The Microphones

Not every mic was used on every cabinet so check the IR Matrix
of each cabinet for details.

AKG C414B-ULS
The C414B-ULS is a 4-pattern condenser mic with an input transformer. We
used it in mainly in cardioid, but threw in an omni room IR or two for kicks.
It has fairly flat response with a very slight dip in the upper-mids and a very
noticeable proximity effect at close range (boosting the lows).
Audix i5
The i5 is a dynamic mic with a scooped mid range and a big presence bump.
In our work, we found it to be a bright mic without much low end that works
best at close range or out towards the cone on bright speakers like the
Celestion Blue. It really seems to like the Jensen P12.
Beyerdynamic M160
The M160 is a oddity among ribbons due to its tight cardioid pattern. Work it
close for a nice proximity boost. Pull it back and enjoy the mellow highs. It's
hypercardioid pattern keep the room sound at bay even at a distance.
Neumann U47
A classic microphone used in countless legendary recordings. Extended lows,
sweet mid-range and smooth high-end.

Neumann KM84
The KM84 has a flat frequency response which lends itself to use as a room
mic. It's also nice when you want to capture the speaker as is, without
adding a lot of coloration.

Neumann M8/CMV563
We put this one up, not expecting too much and were pleasantly surprised,
so we kept it in the lineup. The M8 has a "vintage" rolloff of the highs
frequencies which makes it nice for taming fizzy guitars and for use on bright
speakers. It's also figure 8, so we had some fun with it and pointed its null
point at the speaker to pick up mostly room reflections. We labeled these
IRs, "NullAndWall". The reflections we captured with the Weber Blue might
make an especially nice slapback reverb if blended with another signal. It's
also interesting to note that this very mic was used by the East Germans to
broadcast anti-capitalist propaganda into West Germany, or so we were told.
Neumann M7/CMV563
If it was good enough for the Beatles, then... well, ok... it's not a U47, but
it's a similar capsule and on a CMV563 tube mic, it has some old school mojo
of it's own.

Neumann U87
This one's a studio standard. We were especially careful not to overload this
guy which can make it sound a little "honky", in our opinion. It seems to have
less proximity effect than the C414 and picks up more high end. We did an
omni room IR as well as a cardioid one.
Royer R121
Another ribbon mic. You can get real beefy tones taking advantage of the
proximity effect and placing it up close, on the cap or cap edge. Smooth
highs, and a nice balance at a distance. The figure 8 pattern lets in a little
room which makes for a nice natural sound. We did the "NullAndWall" trick
with this one, too.
Sennheiser MD421N
The 421 is a dynamic mic with solid lows and a flat response until a
significant boost starting around 1.5K. It will make just about anything cut
through the mix. It works very well off axis, too, if you want to roll off some
of the presence and high end. We've got one of the vintage white ones with
the tuchel connector and the funky, trailer park logo, which to our ears is
more mellow sounding than the newer ones. It's wired differently than
modern mics, so we reversed the phase on the pre when we recorded it.

Sennheiser MD441
The 441's low-end response is similar to the 421 but it has fuller mids and
less edgy upper-mids.

Sennheiser MD409
The 409 rolls off the low-end before the 421 and has less edgy upper-mids
and high-end. To us it sounds more like an SM57 with less peaky upper-mids.
Shure SM7
Kind of like an SM57 that's all growed up and has stopped borrowing mom's
car to take the girlfriend to rock shows to impress her with wicked moshpit
wrestling moves. Suffice to say, it's a lot like an SM57 with a less pronounced
proximity effect up close (probably due to the recessed capsule) and
extended, smoother highs. It has a similar vibe to the TAB57, so if the
schedule was tight, we dropped the off axis positions on this one.
Shure SM57
A studio staple on electric guitar. Aggressive upper mids. Some proximity
effect. Rolled off highs. Try pairing it with an R121 for a little of the
chocolate and peanut butter thing.
TAB-Funkenwerk SM57
An SM57 with a replacement transformer made by TAB-Funkenwerk that
extends the highs a bit and the lows a little bit more. Sounds like a crankier
SM7 to us. You can judge for yourself.
Electrovoice RE20
Take it out of the kick drum and use it on guitar. It's a detailed, wellbalanced mic with ample low-end. It's muted proximity effect can be useful.

Earthworks TC30/M50
The TC30 and M50 are high-end reference mics. They are flat as a pancake
and have a phenomenal frequency response (3Hz-50KHz for the M50).

Lawson L47
Based on the Neumann U47, this one popped up in a few of the sessions. See
what you think.

Blue Bottle/B4 (Room only)

High end tube mic with a nice neutral omni capsule that we thought would
complement the other mics as room mics.