision your creativity deserves.Specifications:Microphone typeCondensorPolar PatternsCardioid, Supercardioid, Omnidirectional, Figure of eightAudio frequency bandwidth20 - 20000 HzEquivalent noise level8 dB-ASensitivity20 mV/PaSignal to Noise86 dB-APreattenuation Pad-20 dBBass cut filter100 Hz, 12dB/octaveElectrical impedance200 OhmsRecommended load impedance1000 Ohms 

The Manley Silver Tube Microphone is large condenser microphone inspired by the legendary Sony C-37A and built in collaboration with Josephson.The Manley Silver Tube Microphone uses a capsule designed by David Josephson who has provided a stunning recreation of the C-3 capsule originally used on the C-37 microphone in the ‘50s. This capsule is single-ended and boasts an adjustable acoustic chamber on the back allowing the user to change between omni and cardioid polar patterns. This capsule delivers a rich a creamy tone associated with the original Sony microphone.Inside the microphone, lies a unique circuit design which combines a FET and vacuum tube cathode used to amplify the signal before hitting Manley’s IRON transformer. This design provides a bit less output than other microphones and can, therefore, accommodate loud sources very well.The power supply has been specifically designed for audio fidelity with all regulated lines, super low impedance rails and no 50Hz/60Hz ripple component present in the chassis. It works at any voltages between 90V and 250V so all you need to do is plug it in.This microphone offers a rich and warm sound that will complement female vocals and saxophones particularly well without any boxiness or sibilance. It will also impart its sonic glory on drum overheard with a warm mid frequency response shaving off the harshness produced by cymbals when used with other microphones. Its dark tone means that it can often be used instead of a ribbon microphone.  Manley Silver Tube Microphone Main Features:Condenser Transducer based on vintage Sony C-37A Hand Made in USA by Josephson AudioSingle-Sided Large Diaphragm Capsule Edge Tensioned5 Micron Evaporated Gold Diaphragm 1" diameterDual Pattern Cardioid or Omni Directional adjustable via vent on the backplate5670 Internal Vacuum Tube Head AmplifierConstant Current Source for Tube Minimizes Noise and Tube SelectionHand Wound Nickel Core Manley Iron Output TransformerOutput Impedance: 30 OhmsHigh Pass Filter Switch -3dB @ 55Hz 6dB/8vaFREQUENCY RESPONSE: 10Hz-30kHz, AMP to 60kHzMAXIMUM INPUT SPL: 150 dB SPL at CapsuleSENSITIVITY: 7mV/PaAMPLIFIER TYPE: 2 Triode Gain Block Lo Z OutputOUTPUT POLARITY: Balanced XLR, Pin 2 Hot, Pin 3 LowAMPLIFIER DISTORTION: Less Than 0.05 % THD+N BW 22-22 kHz (1kOhm Load, 1kHz -40dBV Output)AMPLIFIER NOISE: Typically -108 dBV “A Weighted”BODY: Etched Silver Anodized AluminumWeight: 1.5 lbs (mic)Weight: 2 lbs (PSU)Size: 2" x 9.7" x 4.5" (mic including suspension)Size: 5" x 8.2" x 3.4" (PSU)Custom Designed Outboard Switched Mode PSU 90V ~ 250VAC Universal Voltage Operation 50Hz-60HzPower Consumption: 15 WattsPSU External Mains Fuse: 5mm X 20mm, 2A @ 250V, CERAMIC, Slo-Blo

The Neumann U-47 was produced between 1949 and 1965 meaning that the vintage original units are now very old and their performance do differ a lot depending on their condition. The different clones all have their specific sound character too. So, it´s not easy to say which sound is “the right one”. As always, not the least as far as microphones goes, it will ultimately be a matter of taste. Does the world need one more U-47 clone? The GA-47 microphone as the first product in Golden Age Projects new high end line, changing “Project” to “Premier” for this product range, the answer is “Yes!”.The Golden Age Premier GA-47 has been born from a lot of hard work and real world testing. The end result is a microphone with a very sweet character that should appeal to a great number of users and a microphone that can be used for the most demanding recording tasks. It has proved itself to be a great allrounder, this is not a “vocal-only” microphone. The GA-47 is not a product that will be built in huge quantities on a big assembly line. It´s a product that is built by hand, fifty units at a time in a small workshop by a skilled and dedicated staff. It uses very high quality components all the way to achieve the desired goal, allowing me to answer “yes!” to the rephrased question mentioned above. The capsule for the GA-47 is designed to provide the requirements of modern day recordings by mixing the character between a vintage K47 capsule and the one from a K67-style capsule with a wide frequency response and high sensitivity. The result is a truly great sound.

The MANLEY GOLD REFERENCE MULTI-PATTERN MICROPHONE are a statement, quite simply, of the finest microphones that money can buy in the pursuit of truly accurate musical recordings. The Gold Reference Series employ our own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery available today in California. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, "air", and superb ultra-high frequency response you have only dreamt about. The all-tube electronics in the MANLEY REFERENCE SERIES MICROPHONES are built around two triodes in cascade forming an entire gain-block. We have recently switched to a dual-triode 12AT7 tube, easily obtainable and replaceable, mounted in a ceramic socket. (We originally used 6072A until it became impossible to find quiet ones out of the NOS dreck left on the market, then we used 12AX7 for awhile.) The output is coupled through a MANLEY output transformer of unparalleled quality and substantial physical size employing nickel laminations with "hum bucking" bi-filar windings, encased in mu-metal. The polar pattern control is continuously variable between the OMNI, CARDIOID, and FIGURE 8 positions vastly increasing this mic’s versatility. The Gold Mics make it possible to exactly tailor the proximity effect to achieve the desired character. We have chosen a very open weave stainless-steel grille for the capsule window which allows all the highs to reach the capsule unimpaired letting the engineer choose if, when, and how much pop screen is appropriate. As a result, the Reference Gold reaches to the furthest extremes of highs and lows with gorgeous natural acoustic smoothness. Some engineers tell us it sometimes "hears" more than they do! A locking 6-pin XLR connector for the 30 foot power supply cable carries the stringently filtered B+ and regulated heater voltages from the separate dedicated power supply. The audio signal exits the PSU via a traditional 3-pin XLR jack. The microphone body is machined from brass providing excellent shielding properties, polished to a high lustre, then plated with 24 karat gold for an impressive finish, inspiring confidence in artists and producers. Our proprietary precision suspension system is provided with each REFERENCE MICROPHONE (the capsule itself is mounted onto a neoprene-rubber shock-mount.) Because the entire working "guts" of the microphone may be removed for service in one piece from the housing, it is envisioned that the microphone need not be removed from the suspension. We also provide a very useful swivel of our own design with every REFERENCE MICROPHONE; its T-bar handle and locking clutch action require no tools to adjust. And no MANLEY microphone would be complete without a genuine leather capsule protector which slips (and ties) onto the end of the microphone to protect the capsule when not in use. Specifications: All Tube design using 12AT7 dual triode. (Previous versions used 6072 or 12AX7.) -10dB switchable PAD Sensitivity: 17mV/Pa Noise: typically -120 dB EIN Max SPL: 150dB Actual output impedance 200 Ohms Weight: 2.25 lbs (mic) Weight: 2.5 lbs (PSU) Size: 4.5" x 9.7" x 4.5" (mic) Size: 5" x 8.2" x 3.4" (PSU) Shipping weight: 15 lbs Selected matched pairs available Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage. Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change. Mains Voltage Frequency: 50~ 60Hz Mains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operation Power Consumption: 70mA @ 120V = 8.4 Watts

The FC 1 MKII was designed with classic large diaphragm condenser microphones in mind. We wanted to make an affordable mic with some of the characteristics of the good old German models.  The FC 1 has a center-terminated capsule just like in the old days, adding some harmonic distortion and a sweet top to the sound. This design also gives the mic an ability to handle louder sounds without harshness or other problems. The output transformer can handle bass really well and still give you that extra fat sound that only tubes and transformers can deliver.  The retro EQ in the FC 1 is set to deliver maximum sound quality with as many sound sources as possible at a price anyone can afford. It sounds great on vocals, acoustic guitar, percussion, amps, piano, leslie, drums, and more.

The FC 3 is a high quality dual capsule condenser microphone, inspired by classical microphone models. The FC 3 is a very versatile microphone with a wide frequency response and a large dynamic range. It will perform great in the studio or in live sound and broadcast applications. It΄s sound character is similair to vintage microphones and it is well suited to be used with most instruments and voices. Use it on vocals and choirs, acoustic and electric guitars and other fretted instruments, as a drum overhead or room mic and in any other application where you would use a big capsule condenser mic. The FC 3 is, in spite of it΄s low cost, suitable for critical recording applications.  

The TC 1 is one of our top products. It is a warm-sounding, large capsule tube condenser for a very low cost. You get a classic tube mic with high-pass filter, pad and nine different polar patterns for less money than some spend on a pair of jeans.The TC 1 is a very versatile microphone with a wide frequency response and a large dynamic range. It will perform great in the studio or in live sound and broadcast applications. It΄s sound character is similair to vintage tube microphones and it will sound superb on most instruments and voices. Use it on vocals and choirs, acoustic and electric guitars and other fretted instruments, as a drum overhead or room mic and in any other application where you would use a vintage style tube condenser mic.

Reproduction of piano sound is extremely challenging, particularly during live performances when other instruments are present. Ambient sounds near the piano often bleed into the piano microphones. To circumvent sound leakage, the piano is often played in the short stick or closed lid positions. The SCX25A large diaphragm studio condenser microphone produces a highly transparent and remarkably accurate sound. This attribute combined with the SCX25A’s low profile and phase coherent reproduction, makes the SCX25A the optimum piano microphone for live sound or broadcast environments.To further enhance the ease of placement, two DFLEX mounting clips accompany the SCX25A and can be easily attached directly to the piano rail, enabling the SCX25A to be securely placed anywhere on the sound board.The SCX25A studio condenser microphone is undeniably the most compact, large diaphragm microphone on the market. It boasts an innovative design and patented capsule system. This pack includes two high quality, quad conductor microphone cables with braided shielding which helps reduce noise induction from external sources.Specifications:2 x SCX25A Piano Condenser Microphones2 x DFLEX Microphone Clips2 x 20 ft High Quality Microphone CablesAluminum Road Case

The ADX51 is a professional pre-polarized condenser microphone used for stage, studio and broadcast applications. The ADX51 is known for its clear, accurate response and flexibility to handle close or distance miking for a wide variety of acoustic instruments.Characterized with a uniformly controlled cardioid polar pattern, the ADX51 condenser microphone is designed to capture the acoustics of the instrument being miked while at the same time isolating it from the rest of the instruments on stage. With a wide frequency range of 40 Hz - 18 kHz, the ADX51 features a 14 mm gold vapor diaphragm and a -10 dB pad and bass roll-off filter at 150 Hz.The ADX51 cardioid studio condenser microphone is very easy to position, durable and manufactured to high standards and tight tolerances. The ADX51 has a precision machined brass body, durable black E-coat finish, steel mesh grill, and gold plated XLR connector.Applications:Drumoverheads, hi-hat, acoustic instrumentsCymbalsPercussion table Group vocal, spoken word Ambient room miking Audience mics for in-ear monitorSpecifications:Type: Pre-polarized CondenserPolar Pattern: CardioidFrequency Response: 40 Hz - 18 kHzImpedance: 100 OhmsSensitivity: 17 mV/Pa @ 1kHz

The AT5047 is a premier studio microphone that is equally at home with vocals and instruments. Boasting an exceptionally wide dynamic range – the greatest among all Audio-Technica microphones – the AT5047 captures the full, expressive character of a sound source, no matter how loud or how soft. And since it is equipped with a transformer-coupled output, the microphone maintains a constant load output impedance, even when capturing sources at extreme SPL, resulting in a stable relationship between the mic and a mic preamp or console input.In keeping with the 50 Series’ commitment to purity of sound, the AT5047 includes the four-part rectangular element originally developed for the AT5040. Four exquisitely matched ultra-thin diaphragms function together (with outputs proprietarily summed) as Audio-Technica’s largest-ever element, providing combined surface area twice that of a standard one-inch circular diaphragm.By using four diaphragms in a single capsule, the AT5047 delivers the benefits of an exceptionally large diaphragm – along with an extremely low noise floor – without increased weight, decreased transient response or other drawbacks that typically restrict diaphragm size. The AT5047 also incorporates the AT5040’s advanced internal shock mounting design, which effectively decouples the capsule from the microphone body, and comes with the innovative AT8480 shock mount, first introduced with the AT5040.Each AT5047 microphone is hand assembled and individually inspected for 100% quality control. The microphone is enclosed in an elegant housing of aluminum and brass with a high-quality silver finish. Discrete components have been selected for optimized performance. In fact, every aspect of the microphone has been carefully considered to minimize any effects on the audio signal.Features:Exceptionally wide dynamic range captures the full, expressive character of instruments and voices – from the caress of drum brushes to powerful vocal performancesFour rectangular diaphragms (2 micron) function together to provide a combined surface area twice that of a standard one-inch circular diaphragmDiscrete components carefully selected and optimized for maximum performance and compatibility with standalone microphone preamps and console inputsTransformer-coupled output provides smooth sonic characterHand assembled and inspected for 100% quality controlAdvanced internal shock mounting decouples the capsule from the microphone bodyElegant, durable housing of aluminum and brassIncluded advanced-design custom AT8480 shock mount provides superior isolationCustom hard-shell carrying case with die-cut foam compartments offers protection during storage and transportSpecifications:Element: Fixed-charge Back Plate, Permanently Polarized CondenserPolar Pattern: CardioidFrequency Response: 20 – 20,000 HzOpen Circuit Sensitivity: -29 Db (35.5 Mv) Re 1v At 1 PaImpedance: 150 OhmsMaximum Input Sound Level: 148 Db Spl, 1 Khz At 1% T.h.d.Noise: 6 Db SplDynamic Range (Typical): 142 Db, 1 Khz At Max SplSignal-to-noise Ratio: 88 Db, 1 Khz At 1 PaPhantom Power Requirements: 48v Dc, 2.7 Ma TypicalWeight: 592 G (20.9 Oz)Dimensions: 165.3 Mm (6.51'') Long, 57.0 Mm (2.24'') Maximum Body DiameterOutput Connector: Integral 3-pin Xlrm-typeAccessories Furnished: At8480 Shock Mount For 5/8"-27 Threaded Stands; 3/8" To 5/8" Stand Adapter; Protective Carrying CaseAudio-technica Case Style: R10

Marantz Professional is proud to present the MPM-1000 Studio Series microphone, a high-quality condenser mic that delivers studio-grade audio performance along with unexcelled value. The MPM-1000 Studio Series microphone exemplifies Marantz Professional's commitment to users who demand no-compromise components that fit within a realistic budget.Features:Side-address condenser microphoneCardioid polar patternHigh sensitivitySmooth frequency responseWith windscreen, shock mount, tripod stand and XLR cableSpecifications:Element: Pure-aluminum-plated, 18mm-diameter-diaphragm condenser capsulePolar Pattern: CardioidFrequency Response: 20–20,000HzOpen Circuit Sensitivity: -38 dB ±2dB (0 dB = 1 V/Pa @ 1 kHz)Output: 200 Ω ±30% (@ 1 kHz)Load: >1000 ΩSelf-Noise: 17 dBAMaximum SPL: 136dB (THD ~ 1%, 1 kHz)Signal-to-Noise Ratio: 77dBPhantom Power Requirements: 9-48 VDC, 3 mA typicalDimensions (length x diameter): 6.5" x 1.90" (165 x 48 mm)Weight: 10.5 oz (300g)

The TLM 103* is the ideal large diaphragm microphone for all professional and semi-professional applications requiring the utmost in sound quality on a limited budget.By utilizing the tried and true transformerless circuit found in numerous Neumann microphones, the TLM 103 features yet unattained low self-noise and the highest sound pressure level transmission. The capsule, derived from that used in the U 87, has a cardioid pattern, is acoustically well-balanced and provides extraordinary attenuation of signals from the rear. Delivery includes the EA 1 'spider' mount.

The Schoeps V4 USM Set contains the V4 U Studio Vocal Microphone, the USM-V4 Elastic Suspension and a wooden case. The blue V4 U Studio Vocal Microphone features a small-diaphragm capsule with a beveled collar for controlling the polar response. It has a warm, clear sonic character with a smoothly rolled-off diffuse-field response.Specifications:Polar Pattern: CardioidFrequency Range: 50 Hz to 22 kHzSignal to Noise Ratio: 79 dB A-WeightedEquivalent Noise Level: 15 dB A-Weighted25 dB CCIRMaximum SPL: 144 dB SPL 0.5%Impedance: 600 ohmsSensitivity: 16 mV/PAPower Requirements: 48 VOperating Current Consumption: 3.3 µA 

The V4 U is the studio vocal microphone by SCHOEPS. It unites the outstanding technical characteristics typical of SCHOEPS with a timeless, classic design. The “look” of the V4 U is based on the SCHOEPS CM 51/3 from 1951. But the V4 U is a thoroughly modern studio microphone. Its capsule, circuitry and mechanical construction are the result of extensive new development.Features:Studio Vocal MicrophoneNew small-diaphragm capsule architecture, with bevelled collar for controlling the polar response.Warm, clear sonic character with smoothly rolled-off diffuse-field response.Capsule head with adjustable tilt angle.Optimal on-axis frequency response featuring a mild high-frequency lift.Very smooth polar response; carefully-controlled narrowing of the pattern at high frequencies.Diffuse-field response parallel to the 0 ° response, with a gentle roll-off at high frequencies.Newly designed electronics offer a very high maximum sound pressure level.Specifications:Directional pattern: CardioidFrequency range: 50 Hz - 22 kHzSensitivity: 16 mV/PaEquivalent noise level (A-weighted): 15 dB-AEquivalent noise level (CCIR): 25 dBSignal-to-noise ratio (A-weighted): 79 dB-AMaximum sound pressure level at 0.5% THD: 144 dB-SPLMaximum output voltage: 4.8 VLow-cut frequency: 40 HzPowering voltage: 48 VCurrent consumption: 3.3 mALength: 194 mmWeight: 302 g  

The gray V4 SGV Set from Schoeps contains a V4 U Studio Vocal Microphone, a wooden case, and an SGV stand clamp. The base of the SGV stand clamp has a 5/8"-27 NS internal thread. A threaded adapter is supplied for 3/8" and 1/2" mounting. The angle can be varied continuously in the vertical plane.The V4 U Studio Vocal Microphone features a small-diaphragm capsule architecture with a beveled collar for controlling the polar response. It has a warm, clear sonic character with smoothly rolled-off diffuse-field response.Specifications:Polar Pattern: CardioidFrequency Range: 50 Hz to 22 kHzSignal to Noise Ratio: 79 dB A-WeightedEquivalent Noise Level: 15 dB A-Weighted25 dB CCIRMaximum SPL: 144 dB SPL 0.5%Impedance: 970 ohmsSensitivity: 16 mV/PAPower Requirements: 48 VOperating Current Consumption: 3.3 µAGeneralLength: 7.64" (194 mm)Diameter: 1.34" (34 mm)Weight: 0.66 lb (302 g)

The X1 A utilizes a newly-developed acoustic design with a carefully selected condenser capsule, low noise electronics, an integrated windscreen, and a gold-plated XLR connector. Just like the acclaimed X1 condenser, it also includes a switchable attenuation pad & low-cut filter and a robust all-metal chassis. With a newly-developed condenser capsule and an exterior based on the rugged metal chassis of the X1, the X1 A offers first-class sound & specifications at an even better "home studio" cost, featuring an extremely natural frequency response, massive SPL-handling capabilities (150dB!), switchable attenuation and low-cut filters, and a perfectly balanced sensitivity level - so it's at home on absolutely any source.From vocals to acoustic instruments to electric guitars or percussion, the X1 A is the perfect choice for any musician seeking a high-quality microphone with an entry-level price tag. The X1 A comes complete with a rock-solid, newly designed swivel mic clip and thread adapter to fit with any mic stand.If you need additional rumble control, the X1 A integrates perfectly with sE's Isolation Pack, as well as the Reflexion Filter X - recommended for an instant pro vocal recording setup for your home studio.Specifications:Capsule Type: 2/3" Permanently-Biased CondenserDirectional Pattern: CardioidFrequency range: 20 Hz - 20 kHzImpedance: 1K OhmsCurrent Consumption: 4.0 mADiameter: 58 mm (2.28 in.)  x  Length: 169 mm (6.65 in.)Weight: 390 g / 13.8 oz​​

The PGA181 is a professional quality instrument microphone with an updated industrial design that features a black metallic finish and grille offering an unobtrusive visual presence. Legendary Shure quality construction ensures exceptional performance in rigorous environments..Features:Side-address microphone for amplified and acoustic instrument and vocal recordingCondenser cartridge (requires phantom power) with cardioid polar patternDiscrete form factor for easy placement in a variety of applicationsAdditional features include a tailored microphone cartridge design for smooth and versatile reproduction of sound sourcesSpecifications:Frequency Response: 50–20,000 HzPhantom power require: YesPolar Pattern: CardioidType: Condenser 

TASCAM’s TM-80 is a condenser microphone designed and priced for home recording. The condenser mic features an 18mm aluminum diaphragm with a cardioid pickup pattern that sounds great on anything from vocals to acoustic instruments. Internal circuitry is optimized to reduce noise and distortion while retaining rich, full sound quality. Included with the TM-80 are a tabletop stand, six-foot XLR cable, and a elastic shockmount to reduce rumble and noise during recording. Priced less than many dynamic microphones, the TM-80 is a must-have for any size studio. Features:Microphone capsule assembly features an 18mm pure aluminum diaphragmCardioid polar patternFrequency response: 20Hz to 20kHzSensitivity : -38dB +/-2dB (0dB=1V/Pa at 1kHz)Phantom power requirement: 9 - 48V DCOutput impedance : 200ohm +/-30% (at 1kHz)Load impedance : >1k ohmMax SPL : 136dB (at 1kHz=1% THD)S/N ratio : 77dBHousing : Die cast zincDimensions (W×H×D): 48mm×165mm×48mm / 1.9 inch×6.5 inch×1.9 inchIncludes : shockmount, mini desk stand, mic cable (1.8m XLRM – XLRF)

New for 2014 is our Sontronics ARIA valve/tube cardioid condenser microphone that has been developed and designed by Sontronics founder and designer Trevor Coley specifically for getting the best from your vocals. The Sontronics ARIA will give you stunning, beautiful results on every recording, thanks to its silky-smooth characteristics, its accurate response and our trademark Sontronics high-frequency roll-off.Housed inside the chromed grille is a large, 1.07-inch, edge-terminated capsule that captures all the detail and subtleties of any male or female vocal (sung or spoken) while the hand-selected European 12AX7/ECC83 tube lends a character that you'd expect to find in a classic vintage valve mic.  For that extra level of control, the accompanying SPS-2 power supply unit boasts pad (0, -10dB) and filter (linear, 75Hz) switches as well as a tube-ready LED, letting you know when the mic is warmed up and at its best to record. Inside the unit is a pro-quality, medical-grade electricity filter to ensure that the power supply is pure and interference-free.During the 12 months of ARIA's development, it has been beta-tested by top artists and musicians including producer/writer Paul Epworth (Adele, Florence & The Machine, Paul McCartney), singer/songwriter PJ Harvey, and also several engineers at Abbey Road Studios, all of whom now admit they can't live without their ARIAs! These and other users have all told us that ARIA's sound and quality is easily matched to mics (both modern and vintage) that cost ten times more.The result is a go-to microphone that's a must-have if you're serious about achieving the best results from vocals but that will also give beautiful results on piano, acoustic guitar, cello and other instruments as well as voiceover and broadcast. Sontronics ARIA really will take your breath away! The ARIA microphone is supplied in its own velvet-lined wooden box, which comes in an aluminium flightcase together with its elastic spider-style shockmount, a ring mount and the SPS-2 power supply, connecting cable and power lead. Like all our mics, Sontronics ARIA is covered by our no-nonsense.

Designed for critical home/project/professional studio applications and live performance, this side-address cardioid studio condenser delivers exceptional detail and low noise. Equipped with a switchable 80 Hz high-pass filter and 10 dB pad, the AT2035 handles high sound pressure levels with ease. Along with its rugged construction and high-performance specifications, the AT2035 provides an exceptional level of consistency from model to model. It comes equipped with a protective pouch and a custom shock mount.

The versatile AT2050 provides consistent, superior performance in switchable cardioid, omnidirectional and figure-of-eight polar pattern settings. Its dual large diaphragms are gold-vaporized and aged to achieve optimum characteristics over years of use. Equipped with a switchable 80 Hz high-pass filter and 10 dB pad, the microphone is ideal for studio and live sound use on vocals, piano, strings, drum overheads, guitar amps, and more. Specifications:Element: Externally-polarized (DC bias) condenserPolar Patterns: Cardioid, Omnidirectional, Figure-of-EightFrequency Response: 20-20,000 HzLow Frequency Roll-Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: –42 dB (7.9 mV) re 1V at 1 Pa.Impedance: 120 ohmsMaximum Input Sound Level: 149 dB SPL, 1 kHz at 1% T.H.D., 159 dB SPL, with 10 dB pad (nominal)Noise: 17 dB SPLDynamic Range (typical): 132 dB, 1 kHz at Max SPLSignal-To-Noise Ratio: 77 dB, 1 kHz at 1 PaPhantom Power Requirements: 11-52V DC, 4.7 mA typicalSwitches: Polar selection, Flat, roll-off, 10 dB pad (nominal)Weight: 412 g (14.5 oz)Dimensions: 170.0 mm (6.69") long, 52.0 mm (2.05") maximum body diameterOutput Connectors: Integral 3-pin XLRM-type

Exceptional low noise, wide dynamic range, and high SPL capability give the Audio-Technica AT4040 Large-Diaphragm Studio Condenser Mic studio versatility. Designed for professional recording, the AT4040 features an externally polarized true condenser designed with a technically advanced large diaphragm tensioned specifically to provide smooth, natural sonic characteristics. Transformerless circuitry virtually eliminates low-frequency distortion. Precision-machined, nickel-plated brass, acoustic element baffle provides enhanced element stability and optimal sensitivity. The open acoustical environment of the symmetrical housing minimizes unwanted internal reflections. Switchable 80Hz hi-pass filter and 10dB pad. Cardioid pattern. Includes shock mount and case. Requires phantom power.Features:Externally polarized true condenser designTechnically advanced large diaphragm tensioned specifically to provide smooth, natural sonic characteristicsExceptionally low noise, wide dynamic range, and high SPL capability give it studio versatilityTransformerless circuitry virtually eliminates low-frequency distortionSwitchable 80Hz hi-pass filter10dB padCardioid patternFrequency response: 20Hz-20kHzSpecifications:Element: Externally-polarized (DC bias) condenserPolar Pattern: CardioidFrequency Response: 20-20,000 HzLow Frequency Roll-Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: -32 dB (25.1 mV) re 1V at 1 PaImpedance: 100 ohmsMaximum Input Sound Level: 145 dB SPL, 1 kHz at 1% T.H.D.;155 dB SPL, with 10 dB pad (nominal)Noise: 12 dB SPLDynamic Range (typical): 133 dB, 1 kHz at Max SPLSignal-To-Noise Ratio: 82 dB, 1 kHz at 1 PaPhantom Power Requirements: 48V DC, 4.2 mA typicalSwitches: Flat, roll-off10 dB pad (nominal)Weight: 12.7 oz (360 g)Dimensions: 6.69" (170.0 mm) long,2.10" (53.4 mm) maximum body diameterOutput Connector: Integral 3-pin XLRM-type

The side-address AT4033aSM offers low-noise, symmetrical, transformerless circuitry that results in exceptional transient response and clean output signals. A strong up-front presence characterizes the sonic signature of this 40 Series pro-audio classic. The AT4033aSM's 80Hz high-pass filter easily switches between flat frequency response and a low-end roll-off that diminishes ambient noise and popping with closely-miked vocals.Features:A strong up-front presence characterizes the sonic signature of this versatile pro-audio classicTransformerless circuitry virtually eliminates low-frequency distortion and provides superior correlation of high-speed transientsPrecision-machined, nickel-plated brass, acoustic element baffle provides enhanced element stability and optimal sensitivityThe 2-micron-thick, vapor-deposited gold diaphragm undergoes a five-step aging process so that the optimum characteristics achieved remain constant over years of useFloating-construction capsule assembly provides isolation from noise and vibrationOpen acoustical environment of the symmetrical housing assembly minimizes unwanted internal reflectionsState-of-the-art surface-mount electronics ensure compliance with Audio-Technica's stringent consistency and reliability standardsCustom shock mount provides superior isolationSpecifications:Element: Fixed-charge back plate, permanently polarized condenserPolar Pattern: CardioidFrequency Response: 30-20,000 HzLow Frequency Roll Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: -32 dB (25.1 mV) re 1V at 1 PaImpedance: 100 ohmsMaximum Input Sound Level: 145 dB SPL, 1 kHz at 1% T.H.D.; 155 dB SPL, with 10 dB pad (nominal)Dynamic Range: 128 dB, 1 kHz at Max SPLSignal to Noise Ratio: 77 dB, 1 kHz at 1 PaPhantom Power Requirements: 48V DC, 3.2 mA typicalWeight: 13.4 oz (380 g)Dimensions: 6.69" (170.0 mm) long, 2.10" (53.4 mm) maximum body diameterOutput Connector: Integral 3-pin XLRM-typeAccessories: AT8449 shock mount for 5/8"-27 threaded stands; protective carrying case

The Artist Elite AE3000 delivers supreme performance at extreme SPLs. This high-SPL large diaphragm cardioid condenser instrument mic excels in applications such as guitar cabinets, toms, snare, timpani, horns and overheads. Its large-diaphragm capsule combines with the open architecture of the headcase to provide an extremely accurate and open sound. Its low-profile side-address design with tapered grille allows for optimal positioning. Specifications:Element: Fixed-charge back plate, permanently polarized condenserPolar Pattern: CardioidFrequency Response: 20-20,000 HzLow Frequency Roll-Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: -43 dB (7.0 mV) re 1V at 1 PaImpedance: 100 ohmsMaximum Input Sound Level: 148 dB SPL, 1 kHz at 1% T.H.D., 158 dB SPL, with 10 dB pad (nominal)Noise: 11 dB SPLDynamic Range (typical): 137 dB, 1 kHz at Max SPLSignal-To-Noise Ratio: 83 dB, 1 kHz at 1 PaPhantom Power Requirements: 11-52V DC, 3 mA typicalSwitches: High-pass filter, 10 dB pad (nominal)Weight: 6.0 oz (170 g)Dimensions: 4.55" (115.5 mm) long, 1.89" (48.0 mm) maximum diameterOutput Connector: Integral 3-pin XLRM-type

The Artist Elite AE5100 large diaphragm cardioid condenser instrument microphone provides uncompromising sound quality for overheads, percussion, acoustic guitar, strings and other acoustic instruments. With rich, warm, accurate sound, the AE5100 also incorporates the most essential ingredients for quality live sound in a choir microphone. Its large-diaphragm capsule delivers accurate, natural response, while its low-profile design permits innovative placement options. With a lower profile than the large studio microphones to which it compares sonically, the AE5100 offers an outstanding performance-to-size ratio. With its low noise and smooth response, the AE5100 is ideal for recording, too.Specifications:Element: Fixed-charge back plate, permanently polarized condenserPolar Pattern: CardioidFrequency Response: 20-20,000 HzLow Frequency Roll Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: -36 dB (15.8 mV) re 1V at 1 PaImpedance: 150 ohmsMaximum Input Sound Level: 148 dB SPL, 1 kHz at 1% T.H.D.; 158 dB SPL with 10 dB pad (nominal)Dynamic Range: 137 dB, 1 kHz at Max SPLSignal to Noise Ratio: 83 dB, 1 kHz at 1 PaPhantom Power Requiremens: 11-52V DC, 3.2 mA typicalWeight: 5.0 oz (143 g)Dimensions: 5.85" (148.5 mm) long, 1.02" (26.0 mm) maximum diameterOutput Connector: Integral 3-pin XLRM-type

The rich, warm sound takes you back to the classic F.E.T. studio microphones. But there’s nothing remotely old-fashioned about the technology behind that vintage sound. The AT4047/SV studio condenser’s dual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range. With a wide dynamic range, incredibly low self-noise and high SPL capability, this versatile microphone excels on vocals, strings, acoustic guitar, instrument ensembles, small vocal groups and voiceovers. Specifications:Element: Externally-polarized (DC bias) condenserPolar Pattern: CardioidFrequency Response: 20-18,000 HzLow Frequency Roll-Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: -35 dB (17.7 mV) dB re 1V at 1 PaImpedance: 250 ohmsMaximum Input Sound Level: 149 dB SPL, 1 kHz at 1% T.H.D., 159 dB SPL, with 10 dB pad (nominal)Noise: 9 dB SPLDynamic Range (typical): 140 dB, 1 kHz at Max SPLSignal-To-Noise Ratio: 85 dB, 1 kHz at 1 PaPhantom Power Requirements: 48V DC, 3.0 mA typicalSwitches: Flat, roll-off, 10 dB pad (nominal)Weight: 14.5 oz (410 g)Dimensions: 6.69" (170.0 mm) long, 2.10" (53.4 mm) maximum body diameterOutput Connector: Integral 3-pin XLRM-type

The AT5040 Studio Vocal Microphone by Audio-Technica marks the debut of their flagship 50 Series of microphones. In addition to vocals, its fast transient response make it ideal for acoustic instruments. Each AT5040 is hand-assembled and individually inspected to ensure the finest quality audio capture.The AT5040 employs a four-part rectangular element to provide purity of sound. Each of the four parts function together and get proprietarily summed to output. This provides a surface area twice the size of a standard one-inch circular diaphragm. Additionally, the AT5040 features an advanced internal shockmounting system, effectively decoupling the capsule from the housing for vibration-free performance.The Audio-Technica AT5040's frequency response chart reflects the company's claim of an "extremely smooth top end with controlled sibilance." A dip of approximately 3dB occurs between 4.5kHz and 8.5kHz, a prime "s" location. The microphone's reactivity slowly tapers after the 10kHz mark. An approximate 2 to 3dB boost in response below 80Hz could create a pleasant promiximity effect on a male vocalist, then rolled off to taste in mixing.Specifications:Element Type: Fixed-charge back plate, permanently polarized condenser Polar Pattern: Cardioid Frequency Response: 20 to 20,000 Hz Open Circuit Sensitivity: -25 dB (56.2 mV) re 1V at 1 Pa Impedance: 50Ω Maximum Input Level: 142 dB SPL, 1 kHz at 1% T.H.D. Noise: 5 dB SPL (typical, A-weighted) Dynamic Range (Typical): 137 dB, 1 kHz at max SPL Signal-to-Noise Ratio: 89 dB, 1 kHz at 1 Pa Phantom Power Requirements: 48V DC, 3.8 mA typical Output Connector: Integral 3-pin XLRM-type Case Form Factor: Audio-Technica R10 Dimensions (Ø x L): 2.24 x 6.51" (57 x 165.3 mm) Weight: 20.5 oz (582 g)

The multi-pattern Audio-Technica AT4047MP Condenser Microphone delivers vintage sound while offering selectable omnidirectional, cardioid, and figure-8 polar patterns. The AT4047MP microphone's transformer-coupled output and specially tuned element provide sonic characteristics reminiscent of early F.E.T. studio microphone designs. With a wide dynamic range, incredibly low self-noise and high SPL capability, the versatile Audio Technica AT4047MP microphone excels on vocals, strings, acoustic guitar, instrument ensembles, small vocal groups, and voiceovers.Features:Three switchable polar patterns: cardioid, omnidirectional, figure-of-eightEngineered to meet the critical acoustic requirements of professional recording, broadcast, and sound reinforcementTransformer-coupled output and specially tuned element provide sonic characteristics reminiscent of early F.E.T. studio microphone designsExceptionally low self-noise, wide dynamic range and high SPL capabilityDual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range of the microphonePrecision-machined, nickel-plated brass, acoustic element baffle provides enhanced element stability and optimal sensitivityVintage silver-matte finish on microphone and shock mountOpen acoustical environment of the symmetrical housing assembly minimizes unwanted internal reflectionsCustom shock mount provides superior isolationIntegral 80Hz high-pass filter switch and 10dB pad switchSpecifications:Element: Externally-polarized (DC bias) condenserPolar Pattern: Cardioid, Omnidirectional, Figure-of-eightFrequency Response: 20-18,000HzLow Frequency Roll-Off: 80Hz, 12dB/octaveOpen Circuit Sensitivity: -42dB (7.9 mV), re 1V at 1 PaImpedance: 100 ohmsMaximum Input Sound Level: 155dB SPL, 1 kHz at 1% THD; 165dB SPL, with 10dB pad (nominal)Noise: 14dBDynamic Range (Typical): 141dB, 1kHz at Max SPLSignal-To-Noise Ratio: 80dB, 1kHz at 1 PaPhantom Power Requirements: 48V DC, 3.4 mA typicalSwitches: Polar selection; Flat, roll-off, 10dB pad (nominal)Weight: 524g (18.5oz.)Dimensions: 188.0mm (7.40") long, 53.4mm (2.10") maximum body diameterOutput Connector: Integral 3-pin XLRM-typeAudi-Technica Case Style: R1

The Sontronics STC-3X PACK is a NEW all-in-one mic and accessories package and the ideal solution for achieving professional-quality recordings at home or in the studio. In omni mode, STC-3X is fantastic for room and overhead miking, and also for ensemble recording (vocals, choral, instrumental, orchestral). In figure-of-eight mode, it is perfect for stringed instruments and for stereo miking applications.Our NEW, British-designed STC-3X multi-pattern condenser microphone features the three most commonly used polar patterns – cardioid, omnidirectional and figure-of-eight – selectable using a switch on the rear of the mic. It boasts a dual one-inch, gold-sputtered diaphragm housed in a large, open grille and its filter and pad controls make it a versatile, flexible workhorse in any recording situation.The STC-3X gives stunning results on everything from male and female vocals to acoustic guitar, piano, percussion and other acoustic instruments. It also works extremely well on spoken word, making it a great option for voiceover, broadcast and podcast.The Sontronics STC-3X is available in black or silver and is supplied in one box with the following FREE accessories...  a spider-style shockmount (with spare elastics)  a professional-quality, nylon-mesh popshield  a 5-metre female-to-male XLR cable  a vinyl, leather-look, zip-up microphone pouchLike all of Sontronics mics, the STC-3X mic is protected by our FREE LIFETIME WARRANTY  and also comes with a FREE download of Toontrack’s EZdrummer Lite.

New for 2012 is the Sontronics STC-20 PACK, an all-in-one microphone package that allows you to achieve the same quality recordings as you'd expect to hear in a professional studio, even for those musicians on the tightest of budgets!The Sontronics STC-20 PACK includes our best-selling STC-20 mic along with the following FREE accessories...  spider-style shockmount (with 2 spare elastics)  nylon-mesh popshield that attaches to shockmount  5-metre XLR cable  zip-up, vinyl, leather-look microphone pouchThe STC-20 PACK also comes with a free download of Toontrack's EZdrummer Lite and, like all our microphones, the STC-20 mic is covered by our LIFETIME WARRANTY.The STC-20 is a large-diaphragm condenser mic with a cardioid condenser pattern and it features a large open grille that houses the same one-inch, gold-sputtered capsule as found in our hugely popular STC-20.Despite its incredible affordablity, the Sontronics STC-20 delivers brilliant results on male and female vocals, acoustic guitars, piano and other acoustic instruments. It also gives impressive results on spoken word, making it an ideal mic for podcast, broadcast and voiceover.

With the TLM 102, the Berlin microphone manufacturer Neumann is defining a new generation of studio microphones. This applies not only to the design of the microphone but also to the price. The reduced overall size contributes to an exceptionally compact appearance, which unites all of the typical design components of a Neumann microphone. The harmonious proportions and gleaming grille ring ensure that even at first glance, the TLM 102 attracts attention.The TLM 102 is impressive in terms of sound: In the interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB which permits the recording of percussion, drums, amps and other very loud sound sources, for example. However the most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix.​

Classic proportions combined with attractive styling and fresh ideas – the TLM 107 perfectly embodies the Neumann philosophy: Innovation based on tradition. Far from evoking vintage or retro nostalgia, the standard-setting TLM 107 represents an impressive, modern studio microphone. Its extensive performance spectrum and high-precision reproduction, very close to the original, make the TLM 107 universally applicable, opening up the widest freedom in mixing and post-production.

Classic proportions combined with attractive styling and fresh ideas – the TLM 107 perfectly embodies the Neumann philosophy: Innovation based on tradition. Far from evoking vintage or retro nostalgia, the standard-setting TLM 107 represents an impressive, modern studio microphone. Its extensive performance spectrum and high-precision reproduction, very close to the original, make the TLM 107 universally applicable, opening up the widest freedom in mixing and post-production.

PERFECT TWINS for stereo recording of any acoustic instruments in studio and on stage.The C414 XLII reference multi-pattern condenser microphone offers a choice of nine polar patterns for the perfect sonic capture for every application. The C414 XLII’s slight presence boost and impressive spatial reproduction are both similar to the legendary AKG C12 microphone from 1953.The C414 XLII Matched Pair Stereo Set Package includes:2 x C414 XLII2 x Elastic spider suspensions2 x Windscreen1 x Stereo mounting barAluminum carrying caseMeasurement documents  

PERFECT TWINS for stereo recording of any acoustic instruments in studio and on stageThe C414 XLS reference multipattern condenser microphone offers a choice of nine polar patterns for the perfect sonic capture for every application. The C414 XLS maintains the sonic character of the legendary C414 B-ULS, the most popular AKG C414 version since 1971. Engineered for highest linearity and neutral sound, it has been the most versatile large-diaphragm microphone for decades.The C414 XLS Matched Pair Stereo Set Package includes:2 x C414 XLS2 x Elastic spider suspensions2 x Windscreen1 x Stereo mounting barAluminum carrying caseMeasurement documents 

One-inch large-diaphragm, true condenser cardioid transducer. Rugged all-metal body. Roadworthy construction. Switchable 20 dB preattenuation pad. Switchable bass cut filter. Legendary AKG sound quality. Designed and engineered by AKG in Vienna, Austria. Comes with spider-type shock mount and aluminium carrying case. The Perception 220 is a large-diaphragm true condenser microphone offering outstanding build quality and excellent value. Its many useful features and included accessories make this microphone uncommonly versatile.  It delivers a classic warm, clear sound and conforms to the stringent standards defined for AKG recording products. These standards are based on AKG/s six decades of experience in making microphones and on input from sound engineers around the world who use AKG products every day. Its 1-inch large-diaphragm true condenser transducer brings AKG studio quality to the project studio as well as all other areas of recording and live sound applications. A switchable bass cut filter and preattenuation pad make it perfectly suited even for use on loud sound sources producing sound pressure levels up to 155 dB SPL.  The rugged and roadworthy design makes it also a perfect choice for on-stage applications. The Perception 220 comes with a spider-type shock mount and a rugged metal case. 

The C12 VR is the reference multipattern tube studio condenser microphone with nine polar patterns selectable by a remote control. Among sound engineers, the AKG C12 is considered the holy grail of microphones. This legendary microphone, first built in the 1950s, is one of the most famous tube microphones in history, and its successor is today’s C12 VR.The C12 VR is an enhanced version of the original C12, from the capsule sound to the original 6072A vacuum tube carefully handcrafted in Vienna, Austria. 

Ribbon mics have had a fairly high profile in the SE Electronics portfolio over the past few years, not least the Neve RN1R and then SE's two Voodoo models. Ribbons are prized for their ability to deliver a smooth high end, and thanks to modern design innovations, the slightly dull sound of some vintage ribbon models isn't a characteristic shared by their modern counterparts, although their warmth, smoothness and musicality remains. This musical tonality is particularly useful for taming the shrill excesses of guitar cabinets, drum overheads, wind and strings, especially solo bowed strings. There are also broadcast and voice-over applications for this type of mic.The SE X1R ribbon microphone is a passive ribbon design that comes in at a significantly lower price point than the passive Voodoo model. Its ribbon element sits in a neodymium-magnet motor assembly, and the mic incorporates some spin-offs from the Voodoo HF extension technology — although its high end doesn't extend quite as far as those particular models. SE call it a hybrid of old and new ribbon technology, which is probably a fair description.Outwardly, the mic looks very much like its capacitor counterpart, the side-address SE X1 cardioid model, and, like all SE microphones, there's a lot of 'by hand' work involved in its manufacture. The housing is all metal and very rugged, featuring an attractive, non-slip, textured black finish.Like all conventional ribbon mics, the SE X1R has a figure-of-eight polar pattern, which inherently dictates a significant proximity bass boost that may need some EQ compensation when the mic is used very close up. The two-micron-thick aluminium ribbon can handle SPLs up to 135dB, so this is no fragile flower, while the frequency response is within ±1dB from 20Hz to 16kHz. As you'd expect from a passive ribbon, the output is fairly low, with a sensitivity in this case of -55.3dB (±1dB, 1V/Pa), so you either need a decent mic preamp that can offer high gain and low noise or, alternatively, an active in-line gain booster, such as the Cloud Lifter from Cloud Microphones, to get the best performance.Note that passive ribbon mics don't need phantom power, but will tolerate it, providing the mic is plugged in using a conventional balanced cable before the phantom power is applied. Hot plugging or unplugging can stress the ribbon, however. Unpacking the mic reveals that although the outer packaging is a simple cardboard box, the interior contains a high-density foam block with cut-outs for the mic and the included stand clip. This foam block could be left in the box or used as an insert in your mic drawer for storage.Once in front of a sound source, this mic reveals its true colours, and right away I found that what it delivered was actually rather more useful than what I've got out of many other ribbon mics I've tried. The frequency range is not too dissimilar from what you'd expect from a moving-coil dynamic mic, so there's a reasonable amount of high end, but because of the 'uncomplicated' nature of the ribbon diaphragm, there's none of that nasal coloration that so many moving-coil mics impart to the sound.Electric guitar sounded great right away — I got pretty much what I was hearing in the room from the amp even before thinking about adding EQ. The top end had presence and projection but with no trace of added fizz, and lows came across as solid and full of authority, so I award it full marks in this role. On speech, the mic again performed somewhat like a well-mannered moving-coil model, but more open and natural-sounding. It certainly offers a useful alternative to either moving-coil or capacitor models in this application. Even on acoustic guitar, the general tonality came across pretty much as I heard the instrument from my playing position.A big advantage of ribbon mics is that, because of the smooth nature of their sound, you can use quite a lot of HF EQ boost to add more air, as worthwhile output is still produced as as high as 20kHz. While the level may drop away above 15kHz or so, there's still enough there to boost if needed.As I suspected, the output level of the mic was a touch on the low side, so I used my Cloud Lifter plugged into my usual audio interface, as the mic amps in my interface tend to pick up some computer noise when turned up near full. I could get away with plugging directly into the interface for recording a guitar amp, but ideally not for spoken word or acoustic guitar. With the Cloud Lifter in circuit, there was plenty of level and no noise problem, even when adding top-boost EQ.

Studio microphone with Retro look. Warm sound, optimized for vocal recordings. Uses the capsule of the legendary M 49 and U 47. Cardioid polar pattern. Set includes elastic suspension. The TLM 49* is a large-diaphragm studio microphone with a cardioid directional characteristic and a warm sound which is especially optimized for vocal performance. It is supplied as a set, with an elastic suspension.The design is inspired by that of the legendary M 49 and M 50 microphones of the 1950s. Naturally the TLM 49 has the typical Neumann fine matte nickel finish. The “sound design” is also oriented toward that of the M 49 and the U 47. By combining its retro look with proven Neumann transformerless circuit technology, this microphone ensures low self-noise and the use of high gain levels.

With the TLM 102, the Berlin microphone manufacturer Neumann is defining a new generation of studio microphones. This applies not only to the design of the microphone but also to the price.The reduced overall size contributes to an exceptionally compact appearance, which unites all of the typical design components of a Neumann microphone. The harmonious proportions and gleaming grille ring ensure that even at first glance, the TLM 102 attracts attention.The TLM 102 is impressive in terms of sound: In the interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB which permits the recording of percussion, drums, amps and other very loud sound sources, for example. However the most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix.Specifications:Type: Condenser Pick Up Pattern: Cardioid Frequency response: 20 Hz-20 kHz Sensitivity: 11 mV/Pa Ιmpedance: 50 ohms Τotal harmonic distortion: 144 dB Dimensions: Diameter: 52 mm, Length:116 mm Weight: 210 gr