Large Diaphragm Condenser

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

A contemporary development of the legendary U 67. K 67 capsule, new circuit design, which closely reproduces the U 67 sound characteristics, three directional pattern, pre-attenuation and high-pass filter. Novel Neumann dual-color design. In the world of studio microphones, the numbers “47”, “67” and “87” have associations that inspire enthusiasm among professionals in the field. It is of course no coincidence that the name of the new TLM 67* contains the number “67”. In many respects, the TLM 67 is based on the “workhorse” of the 1960s, the legendary U 67. Like the U 67, the TLM 67 incorporates the K 67 capsule. In addition, the special new circuit design closely reproduces the sound characteristics of the classic U 67, without the use of tubes. Similar Neumann circuit technology has already proved very successful in the TLM 49.The TLM 67 is extremely versatile. Its three switchable directional characteristics (omnidirectional, cardioid and figure-8), selectable 10 dB pre-attenuation and high-pass filter permit detailed adjustments to be made, depending upon the specific recording situation.

Avantone CV-12 is a Multi-Pattern Large Capsule Tube Condenser Microphone. The Avantone “Cabernet (C-series)” mics are designed to offer true professional performance. They will meet or surpass the performance and specifications of much higher priced mics. The CV-12 is truly a gorgeous looking and sounding microphone. The design, character and performance is comparable to some of the fine vintage tube mics of the 1950’s & 1960’s…but at a fraction of their cost!Our rugged CV-12 microphone body and capsule assembly are precision machined of brass. Aesthetically, it features an elegant Cabernet Wine-Red finish, accented with polished nickel trim and grill. The transformer coupled tube circuitry has its origins in famous European vintage designs. Any studio can proudly offer the CV-12 as a primary vocal mic…It exudes class visually as well as sonically. Manufactured using the finest materials yielding a very solid feel, superb structural integrity and rugged reliability.The versatile CV-12 mic is able to produce professional results with a warm, pleasing sonic character. The included Custom Retro Shockmount is superb in allowing a precise positioning of the mic while inhibiting the transfer of unwanted vibrations up into the mic. This isolation allows for superior professional results.

The Shure Beta 27 is a large diaphragm condenser microphone. Developed for discerning live sound professionals, the Beta 27 accurately targets sources like acoustic, wind and electric instruments for concise, accurate sound with a minimum of bleed.The Shure Beta 27’s super-cardioid polar pattern and smooth flat frequency response is designed to provide excellent off-axis rejection for natural sound reproduction and optimal control in professional live sound reinforcement applications. The tight polar pattern also ensures high gain-before-feedback and maximum isolation from other sound sources. The Beta 27 features a -15dB switchable attenuator that handles extremely high SPLs with ease and makes the Beta 27 the optimal choice for electric instruments, such as guitar and bass amplifiers, drum and percussion overheads, piano and horn applications.The Shure Beta 27 Features:Superior transient response from a low-mass, externally-biased, ultra-thin 24 karat gold-layered Mylar diaphragmReduction of unwanted low frequency noise and proximity effect for consistent, extended low-end through a 3-position switchable low-frequency filterReduction of wind and breath noise by an internal pop filter with three separate mesh layersPremium electronic components and gold-plated internal and external connectors

SE Electronics X1 Vocal Pack. Large diaphragm condenser microphone Bundle. Set includes: sE X1 microphoneShock44 shockmountPop Screen MetalSE mic cable 3m Specifications mic: 1" diaphragm membrane20Hz-20KHz-32dBv/Pa sensitivity (25.1mV/Pa)

Sontronics DM-1B, large-diaphragm condenser microphone, designed specifically to capture and reproduce the various characteristics of a kick drum: thomann the beater click, the heavy thump, the boomy decay and so on, switchable -15dB pad, response: 20 - 20000 Hz, polar pattern: Cardioid (end-fire), impedance:

The ADK Odin has been designed as a high-SPL, reliable and robust microphone with enough flexibility tone-wise to cover any application. The dynamic range was set to allow for relatively heavy sound pressure levels, and attenuation pads enable these microphones to be used with sources up to 150 dB SPL. Keeping digital recording in mind, the noise floor is also appreciably low. These new microphones are solid, reliable "High-SPL" studio microphones that can also be used "Live".Any moderate to high SPL source, whenever a fast, detailed recording desired: All “pop” and “Rock” vocals – with a pop filter (to protect the capsule from strong blasts of air)Brass – with a pop filter (to protect the capsule from strong blasts of air), Drum kit: Toms, Floor tom, overhead and spot mic’ing, including kick drum, Any amplified instruments – Guitar cabs, bass cabs, Any percussion instrument, Stereo/ambient recording, All stringed instrument, Solo/spot recording, Woodwinds.Specifications :Unique Three-Way High-Frequency Switch: Mellow, Neutral or Brilliant Tone.New Transformerless circuit with symmetrical, TRULY BALANCED output stage.Extra capsule QC and special assembly procedures.Two way Pad to Tailor Dynamic Response.Two way HP Filter to Tailor Bass Response.High headroom, even unpadded. A Total Swiss Army Mic.Clean audio path, low distortion for accurate sonic imaging. Polar pattern: CardioidSensitivity: 13mv/PaImpedance: 150OS/N Ratio: 79dB (A-weighted IEC 268-4)Equivalent Noise Level: 15dB (A-Weighted IEC 268-4)Max SPL @ 0.5%THD: 132dB/ 140dB/ 150dB (2-way PAD)Low Cut Filter (HPF): FLAT/ 100Hz / 150HzHigh Cut Filter (LPF): FLAT/ 12KHz / 15KHzPower Requirements: Phantom Power 48V±4V

Sennheiser MK 4 Studio Condenser Microphone - Large-diaphragm studio microphone with a 1" true condenser capsule, based on Sennheiser's e965 high-end vocal mic.Sennheiser MK4 is perfect for home and professional studios. Made in Germany the transducer is manufactured in the same clean room as all high-end Sennheiser and Neumann condenser capsules.Sennheiser MK4 Main Features:Large-diaphragm capsule (1”) in true condenser design24-carat gold-plated diaphragmFull metal housingCapsule shock-mounted internally to minimise structure-borne noiseDesigned for project studios and stage useLow inherent self-noise and high maximum SPLMade in GermanyTransducer principle: externally polarised condenser microphoneDiameter of diaphragm: 25.4 mm / 1”Pick-up pattern: cardioidFrequency response: 20 Hz – 20 kHzSensitivity: 25 mV/PaMax SPL: 140 dBEquivalent noise level: 10 dB (A) / 20 dB (CCIR)Dynamic range: 130 dBPower supply: 48 V phantom powering (P48)Current consumption: 3.1 mAMax. diameter of microphone body: 57 mmLength:160 mmWeight: 485 g

The Neumann TLM 102 Nickel is impressive in terms of sound. 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 Instruments that are not especially loud also benefit from the very fast transient response of the Neumann TLM 102. However its 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. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording. the Neumann TLM 102 Nickel is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority. The Neumann TLM 102 Nickel Main Features Include: Large-diaphragm microphone with cardioid directional characteristic (pressure gradient transducer) Compact, characteristic but smaller-scale Neumann design Very high maximum sound pressure level Slight presence boost above 6 kHz Transformerless circuitry Acoustical operating principle: Pressure gradient transducer Directional pattern: Cardioid Frequency range: 20 Hz - 20 kHz Sensitivity at 1 kHz into 1 kohm: 11 mV/Pa Rated impedance: 50 ohms Rated load impedance: 1 kohms Maximum output voltage: 13 dBu Supply voltage: 48 V Matching connector: XLR3F Weight: approx. 260 g Diameter: 52 mm Length: 116 mm

The AKG Perception 420 Multi-Pattern Condenser Microphone. Large-diaphragm, multi-Pattern, high SPL condenser microphone with shock mount and case.The AKG Perception 420 is a multi-pattern large-diaphragm condenser microphone for more demanding professional studio recording applications. Offering high sensitivity and 155 dB maximum SPL, the Perception 420 delivers a warm transparent sound quality ideally suited for ensemble recording, grand piano, woodwind and brass instruments as well as drums and percussion instruments. In addition, three selectable polar patterns – cardioid, omnidirectional or figure-eight – allow a wide range of stereo miking techniques and ambient recording. A switchable bass cut filter and preattenuation pad enable the Perception 420 to be used close to sound sources in sound fields as high as 155 dB. The microphone's chassis is made of precision-tooled zinc/aluminium alloy and boasts a dent resistant stainless-steel wire-mesh front grille. It is supplied with a spider-type shock mount in an aluminium carrying case.The main features of the AKG Perception 420 include:Back-to-back large-diaphragm multi-pattern transducerAn excellent choice for a variety of professional recording applications: A/B, X/Y, and M/S stereo recording, Ambience recording, Grand piano, woodwind and brass instruments, Percussions, Drums, Classical music recording, Studio applicationsTrue condenser technologyHigh sensitivity and 155 dB maximum SPL capabilitySwitchable 20 dB preattenuation padSwitchable bass cut filterLegendary, pristine AKG sound qualityType: Dual-capsule,1-inch large-diaphragm, true condenser pressure-gradient microphonePolar pattern: Cardioid, Omnidirectional, Figure-eightFrequency range: 20 to 20,000 HzSensitivity: 28 mV/Pa (-31 dBV)Max. SPL: 135 dB/155 dB (0/-20 dB) for 0.5% THDEquivalent noise level: 16 dB-A (IEC 60268-4)Signal/noise ratio (A-weighted): 78 dBPreattenuation pad: 0 dB, -20 dBBass filter: 12 dB/octave at 300 HzImpedance: =1000 ohmsCurrent consumption:

The Neumann TLM 102 Nickel is impressive in terms of sound. 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 Instruments that are not especially loud also benefit from the very fast transient response of the Neumann TLM 102. However its 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. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording. the Neumann TLM 102 Nickel is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority. The Neumann TLM 102 Nickel Main Features Include: Large-diaphragm microphone with cardioid directional characteristic (pressure gradient transducer) Compact, characteristic but smaller-scale Neumann design Very high maximum sound pressure level Slight presence boost above 6 kHz Transformerless circuitry Acoustical operating principle: Pressure gradient transducer Directional pattern: Cardioid Frequency range: 20 Hz - 20 kHz Sensitivity at 1 kHz into 1 kohm: 11 mV/Pa Rated impedance: 50 ohms Rated load impedance: 1 kohms Maximum output voltage: 13 dBu Supply voltage: 48 V Matching connector: XLR3F Weight: approx. 260 g Diameter: 52 mm Length: 116 mm

AKG’s Legendary 1” Edge-Terminated Large Diaphragm Sound΄Outstanding Dynamic Range (up to 156 dB SPL, Ultra-Low Noise)Roadworthy DesignIntegrated Suspension to reduce mechanical NoiseSwitchable 20 dB Attenuation Pad and Low Cut SwitchRugged double mesh Grill for high RF immunity but unaffected AcousticsAll-metal Die-cast body with shock- and scratch-resistant FinishSpider-type Shock Mount includedMetal Carrying Case includedDesigned, Engineered and Built in Vienna, AustriaAKG's industry-leading C 414 microphones are already a permanent fixture in the world's biggest recording studios and a highly respected work horse for independent artists, broadcasting,  and on-stage miking as well.The new C 214 is designed as a cost-effective alternative to the high-end, industry-leading C 414 family. It  captures sound combining one side of the legendary C 414 dual-capsule system and AKG’s patented Back-Plate Technology which results in an outstanding performance close to the famous C 414 B-XLS.

High sensitivity and extremely low self noiseFive switchable polar patterns for placement and application flexibilityTwo-color LEDs provide quick visual indication of selected polar pattern and output overloadElastic capsule suspension greatly minimizes structurally-transmitted noise from chassis vibrationH 85 professional shock mount/stand adapter, PF 80 external pop filter and W 414 X external windscreen.A classic microphone with a distinctive timbre especially designed for recording of solo vocals and solo instruments.With the introduction of the NeXt Generation C 414 B-XL models, AKG sets new benchmarks for useful features, improved technical specifications, ease of use and available accessories. All of these improvements are answers to requests from ever-demanding recording studios, broadcast stations and concert engineers, but with the basic sonic character of the legendary C 414 unaltered.Additional features:High sound pressure level capability and wide dynamic rangeCompletely immune to electrostatic and electromagnetic interference from digital gear, computer monitors, etc. thanks to solid metal housing and transformerless output stageThree switchable bass cut filters and three pre-attenuation pads with LEDs for quick visual indicationAll switchable components operate in low impedance circuits for ultra-high reliability even in extremely humid conditionsAlso available in stereo pair C 414 B-XL II/ST.

Highly affordable AKG large-diaphragm microphone technologyCardioid polar pattern for multiplicity of vocal and instrument applications The earlier model C 3000 has had a large fan club in the project studio and home recording worlds for years. For the new C 3000 B, AKG designed a special 1-inch large-diaphragm transducer that closely approximates the vibration performance of top-class studio microphones, but can be made at much lower cost.Due to its surface area and special capsule tuning, the C 3000 B large-diaphragm transducer produces an exceptionally pleasing, smooth sound. Unlike in the C 3000, the switchable 10-dB preattenuation pad immediately follows the transducer in the signal path, thus increasing the C 3000 B's SPL capability by a true 10 dB. Loud sound sources are therefore no problem.An acoustically optimized cardioid polar pattern makes the C 3000 B an excellent choice for both recording and live sound applications where high gain before feedback is paramount.

An embossed single-diaphragm, side-address, cardioid condenser microphone for highly critical studio recording and live sound productions. The Shure KSM32 offers an extended frequency response for an open, natural sounding reproduction of the original sound source. KSM32/CG - Charcoal Gray, with swivel mount and carrying case, phantom power required KSM32/SL - Champagne, with swivel mount, shock mount, aluminum case, phantom power required Class A, transformerless preamplifier circuitry eliminates cross-over distortion for improved linearity across the full frequency range. Embossed, high-compliance diaphragm provides extended low-frequency response. Ultra-thin, gold-layered, low-mass, Mylar® diaphragm for excellent transient response 15 dB attenuation switch for handling extremely high sound pressure levels (SPL) Switchable low-frequency filter provides greater flexibility to reduce background noise or to counteract proximity effect. Integrated three-stage pop protection grille reduces "pop" and other breath noise Internal shock mount reduces transmission of handling noise Replacement cartridge:  RK374Performance Characteristics Extended frequency response Very low self-noise Exceptional low-frequency reproduction High output level High input SPL capability No cross-over distortion Extremely uniform polar response Superior common mode rejection and suppression of radio frequency interferenceApplicationsSome typical applications for the KSM32 are listed below. Microphone use, however, is a matter of personal taste. The KSM32 may be used for a variety of applications other than those listed. Voice -- solo, background, voice-over, broadcasting Acoustic instruments -- such as piano, guitar, drums, percussion, strings Wind instruments -- brass and woodwind Low frequency instruments -- such as double bass, electric bass, kick drum Overhead miking -- drums or percussion Ensembles -- choral or orchestral Room ambiance pick-up -- guitar amplifier or drums Both the acoustic environment and microphone placement have significant effects on the sound obtained when miking a source. You may need to experiment with these variables to achieve the best overall sound for each application.

An embossed single-diaphragm, side-address, cardioid condenser microphone for highly critical studio recording and live sound productions. The Shure KSM32 offers an extended frequency response for an open, natural sounding reproduction of the original sound source.KSM32/CG - Charcoal Gray, with swivel mount and carrying case, phantom power requiredKSM32/SL - Champagne, with swivel mount, shock mount, aluminum case, phantom power requiredClass A, transformerless preamplifier circuitry eliminates cross-over distortion for improved linearity across the full frequency range.Embossed, high-compliance diaphragm provides extended low-frequency response.Ultra-thin, gold-layered, low-mass, Mylar® diaphragm for excellent transient response15 dB attenuation switch for handling extremely high sound pressure levels (SPL)Switchable low-frequency filter provides greater flexibility to reduce background noise or to counteract proximity effect.Integrated three-stage pop protection grille reduces "pop" and other breath noiseInternal shock mount reduces transmission of handling noiseReplacement cartridge:  RK374Performance CharacteristicsExtended frequency responseVery low self-noiseExceptional low-frequency reproductionHigh output levelHigh input SPL capabilityNo cross-over distortionExtremely uniform polar responseSuperior common mode rejection and suppression of radio frequency interferenceApplicationsSome typical applications for the KSM32 are listed below. Microphone use, however, is a matter of personal taste. The KSM32 may be used for a variety of applications other than those listed.Voice -- solo, background, voice-over, broadcastingAcoustic instruments -- such as piano, guitar, drums, percussion, stringsWind instruments -- brass and woodwindLow frequency instruments -- such as double bass, electric bass, kick drumOverhead miking -- drums or percussionEnsembles -- choral or orchestralRoom ambiance pick-up -- guitar amplifier or drumsBoth the acoustic environment and microphone placement have significant effects on the sound obtained when miking a source. You may need to experiment with these variables to achieve the best overall sound for each application.

The Audio-Technica AT2020 is a side-address cardioid condenser microphone and a benchmark for price and performance. It is ideal for home and project studios, for recording vocals, acoustic instruments, podcasts and streaming.Its low-mass diaphragm delivers extended frequency response and fast transient response, while it handles high sound pressure levels with a wide dynamic range.

Meet the studio condenser that captures every nuance. With three switchable polar patterns, the large-diaphragm Audio-Technica AT4050SM exhibits a remarkable combination of qualities: high-SPL capability with transparent and airy uppers/mids complemented by rich low-end qualities. Its dual large diaphragms are gold-vaporized and aged for consistent, outstanding performance. A precision-machined, nickel-plated brass acoustic element baffle provides rock-solid element stability and exceptional sensitivity. Supplied with AT8449 shockmount. Also available as the AT4050SC with the AT8430 isolation stand clamp.Ideal for studio use and live sound productions with vocals, piano, strings, drum overheads, guitar amps, and more.  Transparent uppers/mids balanced by rich low-end qualities combine with advanced acoustic engineering for extensive performance capabilities and highest quality  Dual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range of the microphone  The 2-micron-thick, vapor-deposited gold diaphragms undergo a five-step aging process so that the optimum characteristics achieved remain constant over years of use  Three switchable polar patterns: omni, cardioid, figure-of-eight  Transformerless circuitry virtually eliminates low-frequency distortion and provides superior correlation of high-speed transients  State-of-the-art surface-mount electronics ensure compliance with A-T's stringent consistency and reliability standards  Switchable 80 Hz hi-pass filter and 10 dB pad  Custom shock mount provides superior isolation  Also available as the AT4050SC with the AT8430 isolation stand clamp

With omni, cardioid and figure-of-eight patterns, as well as a 10dB cut/boost function, the ORPHEUS is the perfect workhorse in practically any studio or live sound application. Its low self-noise and unmistakable presence allow you to record the subtlest of instruments or voices without the need to edit afterwards.The highly sensitive 1.07-inch dual-diaphragm capsule is suspended in its own special mount, almost floating in the large, sppherical basket. The body is cast from zinc alloy, which gives almost zero resonance and helps to keep the signal crystal-clear.The ORPHEUS comes supplied in a luxury wooden case, lined with black velvet, and really does sound as good as it looks.TECHNICAL DATAResponse: 20Hz - 20kHzSensitivity: 20mV/Pa -32dB ±2dB (0dB = 1V/Pa 1,000Hz)Polar pattern: Omni, cardioid, figure-of-eightImpedance: ≤200 OhmsEquivalent noise level: 16dB (A-weighted)Max SPL (for 0.5% THD @ 1,000Hz): 125dBPower source: Phantom power 48V ±4V

The Perception 120 is a 2/3-inch diaphragm true condenser microphone that offers solid build quality, outstanding performance, and excellent value. The low-mass diaphragm delivers a clear sound with accurate sonic detail. A switchable 20 dB preattenuation pad and bass cut filter make the Perception 120 an excellent choice for a wide range of recording and live sound applicationsSpecifications : Type 2/3" Diaphragm True Condenser Polar pattern cardioid Frequency range 20 to 20,000 Hz Sensitivity 22 mV/Pa (-33 dBV) Max. SPL 130/150 dB (0/-20 dB) for 0.5% THD Equivalent noise level 22 dB-A (IEC 60268-4) Signal/noise ratio (A-weighted) 72 dB Preattenuation pad 0 dB, -20 dB Bass filter 12 dB/octave at 300 Hz Impedance = 1,000 ohms Current consumption

The NT2-A carries on the tradition forged by the now legendary RΨDE NT2. A professional large capsule (1") studio microphone incorporating three-position pick-up patterns, PAD and high pass filter switches conveniently located on the mic body.At the heart of the NT2-A is the Australian designed and manufactured HF1 dual diaphragm capsule. The frequency and transient response of this transducer has been voiced to complement today's modern recording techniques, and yet still evoke the silky smooth character of the legendary microphones of the 50's and 60's. These features provide the flexibility and superlative audio characteristics that make the NT2-A one of the most versatile condenser mics available.Large 1" (25mm) HF1 gold sputtered capsuleOn body control of polar pattern, HPF and PADThree position variable polar pattern - Omni, Cardioid or Figure 8Three position variable High-Pass Filter - Flat, 40Hz or 80HzThree position PAD - 0dB, -5dB or -10dBUltra low noise, transformerless surface mount cicuitryWide dynamic rangeInternal capsule shock mounting

The world's first large diaphragm condenser studio microphone with seamlessly variable Polar Patterns, Filter and Pad located conveniently on the microphone body.

The NT2000’s state of the art surface-mount electronics combined with the new Australian designed and manufactured HF1 Capsule, provide extremely low self-noise (7 dBA) and a maximum SPL of 147 dB (157 dB with pad fully engaged) ensuring exceptional results and the ultimate in recording creativity.

The NT2000 is supplied with the SM2 Shock Mount, together in a durable custom carry case.     •    Acoustic principle: Externally polarised 25 mm (1”) dual diaphragm condenser    •    Directional pattern: Multipattern    •    Frequency range: 20Hz - 20KHz    •    Output impedance: 200 ohms    •    Signal noise ratio din iec 651: 87 dB (1kHz rel 1Pa)    •    Equvalent noise: 7 dBA SPL (per IEC651, IEC268-15)    •    Maximum spl: 147 dB (@ 1% THD into 1K ohm) 157dB (@ 1% THD into 1K ohm) with pad set to maximum    •    Sensitivity: -36 db re 1 Volt/Pasca (16 mv @94db SPL) +/- 2 dB    •    Dynamic range din iec 651: 140 dB (per IEC651, IEC268-15)    •    Power supply voltage: Phantom P48    •    Weight without battery: 831 gm    •    Weight with battery: 2.6 kg

The RΨDE NTK is the multi award-winning Class-A tube microphone that has found a home with tens of thousands of professionals around the world. 

The heart of the NTK is the Australian designed and manufactured HF-2 capsule.The electronic circuitry complementing this very sensitive transducer includes a hand-selected twin-triode 6922 valve and audiophile grade components and lay-out. The result is an ultra-wide dynamic range, very low noise, and stunning tube warmth. The NTK‘s rich valve sound is ideal for vocals, acoustic instruments, drum overheads, guitar amps and pianos.

The NTK comes with a dedicated power supply, internal capsule shock mounting, stand mount, zip pouch and a 30’ cable.

The M 149 Tube is a variable dual-diaphragm microphone. The K 49 capsule — well-known from the legendary U 47 and M 49 microphones — is followed by a tube functioning as an impedance converter. In contrast to earlier concepts — utilizing a transformer — the tube is complemented with a transformerless output circuit design. The M 149 Tube can thus feed long microphone cables without any coloration. Two slide switches are located below the large, acoustically very open headgrille. The switch at the front allows selection one of nine directional patterns. The slide switch at the rear operates a seven-step high pass filter. It allows a very fine adjustment of the cut-off. 

The M 147 Tube is a vacuum tube condenser microphone with cardioid characteristic. At the heart of this microphone is the K 47 dual diaphragm capsule, inherited from this model's now legendary predecessors, the U 47 and the M 49. Following the capsule is a tube that functions as an impedance converter.  The next stage is an efficient, transformerless output circuit, that guarantees an extremely low self-noise level. Note: This innovative combination of current tube technology with the most advanced solid-state circuitry was decisive in awarding the 1997 TEC Award to the related M 149 Tube mic. The M 147 Tube can feed extremely long microphone cables without affecting the quality of the audio signal. Like all Neumann tube microphones, the M 147 Tube comes with an elegant satin nickel finish.  The microphone is delivered as a complete set in a high-quality aluminum case. Included with the microphone are a microphone cable, a metal swivel mount for a mic stand, and a compact universal power supply for standard mains sockets. Our modern manufacturing methods makes it possible to offer this complete set at a very attractive price.

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. FEATURESAcoustical operating principle : Pressure gradient transducerDirectional pattern : CardioidFrequency range : 20 Hz ... 20 kHzSensitivity at 1 kHz into 1 kohm : 23 mV/PaRated impedance : 50 ohmsRated load impedance : 1000 ohmsEquivalent SPL CCIR 468-3 : 17.5 dBEquivalent SPL DIN/IEC 651 : 7 dB-AS/N ratio CCIR 468-3 : 76.5 dBS/N ratio DIN/IEC 651 : 87 dBMaximum SPL for THD 0.5% : 138 dBMaximum output voltage : 13 dBuDyn. range of the mic. amplifier DIN/IEC 651 : 131 dBSupply voltage : 48 V ± 4 VCurrent consumption : 3 mAMatching connector : XLR 3FWeight approx : 500 gDiameter : 60 mmLength : 132 mm

The TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range.  Five directional characteristics are selectable by means of a rotary switch. In the sixth position, marked 'R', the directional patterns can be controlled remotely with the N 48 R-2 power supply.  There is no special cable necessary for this purpose. The microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise.

The TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range.  Five directional characteristics are selectable by means of a rotary switch. In the sixth position, marked 'R', the directional patterns can be controlled remotely with the N 48 R-2 power supply. There is no special cable necessary for this purpose.  The microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise.

Dual-membrane condenser microphone for authentic multi-pattern vintage mic emulation The ultimate microphone to complete your mic lockerТhis high-quality dual-capsule large-diaphragm condenser microphone captures vocals and instruments with pristine clarity, depth and detail, making it the perfect starting point for emulating a plethora of timeless studio microphones. A legendary libraryEdge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models already available and 7 more soon to be released. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. Find the full list of Edge Duo emulations below. Unique designHoused in a specially designed low-resonance body with a sleek matte black finish, Edge Duo features a 6-micron gold-sputtered dual-membrane capsule. It provides an incredibly smooth, rich and organic response that the powerful Antelope Audio modeling engine can shape into the true sound of some of the most expensive and sought-after microphones in the history of audio recording. Multi-dimensional mic modelingEdge Duo’s dual-membrane capsule design feeds two separate XLR output channels via the included Y-cable. The signal from each membrane is then individually processed and recombined, delivering the most precise mic modeling on the market. This approach not only means that users can vary the polar pattern from within the plug-in, even after recording. It also allows the Edge Duo to accurately emulate the characteristic on- and off-axis response of each mic for true multi-dimensional mic modeling. High compatibilityThe Edge emulations are designed to work hand-in-hand with Antelope’s own precision mic preamps and converters. For maximum accuracy, Edge Duo can be used with any of Antelope Audio’s mic preamp-equipped interfaces, whose built-in FPGA processing capabilities allow real-time vintage mic emulation.However, Edge Duo also includes Antelope’s native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope’s native AFX plug-ins* provide everything we’ve come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations. *iLok 2 or 3 required. Not included in the pack.    About the new Edge FamilyBuilding on the success of the acclaimed Edge modeling mic, the new Edge Family from Antelope Audio features three new large-diaphragm condenser mics – the fixed cardioid Edge Solo, the multi-pattern Edge Duo and the dual-capsule, four-output Edge Quadro, capable of 360° stereo recording.Together with Antelope’s constantly expanding range of FPGA and native AFX mic emulation plug-ins, the Edge Family makes Antelope’s unrivalled mic modeling technology available to an even wider range of users and recording applications. Key features:- Powerful mic modeling engine- Duosonic / Stereosonic microphone- Output split into two independent audio channels for maximum control- Large double-membrane condenser capsule- Switchable polar patterns: cardioid, figure-8, omnidirectional and anything in between- Ultra-low resonance headbasket and body construction- Extensive library of vintage mic emulations- Shock mount with pop filter and special oxygen-free copper Y-cable included Mic emulations:Berlin 47 FTBerlin 49TBerlin 57Berlin 87Berlin 67Berlin M103Vienna 12Vienna 414Tokyo 800TOxford 4038Sacramento 121RBerlin K86 (coming soon)Berlin 47 TU (coming soon)Berlin V563 (coming soon)Berlin/Halske M25 (coming soon)Berlin M251 (coming soon)Minnesota 20 (coming soon)Illinois 7B (coming soon) Specifications:Microphone type: Stereo condenser microphoneDiaphragm: Large condenser – double-sided 6u gold-sputtered membranesDiaphragm diameter: 34mmPolar pattern: Multi-pattern (cardioid, figure-8, omnidirectional)Frequency response: 20HZ ~ 20kHZSensitivity: -35dB | 18mV/Pa (-1 to +3dB)THD+N: -116dBSelf-noise: 19dB(A)SNR: 75dB(A)Output impedance: 50 Ohms @ 1kHzPower requirements: 48V DC phantom powerOutput connector: 5-pin male XLRColor: Black matteWeight (mic body): 1.23 lbs (560 grams)Dimensions (mic body): 8.6" x 2.1" (219mm x 53mm) Package contents:Breakout cable: 16.4' (5 meters) 5-pin female XLR to dual 3-pin male XLR (high grade OFC Y-cable)Mount: Shock absorber typeCase: Standard mid-size road case with handle and custom-fit foam inserts ​

Large-Diaphragm Condenser Microphone.A Secret Weapon Of Pro StudiosThe WA-47F is a faithful recreation of a high-SPL, low-noise classic celebrated as a 'secret weapon' across world-class studios. The original '47-style FET was released in 1969 and gained massive popularity inside recording studios for its ability to handle fast transients with exceptional detail. Compared to popular tube microphones, the WA-47F has a more pristine top end and a tighter, more controllable bass response. Famous artists such as Dave Grohl and Daft Punk used the original 47FET on kick drums, inspiring generations of drummers and engineers. For vocals, legends like David Lee Roth and Michael Stipe used the original to create some of the most beloved music of all time.The WA-47F shares the same sonic profile as that original microphone, making the WA-47F a studio workhorse that will quickly become a go-to mic in your locker.Full Volume. Powerful Detail. No CompromiseLike all Warm Audio microphones, the WA-47F is a no-nonsense studio tool with premium components and elite build quality. Like the originals, the WA-47F takes the sound of the WA-47 tube mic and swaps the valve for solid-state FETs, meaning there’s no compromise between capturing rich midrange, detailed bass, and handling very loud sources. At its core, the WA-47F uses a premium reproduction of the vintage K47-style capsule found in the original microphone for ultra-wide frequency response and detail. The WA-47F uses a single backplate, cardioid-only version of the same capsule used in our award-winning WA-47 tube microphone.The capsule is joined by a custom TAB-Funkenwerk USA Output Transformer that drives the punchy, powerful sound captured by this capsule. The WA-47F pairs premium Fairchild FETs with polystyrene & Wima capacitors and the AMI output transformer, giving the WA-47F the ideal frequency response to capture extra detail and depth. The -10dB pad gives you extra headroom for those loud sources that you need to keep loud. When you need to eliminate unwanted bass frequencies on sources like lead vocals or electric guitar cabs, engage the included 140 Hz low-cut filter to save yourself from unnecessary post-EQ. Our meticulous R&D process allowed us to dial in a true-to-original output level and frequency response that matches the performance expectations of world-class audio engineers and recording facilities.Studio WorkhorseLike the original, the WA-47F’s custom-tuned frequency response captures huge kick drum sounds, punchy guitar & bass cabs, and adds a pristine edge to solo vocals that need to stand out.Kick DrumIn addition to a dynamic mic on the inside of the kick, aimed right at the beater, many engineers choose to add a 47FET-style microphone to the outside of the kick drum on the front head. The dynamic mic on the beater tends to capture the “snap” of the kick, while the WA-47F on the outside will get the “thump” from the drum. The air pressure “boom” of the resonant kick drum head is a huge sound easily missed by the dynamic mic. Adding a WA-47F to your kick will have a huge spatial effect on the sound, making tracks feel more alive and less robotic.VocalsThe original mic was chosen to capture some very famous vocals including Bon Scott (AC/DC), David Lee Roth (Van Halen), and REM’s Michael Stipe. Like the original, the WA-47F delivers powerful, detailed vocals ranging from screaming hair metal all the way to soft falsettos over iconic indie rock.Guitar & Bass CabinetsThe original is also a favorite inside studios for tracking guitar and bass cabinets - especially for percussive, loud guitar parts like you might find on an AC/DC record. The openness of the condenser capsule and the ability for the circuit to handle higher-than-normal SPLs means that you can track guitars LOUD without compromising detail. For those about to rock - you'll notice a difference.WA-47-B-50v CapsuleThe WA-47-B-50v capsule is a true reproduction of the single-backplate K47-style capsule found in the original 47Fet mic. This capsule captures incredible detail across the 20Hz-19kHz frequency response. With a unique gradual climb in the mids and slight scoop in the high end, the capsule inside the WA-47F will quickly make this a favorite mic for any source that demands critical detail and pleasing high end at louder volumes.AMI USA-Made Output TransformerThe history of TAB-Funkenwerk (AMI) transformers goes all the way back to the founding of the most sought-after German analog audio innovations. The TAB (AMI) transformer in the WA-47F is American-made and built to exacting standards as designed by Oliver Archut. The sweet sonic character of the WA-47F would not be possible without the amazing, historically-correct transformer supplied by TAB-Funkenwerk.Fairchild Transistors & Premium CapacitorsThe WA-47F uses premium Fairchild FETs - the same component found in the most exacting and expensive reissues. The polystyrene and premium WIMA capacitors in the WA-47F provide the excellent signal conversion that this circuit demands.Authentic Appearance & Elite Build QualityThe WA-47F is encased in an ultra-durable nickel-plated brass body with an updated headbasket shape adding additional space around the capsule. Every single WA-47F is meticulously hand-inspected at Warm HQ in Austin,TX by real musicians and engineers with a passion for superior sound.

Coveted & Rare. Until Now.The WA-CX12 is a faithful recreation of the most natural and balanced tube mic of all time, lauded for its organic tone and pleasing top end. The original AKG C12 was produced in Austria from 1953 - 1963 and is the definitive version of the 12-style mic. The WA-CX12 sound profile and circuit design is inspired by the original production run of only 2500 mics, which are highly coveted for their ability to capture the natural beauty of vocal performances, room sounds, and other far miking techniques. The list of famous recording artists who have never used a 12-style microphone is likely shorter than the list of those who have. Some of the most notable artists to create music with the original includeThe Beatles, Lupe Fiasco, Tom Petty, Michael Jackson, Alanis Morissette, and Taylor Swift, just to name a few. The WA-CX12 cuts no corners in achieving the highly coveted open, airy, and natural sound profile used over and over again by some of the world’s most recognized engineers and artists.No-Compromise ComponentsThe WA-CX12 is a professional large-diaphragm tube microphone with premium components, elite build quality, and is hand-inspected in Austin, Texas. The circuit design of the WA-CX12 is faithful to the original production run from 1953-1963, and serves as the basis for the historically accurate sound profile. Like the original, the WA-CX12 tone is mostly flat until a slight dip at 2kHz with a gradual boost between 5-10kHz. At the beginning of the chain, the CX12 has an edge-terminated, all-brass CK12-style capsule, that stays true to the frequency response of the original-run 12-style microphones.This capsule allows the WA-CX12 to have 9 polar patterns with the typical cardioid, omni, and figure-8, in addition to 6 intermediate patterns. . Moving down from the capsule, the WA-CX12 uses a premium 12AY7 vacuum tube for added warmth. At the end of the circuit, the WA-CX12 uses a custom TAB-Funkenwerk (AMI) USA Output Transformer, which gives the WA-CX12 a very full, wide, and open sound, getting the most out of the capsule and additional circuit components. The WA-CX12 has premium capacitors throughout, and a no-solder mask board for the lowest noise possible. As with all Warm Audio products, we focus heavily on quality components to ensure we release the best sounding product possible.True To Legacy, True To SoundThe WA-CX12 sound profile is known for capturing the real sound of a performance. Designed to provide clarity in the midrange and smooth out any high end harshness, the WA-CX12 delivers professional solo vocals, intricate piano performances, and epic, natural room sounds.VocalsThe gently tuned 5-10kHz boost of the WA-CX12 accentuates and smoothes out the upper register in many vocal performances.PianoOne of the more popular studio uses for the original 12-style microphone is as a stereo pair on grand piano. Because of the mic’s relatively flat frequency at 0dB until the top-end boost kicks in, the WA-CX12 adds just the right amount of pristine high end to a piano performance.Room SoundsWhether it’s room reflections, splashy cymbals, or guitar & bass cabinets - mixing in a distant WA-CX12 can bring a natural “live” sound to professional recordings.Premium Components - Elite Build Quality - Superior SoundWA-12-B-60V CEK12-Style CapsuleThe WA-12-B-60V CK12-style capsule accurately matches the frequency response of the original capsule found in vintage C12 mics. This capsule captures incredible detail across the 30Hz-20kHz frequency response. With a remarkably flat response until the top-end boost starts to hit around 3k, the capsule inside the WA-CX12 will help you capture natural sounds with some added top-end smoothness before the pleasant 19kHz rolloff.AMI USA-MADE Output TransformerThe history of TAB-Funkenwerk (AMI) transformers goes all the way back to the founding of the most sought-after German analog audio innovations. The TAB (AMI) transformer in the WA-CX12 is American-made with large-core German laminations and built to exacting standards as designed by Oliver Archut. The custom transformer drives the full natural sound captured by the capsule delivering that renowned Austrian sound.Premium Tubes, Capacitors, & BoardsThe WA-CX12 uses a premium 12AY7 vacuum tube that adds warmth and depth to the microphone’s signal. Like all Warm Audio products, we use premium capacitors in the circuit for ideal signal transfer. The PCB board in the WA-CX12 does not have solder masks which allows for the lowest noise floor possible, preventing crosstalk from added capacitance.Authentic Appearance, Elite Build Quality, Premium AccessoriesThe WA-CX12 is encased in an ultra-durable nickel-plated brass body. Every WA-CX12 comes with a custom tweed carrying case housing the mic, wood mic case, premium Gotham 7-pin cable, IEC cable, shockmount, and external power supply. Every WA-CX12 is meticulously hand-inspected at Warm HQ in Austin,TX by real musicians and engineers with a passion for superior sound.

he WA-47 is an all vacuum tube, large diaphragm, transformer balanced, multi-pattern (9), large condenser microphone, based on the classic ‘47 that has been used on countless hit records for the last 50+ years.  The WA-47 is designed for pro studio, home studio, live, and broadcast applications and sounds great on vocals, acoustic/electric guitars, acoustic/electric bass, drums, piano, strings, brass/woodwind instruments, and an array of other sources. The classic ‘47 became extremely popular in the 1960’s and is now considered one of the greatest microphones every made.  The classic ‘47 is still widely used today in professional recording studios but have become extremely rare and expensive to acquire.True '47 style capsuleThe WA-47 utilizes a custom reproduction of the vintage k47 style capsule that was used in the classic ‘47 microphone - designed with the same hole pattern and frequency response.  Every Warm Audio capsule is made in the same small assembly house in a clean-room environment,  and packaged in its own protective jewel case until the moment it is loaded into the microphone.  Each capsule is visually inspected and electrically tested for imperfections.The CapsuleThe WA-47 utilizes a custom reproduction of the vintage k47 style capsule that was used in the classic ‘47 microphone - designed with the same hole pattern and frequency response.  Our version of this capsule (model# WA-47-B-80v) is carefully manufactured by an Australian capsule manufacturer who's precision and repeatability allows us to nail the vintage sonics of the most important sonic piece of this classic style of microphone.​The TubeA Slovak Republic JJ 5751 vacuum tube is a lower gain, low noise tube that forces much of the sonics of the capsule and transformer to be heard more significantly than some higher gain tubes might allow.  We auditioned 4 different tube brands and fell in love with the JJ 5751.  The frequency response of the JJ 5751 and the way it contributes to the circuit is tonally smooth and vintage in nature.​The TransformerThe WA-47 utilizes an American made TAB-Funkenwerk (AMI) USA transformer with large core imported German laminations.  This transformer helps provide the creamy smooth top end, and the LARGER THAN LIFE bottom end one would expect from a '47 style condenser microphone.​The CableOne component of a tube microphone often overlooked is the 7 pin cable that connects the microphone to its power supply.  When auditioning the WA-47 and other tube microphones we learned quite a bit about 7 pin cables and how the shielding and wire gauge size can drastically change the sonics of a tube microphone.  We have partnered with Gotham Audio in Switzerland to use their very carefully built top-end 7 pin GAC-7 cable. Using this cable increases top end presence and the overall size of the recorded image in the stereo field, by reducing phase shift and the parasitic effect often found in poorly built cables. Gotham Audio is very expensive and boutique in nature and should not be considered a small addition to the WA-47 package.​The CapacitorsThe WA-47 uses a polystyrene coupling capacitor for uncompressed top-end response from the capsule, wima film capacitors throughout, and an imported Solen French capacitor on its output driving the TAB-Funkenwerk (AMI) USA output transformer.Specifications:Custom true '47 capsule reproduction (k47 style) - Model# WA-47-B-80vCapsule makeup: Gold sputtered, dual large diaphragm, single backplate, 6 microns NOS mylar (PET film)TAB-Funkenwerk (AMI) USA output transformerJJ Slovak 5751 vacuum tubeGotham 5 meter GAC-7, 7-pin tube microphone cableWima, Solen French, and Polystyrene capacitorsPolar Patterns: 9 patterns - Cardioid, Omni, figure-of-eight + 6 mixed patternsSelf-noise: 11dBADynamic range: 130dBAMaximum SPL: 140dB  (

The WA-14 is a '414-style condenser microphone based on the early 1970's microphone used on countless hit records. The WA-14 utilizes a custom all-brass CK12-style capsule, CineMag USA transformer, and a fully discrete signal path.  The WA-14 can be used on an array of sources, such as; punchy/warm intimate lead vocals, acoustic/electric guitars, bass, drums/percussion, strings/orchestral material, and many other sources. The WA-14 provides a realism and thickness that is true to the vintage microphone, but now at an affordable price.All-brass CapsuleThe WA-12-B-60V is an all-brass, edge-terminated capsule that captures all the smoothness, rich top end, and warm vintage sonics of the original CK12 capsule.  The WA-12-B-60V uses a variant CEK-12 backplate as a basis, which overcomes manufacturing limitations of the original CK12 capsule.  The o-ring and housing of the WA-12-B-60V are all made from brass (no teflon parts), and the diaphragm is 24k gold sputtered 6 micron, NOS PET film (mylar).  The end result is a very consistent, reliable capsule which matches the frequency response and tonality of the classic 1970's classic capsule.Specifications:Large diaphragm condenser microphone with variable pad and three polar patternsFeatures custom WA-12-B-60V edge-terminated, dual-backplate, all-brass vintage CK12-style capsuleCustom CineMag USA transformerFrequency range: 20Hz to 20kHz Output pad: 0dB, -10dB, -20dBPolar Patterns: Cardioid, figure of eight and omnidirectionalOutput Impedance: 150 ohms3-pin gold plated XLRRequires +48V phantom powerIncludes shock mount and hard mountColor: black​​

The ST-1 MK2 Lanen, designed on the basis of the STC-3D MK2, is one of the only condenser microphones on the market, equipped with a real 34mm large diaphragm capsule, with a gold-plated one-inch diaphragm, in this price range. Almost all of the other brands speak of a large membrane, for capsules from 16 to 19mm and the difference is significant! Unlike "entry-level" products, which are often too cold and too bright, with less full sound in the bass and lower midrange, the ST-1 MK2 Lanen perfectly reproduces the definition and warmth of the recorded source.

The REDD Microphone is the first new EMI-badged microphone in over half a century. It continues a tradition of innovation dating back to the early ’30s and Alan Blumlein, the father of stereo, and was designed by Chandler Limited founder and chief designer Wade Goeke.It is a large-diaphragm valve condenser that combines microphone and preamp in a single handcrafted device: the valve REDD.47 circuit is coupled directly to a custom handmade platinum membrane capsule. It can be used with or without an external preamp. Its look is classic, but it is not a clone or derivative of any other microphone, and it is protected by patent.

The TG Microphone Type L is a phantom-powered, cardioid, large-diaphragm condenser microphone designed by Chandler Limited with EMI Abbey Road Studios. As the name implies, it descends from the TG Microphone and inherits its core circuitry, capsule and Dual Tone System.Beyond that it goes its own way: it is tuned for its own sound and voicings. It has a bigger sound than a typical solid-state microphone and was designed as a studio workhorse, able to rival scenarios where the C12, C414, FET47, U67 and U87 are favoured, and even to replace the combination of a dynamic and a ribbon microphone on guitar cabinets.

The Warm Audio WA-14SP is a matched stereo pair of WA-14 large-diaphragm condenser microphones, inspired by the legendary early-1970s '414-style microphone. It is ideal for stereo recording of drum overheads, acoustic instruments, piano, strings and choirs, with three polar patterns and a variable pad.Each WA-14 uses a custom all-brass CK12-style capsule, a CineMag USA transformer and a fully discrete signal path. It handles punchy and warm vocals, acoustic and electric guitars, bass, drums and percussion, strings and orchestral material, with the realism and thickness of the vintage microphone at an affordable price.All-brass capsuleThe WA-12-B-60V is an all-brass, edge-terminated capsule that captures all the smoothness, rich top end and warm vintage sonics of the original CK12 capsule. It uses a variant CEK-12 backplate, which overcomes the manufacturing limitations of the original CK12. The o-ring and housing are made from brass (no teflon parts), and the diaphragm is 24k gold-sputtered 6 micron NOS PET film (mylar). The result is a very consistent, reliable capsule that matches the frequency response and tonality of the classic 1970s capsule.Included in delivery:2 shockmounts2 microphone clamps2 PU leather zip pouches1 transport case1 stereo mounting rail

The 87 Series: Pristine Clarity and Studio PolishBoth the WA-87jr and the WA-87jr Studio Essential recreate the iconic tone of the famous ‘87-style studio microphone—renowned for its pristine top end, detailed midrange, and polished vocal presence. Following the design of our professional WA-87 R2 microphone, these FET-based mics bring the unmistakable clarity and character of classic studio sound into a modern, transformerless format. Each mic is built around Warm Audio’s K87-style capsule, accurately recreating one of the most sought-after large-diaphragm capsules in recording history, delivering the all-time studio favorite tone found on countless legendary vocal and instrument tracks.The WA-87jr features a dual-backplate K87-style capsule paired with a transformerless, low-noise circuit for clean, articulate sound across a wide range of sources. With three selectable polar patterns (cardioid, omni, figure-8), a -10 dB pad for capturing loud sources, and an 70 Hz high-pass filter for reducing unwanted low-frequency noise, it’s a versatile tool for lead vocals, acoustic instruments, drums, and more. With a professional shockmount, hard mount, and leather storage pouch, this mic is right at home in a pro studio or a personal setup.The WA-87jr Studio Essential simplifies the design while preserving the core tonal qualities of the WA-87jr. It uses a single-backplate version of the same K87-style capsule to deliver crisp high-end detail and a clean, focused midrange in a fixed-cardioid format. With the same ultra-low self-noise, wide dynamic range, and fully discrete signal path of the Jr, the WA-87jr Studio Essential delivers analog warmth and pristine detail. Perfect for: vocalists, voice artists, acoustic instruments, podcasters, streamers, and creators seeking professional studio tone in a streamlined package.Contemporary Version Of A Legendary Lead Vocal MicThe WA-87jr series is a contemporary version of the iconic 87-style studio microphone that captures pristine, detailed tone with modern circuitry. WA-87jr & WA-87jr SE mics are equally at home in a project studio or in a world-class recording facility. Each features a vintage-correct reproduction of the celebrated K87-style capsule, the same capsule found in the flagship WA-87 R2 condenser mic. The capsule has the same tonal character known for capturing legendary recordings by classic and modern artists including David Bowie, Elton John, Beyonce, Justin Timberlake, and many more.Delivering a Legacy Of Pristine Studio SoundCombining one of the most revered vocal condenser capsules all time with our carefully crafted, modern circuits, the WA-87jr series delivers rich detail and top-end clarity for capturing everything from vocals, to acoustic guitars, drum overheads and more. Available with onboard controls and multiple patterns or a streamlined cardioid-only design, the WA-87jr mics all feature a discrete signal path, exceptional dynamic range, and ultra-low self-noise. The sound profile of the WA-87jr series blends past and present to achieve the perfect balance of pristine detail with never-harsh high-end.ApplicationsVocalsStream-Ready VocalsAcoustic GuitarArticulate Acoustic GuitarsElectric GuitarDetailed Electric Guitar CabsPercussionBrilliant Drum Rooms & OHs