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MICROPHONES
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from the publishers of

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THE DEFINITIVE BUYERS GUIDE: COMPREHENSIVE DATA ON HUNDREDS OF MICROPHONES

MICROPHONES Smart Guides


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products & practice


from the publishers of

Comprehensive
Buyers Guide

plus
Choosing Microphones: GET The
Right Model For Every SOURCE
How To Interpret Manufacturers
Specification Data
The Different Types Of
Microphone And How They Work
Good Practice In Rigging
And Caring For Microphones
And more!

includes:
free access to Alan Parsons
microphone tutorial video!
foreword

Of Mics And Men


H
ere at Sound On Sound, we sounding best, while for others the more
answer alot of phone calls from costly models won out.
our readers asking for advice or A mics paper specs are useful in telling
help with choosing equipment. The answer you how low the noise and distortion figures
isnt always straightforward, however, as are, for example, or what the maximum SPL
different users have different requirements. is. Likewise, the frequency-response curve
The most impressive technical specifications will give you ageneral idea whether the
you can find within acertain budget may mic is likely to sound bright or warm, but
not equate to the best subjective sound once youve drawn up your shortlist, I always
quality, so its very difficult to give specific recommend areal-life test to establish the
recommendations. This is never truer than more subtle aspects of amics performance.
when choosing microphones. If you can find adealer with decent demo
Today there are literally dozens of facilities, give them acall and spend some
different models of microphone at every time auditioning different models. If youre
price point on the market, all claiming to not within reach of such adealer, consider
sound great. In truth, very few of them are hiring the models on your shortlist.
actually bad, and assuming the standard of Some mic manufacturers and dealers
engineering is adequate to give long-term even offer alimited try it or return
reliability, the most important thing is the it period, and this is one of the
way the tonal character of the mic combines best ways to see if amic will
with what you are recording, in order to work for you.
produce aresult that is artistically gratifying. We hope this guide
A couple of years back, Sound On helps you to find your way
Sound did alarge-scale blind test, in around the hundreds of
which four singers were recorded using microphones that are
around 16 different mics, ranging in price currently available!
from under $150 to over $3000 (see www.
soundonsound.com/sos/jul10/articles/ Paul White
vocalmics.htm). We found that, for some of Editor-In-Chief
the voices, the cheaper mics were voted as Sound On Sound

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Nell McLeod SOS Publications Group
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copyright protection and reproduction in whole or part, whether
mechanical or electronic, is expressly forbidden without the prior
written consent of the Publisher. Great care is taken to ensure

Production
accuracy in the preparation of this publication but neither Sound
Circulation On Sound Limited nor the Editor can be held responsible for its
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Copyright 2013 Sound On Sound Limited. Incorporating Music
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SOS Buyers Guide Microphones 3


Building Your NEUMANN
TLM 103

Mic Locker
15 Mics Everyone Should Know About
Every day, new customers come to Sweetwater looking for the perfect do-it-all mic. Although there is no one mic
thats perfect for every situation, there are several that you can use for many different sources. And you dont
have to spend a fortune to build a solid mic locker. Here are some of the most popular and useful microphones
available today.

Shure SM57/SM58
Two Truly Legendary Dynamic Microphones The Shure SM57 and SM58 are two of the most popular and versatile
microphones of all time. Theyre inexpensive and virtually indestructible, and they sound great on just about anything. Adding
one or two of each to your mic locker right away is money well spent.

Sennheiser MD 421 II
This Dynamic Mic Is Perfect for Toms, Bass Cabinets, and More Youll find this mic poised over toms in pro
studios everywhere. It fits into the tight space above the toms, but it wont pick up too much bleed from the cymbals. Its
also superb at capturing the impact of bass cabinets, the growl of guitar amps, and the resonance of male vocals.

Audio-Technica AT2035
An Affordable Large-diaphragm Condenser Mic Thats Great for Vocals The surprisingly affordable AT2035 gives
you the kind of gently flattering performance youd expect from a far more expensive large-diaphragm condenser mic. An
impressive 148dB maximum sound pressure level also makes it a great choice for guitar cabinets.

Neumann TLM 103


Neumann Quality, Affordable Price The TLM 103 is an exceptional microphone, known for its incredibly low self-
noise. It uses the same capsule as Neumanns legendary U 87, which provides delightfully smooth characteristics. This
smoothness is great for vocals and guitar cabinets, and for mellowing out cymbals.

Blue Microphones Bottle


Blues Incredibly Versatile Flagship Tube Condenser Mic Thanks to interchangeable capsules that let you take full
advantage of an array of polar patterns, the Bottle is ready for anything in the studio. This distinctive mic gives you the classic
warmth youre looking for plus an incredible degree of flexibility. Its nearly a complete mic locker in itself!

SHURE
SM57

Polar Patterns
Cardioid Supercardioid Figure-8 Omnidirectional
This is the most common This is a tighter version This pattern picks up sound This pattern picks
polar pattern; it picks up of the cardioid pattern. from both the front and the up sound from all
sound only from the front It gives you laser-line rear of the mic, and nothing directions, making
and blocks everything
Cardioid Supercardioid else Figure-8
out.Cardioid
That Omnidirectional
isolation in front,
Supercardioid blocking
Cardioid
Figure-8 out almost
Supercardioid
Omnidirectional atOmnidirectional
all from
Figure-8 Cardioid the sides. That
Supercardioid Figure-8 itOmnidirectional
the perfect pattern for recording
makes it perfect for isolating individual all sound from the sides. Its great for makes it great for recording two room ambience. It also handles low
instruments or vocals. When in doubt, drums, as you can isolate a single sources at once, such as an acoustic frequencies better than any other
use a cardioid mic. drum without picking up bleed from guitar and vocals. pattern, so its great for kick drums
the rest of the kit. and bass cabinets.
Find your perfect
microphone online!
Bock Audio 195 Go to
Practically Two Mics in One Premium FET Condenser You can use Bock
Audios 195 on everything from airy vocals to pummeling drums! This premium large- Sweetwater.com
diaphragm FET condenser gives you fat and norm modes plus a low-cut switch, so you
can tailor bass response. A variable pad lets you use the 195 in even high-SPL situations.

sE Electronics sE2200a II C
A Workhorse Mic Thats at Home in Any Studio An onboard highpass filter and a switchable 10dB pad help
make the sE2200a II C a genuine workhorse microphone, thats good for everything from vocals to violins. Having this cardioid
condenser in your locker will ensure that you always have a microphone for any occasion.

AKG C 414 XL II
Legendary Multi-pattern Studio Powerhouse This modern take on the classic C 414 gives you an astounding nine polar
patterns, multiple pads, and selectable highpass filter options. The result? A world-class large-diaphragm condenser mic that
works extremely well on a wide variety of sources.

Telefunken CU-29 Copperhead


Put a Premium Tube Condenser Mic in Your Studio The CU-29 Copperheads genuine NOS Telefunken tube, Lundahl
output transformer, and other top-drawer parts give this mic an open-sounding and sonically pleasing response. Want an
affordable go-to mic for everything from vocals to drums? Here it is!

Royer R-121
This Modern Ribbon Mic Lets You Capture Guitar Amps the Way You Hear Them The Royer R-121
ribbon mic hears pretty much the way your ears do. So, if you want to capture your guitars tone the way it sounds
when youre standing in front of your amp, the R-121 is the perfect mic for the job. Its also a stellar vocal mic.

Mojave Audio MA-200


Warm Up Your Vocals with This Incredibly Popular Tube Mic The magnificently warm and rich-
sounding tone of the MA-200 has made it a popular vocal mic. For a mic that will absolutely flatter vocals
across the entire spectrum, this amazing tube microphone is absolutely worth saving up for.

MANLEY Reference Cardioid Microphone


Warmth plus Clarity, from a Top-shelf Tube Mic When you demand uncompromising performance
from your studio gear, start with this cardioid condenser mic. The Reference Cardioid Microphone gives
you open, rich sound on everything from vocals to drums to guitars and beyond.

RDE NT5
This Matched Pair Gives You Performance and Affordability For the cost of a single typical
condenser, you can get a carefully matched pair of small-diaphragm NT5s. These amazing mics give you
incredibly natural response, and they work well on several different sound sources.

AEA R84 MANLEY


Transparent Tone Makes This Ribbon Mic Incredibly Flexible Completely transparent and highly Reference
detailed, the AEA R84 delivers vintage ribbon sound. Its based on classic ribbon mic designs and even Cardioid
Microphone
features the same ribbon material used in the original RCA 44 series microphones.

Electro Voice RE20


Youll Find This Classic Dynamic Mic in Any Broadcast or Voice-over House The RE20 is
responsible for the larger-than-life, bass-heavy male broadcast voice that is now the standard of voice-
over-style sound. Its also the secret weapon for miking kick drums and bass cabinets in many successful
recording houses.
AKG
C 414 XLII
For more information about these and other wonderful microphones everyone should know about, give us
a call. Your Sweetwater Sales Engineer will help find the perfect mics for you.

Get connected with the mics


that fit your needs!
CALL US TODAY AT
(800) 222-4700
Smart Guides
www.sos-smartguides.com

contents
features
Microphone Types & How They Work 8
Not all mics work in the same way. In fact, there are several,
significantly different, basic microphone types, and it helps to know
whats going on inside each of them...

Choosing The Right Microphone For The Job 14


Theres no such thing as aone-size-fits-all mic, so how do you
choose whats best for you?

Rigging, Connecting & Caring For


Your Microphones 18
Looking after your mics effectively and knowing how to rig them
properly should ensure that you see years of trouble-free usage
from your collection...

An Introduction To Stereo Mic Arrays 24


Finding the right mics for your needs will set you on your way to
making great recordings, but expanding your collection to include
at least one pair will open up all kinds of stereo possibilities...

Understanding Microphone Preamps 28


The best microphone in the world is useless without a way to
transfer its signal to your recording system. Welcome to the
wonderful world of the mic preamp...

Understanding Product Specifications 32


Theres a load of information on every model in
this guide, but what does it actually tell you about how the
microphone is likely to perform?

Glossary 176
Baffled by any of the terms youve come across in the editorial
features or the product listings? Find a plain-language
explanationhere!

6 SOS Buyers Guide Microphones


buyers guide
Dynamic Microphones 34
Dynamic, moving-coil designs are favoured on stage for their
robustness, and for less wideband sources, such as close-miked
drums and instrument amplifiers, in the studio.

Large-diaphragm Capacitor Mics 50


The workhorse studio microphone, offering high sensitivity and
extended frequency response, often combined with a degree of
character. The all-time favourite for studio vocals.

Small-diaphragm Capacitor Mics 88


The smaller format permits an even more accurate frequency
response and controlled directivity. Favoured for acoustic
instruments and all extended response, fast-transient sources.

Ribbon Microphones 118


Famed for their silky top-end response, ribbon mics are ideal for
sources that might sound harsh when recorded with a capacitor
model, such as distorted electric guitar.

Valve Microphones 132


Valve mics capacitor mics with a valve-based preamplifier on-
board are renowned for their unique character and warmth.

Specialised-application Microphones 154


From clip-on drum mics to dedicated piano mics, they are all in here.

Boundary Microphones 174


Usually offering a hemi-spherical pickup pattern, boundary
(sometimes also called pressure-zone) microphones are designed
to be mounted on a large, flat surface. When mounted on a wall,
floor or ceiling they are able to effectively eliminate the mounting
surface as a source of reflected sound, resulting in a subjectively
cleaneroutput.

SOS Buyers Guide Microphones 7


Mic Types & how they work

MiKing Sense Microphone Types & How They Work


Not all mics work in the same way. In fact, there are
several, significantly different basic microphone types, and
it helps to know whats going on inside each of them...
Paul White

A
microphone is adevice designed
to translate the vibrations travelling
through air, which we call sound, into
an analogous electrical signal that may then
be amplified and recorded. Their operation
generally involves alightweight diaphragm
of some kind being moved by the changes
in air pressure that constitute sound. The
electrical output is derived by monitoring
the motion of the diaphragm relative to the
fixed parts of the microphone.
The part of the microphone that
incorporates the diaphragm assembly
is known as the capsule and, in most
microphones that use asmall-diameter
capsule, the capsule is aligned such that
the end of the microphone is intended to
be aimed at the sound source. Most stick
microphones other than figure-of-eight
models are arranged this way, as are
all the typical stage vocal microphones,
such as the SM58. Larger studio capacitor
microphones, with diaphragm diameters
above 0.75 inches or so, usually have the
capsule facing sideways; alogo or other
marker, such as Rodes gold dot, is used to
indicate the front of the microphone. The
same is true of most ribbon microphones.
However, before looking at the
mechanisms most commonly used in
microphones, it helps to understand the
two main ways in which adiaphragm can
be used to track air vibrations: the pressure
model and the pressure gradient model.

Under Pressure
When asound arrives at the diaphragm from
the front, it is said to be on axis. Sounds are
off axis when the sound source comes from
some other angle. Amicrophone is said
to be 90 degrees off axis when the sound
source is in alignment with the edge of the

8 SOS Buyers Guide Microphones


A typical solid-state capacitor difference, or pressure gradient,
microphone, with the diaphragm at between the front and rear of the
the top and circuitry beneath. microphone. However, sound
approaching from 90 degrees
diaphragm, and 180 degrees off off-axis reaches both sides of
axis when the sound approaches the diaphragm at the same time,
directly from behind. resulting in no pressure difference,
If you have adiaphragm fixed no movement and no electrical
across the end of asealed cavity, it output. The signal produced by
will move in response to changes sound approaching from the rear
in air pressure regardless of the of the diaphragm would be of the
direction of the sound source. This opposite polarity to that caused by
pressure configuration produces an sound approaching from the front of
omnidirectional pickup pattern. In the diaphragm. Plotting the polar
other words, atheoretically perfect response, or pickup pattern, of this A figure-of-eight polar pattern (shown here)
omni microphone picks up sound type of microphone would reveal is achieved when both side of adiaphragm
are left open to the air, thereby picking up
equally well from all directions. afigure-of-eight pattern.
sounds from in front of and behind the mic,
Because asealed cavity also follows Pressure-gradient mics exhibit but rejecting sound from either side.
changes in air pressure due to astrong proximity effect, which
weather in the same way means that as they get closer as apressure-gradient microphone (even
as abarometer pressure to the sound source, the low though it is really ahybrid of pressure and
mics are invariably designed frequencies appear to be pressure gradient) and, as such, exhibits
with adeliberate, very small, air boosted. Because of this factor, aproximity effect, though to alesser
leak to equalise the internal and low-cut filtering may be needed to extent than apure pressure-gradient
external pressure at very low frequencies. restore the tonal balance for close-miked (figure-of-eight) microphone. Note that the
This leakage is too small to be significant at sources, and in the case of live vocal mics majority of cardioid-pattern microphones
audio frequencies. designed to be used very close to the have afairly complex off-axis response:
In reality, an omni mic can never work mouth, internal filtering is often used to their sensitivity to high frequencies falls off
equally well in all directions as the physical counteract the proximity effect. more rapidly than their sensitivity to low
body of the microphone blocks out some frequencies as you move towards the sides
of the sound that it is trying to pick up,
Take It To Heart and rear of the microphone. To achieve
but awell-designed model can get very From the previous explanation of the two anatural sound it is often necessary to
close. Note also that pressure mics dont ways of utilising adiaphragm to collect control what reaches the rear and sides of
exhibit any proximity effect, so theres sound, it would seem that there are only the microphone using acoustic screening
no disproportionate bass lift when the two microphone patterns: omni and when recording.
microphone is used close to the source. See figure-of-eight. So where does cardioid
the By Proxy box below for more info. come from? The cardioid or heart-shaped
The other way to arrange amicrophone pattern refers to amicrophone that is far By Proxy
diaphragm is to leave it open to the air more sensitive at the front than at the rear, Pressure-gradient microphones
on both sides. In this configuration, sound and it is achieved by creating ahybrid of (the figure-of-eight and its cardioid
approaching the diaphragm from directly in the cardioid and figure-of-eight patterns. derivatives) exhibit what is known
front or directly behind will cause movement The usual way to do this using asingle as the proximity effect, which is
of the diaphragm, as there will be apressure diaphragm is to fit an acoustic labyrinth to aboosting of low frequencies when the
sound source is located close to the
the rear of apressure-gradient microphone
microphone. This is related to the way
to force the diaphragm to behave in ahybrid that sounds arriving at the front and
mode somewhere between pressure and rear of the diaphragm combine and, at
pressure-gradient operation. The balance short distances, the pressure difference
between the two modes can be varied between the front and rear of the
according to the design of the acoustic diaphragm at low frequencies increases
more rapidly than at high frequencies.
labyrinth to produce wide or narrow cardioid
While experienced vocalists can
patterns and, once you appreciate that the exploit the proximity effect to vary
cardioid pattern is, in effect, acombination the tonality of their performance,
of the omni and figure-of-eight patterns, you it can be aproblem in the studio.
can see why ahyper-cardioid pattern results Positioning apop shield to prevent
in asmall bulge at the rear of the polar the singer getting too close to the
pattern, as the figure-of-eight pattern starts microphone is acommon solution as
this limits unwanted tonal changes
to predominate.
due to unintended position changes.
As you can see from this diagram, an Because acardioid mic responds to Omni microphones do not exhibit
omni-pattern microphone should pick up apressure difference between the front aproximity effect.
sound equally well from all directions. and rear of the capsule, it is still classed

SOS Buyers Guide Microphones 9


Mic Types & how they work

production, they are pretty rugged, and guitar, and the tonality also suits some
they need no power to operate. They can vocal styles. Recent technological advances
also be designed to tolerate very high sound have produced ribbon microphones with
pressure levels (SPLs), making them well far more high-end extension, making them
suited to drum recording and placement better suited to sound sources that include
close to loud brass instruments. important high-frequency information.
Their Achilles heel is that, since the Classic styles of ribbon model, such as
diaphragm has to drag the coil along with those built by Coles, Royer and AEA, tend
it, the laws of inertia make it more difficult to be expensive, which puts many home
to move at higher frequencies, and the recordists off buying them. However, there
practical outcome is that most moving-coil are now many more affordable models
microphones have aresponse that starts made in the Far East that allow the home
to roll off at around 16kHz or so. New studio user to experiment with them at
materials and more sophisticated magnetic amuch lower cost.
A cardioid pattern is so-called because of its alloys, such as neodymium, have managed Note that, in comparison with other
heart-like shape, picking up sounds from in to extend this range slightly in some cases, microphone types, ribbon microphones are,
front of and to the sides of the microphone,
but they are still not the ideal choice for in the main, still relatively fragile, so you
but rejecting sounds to the rear.
sounds with alot of high-frequency detail. should be very careful with them if you want
Mic Mechanisms Moving-coil mics are also less suitable for them to survive for along time. They should
quiet sound sources due to the amount of be protected from strong blasts of air when
Having looked at the way adiaphragms amplification needed to bring their relatively recording vocals, brass or kick drums by
pickup-pattern behaviour can be modified weak outputs up to auseful level. They are, using apop shield. Most manufacturers also
by the acoustic system in which it is however, commonly used for live vocals, recommend storing ribbon microphones
mounted, it is now appropriate to examine drum miking and guitar-amp miking. upright to avoid the ribbon sagging under
some of the ways that its movement can be The other common type of dynamic its own weight. When buying aribbon
turned into auseful electrical signal. microphone is the ribbon microphone. microphone, always enquire as to the cost
What is, arguably, the most common type Instead of avoice coil, an electrically and procedure for replacing the ribbon
of microphone used in the audio business conductive ribbon, usually made should it get damaged.
the so-called dynamic microphone works from metal foil, is suspended in
on the principle of moving an electrical astrong magnetic field and the
Capacitor Mics
conductor within aconstant magnetic audio signal induced directly into The other major class of designs
field. This action induces acurrent into the the ribbon material. Typically, ribbon are also sometimes known by the
conductor in accordance with Faradays microphones exhibit low sensitivity, older term condenser microphones.
law, which Im sure most of us have hastily which means they need more An electrical capacitor is formed
forgotten since leaving school! Anyhow, it amplification to achieve the same level
is essentially the same action that occurs as you might expect from amoving-coil Moving-coil (often called dynamic)
in electrical dynamos, except that, in the dynamic microphone. For this reason, mics, such as this popular model by
Shure, lend themselves very well to
case of amicrophone, an audio-frequency some models are built with preamps
stage use, due to their fairly rugged
vibration in the conductor results in an inside the microphone to turn them into consruction and ability to handle
audio-frequency alternating current (AC) active microphones. high SPLs.
at the output. As the amount of energy In all the common ribbon
intercepted by the mic is very small, the microphone designs, the ribbon is whenever apair of conductive plates
electrical energy generated is also very open to the air on both sides, and so are placed in close proximity separated
small, and needs amplifying to make has anatural figure-of-eight response, by an air gap or asuitable insulating
it useful. though it is possible to build modified dielectric material. Acapacitor can store
The most common type of dynamic ribbon microphones that achieve acardioid an electrostatic charge and, if you vary the
microphone is the moving-coil type, the response. Most show adepressingly distance between the plates of acharged
majority of which are designed to produce poor frequency response on paper, often capacitor, the voltage between the two
acardioid polar pattern. Here, acoil of starting to roll off as low as 10kHz, or even plates also changes. This basic law of
very thin wire is attached to the rear of the lower. However, their very simple, open physics can be exploited to turn aspecially
diaphragm, the overall construction looking construction gives them anatural sound, designed capacitor into amicrophone when
much like aloudspeaker in miniature. The and adequate high-frequency information one of the plates is athin, light, metalised
coil is suspended in anarrow gap within can often be restored using EQ, providing diaphragm and the other afixed plate.
amagnetic structure (again, very much circuit noise doesnt become aproblem. It The usual diaphragm material used in
like that of aloudspeaker) so that, as the often does when the sound source is quiet, todays capacitor microphones is aform of
diaphragm moves, the coil riding on its however, and the amount of amplification Mylar (a type of plastic) coated with avery
back also moves, and acurrent is induced needed can be high. The natural roll-off of thin layer of metal (most often gold). The
in the coil due its interaction with the aribbon microphone can also be used to diaphragm is then mounted close to afixed
magnetic field. Moving-coil microphones advantage, to bestow asilkier-sounding top back plate and an electrical charge applied.
lend themselves to automated mass end to bowed strings, cymbals and electric As sound causes the diaphragm to vibrate,

10 SOS Buyers Guide Microphones


PURE
INNOVATION
NOT
EMULATION

Specifications
Polar pattern Cardioid Introducing Audio-Technicas premier studio vocal microphone, the AT5040 cardioid
Frequency response 20 20,000 Hz condenser. The debut of our flagship 50 Series, the AT5040 represents a milestone
Open circuit sensitivity in condenser design, offering remarkably musical high-fidelity performance, with
25 dB (56.2 mV) re 1V at 1 Pa*
Maximum input sound level profound realism and depth, presence and purity of sound. As much as we admire
142 dB SPL, 1 kHz at 1% T.H.D. the great microphones of the world, this new 50 Series cardioid condenser is pure
Signal-to-noise ratio1
innovation, not emulation. Wherever your passion for music takes you, listen for more.
89 dB, 1 kHz at 1 Pa*
Noise1 5 dB SPL audio-technica.com
Impedance 50 ohms
Dynamic range (typical)
137 dB, 1 kHz at Max SPL
Specifications are subject to change without notice.
*1 Pascal = 10 dynes/cm2 = 10 microbars = 94 dB SPL
1
Typical, A-weighted, using Audio Precision System One.
Mic Types & how they work

Boundary (or pressure zone) mics tend to


produce anatural sound as they are Back Chat
placed very close to a boundary
such as a floor, wall or piano lid, A back-electret microphone is aspecial
and therefore do not pick up it an extremely low mass.
type of capacitor microphone that uses
reflections from that source. This enables it to follow high apermanently charged material affixed
frequencies more accurately, to the back plate. This maintains the
and atypical capacitor charge on the capacitor capsule, so it
its distance from the back plate microphone is effective right doesnt require an external polarising
varies, resulting in achanging up to 20kHz or beyond. Their voltage normally provided by phantom
power. It still needs power for the
voltage measured between the internal circuitry also produces
onboard preamp though, which comes
diaphragm and back plate. An extremely arelatively high output signal, so they can via standard phantom power, in most
high-input-impedance preamp must be be well suited to recording quieter sounds, cases. Some back-electret models,
located very close to the capsule to follow though many models can also handle high however, can run from batteries.
this changing voltage without draining SPLs, sometimes by switching in apad In terms of its performance and
away the electrical charge, and this usually circuit. This makes them appropriate for application, aback-electret microphone
may be considered as being pretty
takes the form of aField Effect Transistor almost any vocal or instrument application.
much the same thing as astandard
(FET) or avalve. For this reason all capacitor Capacitor microphone capsules can be
capacitor microphone. Indeed, some of
microphones are active and require external designed to have any fixed polar pattern, the best microphones out there have
power to operate. Most FET models require and many models incorporate apair of back-electret capsules.
phantom power, while valve microphones back-to-back cardioid capsules that can be Note that some consumer electret
have their own external power supplies. mixed to produce the whole range of polar microphones (not back-electrets) have
Because of the extra cost of the patterns from asingle microphone by means the charge-carrying material fixed
to the diaphragm rather than to the
components and power supply, valve mics of switching.
back-plate, which invariably adds
are generally more expensive than FET Though generally fairly rugged and mass, thereby limiting the frequency
models, but remain popular due to the reliable, capacitor microphones can suffer response. These are best avoided for
warm tonality and smooth high end of from temporary sensitivity loss if subjected serious studio work.
awell-designed valve circuit. to high levels of humidity; letting them
As the capacitor diaphragm doesnt have rest in awarm place for awhile usually
the added baggage of avoice coil or the fixes the problem. So-called RF capacitor
Phantom Power
magnetic drag of aribbon model, it can be microphones, such as the Sennheiser MKH Phantom power is so called because it
made just afew microns thick, which gives series, use ahigh-frequency alternating invisibly shares astandard three-conductor
current to bias the capsule, and, though balanced microphone cable with the
The construction of aribbon more complex to design and build, these are audio signal, and it is astandard method
microphone means that it tends to far less susceptible to moisture problems. of supplying 48 Volts DC electrical power
have anatural figure-of-eight pattern, Original studio-grade capacitor to active microphones. There are other
like this example from Royer.
microphones were very costly but, with phantom-powering standards providing
greater demand due to the proliferation of 12V or 24V, though 48V is the most
home studios and the economies of scale common requirement and is supported by
and Far-Eastern competition, prices have the majority of recording and live sound
been brought down to very affordable equipment. Phantom power is usually
levels. You can still pay alot for apremium generated within the mixing console
or hand-built microphone, but some of the or microphone preamp to which the
less costly ones perform very well indeed. microphone is connected, though separate
phantom power supplies are available. The
In The Zone system works by applying the 48V power
Boundary microphones (sometimes called source to both the hot and cold signal
PZM or Pressure Zone Microphones) work lines of the balanced audio cable using the
by responding to the air pressure differences ground screen as the neutral. Circuitry within
occurring at room boundaries such as walls, the microphone then separates the DC
floors or ceilings. Because the microphone power from the audio output signal.
is located extremely close to the boundary, The vast majority of dynamic
it cannot capture any reflections from that microphones (other than active ribbon
boundary, which can help capture amore models) do not require phantom power to
natural sound. Most boundary microphones operate. Phantom power should not cause
used for recording have ahemispherical any problems to a microphone that doesnt
polar pattern. They can be useful fixed need it, providing abalanced XLR cable is
under the lids of grand pianos or on the used and the cable isnt damaged, although
ceiling above drum kits in place of the more as a precaution, the phantom power should
usual stick mic overheads, especially where still be switched off when connecting and
the ceiling is low. disconnecting the microphone.

12 SOS Buyers Guide Microphones


Once you try the Audix i5,
theres no turning back.
Richard Dickie Chappell, Music Engineer - Peter Gabriel

Heres what engineers are saying about the i5: Thanks to the Audix i5, getting a great snare
drum sound is something that I take for
granted. The i5 is what style of music. It is
The best thing to happen to snare drums since The Audix i5 is a
equally outstanding on stage and in the studio.
Charlie Watts! workhorse and is
The i5 keeps everyone happy: drummers,
Paul Hager - Front of House Engineer - Miley Cyrus one of the most
engineers, producers, and the audience.
durable mics I own.
I have been using the i5 on snare (top and It can adapt to most Charles A Martinez - Front of House Engineer -
situations, Steely Dan
bottom) for for five years, and its become one of
my favorites. This microphone has an incredible but I prefer it
SPL response with a smooth low end, and is on snare because it This mic is slammin! If youre tired of a heavy stick
durable enough to stand up to all the abuse from doesnt color hit blowing your snare mic cap to pieces, youll
touring. the natural tone love the Audix i5!
of the drum. Anthony Roberts - Monitor Engineer -
Stephen Shaw - Front of House Engineer - Buckcherry
Joe Amato - Tower of Power
Front of House
On the road you need three things: WD-40, gaffer Engineer -
tape, and an Audix i5. Use the first if it wont move, The Gaslight Anthem
the second so it doesnt move, and use the i5
when it has to sound good. The Audix i5 is the
thinking mans standard for an all-purpose snare
I am quite
mic.
familiar with the
Howard Burke - Front of House Engineer - Little Feat Audix i5, because I use it
on both of Travis Barkers snares.
When JD Blair (Shania Twain) is out with us, The i5 handles the high SPLs of his fast
I use only Audix mics on his kit. and hard playing, as well as the
I have also used them for subtle nuances of his delicate
Derico Watson rolls, all without coloration or
(Victor Wooten distortion. This mic helps me
Band) for years. get a great mix!
For full clarity, Jason Decter -
body, and Front of House Engineer -
accurate snare Blink 182
reproduction,
I trust only the i5.
Audix has never Audix is extremely proud of
let me down!
our award-winning i5 dynamic
Jack Trifiro -
Front of House Engineer -
microphone, and of the many prestigious
Shania Twain, Victor Wooten Band artists and audio pros who rely on it for live
performances and studio sessions. The i5
accurately captures the backbeat of every
drum kit - the snare drum.

Pictured with the DVICE -


a patented rim mount clamp
with flexible mini-gooseneck.

www.audixusa.com

2013 Audix Corporation. All rights reserved.


Audix and Audix logo are trademarks of Audix Corporation.
Choosing the right mic for the job

Taking
to
task
Choosing The Right
Microphone For The Job
Theres no such thing as
aone-size-fits-all mic, so
how do you choose whats
best for you?

Paul White

W
hile we humans get by with
asingle set of ears for every
listening application, it isnt so
easy when it comes to microphones. For
astart, their prices range from affordable to
astronomical, and while some are built with
sonic accuracy in mind, others are designed
to convey some kind of sonic flattery. It is
particularly difficult to recommend abest
vocal microphone, as the experienced
engineer will usually try to find amicrophone
that emphasises the more pleasing aspects
of apersons voice while giving less
prominence to the less desirable aspects.
Then there are other factors that affect
the way amicrophone behaves, such as
microphone placement and room acoustics.
Part of the problem arises because the
human hearing system involves alot of
psychoacoustic processing in the brain.
There are also mechanical considerations,
such as the shape of the ears and the
head-masking effect, that allow us to
interpret asubtle change in the frequency
spectrum as achange in the position of
the sound source. We can also pick out

14 SOS Buyers Guide Microphones


sounds in abusy background by simply
concentrating on what we want to hear. Getting Vocal
The microphone has no such trickery to
If you need one vocal microphone
rely upon; it picks up both wanted and
to work adequately with arange of
unwanted sounds equally well. vocalists, choose one that doesnt have
Omnidirectional microphones pick apronounced sonic character. The more
up sounds more or less evenly from all coloured amicrophone sounds, the
directions, but even these fail to replicate more likely it is to work well with some
the human hearing system, in which the voices and less well with others.
sound spectrum changes depending on the
direction from which the sound approaches agood off-axis response. The other option,
the ear. Cardioid models fare even less of course, is to use screens so that your
well, as their off-axis frequency response is microphone picks up as little reflected sound
often sub-optimal at best, and unpleasantly as possible: agood solution when using
muddy at worst. While we normally set cardioid-pattern microphones to record
up cardioid microphones to point at the vocals.
sound source they are supposed to be Were often asked to suggest ways
picking up, any reflective surfaces in the to improve vocal recordings and, in most
room will cause some sound to bounce instances, spending asmall amount of
back into the microphone and, depending money on acoustic screens makes more
on the angle that those reflections hit the difference than spending big bucks on
microphone, the off-axis sound will be more exotic microphones and preamps. Our
or less coloured by the microphones own usual suggestion is to put aheavy blanket
directional characteristics. or duvet behind the singer to intercept
reflections from the walls behind them, and
Room For Improvement to use acommercial screen, such as the SE
Before choosing amicrophone, its Reflexion Filter, behind the microphone to
worth looking at how you can reduce screen the rear and sides.
the undesirable side effects you might
get when recording in areal space with
Vocal Mic Character
reflective walls. One option is to work in Studio vocals are most often recorded using
an acoustic space that flatters the sound. large-diaphragm cardioid microphones
Of course, to make this work youll need in conjunction with the type of screening
to use amicrophone with afairly accurate arrangement described above, or by
off-axis response, which usually means an working in aproperly designed vocal booth.
omni model, although some of the more Large-diaphragm capacitor microphones
sophisticated cardioid microphones have are popular because most models impose

If your chosen mic is set up in apoorly treated room, it may never sound good. Make sure
you use appropriate treatment, like aReflexion Filter if youre avocalist, for example.

SOS Buyers Guide Microphones 15


Choosing the right mic for the job

some kind of tonal character on the sound, Small-diaphragm


though, if you want to record the vocal as microphones tend
accurately as possible, theres no reason at to work well in
all not to use asmall-diaphragm capacitor situations where
high-frequency
microphone.
detail is required.
As avery general rule, microphones
with apronounced high-end lift are useful microphones are
to balance singers with adull voice, while still often first choice
darker mics are useful for singers with for close drum
spitty voices and exaggerated sibilance. microphones, and
Tube microphones also add alittle low-mid often for guitar
weight and high-end shimmer to the amps too. Where
sound. Remember, though, that the actual accuracy is required,
frequency response of amicrophone is asmall-diaphragm
usually much more complex than the capacitor
smoothed-over graphs in the brochure microphone is
suggest. What this means, in reality, is that the usual choice,
the only way to be sure what microphone ideally one with
works for aparticular singers voice is to try aflat frequency
several and pick the one that produces the response rather
best subjective result. Other than the overall than adesigned-in
tonality, better-quality microphones produce presence peak
asound that seems to sit better within to lift the treble. Where the environment SPL (sound pressure level) the microphone
abusy mix; they exhibit clarity but without permits, an omni-pattern microphone will can tolerate, how much self-noise the
sounding harsh, which is something Ilike to usually produce amore natural-sounding microphone produces (if its a capacitor
describe as asense of focus. result than acardioid model, while the lack mic) and whether the frequency response is
A good vocalist will still sound good of proximity effect may also make it less flat, or tailored to produce aspecific tonal
recorded with adecent live dynamic critical of positioning. Many people shy character. Off-axis response is also important
microphone and, for some styles of rock away from using omni microphones because in situations where asignificant amount of
or urban music, the sound might actually of the worry of picking up too much spill spill or reflected sound will reach the sides
be more artistically appropriate. The highs from other instruments but, in reality, you of the microphone. Where the sound level
will sound less open and airy than with can often bring an omni microphone closer is low, havinghigh SPL handling isnt so
acapacitor microphone, but you can still than an equivalent cardioid model, which important, and anything rated in excess of
get great results. Aribbon microphone reduces the spill to alevel more comparable 125dB should be fine. However, you need
can also be agood choice when you want with what youd expect from acardioid the self-noise of the microphone to be low
asilky smooth sound apopular choice for microphone. Furthermore, because the omni to avoid hiss, so aim for amodel with 12dB
avintage jazz or crooner tonality. The only microphone has agood off-axis response, EIN (equivalent input noise) or less. Where
rule? If it sounds good, it is good. such spill as is picked up will at least sound the sound level is high, the microphones
accurate (whereas spill can sound muddy noise figure is less important, and anything
Instrument Mics with acardioid microphone) and may better than 20dB EIN will probably be
A lot of acoustic-instrument even help to glue the recording fine, though youll need an SPL handling
recording is done using together. in excess of 135dB and, ideally, 140dB or
capacitor microphones as they While expensive more.
handle high frequencies with microphones generally Small-diaphragm capacitor
greater accuracy than dynamic perform better than cheap microphones are my usual first choice
models, so transients ones, there are actually for recording acoustic guitars, though
such as string comparatively few really you can get perfectly acceptable results
attacks come bad microphones on the from alarge-diaphragm vocal capacitor
over well. Even market and most will microphone, and anumber of professionals
so, dynamic give decent results if like to use the AKG C414 in that application.
you work around Iwouldnt normally use amoving-coil
Theres no hard
and fast rule their weaknesses dynamic microphone to record acoustic
to choosing and take care in guitar, but some of the modern ribbons with
amicrophone. their placement. an extended high-end response (such as the
Mics vary
The most SE Voodoo range) can sound excellent.
hugely in price,
and you may important For stereo recording using acoincident
prefer the sound factors to or spaced pair of microphones, the two
of abudget model take into microphones ideally need to be closely
to ahigh-end one.
Its all down to consideration matched, and many manufacturers produce
personal choice. are how much selected matched pairs for this purpose.

16 SOS Buyers Guide Microphones


A number of microphone companies
Shock Therapy now produce drum-microphone kits
using small-body dynamic or capacitor
Use ashockmount if your microphone
microphones that clip directly to the drum
stand is placed on afloor that carries
vibrations. Many microphones now rims. These ease setting up and leave more
come with shockmounts but, if you space for the drummer to work, but theres
want the best, check out Rycote as less flexibility when it comes to adjusting the
their shockmounts really work and microphone positions.
theyre virtually indestructible! Its also
important to route the mic cable in such Electric Guitar & Bass
away that it cant transmit vibration
to the microphone and bypass the Though bass guitar is often DId these days,
shockmount. Leaving asmall loop of both bass and guitar amps can be miked
loose cable beneath the microphone to produce great results, the choice of
and clipping the cable to the stand is microphone being largely down to taste.
usually the preferred option. While dynamic models are invariably used
Depending on the singers technique,
for live work, studio engineers have their
a pop shield can be pretty much
favourite dynamic and capacitor choices,
essential when recording vocals. The
metal-mesh models are arguably more with ribbon microphones also becoming
tonally transparent than the nylon-mesh popular for their ability to smooth out
(stocking nylon) models. Pop shields the extreme highs. The Shure SM57 is
break up air blasts from the mouth that acommon favourite dynamic mic for electric
might otherwise cause popping or even guitar, and rivals such as the Beyer M201,
clipping, and should be set up around
Sennheiser e906 and Audix i5 are widely
50 to 70 mm from the microphone.
used too. Personally, Ialso like the sound
of the Audio-Technica AT3050 capacitor
Alternatively, you can buy dedicated stereo microphone set alittle further back, and
microphones in which apair of coincident many of the affordable ribbons also give
Large-diaphragm mics are often afirst
capsules share the same housing. These are good results. Bass guitars may benefit from
purchase for small-studio owners
convenient and easy to set up but are less amicrophone with amore extended bass especially vocalists as they tend to add
versatile than individual microphones as response than the SM57, though combining apleasing character to the sound.
you dont have the option of using them as an SM57 or equivalent microphone with
aspaced pair. aDI signal will often produce the required energy, and good ribbon mics respond
depth of tone, as long as you ensure the two well to EQ if you do need to add more
Drum Mics signals are phase-aligned. Because guitar top. In reality, you can get away with just
The most common drum-miking setup used amps can be very loud, choose something about any microphone on percussion if you
in the studio comprises acardioid-pattern capable of handling in excess of 135dB to have to, and Ive had acceptable results
dynamic microphone close to each drum be on the safe side. from both dynamic microphones and most
with apair of capacitor or ribbon models For percussion, small-diaphragm large-diaphragm vocal microphones.
above the kit as overheads. There may be capacitor microphones are usually asafe
additional capacitor microphones further bet, but ribbon microphones can also sound
Splashing The Cash
back in the room if it is large enough. very natural and somewhat less brash. This is There are some very capable studio
Afurther capacitor microphone may also useful with instruments such as tambourines, microphones available at affordable prices,
be used on the hi-hat. The Shure SM57 and which can put out a lot of high-frequency but at the same time, if you do decide to
Sennheiser MD421 are popular choices splash out on something abit more exotic,
for snare drums and toms, though some it should give you alifetime of service as
engineers prefer the sound of capacitor long as you look after it. While hi-tech
microphones because of their better digital hardware and software eventually
transient-handling capabilities. However, becomes obsolete, agood microphone
dynamic microphones are more likely never will. If you choose carefully, the
to survive if the drummer hits them by first microphone you buy will always be
mistake! The kick drum may be miked useful for something, even if you add
using adynamic microphone designed to abetter microphone to your collection
handle low frequencies, such as the AKG later. Alarge-diaphragm vocal microphone
D112, though, again, some engineers prefer is usually the first purchase for the home
the sound of alarge-diaphragm capacitor studio owner, but the sooner you can add
microphone, such as aNeumann FET47 or acouple of small-diaphragm microphones
It is possible to buy dedicated drum mics
one of its clones. The most important factors and adynamic model or two maybe
that clip directly onto the rim of the drum.
for akick drum microphone are high SPL These are very convenient to set up, as they aribbon the better equipped you will
handling and the ability to capture low do not require external stands, but also be to do justice to your next recording
frequencies down to 40Hz or below. slightly reduce your positioning options. project.

SOS Buyers Guide Microphones 17


Rigging & Caring For your mic

well connected
Rigging, Connecting & Caring For Your Microphones
Looking after your mics effectively and knowing how to not in use, or in apurpose-designed case
or storage unit where they should be
rig them properly should ensure that you see years of held securely, and protected from dust,
trouble-free use from your collection... damp and rapid or extreme changes in
temperature. Capacitor microphones
Hugh Robjohns asignificant effect on the are particularly sensitive to damp

M
microphones tonal quality in and dust, and Iprefer to store mine
icrophones are delicate some cases. in strong freezer bags
technical instruments some
more so than others that
Caring For
need careful handling, rigging and Microphones
storage if they are to provide along and Microphones should be
reliable service life. The greatest risk stored in their individual
to amicrophone lies in being dropped manufacturers cases when
on to ahard surface, since this is likely
Where possible, always store your
to damage the capsule, diaphragm or microphones in apurpose-built
internal electronics, and even amodest case preferably one made for that
dent in the wire mesh grille can have specific model of microphone.

18 SOS Buyers Guide Microphones


adequate protection. Long ribbons
can also sag if left horizontally for long
periods, and so should be stored vertically
if possible.
If amicrophone is in frequent use, the
risk of damage from repeatedly mounting
and dismounting it from amic stand is
probably greater than that of not storing
the mic safely. It might, therefore, be
more appropriate simply to leave the mic
on the stand, but to cover it with abag
when not in use to protect from dust and
strong air currents. Some professional
studios prefer to leave their capacitor
The standard way of connecting mics is
microphones permanently mounted
with athree-pin XLR cable. Microphones
and phantom-powered to help maintain sometimes use afive-pin or seven-pin
aconstant internal temperature. version, but this tends only to be seen with
If acapacitor microphone is used in stereo and valve microphones respectively.
avery humid environment, or suffers
from condensation after being moved with age, usually resulting in aloss of
from acold area to awarmer one, the sensitivity and HF extension, and an
condensing water vapour can act to increase in noise. In particular, electret
short-circuit the diaphragm, resulting in microphones especially those from
ahissing, sizzling, or spitty background the 1970s and 80s gradually lose
noise. This will normally disappear when the stored static-electric charge (usually
the microphone has dried out and rarely taking over adecade), and some early

If well looked after, good-quality


microphones should have avery long,
serviceable life.
causes any lasting damage. However, (pre-1970s) ribbon microphones can also
adirty or contaminated diaphragm will suffer as the permanent magnet can lose
tend to retain moisture, and it may be its fluxivity. Both situations are extremely
difficult to cure the problem without hard to remedy and repairs are rarely
professional diaphragm cleaning. For cost-effective or practical.
this reason, microphones should not be
with asilica gel sachet when not in use. exposed to smoky environments, where
Connecting Microphones
Ribbon microphones, meanwhile, are smoke particles could settle on the Before the late 1970s, microphones
particularly prone to damage from strong diaphragm, or used for close vocal work employed avariety of different and
air currents and ferric debris attracted without apop shield (which will help by incompatible connection formats, but
by their magnets, and so should also be trapping water droplets and other debris standardisation on the three-pin XLR for
stored in aplastic or fabric bag to provide from the mouth before they can reach the vast majority of microphones has
the diaphragm). made interconnection significantly easier.
If well looked after, good The standardised Audio Engineering
quality microphones should Society (AES) wiring convention can be
have avery long serviceable remembered as X-screen (pin 1), L-live or
life, and its not unusual to find hot (pin 2), and R-return or cold (pin
microphones still providing sterling 3), with the outer pins being one and
service after 30 or 50 years, or two, and pin three being in the centre.
even longer. However, some Better-quality XLR sockets have an
microphones do exhibit anatural extended contact surface for pin one so
deterioration in performance that the earth makes contact before any
of the others as the connectors are mated.
For protection from moisture and
Stereo or dual-capsule microphones
dust you can keep mics in plastic
freezer bagswith silica gel sachets, usually employ afive-pin version of the
perhaps storing any dedicated XLR (there is acorresponding AES wiring
cables or accessories with them. convention), while valve microphones

SOS Buyers Guide Microphones 19


Rigging & Caring For your mic

Cable Coiling & Storage


Microphone cables tend to be long and (and in that order of preference) are the
bulky, and are prone to tangling if not stored most popular means of securing the
carefully. My preferred solution is to store individual cable coils. However, coiling
cables on apurpose-designed drum, since cables properly so that they wont tangle
this allows the fastest means of accessing is an acquired skill that is well worth
and re-packing the cables, as well as being mastering. The essential element is to
extremely space-efficient. Ifix ashort XLR reverse the direction of each coil turn
tail to the drum wired to the appropriate so that there is no overall twist through
chassis connector mounted on the drums the cable. Most people are familiar with
centre hub. Cables can then be connected the rope-coiling technique of introducing
to this tail and to each other to wind onto ahalf-twist with each new coil, usually by
the drum in one continuous length, and the rolling the thumb over the rope as each
entire set can then be checked quickly for new length is introduced to the rest of
correct function simply by plugging acable the coil. However, this practice adds half
tester between the exposed end and the twists in the same direction with every turn, and easily mastered, and ensures that there
hub connector. Where several different and although it results in aneat coil it also is no net twist within the coiled cable at all.
standard lengths or types of cables are makes the coil very prone to tangling. When the end of the cable is reached the
used, the drums can be marked accordingly When coiling amicrophone cable asimilar XLR connector is brought around the outside
for instant recognition and convenience technique is required but with alternating of the coil and plugged into the other XLR,
and that also makes it easier when enlisting twist directions for each new turn. The first and the coils are then secured together in
enthusiastic novices to help de-rig! coil is produced in the normal way with an some convenient way. To use the cable the
An alternative approach is to coil cables overhand action while the second is twisted tie is released and then, while holding the
individually, securing each coil with atie in the opposite direction and brought to the still-connected XLRs, the cable is thrown
of some description and storing them in coil with an underhand action. It sounds out to form aguaranteed tangle-free loop.
atrunk, flightcase or other box. Leather complicated but this over and under The XLRs can then be separated and the
bootlaces, Velcro tags or electrical tape technique is actually very straightforward cable plugged up as necessary.

generally use aseven-pin XLR (but with used (see Star Quality box, overleaf). as clicks or noise superimposed on the
avariety of different and incompatible The cable screen is intended to microphones signal. For this reason,
wiring conventions). prevent electrostatic and RF interference foil- and CP-screened cables tend to be
Microphones with XLR outputs from reaching the inner signal cores, and used in fixed installations rather than as
are designed to be used within there are several different types of screen. general-purpose or stage mic cables.
alow-impedance and balanced interface, Some cables use abraided or woven Another form of screening is the
and expect to see apreamp input screen, but these are fiddly to unpick lapped and double-lapped (or Reussen)
impedance of typically 1.5k to 2.5k. before aconnector can be soldered to the screen, and this tends to be more
However, this value varies with different cable, and can bunch up and open out if common on higher-quality microphone
preamp designs and can affect the the cable is bent over tight radii, reducing cables. In these cases the screen is formed
microphone tonality in some cases. the screening effectiveness and making from amulti-stranded band of wires that
Microphone cables come in avariety
of forms and specifications, as well
as lengths. Given the very low output
Coiling cables properly so that they wont
signal that most microphones produce
it obviously makes sense to keep
tangle is an acquired skill that is well
microphone cables as short as practicable, worth mastering.
but its not unusual to find professional
rigs with microphones connected to cable coiling very difficult. are wrapped in an overlapping spiral
50-100 metres of cable without any A lot of modern cables use afoil around the inner cores. The Reussen
significant loss of quality. Most cables or conductive plastic screen that is version has asecond layer of lapped
comprise two inner wires twisted together bonded to the inside of the protective screening wires wound in the opposite
for the balanced signal, sometimes cable sheath. These provide guaranteed direction to provide even better screening
spaced with packing cords, and 100-percent coverage under all coverage and cable flexibility.
surrounding that is ascreen of some form, conditions and are easy to remove when The outer sheath diameter and
followed by the tough protective outer preparing the cable for wiring; adrain material are also important in the overall
layer or sheath. The lay length or the wire usually runs alongside the foil cable performance. Thicker sheaths
rate of twist of the inner pair affects the or conductive plastic (CP) to provide provide greater mechanical damage
cables ability to reject electromagnetic the screen connection. However, in protection but also make the cable
interference to some extent, and where some circumstances this type of cable stiffer, and stiff cables tend to transmit
high rejection of EM interference from construction can become microphonic, mechanical vibration directly into the
nearby cables is important, an alternative meaning that movement of the cable can microphone, resulting in unwanted
construction, called star-quad, is often generate electrical signals which manifest subsonic noise. They can also be harder

20 SOS Buyers Guide Microphones


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Rigging & Caring For your mic

the appropriate thread for the mic stand


Star Quality you intend to use (5/8-inch US-style or
3/8-inch European-style), release the
The star-quad cable was invented in the
locking mechanism on the mic stands
1930s by the telecoms industry to minimise
interference from adjacent cables, and shaft or boom arm so that it can rotate
the name is very descriptive: the inner freely. Now, holding the microphone
core comprises four wires in astar or and its mount securely in one hand,
cross configuration instead of the usual introduce and rotate the mic stand shaft
two, with an overall screen around the into the microphone mount with the other
inner core. The inner core of four wires
until it is tight and secure. Still holding
is tightly twisted with avery short lay
length, and diagonally opposed pairs of the microphone, you can now tighten
wires are connected in parallel to provide the locking mechanism to secure the
two signal paths (to support abalanced microphone stands position.
audio interface). Most cable designs aid lay length, the smaller the loop area and Releasing the microphone and mount
identification of the requisite pairs by the better the rejection will be. However, from the stand is the reverse procedure:
colour-coding the wires, and the most if the source of interference is very close
hold the microphone securely in one hand
common arrangements are either two blue to the cable the inverse-square law of
and loosen and rotate the mic stands
and two white wires (same colours are energy propagation means that the closer
connected together), or red, blue, green wire will tend to capture slightly more shaft or boom arm with the other. Never
and white wires, with red-blue for one pair interference than the more distant wire, try to rotate the mic and mount around
and green-white for the other. and common-mode cancellation will no and around astatic mic stand thats
In atwo-wire cable, twisting the inner longer work as effectively. asure way to end up dropping the mic on
core wires together helps to minimise the The additional two cores in astar-quad the floor!
loop area which means that both wires cable overcome the problem of very
When positioning aboom-style mic
are likely to experience the same strength close-field interference by averaging out
of interference, and thus the differential the difference in energy between the stand, always ensure that one of the
receiver stands agood chance of cancelling two sides of the balanced line, since each three tripod feet lies directly under
that common mode interference out. quad pair will now have both aclose and the extended boom arm to guarantee
The tighter the twist, or the shorter the adistant wire. stability. If the boom arm extends over
the gap between two feet there is amuch
to coil and to dress tidily on microphone primary access routes to the area since greater risk of it toppling over. If in doubt,
stands. Thinner sheaths are more flexible this minimises the likelihood of people add additional weight to the base of the
and dont carry mechanical vibrations to needing to step over the cables. Using stand, such as alighting sand bag, stage
the microphone but are more prone to heavy mats and cable protectors is weight or similar. Remember, the higher
damage. The sheath material affects the agood idea, as is taping the cables down the microphone and the larger the boom
cables handling properties such as the securely where practicable. extension, the greater the risk of toppling.
ease of coiling. In very cold environments, Ideally, when using aboom arm, the
most cable sheath materials become very
Rigging Microphones weight of the microphone should be
stiff and brittle, which can be critically Rigging microphones safely and efficiently perfectly balanced by acounterweight
important if youre ever asked to record is largely amatter of common sense, at the opposite end of the boom. This
penguin mating calls in Antarctica! but there are some definite dos and ensures that the centre of gravity is above
donts to bear in
Rigging Cables mind and build
When rigging microphone cables it is best into your working
to avoid running them alongside any other practice. Most
kinds of cable, especially mains, lighting or microphone clips
digital audio cables. Instead, try to cross and shockmounts are
such cables at 90 degrees to minimise quite fiddly and stiff
the risk of interference. But if thats not especially in the
possible, keep the same cable types case of large studio
together, with as much space as possible microphones and
between different types (eg. all the mains its usually much safer
together, and well spaced from all the to fit the mic to the
microphone cables). Asmall increase in shockmount or clip at
separation can often make abig difference adesk or somewhere
to the level of interference. equally safe, before
It is also important to minimise the attaching the
risk of someone tripping over the cables, assembly to the
and to avoid placing any cables in afire microphone stand.
Attaching a microphone to its shockmount or stand clip can
evacuation route. In general, it is usually Having checked sometimes be a fiddly operation, and it is usually good practice to
agood idea to try to run cables in only that the microphone do this first, somewhere where you are not at risk of dropping the
one direction if possible, and away from mount adaptor has mic, before carefully mounting the whole assembly onto the stand.

22 SOS Buyers Guide Microphones


the stands centre column and thus that
it is inherently stable. It also minimises For stability, its always wise to position
the boom arm of amicrophone stand
the rotational forces on the boom arms
above one of the tripod feet, and also use a
clutch mechanism, reducing wear. Sadly, counterweight, whenever possible.
only the larger and more expensive stands
tend to be equipped with adequate and
movable balance weights; most stands
have pathetically small and ineffective
fixed counterweights. But its worth being
aware of the principles and arranging
for additional counterbalance weights
when necessary.
A very common complaint about
microphone stands is that they
often droop! The reason is usually
acombination of very poorly balanced
boom arms (especially when supporting
heavy valve microphones at full stretch)
and worn-out clutch mechanisms, the
latter being the direct result of forcing
the stand into new positions without first
releasing the clutches. The best way to
reposition amicrophone is avariation
on the mounting and dismounting
procedure: support the microphone in
one hand, release all the stand clutches
and grips, move the microphone to the
desired position and then retighten the
clutches and grips again (bearing in mind
the need to keep the boom arm directly
over abase leg and maintain agood
arm balance).
Obviously, repositioning the mic
requires complete freedom of movement,
and thats not possible if the microphone
cable has been wrapped adozen times
around the boom arm and stand! One or
Pop shields not only prevent
two turns are all that is required to keep
any plosives from causing
the cable neat and tidy, or plastic clips or pops, but also protect
tape can be used, while allowing relatively the mic diaphragm from
easy extension and movement. It also contamination.
makes sense to keep any spare cable
coiled up under the mic stand, rather than multi-layer fabrics, wire
back at the wall or stage box, so that the meshes, and open-cell
stand can be moved easily if required. foams. The last type tends
to have the least audible
Getting Vocal affect, closely followed by
When rigging avocalists microphone the wire mesh type, with the
it is agood idea to provide apop fabric versions sometimes
shield, partly to minimise any plosive dulling the sound slightly. In
pops, but also to avoid any diaphragm general, the larger the better,
contamination from the considerable especially if the vocalist is quite mobile! well experience surprisingly high levels
amounts of water vapour that pour out Where microphones are likely to be of air movement, resulting in turbulence
of the mouth when singing. Pop shields exposed to significant air currents it is noise. Again, some form of wind shielding
work best when there is aregion of agood idea to fit awind shield of some is asensible precaution. Outdoor wind
dead air between the screen and the kind, and this is especially true of ribbon currents can be very strong, of course,
microphone grille, the ideal spacing mics, which can be damaged by large air and if working in this environment,
being between one and two inches. currents. Remember that hot air rises, apurpose-designed windshield system
Pop shields are available in avariety of so microphones placed high over an is advised, such as one of the various
sizes and forms, including single- and audience or above a heat source might offerings from Rycote.

SOS Buyers Guide Microphones 23


Stereo Mic Arrays

On the
double!
An Introduction To Stereo Mic Arrays
Finding the right mics for your needs will set
you on your way to making great recordings, but
expanding your collection to include at least one
pair will open up all kinds of stereo possibilities...
Hugh Robjohns and they are always fully
mono-compatible. The

T
latter means that the quality
here are three fundamental stereo doesnt change significantly
microphone techniques, each with when auditioned in mono.
several variations on the theme, In contrast, spaced
and all with their routes in pioneering techniques tend to deliver
research carried out in the 1930s. These afar more spacious and
can be broadly categorised as coincident, ambiguous soundstage with very
near-coincident and spaced. In very diffuse imaging, akin perhaps to
general terms, coincident techniques awatercolour painting. Many people timbral character
tend to produce finely detailed stereo prefer this kind of stereo presentation, can change quite
imaging equivalent perhaps to but mono compatibility is usually dramatically when auditioned
adetailed line drawing or aphotograph compromised to some degree, as the in mono. The near-coincident techniques,
as the term implies, offer ablend of the
characteristics of both coincident and
spaced techniques, but with generally less
extreme strengths and weaknesses.

Coincident Techniques
Coincident-microphone stereo
techniques are so-called because the two
microphones are mounted such that their
diaphragms are aligned (or coincident)
for the vertical axis. In other words, the
microphone capsules are arranged to sit
with one directly above the other, so that
sounds arriving from sources arranged in
front of the microphones will reach both
capsules simultaneously. In this way there
can be no timing or phase differences
between the information carried in the
left and right sound channels, which
only leaves the possibility of amplitude
differences. Those amplitude differences
are produced by the use of directional
microphones pointed in different
In acoincident array, the microphones are placed so that the capsule of one mic is directly directions!
above the capsule of the other. This ensures that sound arrives at both microphones at the Typically, cardioid, hyper-cardioid or
same time, with directional information being conveyed through level differences only. figure-of-eight polar patterns will be used,

24 SOS Buyers Guide Microphones


The ORTF array, shown here,
is one of the best-known
near-coincident arrays,
which is designed to capture
timing, amplitude and phase
differences between the two
microphones. As the diagram
shows, they are placed around
17cm apart and turned away
from each other slightly.

of the microphones polar


patterns. With the same level
in both channels we will hear
acentral image between the
loudspeakers. If that source
moved 45 degrees right, it
with amutual would be directly on-axis to
angle between the right-hand mic, and so
the microphones captured at full amplitude,
typically being 90 degrees, while the sound would arrive
although awide range of in the side null of the left
alternative angles are possible, microphone and so be virtually
depending on the precise configuration inaudible. Hence there is
used and the required stereo recording asignificant level difference
angle (SRA). If you consider acoincident between the two channels
pair of figure-of-eight microphones and we will hear an image fully to the
set with amutual angle of 90 degrees, right on the loudspeakers. Intermediate
the left figure-of-eight will be facing positions of the sound source will produce
45 degrees to the left, while the right corresponding image positions between
figure-of-eight is facing 45 degrees to the speakers.
the right, both angles relative to the As that example shows, coincident
forward centre axis. Asound source figure-of-eight microphones will produce
in the centre front of the two mics will astereo recording angle (SRA) of 90
arrive at both mics 45 degrees off-axis, degrees, meaning that the arc angle in
and so will be captured equally by both front of the microphones to achieve the
mics but at areduced level because fully left and fully right image positions on the loudspeakers is 45 degrees. So if you
are recording an orchestra and want the
back desk of violins and basses to be fully
left and right, respectively, in the stereo
image, the coincident figure-of-eight
microphones will need to be placed in
the concert hall such that the orchestra
subtends an angle not greater than 90
degrees. Given the large size of atypical
orchestra that generally means the mics
will have to be placed quite along way
back in the hall, and that will usually mean
quite an ambient recording.
In contrast, apair of coincident
cardioids with amutual angle of 90
degrees produces an SRA of about 180
degrees, and so, for the same spread
of orchestra between the speakers, the
microphones will have to be placed more
or less directly above the conductors
head. Consequently, there will be much
more direct sound and rather less hall
Spaced microphone techniques are intended to capture the difference in time between sound
arriving at each microphone. Here we can see just two microphones being used quite far ambience, and so the perspective may be
apart. This can leave ahole in the centre of the stereo image, which is often recitified by the unnaturally close!
addition of athird, central microphone, such as in the Decca Tree array. A handy way of thinking about

SOS Buyers Guide Microphones 25


Stereo Mic Arrays

Checking Matched Pairs


Coincident techniques rely
upon very small differences
in signal amplitude between
the two channels to convey
stereo imaging information.
Consequently, it is essential
to match the gains through
the entire stereo signal
path when configuring
acoincident pair, as there
are many opportunities for
inaccuracies to creep in,
including the mics sensitivity,
the preamp coarse and
fine gain settings, and the
channel, group and main
faders. Also, do not assume
that two microphones
of the same type are
inherently suited for use in
astereo array: production
tolerances, minor damage,
component ageing and
model revisions can all
alter the performance of
amicrophone in subtle ways,
which may be irrelevant
when used individually, but
which can have aprofound
effect when used as part of
astereo array. The 10-step alignment and the microphone connected to the left In coincident arrays, the capsules should
compatibility-checking process described channel will eventually be facing the be placed one above the other, and as
below is simple, but very accurate, and is left-hand side of the sound stage (from close together as possible. The lower-left
considerably faster to do than to describe! the viewpoint of an audience behind the arrangement isnt ideal, as the horizontal
microphones). If apair of mono channels distance between the capsules will
1. To start the alignment process, mount is being used to control the stereo signal, introduce time-of-arrival differences
the microphones such that the capsules use afader clip or similar mechanical
are aligned vertically above one another to arrangement to ensure both faders move 4. Using an appropriate sound source (pink
ensure coincidence in the horizontal plane. If together. noise from aloudspeaker or an assistant
this is not practical the two capsules should humming at aconstant level) placed directly
be mounted as close as possible to each 3. If the microphones have adjustable polar in front (on-axis) of the microphone pair,
other and arranged in such away as to avoid patterns select the required mode on both adjust the gains of both microphone channels
creating sound shadows in each others microphones and set the mutual angle to provide approximately the required signal
pickup area. between the microphones to zero such level for the recording (with the faders at
that both capsules are initially arranged to their normal position). If the sound source
2. Next, check the signal routing and face directly forwards. This ensures that, used for this calibration is significantly quieter
panning to make sure that each microphone regardless of the incident angle of the than that expected for the recording (for
feeds only one mix output channel (left sound source, both microphones will receive example, using avoice for alignment before
or right, as necessary). Identify which exactly the same level, which is critical to the afull orchestral recording) the alignment
microphone is connected to which channel: alignment process. process will have to be done at alow level,

the relative perspectives of different between the other two. Spaced Techniques
microphone arrays is to compare them Choosing which coincident array to
to camera lenses. The figure-of-eights use in agiven situation is an iterative The spaced microphone technique
are the equivalent of atelephoto lens process with several variables. The deliberately captures timing and phase
(they need to be placed along way back required recording perspective, which is differences between the two channels,
to get everything in!) and the cardioids determined in part by the halls acoustics, because sound from asource near the
are awide-angle lens, needing to be will indicate the approximate microphone side of the recording area will inherently
very close to fill the frame. Extending array position, and that will then reach one microphone before the other.
this dubious analogy alittle further, determine the required polar patterns Depending on the distances involved,
coincident hyper-cardioids with amutual to achieve the necessary image width. there may also be asmall level difference
angle of 90 degrees produce an SRA of There is then usually some adjustment of too. Although any polar pattern could be
about 140 degrees and are more like position, mutual angle and polar patterns used in aspaced array, the most common
astandard lens, being roughly midway to optimise the sound quality. approach is to use omnidirectional

26 SOS Buyers Guide Microphones


heard over the 90 degrees making sure that the
loudspeakers. Minor previously identified left microphone is
discrepancies in the facing the left side of the sound stage.
frequency and phase If you find that the stereo image is the
response of the two wrong way around do not swap the cables
microphones (or of to the microphones or desk channels as
the desk channels and this would destroy the gain alignment
monitoring system) completely! Instead, remount (or rotate) the
usually prevent the microphones to face the correct directions.
signal from being If this is not feasible alter the desk routing
nulled completely, (reverse the pan-pots, for example) and
but avery obvious take more care over the initial channel
deep null should still identification the next time!
be obtained. This
completes the accurate 10. Finally, dont forget to reset the
system gain alignment, monitoring or faders back to their standard
so do not alter the operating levels and modes having
gain controls again completed the alignment and other checks!
after this adjustment
has been performed. In situations where the microphones cannot
This mounting position should never be be physically manipulated to face in the
used, as the microphones are shadowing 7. Remove the polarity reverse from the same direction to start this alignment
one another, meaning that sounds monitoring or input channel and, with the procedure perhaps because they are
arriving from either side are not picked loudspeakers (still) switched to mono, suspended high above the floor and have
up correctly. confirm that there is asharp and stable to be set to the desired mutual angle when
central image. Return the monitoring they are rigged the solution is to use
but it is important that the channel gains to normal stereo and check that the microphones with remotely controlled polar
are set and matched for the anticipated image doesnt move. If it does, there is patterns. The alignment procedure is then
higher recording level. It may, therefore, be an alignment error in the loudspeaker basically the same as above, except that,
helpful to set the faders beyond their normal monitoring circuits. Check the monitoring instead of rotating the microphones to face
position, and/or to increase the monitoring balance control and/or the loudspeaker or the same way, the remote control facility
level so that the voice can be heard clearly amplifier input level controls. is used to select omnidirectional polar
during the alignment. patterns for both capsules. In this condition
8. Having aligned the channel gains for the both microphones should pick up sounds
5. Having set the approximate channel gains, front-on axis of the two microphones, it is equally from all directions and, therefore,
the next stage is to match them precisely to important to check that their polar patterns the preset mutual angle becomes irrelevant
one another. The best method is to listen to are matched for all angles of incidence. The to the alignment process. The rest of the
the left-right difference signal and adjust for easiest technique is to ask an assistant to procedure is identical, but it will not be
the best null. If the loudspeaker monitoring walk slowly around the microphone pair while possible to check that the polar patterns
controls provide mono and polarity reversal talking. The quality and level of speech will are matched for all angles of incidence.
facilities, use them to audition the difference vary according to the selected polar pattern
(S or Side) signal. If the polarity reverse of course, but since both microphones are The accuracy of alignment is not guaranteed
facility isnt available in the monitoring facing in the same direction the stereo image when using this variation of the alignment
section, select mono and introduce apolarity should remain firmly in the centre of the procedure, because the system that changes
reverse on the right input channel instead to sound stage. If it doesnt, the microphones the polar pattern of acapacitor microphone
achieve the same result. have unmatched polar patterns and are not also alters its sensitivity. However, with
acceptable for use as astereo pair. good-quality stereo microphones any
6. Adjust the (fine) gain control of the right discrepancies should be identical for both
input channel to produce the deepest null 9. Now, rotate the microphones to the mics and any errors are, therefore, usually
(minimum difference or Side signal level) required mutual angle typically around negligible.

microphones. Indeed, this is the only than about 1m tend to leave ahole in the Stichting). Near-coincident arrays use
stereo technique that can use a pair of centre of the image: acondition that is directional microphones configured with
omnidirectional microphones. It is often usually rectified by the addition of athird, amutual angle and spaced apart, so that
used where the greater bass extension central microphone, such as in the Decca they capture timing, phase and amplitude
and natural off-axis sound character of Tree array. differences proportional to the angle of
omnidirectional microphones is preferred. sound incidence. The ORTF array uses
If omnidirectional microphones are
Near-Coincident Arrays cardioids with amutual angle of 110
spaced by about 0.5m the effective The two best-known near-coincident degrees and spaced 0.17m apart, and
SRA is roughly 100 degrees, with wider arrays are the ORTF and NOS arrays, produces an SRA of about 95 degrees.
separations reducing the SRA and vice which are both named after the European The NOS array also uses cardioids but
versa. Spacing the mics less than about Broadcasting companies that invented with asmaller 90-degree mutual angle
0.37m results in alack of any real sense of them (Office de Radiodiffusion Tlvision and alarger 0.3m spacing, to produce an
stereo imaging, while separations greater Franaise and Nederlandse Omroep SRA of about 80 degrees.

SOS Buyers Guide Microphones 27


Understanding Microphone Preamps

Pre school
final recorded material, and its perfectly
possible to make hit records with the
standard preamps in aMackie console!
Most mic preamps are solid-state,
which means that they perform the
necessary amplification using discrete
Understanding Microphone Preamps transistor or integrated op-amp gain
stages, but some use vacuum tubes. Many
The best microphone in the world is useless without away use Class-A circuit topologies but others

to transfer its signal to your recording system. Welcome to


are Class-AB, and some are DC-coupled.
Most modern preamps are transformerless,
the wonderful world of the mic preamp... with direct differential inputs and active
balanced outputs, while some
Hugh Robjohns particularly vintage

T
designs employ
he output signal produced by virtually input and output
every microphone is very small, so transformers.
for all practical applications, it needs Output
to be amplified to raise it up to the typical transformers
line level that recorders and other audio provide galvanic
equipment expect to receive. The device isolation, which helps
that does this is called a microphone avoid ground loops
preamplifier or mic preamp. Mic because there is only
preamps are sometimes built into magnetic coupling (ie. no
recorders, and are usually included in electrical connection) through the
each input channel of amixing console, transformer, and input transformers
but they are also available as stand-alone step up the signal voltage providing
pieces of equipment. free gain, which reduces the workload
A number of strategies can be of the electronics. They also limit the audio
Alhough expensive
employed in the design and construction preamps may offer bandwidth to some extent and introduce
of amic preamp, as Ill explain, with each arange of extra facilities, its harmonic distortion both of which
having advantages and disadvantages. actually perfectly possible to make can be musically appealing in the right
In general, however, all are capable of great recordings using just the preamps circumstances.
superb performance when designed and on abudget console.
implemented well. While there are clearly
Impedance
audible differences between modern faster slew rate (meaning that they can The balanced microphone interface is
budget preamps and exotic high-end represent transient signals such as drum designed to work as alow-impedance
units, those differences are generally quite hits more faithfully), more gain, less phase voltage-transfer system, where the
small far smaller than the difference shift, and more headroom than more preamps input impedance is roughly five
made by moving amicrophone relative to modestly priced preamps, and sometimes to 10 times higher than the microphones
the source by afew inches, for example! these things are important... but often such source impedance. The principal benefit
High-end units may have wider bandwidth, benefits have relatively little impact on the is that this allows very long microphone

28 SOS Buyers Guide Microphones


cables to be used without the risk of signal
losses: assuming decent mic cables are
being used, runs of up to 100 metres can
be used without any significant audible
reduction in audio quality. Even longer
cable runs can often be employed quite
satisfactorily if necessary, though of course
High-end preamps tend to have higher input impedances that enable more accurate signal
it makes sense to minimise the length
transfer. This Grace Design M201 preamp, for example, has an input impedance of over 8k.
of cable connections where possible
to reduce the risk of interference and impedance loading to determine asetting microphones that use valve circuitry to
high-frequency losses. that provides the desired tonality. However, implement the internal amplification usually
Many preamps provide input there is no absolute right or wrong setting, employ an external mains power supply.
impedances in the range of 1.2 to 2.5 k, and no damage will occur by choosing However, the vast majority of capacitor
but in general, higher input impedances aparticularly low or high impedance. microphones use aform of powering
load the source less and enable amore Essentially, where avariable input known as phantom power (see the How
accurate signal transfer with reduced impedance option is available, its setting Microphones Work article for more), so the
transient distortion, so most high-end mic should be viewed as akind of complex vast majority of microphone preamps have
preamps tend to have significantly higher EQ control, the effect of which will be the ability toprovide this.
input impedances. For example, the later different with different microphones. Only The most common form of phantom
Rupert Neve-designed preamps present experimentation and personal preferences power is known as P48, and involves
well over 5k, the Millennia HV3C preamp can determine the most appropriate a48V (4V) DC supply connected with
has an input impedance of nearly 7k, setting. External impedance-varying the positive side feeding both of the
Grace Designs M201 is over 8k, and AEAs units such as the Magneto Audio Labs balanced audio lines (XLR pins 2 and 3)
bespoke preamps for ribbon microphones VariOhm are also available for use with via 6.8k resistors, and the negative side
present an impedance of over 18k. fixed-impedancepreamps. connected to the screen. If amicrophone
However, many microphones that The tonality of microphones with cable is damaged such that the screen
were designed back in the 1950s and electronically buffered outputs, such as the connection is broken, phantom power will
60s, such as the ubiquitous Shure SM57, Neumann TLM range, isnt affected by load no longer work, and semi-pro microphones
were originally designed to work with impedance (although transient distortion with an unbalanced output will effectively
typical transformer-input mic preamps might be) and, in general, the higher the short-circuit the phantom supply. The
of the day, and such preamps often input impedance the better with these maximum current available to power
had input impedances as low as 300 kinds of microphones. aconnected microphone is restricted to
or 600 . Microphones with output about 14mA, but most microphones need
transformers, especially those designed for
Powering only between 2 and 8 mA.
low-impedance loading, can deliver quite All capacitor (condenser) microphones A low-voltage form of phantom power
significantly different tonalities depending include an internal amplifier stage, which called P12 is also defined in the relevant
on the loading impedance, and the same transforms the very high-impedance capsule international standards. This is intended for
is true of dynamic types where the voice signal environment to the low-impedance battery-powered equipment and operates
coil is connected directly to the preamp. microphone cable requirement, and with a12V (3V) DC supply, wired in the
For this reason, some preamps now feature these internal amplifiers require power. same way as P48 (but with 680 coupling
adjustable input impedance options, In some electret microphones this power resistors) and with the same current supply
allowing the user to experiment with the comes from an internal battery, and those restrictions. Some non-standard equipment
is also available with 15 or 24 V variations.
However, relatively few microphones
will work adequately (if at all) with these
low-voltage supplies, and it is important
to check the microphone and preamp
specifications to ensure that the available
power supply is appropriate.
At the other end of the scale, Danish
Pro Audio (DPA) produce arange
of microphones that require avery
high-voltage version of phantom power.
This system works with 130V DC supplies
to provide significantly greater headroom
in the microphones internal impedance
converter stage, and thus accommodates
extraordinarily high sound-pressure levels
without distortion. It is available on afew
high-end mic preamps, such as those from

SOS Buyers Guide Microphones 29


Understanding Microphone Preamps

Millennia and Grace Design. normal phantom or T-powered


An obsolete form of powering made microphones.
popular in the film and TV location sound
industry, and still found occasionally on
A Lot To Gain
location mixers and recorders, is called I have already mentioned the
Tonader or T-power (sometimes also known need for adjustable gain in amic
as A-B power). This is asimple 12V DC preamplifier. A20 to 60 dB range
system connected between the hot and is sufficient for most applications,
cold audio connections, but Iam aware of although if only high-output
only one specialist T-powered microphone capacitor mics are used in close
still in production. proximity to sources, as would be typical Most preamps will offer metering in some
form usually either as atraditional,
Finally, plug-in power is commonly in ahome studio, then 40dB of gain might
analogue-style VU meter, or atraffic-light
available on most consumer video be sufficient afew preamps built into LED display.
cameras and audio recorders. This is used computer interfaces provide no more than
in conjunction with unbalanced 3.5mm this. Conversely, again range spanning 0 to apreamplifier with anormal gain range of
microphone connectors and is intended for 80 dB would cater for insensitive mics placed 20 to 60 dB would actually provide 0 to 40
powering consumer electret microphones. at adistance from quiet sources, as well as dB when the 20dB pad is switched on.
The supply voltage is normally in the range coping with sensitive mics in loudplaces. In general there is asmall noise penalty
of 1.5 to 5 V DC, with current restricted The gain adjustment can be provided when using the pad, and although this is
to less than about 3mA. Plug-in power is either by acontinuous rotary control, as insignificant when the source signal is very
connected between the audio terminals is usually the case in budget equipment, large, it can become audible with quiet
(tip and ring) and the screen terminal or by aswitch arrangement of some kind, sources, so it is best not to engage the pad
(sleeve), and is not compatible with such as arotary switch or digital increment unless absolutely required.
and decrement buttons. Where the gain Some preamplifiers also incorporate
control is performed with asimple rotary an adjustable output level control, which
potentiometer, it is very common to find serves several purposes. Such afacility
that the relationship between the controls can be used to fade the signal level
rotation and the applied gain is quite feeding the recorder up or down during
non-linear. Frequently, most of the gain aperformance, if required: this old school
range ends up in the last quarter of the fader-riding technique was de rigueur to
controls rotation, and this can make it optimise the signal-to-noise performance
difficult or fiddly to set the gain accurately, when recording to tape, with its inherently
which can be frustrating if trying to match restricted dynamic range. Alternatively, if
gains for astereo array, for example. apreamp does nice things to the sound
Unfortunately there is no easy solution to when the input stage is overdriven, as
this issue, which is why the more expensive many valve preamps do, the output
preamps tend to use switched gain controls control can be used to rein the signal level
instead. Typically, the gain is switched back to something more acceptable to
in consistent 5 or 6 dB steps, allowing the rest of the recording chain. In some
precise and repeatable gain settings to be cases, particularly budget, multi-purpose,
made; there is often also acontinuously analogue mixing consoles, there is also
adjustable fine trim control as well to allow aswitchable output attenuator. This works
intermediate gain settings. in asimilar way to the input pad, but is
To accommodate very high signal levels, designed to reduce the output level from
such as from amic placed in akick drum, nominal line level (+4dBu) to atypical
many preamplifiers are equipped with microphone level (-30 or -40 dBu) so
apad or input attenuator switch. When that the signal can be fed directly to the
activated, this typically reduces the level microphone input of another console or
of the signal from the microphone by 15 recorder withoutoverloading it.
or 20 dB before the signal is passed to the
If amic has electronically buffered outputs,
preamplifier itself. This reduces the risk of
Other Facilities
such as this model from the Neumann TLM
range, its performance will not be greatly the preamplifier being overloaded, and Most microphone preamps include
affected by load impedance. effectively shifts the entire gain range. So aswitchable high-pass filter, intended

30 SOS Buyers Guide Microphones


to remove unwanted low-frequency higher than this and you risk clipping the
information, such as rumbles and spill A-D converters, and the whole process of
from other instruments playing in the recording and mixing becomes far harder!
studio at the same time. Sometimes this In practice, this means that the signal will
high-pass filter has selectable turnover appear to occupy only the bottom half
frequencies or is continuously adjustable. of the meters display, which looks wrong
It is good practice to remove unwanted when compared to atypical analogue
low-frequency energy, as it quickly builds up meter. Nevertheless, it is correct and the
with multiple sources to muddy the mix. equipment will work perfectly well
Most mic preamps also incorporate exactly the same as traditional analogue
some form of metering, such as equipment, in fact, and with the same (or input impedance than anormal microphone
amoving-coil or LED bar-graph VU better) signal-noise ratio. input typically between 250k and 1M
meter, or some kind of green-orange-red Finally, many mic preamps also include and is far less sensitive (typically -30dBu
traffic-light display. Microphone preamps an instrument or DI (direct inject) input. or so). The idea is to allow aguitar or
are designed to raise the average signal This is an unbalanced input designed to keyboard to be recorded directly, without
level to around normal line level, +4dBu accept the signal from an electric guitar, the tonal character normally imposed by an
or 0VU. However, real musical audio is full bass or keyboard. It presents amuch higher instrument amplifier and loudspeaker.
of brief transient peaks that extend way
above this, which is why aprofessional
preamp wont overload or clip until the
level exceeds +24dBu or so. The space
between the average level at +4dBu and
the peak clipping point at +24dBu is
called the headroom margin, and 20dB
is afairly typical headroom margin. VU
meters and their LED equivalents tend to
react too slowly (by design) to indicate
brief transients; we dont tend to notice
or worry about them, and thats why the
scale on traditional VU meters stops at
+5VU (or thereabouts). When using these
kinds of meters, the aim is to adjust the
preamp gain so that the signal tends to
hover around the 0VU mark most of the
time, with transients kicking higher. If the
preamp has atraffic-light display, the aim
would be to adjust the level so that the
orange LED illuminates often, but the
red never or only very rarely although
do read the manufacturers handbook
as different designs vary somewhat in
theirinterpretation.
Its important to keep in mind the
difference between this style of analogue
meter and the digital peak-reading meters
found in acomputer interface (even one
with built-in preamps) or DAW. These do
display brief transients, and are scaled from
0dBFS (peak digital level) at the top down
to -50dBFS or lower at the bottom. In
other words, they show the full headroom
margin that analogue meters omit, and
this can be very misleading to the novice.
When using these meters you must
remember that the top half of the scale is
showing the headroom margin, which is
there to accommodate occasionally loud
transients. The average signal level should
hover around the -20dBFS mark, and
peaks should rarely exceed -10dBFS. Any

SOS Buyers Guide Microphones 31


Understanding Product Specifications

specs appeal
Understanding Product Specifications
Theres a load of information on every model in
this guide, but what does it actually tell you about how
the microphone is likely to perform?
Hugh Robjohns (which include electret forms) are

W
sub-divided into three diaphragm
hen considering the purchase size ranges, the reason being that this
of a new microphone it is often parameter determines several other
useful to draw up ashortlist important characteristics, such as
of potentially suitable models based on sensitivity, self-noise, high-frequency
things like price and technical performance, response, and off-axis coloration.
the latter being determined from the Larger diaphragms are more sensitive
manufacturers published specifications. and have lower self-noise, while
The specification data included in this smaller diaphragms are less sensitive
guide has been gathered directly from and have higher self-noise, but have
The specifications of each microphone
the manufacturers and has, as far as abetter high-end response and suffer
are clearly listed beside each model in the
is practicable, been standardised to less off-axis coloration. guide, along with any accessories that are
ensure the fairest possible comparisons. Valve microphones are also identified supplied with the microphone, and any
More extensive information, including separately, although they are always optional accessories that can be purchased
polar and frequency response plots, and capacitor mics, usually with external power from the manufacturer.
comprehensive search tools can be found supplies. Boundary layer (usually electret
on the independent Microphone Data web capsules) or pressure-zone mics have boundary itself reduces the polar pattern
site (found at www.microphone-data.com), avery different physical form from all other to ahemisphere instead of being
many of which have links back to the SOS microphones and thus deserve aseparate omnidirectional. The Ear/Sphere/Dummy
review of the corresponding microphones, identifier again, along with asub-group head option refers to specialised binaural
where available. called specialised application mics, which recording arrangements.
Much of the microphone specification includes drum mics, piano mics, string and To conclude the basic description
data is probably self-explanatory, but brass clip-on mics and head-worn mics. and identification of each microphone,
some terms may be less familiar, or the These usually have bespoke mounting the guide lists the maximum dimensions
significance of some specifications might arrangements and/or specialised technical and weight, along with any supplied and
not be entirely obvious, so its probably specifications, such as unusually high SPL optional accessories.
worthwhile explaining what they all mean ratings.
and what the implications or relevance A microphones polar response derives
Dealing With Decibels
might be in arriving at purchasing decisions. from one of three principal operating Having identified the type of microphone
modes: pressure operated (omni), pressure we are dealing with, the guide goes
Product Type & Polar Pattern gradient (figure-of-eight) and interference on to specify most of the all-important
The electrical technology employed in tube (rifle). The additional polar responses engineering parameters, starting with the
amicrophone is completely independent listed are obtained by combining pressure bandwidth. To be of value, the frequency
of its acoustic mode of operation (which and pressure-gradient operation in response should be quoted with amplitude
determines the polar response), and these various proportions through the use of limits (such as 3dB) to define the extent
two fundamental properties can be freely phase-shift capsule designs, resulting in of included amplitude variation, but not
mixed and matched by the manufacturers sub-cardioid (or hypo-cardioid), cardioid, every manufacturer seems able or willing
to achieve the desired performance and hyper-cardioid and super-cardioid patterns. to provide this information. In any case,
practical characteristics of each mic design. Rifle microphones are usually based on it is often more beneficial to examine
This guide identifies amicrophones hyper- or super-cardioid capsules with afrequency response chart to fully
electrical technology which is the major aslotted interference tube mounted in appreciate the nature of any presence
influence on its physical form within front of the diaphragm. The tube provides peaks, bass proximity effects, and the
eight product type categories. The list improved rejection of high-frequency rate of roll-off at the bandwidth extremes,
starts with dynamic, which in this specific signals located to the sides, and alonger as well as to inspect the polar response
case means amoving-coil microphone, tube maintains the narrow directionality to plots to note how the frequency response
as opposed to aribbon mic, which has lower frequencies. Most boundary-layer varies for off-axis sounds. Unfortunately
its own identifier. Capacitor microphones mics are pressure-operated, but the space prevents the inclusion of such

32 SOS Buyers Guide Microphones


complete graphical information here, but Here are examples
the relevant plots can be found online at of alarge-diaphragm
www.microphone-data.com. microphone (left) and
The sensitivity of amicrophone defines asmall-diaphragm mic
(right). Large-diaphragm
the relationship between the acoustic
models tend to be
and electric domains and is specified as more sensitive and
the number of millivolts generated when have less self-noise,
the microphone capsule is subjected to while small-diaphragm
an acoustic sound pressure of one Pascal mics may offer reduced
(mV/Pa). For reference, it is worth noting off-axis coloration.
that the acoustic pressure value of 1Pa can
also be expressed as asound pressure level in modern solid-state
of 94dB SPL. microphones (although
All electrical devices have operating it can be significant
boundaries beyond which no useful output in vintage and valve
is obtained and, in the case of microphones, microphones). The
these are the maximum sound pressure self-noise is expressed
level that the microphone can transform as an equivalent acoustic
into an electrical signal before gross noise value (dBA), with an A-weighting that most valve microphones, internal batteries,
distortion ensues, and also its noise floor. takes account of the audibility of different or some form of powering transmitted
These parameters are normally only quoted frequencies in low-level sounds. Essentially via the microphones output cable. Of
for electrostatic microphones (capacitor this specification provides the acoustic these, the most common is phantom
and electret) in which distortion can result sound level that would produce the same power, although this is available in at
from capsule or electronic overloads. electrical output signal as the inherent noise least two forms (48V and 12V), and while
Again, amaximum SPL figure without produced by the microphone. Subtracting most microphones require standard 48V
adefining percentage of distortion is of the self-noise figure from the max SPL phantom (P48), some can accommodate
little use since it makes comparison with figure provides an indication of the dynamic avery wide range (eg. P9-52V). There are
other microphones impossible. Most range capability of the microphone. also two alternative powering forms: the
manufacturers now quote Max SPL at The output impedance and now-obsolete T-power (also called Tonader
0.5 percent THD, but where aone-percent recommended load parameters are or AB powering), and plug-in power,
THD value is given instead, arough rule specified in Ohms () and document which is found on alot of budget electret
of thumb is to assume the quoted value is the ability of the microphone to drive mics and portable domestic recorders.
about 6dB greater than the the cable (lower output The amount of supply current required
equivalent 0.5-percent THD impedance means by the microphone is also listed in the
value. abetter ability to drive guide, as this affects battery life in portable
equipment and indicates the potential
Feel The Noise The polar pickup
stress placed upon amixing consoles
pattern(s) that aparticular
The self-noise rating microphone is capable of phantom supply. The maximum current
is ameasure of the producing will be listed in allowed in the P48 specification is 10mA,
microphones electrical this guide. Thisdiagram but ideally amicrophone shouldnt require
output when no audible shows acardioid more than 2 or 3 mA.
sound is present. In pattern (the green line), Most microphones employ amale
an omnidirectional
electrodynamic (moving-coil XLR-3 output connector, but stereo or
pattern (in blue), and the
and ribbon) microphones this figure-of-eight (shown dual-output mics usually use an XLR-5, and
is the sum of noise generated in red). specialist multi-channel, valve and vintage
by random air-particle microphones can use avariety of other
movement near the diaphragm together along cable), and the minimum load connectors.
with the noise generated by thermal necessary to ensure the signal is received Many capacitor and electret
agitation in the voice coil or ribbon itself, as intact. Higher load impedances at the microphones are equipped with
well as the output transformer (if present). microphone preamp are usually beneficial, switches to introduce an attenuator to
In some ribbon microphones this noise can, while lower load impedances can cause increase the maximum SPL capability,
surprisingly, be higher than the self-noise of frequency-response anomalies and transient and ahigh-pass filter. The filter may be
acapacitor microphone, even though it is distortion. designed to compensate for the proximity
rarely given in the specifications. All capacitor and electret microphones effect in directional microphones placed
In capacitor microphones the self-noise include an impedance-converter amplifier close to the sound source, or may be
is mostly due to the random air movement stage that requires power. Some ribbon intended to reduce the amplitude of
in front and behind the diaphragm. and moving-coil microphones include unwanted low-frequency signals, such as
Electronic noise from the impedance abuffer amplifier that also requires power. mechanical vibration and wind noise. The
converter amplifier is also present, of This power can be provided in many forms, former type tends to be less steep and start
course, but is rarely the dominant source such as astand-alone mains supply for at ahigher frequency than the latter.

SOS Buyers Guide Microphones 33


DYNAMIC MICROPHONES

DYNAMIC
MICROPHONES
Dynamic mics encompass both moving-coil microphones and ribbon
microphones, but as the two types are so different, weve given the
ribbon mics their own dedicated section. Moving-coil dynamic mics
might seem like the poor relation of the capacitor microphone in
that they tend to be less sensitive and have less high-frequency reach
but they can still be the best choice in some situations. Their direct,
punchy sound makes them popular for close-miking drums
and guitar amps, while some rock and
urban artists prefer them for recording
vocals. Moving-coil mics also have
the advantage of being physically
tough, they require no phantom
power, andmany models can handle
extremely high SPLs.

AKG D5
$99
Pad: -
Filt Freq: -
Slope: -
Founded in Vienna in 1947, AKG Acoustics are a Polar: Supercardioid SA: Protective bag,
manufacturer of microphones, headphones, wireless Dim: 51 x 285 (mm) stand adaptor
Wght: -
audio systems and related accessories for professional Freq: 70Hz - 20kHz
OA: -

and consumer markets. Some of their vintage models, Out Sens: 2.6mV/Pa
like the C12, are both rare and desirable, while their Max SPL: 147dB
Self Noise: 18dBA
current models, including the C414, can be found in Out Imp: <600
studios around the world. Rec Load: >2000
Pwr Type: -
HQ: www.akg.com Alt Pwr: -
SC: -
Con via: XLR-3 (M)

D7 Pad: - Pad: -
Filt Freq: -
D40
Filt Freq: -
$179 Slope: -
$99 Slope: -
Polar: Supercardioid SA: Replacement inner Polar: Cardioid SA: Case, adapter plate
Dim: 51 x 185 (mm) windscreen, protective Dim: 44 x 104 (mm) OA: -
Wght: 340g case, stand adaptor Wght: 245g
Freq: 70Hz - 20kHz OA: - Freq: 75Hz - 20kHz
Out Sens: 2.6mV/Pa Out Sens: 4mV/Pa
Max SPL: 147dB Max SPL: 144dB
Self Noise: 18dBA Self Noise: 18dBA
Out Imp: <600 Out Imp: <200
Rec Load: >2000 Rec Load: >1000
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

34 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

D230 Pad: - D12 VR


Filt Freq: -
$199 $499
Slope: -
Polar: Omnidirectional SA: Stand adaptor Polar: Cardioid
Dim: 50 x 218 (mm) OA: Windscreen Dim: -
Wght: 225g Wght: 810g
Freq: 40Hz - 20kHz Freq: 17Hz - 17kHz
Out Sens: 2.5mV/Pa Out Sens: 1.2 mV/Pa
Max SPL: - Max SPL: 164dB
Self Noise: - Self Noise: -
Out Imp: 320 Out Imp: -
Rec Load: >1000 Rec Load: 1000
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: - Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
D112 Pad: - SA: -
Filt Freq: -
$199 Slope: -
OA: -
Polar: Cardioid SA: Stand
Dim: 70 x 115 (mm) adaptor, carry
Wght: 380g case
Freq: 20Hz - 17kHz OA: -
Out Sens: 1.8mV/Pa
Max SPL: -
Self Noise: -
Out Imp: 210
Rec Load: >600
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Audix i5
$150
Founded in 1984 in California, Audix are a well- Polar: Cardioid
respected manufacturer of microphones for stage, Dim: 38 x 142 (mm)
Wght: 183g
studio and specialised purposes. Their dynamic mics, in Freq: 50Hz - 16kHz
particular, are very popular with engineers. Out Sens: 1.5mV/Pa
Max SPL: 140dB
HQ: www.audixusa.com Self Noise: -
Out Imp: 150
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
OM7 Pad: -
SA: Heavy-duty nylon mic clip
Filt Freq: -
$310 Slope: -
(MC1), carrying pouch (P1)
Polar: Cardioid OA: Foam windscreen (WS-i5),
SA: Heavy duty nylon various mounts
Dim: 53 x 176 (mm) clip (MC1), carrying
Wght: 307g pouch (P1)
SOS Review (May 2007)
Freq: 48Hz - 19kHz OA: Foam windscreen
(WS357) www.soundonsound.com/sos/
Out Sens: 0.8mV/Pa
may07/articles/audixi5.htm
Max SPL: 144dB
Self Noise: -
Out Imp: 150
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

SOS Buyers Guide Microphones 35


DYNAMIC MICROPHONES

OM2 Pad: - OM3 Pad: -


Filt Freq: - Filt Freq: -
$133 Slope: -
$180 Slope: -
Polar: Hypercardioid SA: Clip, pouch Polar: Hypercardioid SA: Clip, pouch
Dim: 176mm OA: - Dim: 176mm OA: -
Wght: 307g Wght: 307g
Freq: 50Hz - 16kHz Freq: 50Hz - 18kHz
Out Sens: 1.6mV/Pa Out Sens: 1.6mV/Pa
Max SPL: 140dBA Max SPL: 144dBA
Self Noise: - Self Noise: -
Out Imp: 290 Out Imp: 290
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

OM5 Con via: XLR-3 (M) OM6 Pad: -


Pad: - Filt Freq: -
$235 Filt Freq: -
$295 Slope: -
Polar: Slope: - Polar: Hypercardioid SA: Clip, pouch
Hypercardioid SA: Clip, pouch Dim: 176mm OA: -
Dim: 176mm OA: - Wght: 307g
Wght: 330g Freq: 40Hz - 19kHz
Freq: 48Hz - 19kHz Out Sens: 1.5mV/Pa
Out Sens: 2mV/Pa Max SPL: 144dBA
Max SPL: 144dBA Self Noise: -
Self Noise: - Out Imp: 290
Out Imp: 200 Rec Load:
Rec Load: Pwr Type: -
Pwr Type: - Alt Pwr: -
Alt Pwr: - SC: -
SC: - Con via: XLR-3 (M)

f50 Pad: - D2 Pad: -


Filt Freq: - Filt Freq: -
$65 Slope: -
$195 Slope: -
Polar: Cardioid SA: Clip, pouch Polar: Hypercardioid SA: Clip, pouch
Dim: 169mm OA: - Dim: 100mm OA: -
Wght: 312g Wght: 128g
Freq: 50Hz - 16kHz Freq: 68Hz - 18kHz
Out Sens: 1.8mV/Pa Out Sens: 1.2mV/Pa
Max SPL: 138dBA Max SPL: 144dB
Self Noise: - Self Noise: -
Out Imp: 250 Out Imp: 280
Rec Load: Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

D4 Pad: - FireBall Pad: -


Filt Freq: - Filt Freq: -
$265 Slope: -
$220 Slope: -
Polar: Hypercardioid SA: Clip, pouch Polar: Cardioid SA: Clip, pouch
Dim: 100mm OA: - Dim: 77.5mm OA: -
Wght: 128g Wght: 128g
Freq: 40Hz - 18kHz Freq: 50Hz - 16kHz
Out Sens: 1.4mV/Pa Out Sens: 1.5mV/Pa
Max SPL: 144dB Max SPL: 140dB
Self Noise: - Self Noise: -
Out Imp: 280 Out Imp: 280
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

36 SOS Buyers Guide Microphones


Reminder.
This is the m101 microphone preamplifier from
Grace Design. Maybe you own one, or perhaps
you have heard or read about it. We originally
introduced it way back in 2000. Since then we
have sold thousands upon thousands of them.
Not simply because they are affordable, but
because they are one of the best values in pro
audio. While its big siblings are in service in many
of the most illustrious recording facilities in the
world, the m101 dutifully serves to make any
recording sound better, regardless of budget.

For relatively little money, the m101 gives you


one channel of gloriously detailed, open, musical
mic amplification. With it, a thoughtfully placed
microphone, and an honest musical idea, YOU
can make a beautiful recording.

www.gracedesign.com
DYNAMIC MICROPHONES

f2 Pad: - f6
Filt Freq: -
$115 Slope: -
$180
Polar: Hypercardioid SA: Clip, pouch Polar: Hypercardioid
Dim: 104mm OA: - Dim: 121mm
Wght: 247g Wght: 311g
Freq: 52Hz - 15kHz Freq: 40Hz - 16kHz
Out Sens: 2.0mV/Pa Out Sens: 1.2mV/Pa
Max SPL: 139dB Max SPL: 140dB
Self Noise: - Self Noise: -
Out Imp: 580 Out Imp: 580
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
f5 Pad: - SA: Clip, pouch
Filt Freq: -
$115 Slope: -
OA: -
Polar: Hypercardioid SA: Clip, pouch
Dim: 145mm OA: -
Wght: 283g
Freq: 55Hz - 15kHz
Out Sens: 2.2mV/Pa
Max SPL: 137dB
Self Noise: -
Out Imp: 580
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Avantone ADM
$79
Filt Freq: -
Slope: -
SA: -
Avantone are best known for their Mixcube single- Polar: Cardioid OA: -
driver loudspeakers, but they also make a range Dim: -
Wght: 350g
of high-quality solid-state and valve condenser Freq: 50Hz - 16kHz
microphones, as well as dynamic drum mics and Out Sens: -
ribbonmics. Max SPL: 145dB
Self Noise: -
Out Imp: 520
HQ: www.avantonepro.com Pwr Type: -
Alt Pwr: -
Con via: XLR-3 (M)
SC: -
Pad: -

ATOM MONDO Filt Freq: -


Slope: -
$89 $125 SA: -
Polar: Cardioid Polar: Cardioid OA: -
Dim: - Dim: -
Wght: 40g Wght: 50g
Freq: 30Hz - 15kHz Freq: 20Hz - 15kHz
Out Sens: - Out Sens: -
Max SPL: 145dB Max SPL: 145dB
Self Noise: - Self Noise: -
Out Imp: 220 Out Imp: 210
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
Filt Freq: -
Con via: XLR-3 (M) Con via: XLR-3 (M)
Slope: -
SC: - SC: -
SA: -
Pad: - Pad: -
OA: -

38 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Beyerdynamic M88TG
$399
Pad: -
Filt Freq: -
Slope: -
Beyerdynamic have been an industry leader in Polar: Hypercardioid SA: Clamp (MKV 8),
the design and manufacture of premium-grade Dim: 49 x 181 (mm) padded pouch
Wght: 320g
microphones, headphones and wireless microphone Freq: 30Hz - 20kHz
OA: Pop shield,
windshield
systems since 1924. Their microphone range covers Out Sens: 2.9mV/Pa
pretty much every type, including dynamic, capacitor Max SPL: -
Self Noise: -
and ribbon models. Out Imp: 200
Rec Load: >1000
USA: www.americanmusicandsound.com Pwr Type: -
HQ: www.beyerdynamic.com Alt Pwr: -
SC: -
Con via: XLR-3 (M)

M99 Pad: - M160 Pad: -


Filt Freq: - Filt Freq: -
$499 Slope: -
$699 Slope: -
Polar: Hypercardioid SA: Elastic suspension Polar: Hypercardioid SA: Clamp (MKV 8), padded
Dim: 56 x 163 (mm) (EA90), padded pouch Dim: 38 x 156 (mm) pouch
Wght: 421g OA: Windscreen Wght: 156g OA: Windscreen, elastic
Freq: 30Hz - 18kHz Freq: 40Hz - 18kHz suspension
Out Sens: 2mV/Pa Out Sens: 1.0mV/Pa
Max SPL: - Max SPL: - Reviewed in SOS Mics On
Self Noise: - Self Noise: - Test (November 2007 &
Out Imp: 280 Out Imp: 200 December 2007)
Rec Load: >1000 Rec Load: >1000 www.soundonsound.com/sos/
Pwr Type: - Pwr Type: - nov07/articles/ribbonmics1.
Alt Pwr: - Alt Pwr: - htm and www.soundonsound.
SC: - SC: - com/sos/dec07/articles/
Con via: XLR-3 (M) Con via: XLR-3 (M) ribbonmicspt2.htm

M201TG Pad: - TG i50D Pad: -


Filt Freq: - Filt Freq: -
$299 Slope: -
$199 Slope: -
Polar: Hypercardioid SA: Clamp (MKV 8), Polar: Cardioid SA: Clamp, padded
Dim: 24 x 160 (mm) windshield (WS 101), Dim: 41 x 164 (mm) pouch
Wght: 220g padded pouch Wght: 322g OA: -
Freq: 40Hz - 18kHz OA: Elastic suspension Freq: 50Hz - 17kHz
Out Sens: 1.2mV/Pa Out Sens: 2.4mV/Pa
Max SPL: - Max SPL: -
Self Noise: - Self Noise: -
Out Imp: 200 Out Imp: 600
Rec Load: >1000 Rec Load: >2000
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

TG V30DS Pad: - TG V35DS Pad: -


Filt Freq: - Filt Freq: -
$49 Slope: -
$59 Slope: -
Polar: Supercardioid SA: Microphone clamp, Polar: Supercardioid SA: Microphone clamp,
Dim: 49 x 182 (mm) soft case, XLR to XLR Dim: 50 x 186 (mm) soft case, XLR to XLR
Wght: 315g cable (4.5m) Wght: 305g cable (4.5m)
Freq: 30Hz - 15kHz OA: Pop shield (PS20/40) Freq: 30Hz - 18kHz OA: Pop shield (PS20/40)
Out Sens: 2.5mV/Pa Out Sens: 2.5mV/Pa
Max SPL: - Max SPL: -
Self Noise: - Self Noise: -
Out Imp: 600 Out Imp: 600
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: - Con via: -

SOS Buyers Guide Microphones 39


DYNAMIC MICROPHONES

TG V70D Pad: -
TG V50D
Filt Freq: -
$249 Slope: -
$149
Polar: Hypercardioid SA: Microphone clamp, Polar: Cardioid
Dim: 54 x 185 (mm) soft case Dim: 54 x 185 (mm)
Wght: 345g OA: Wind shield (WS59). Wght: 270g
Freq: 25Hz - 18kHz Microphone also available Freq: 50Hz - 17kHz
Out Sens: 3.2mV/Pa in a switched version: TG Out Sens: 2.4mV/Pa
Max SPL: - V70DS Max SPL: -
Self Noise: - Self Noise: -
Out Imp: 280 Out Imp: 600
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
TG V71D Pad: - SA: Microphone clamp, soft case
Filt Freq: -
$249 Slope: -
OA: Wind shield (WS59).
Microphone also available in a
Polar: Hypercardioid SA: Microphone clamp, switched version: TG V50DS
Dim: 54 x 185 (mm) soft case
Wght: 345g OA: Wind shield (WS59)
Freq: 35Hz - 18kHz
Out Sens: 3.2mV/Pa
Max SPL: -
Self Noise: -
Out Imp: 420
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: -

Blue Microphones enCORE 200


$149.99
Pad: -
Filt Freq: -
Slope: -
Blue Microphones, founded in 1995, design and produce Polar: Cardioid SA: Soft-grip
an extensive line of award-winning microphones and Dim: 28 x 185 (mm) microphone clip, soft-
Wght: 400g lined storage pouch
recording tools for audio professionals, musicians and Freq: 50Hz - 16kHz OA: -
consumers. From Blues flagship recording tool, the Out Sens: 2.25mV/Pa
Bottle, to the enCORE line of professional live mics, Max SPL: 147dB
Self Noise: -
Blue Microphones products offer innovative design and Out Imp: 25
high performance. Rec Load: -
Pwr Type: P48
HQ: www.bluemic.com Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Electro-Voice N/D267a
$79
Pad: -
Filt Freq: -
Slope: -
Electro-Voice (commonly referred to as EV) are Polar: Cardioid SA: -
a manufacturer of audio equipment, including Dim: 52 x 181 (mm) OA: -
Wght: 238g
microphones, amplifiers and loudspeakers. Electro- Freq: 45Hz - 15kHz
Voice market their products for use in small or large Out Sens: 2.9mV/Pa
concert venues, broadcasting, houses of worship, and Max SPL: -
Self Noise: -
retail situations. Out Imp: 600
Rec Load: -
HQ: www.electrovoice.com Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

40 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

N/D767a SC: - N/D967 SC: -


Con via: XLR-3 (M) Con via: XLR-3 (M)
$129 Pad: -
$149 Pad: -
Polar: Supercardioid Filt Freq: - Polar: Supercardioid Filt Freq: -
Dim: 52 x 181 (mm) Slope: - Dim: 52 x 173 (mm) Slope: -
Wght: 260g SA: - Wght: 260g SA: -
Freq: 35Hz - 22kHz OA: - Freq: 50Hz - 13kHz OA: -
(close), 70Hz - 22kHz (close), 120Hz - 13kHz
(far) (far)
Out Sens: 3.1mV/Pa Out Sens: 4mV/Pa
Max SPL: - Max SPL: -
Self Noise: - Self Noise: -
Out Imp: 350 Out Imp: 350
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -

Pad: - PL80c Pad: -


PL80a Filt Freq: -
Filt Freq: -
$99 $99 Slope: -
Slope: -
Polar: Supercardioid SA: - Polar: Supercardioid SA: -
Dim: 51 x 189 (mm) OA: - Dim: 51 x 189 (mm) OA: -
Wght: 333g Wght: 333g
Freq: 80Hz - 16kHz Freq: 80Hz - 16kHz
Out Sens: 2.2mV/Pa Out Sens: 2.2mV/Pa
Max SPL: - Max SPL: -
Self Noise: - Self Noise: -
Out Imp: 600 Out Imp: 600
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

PL80c Pad: - RE320 SC: -


Filt Freq: - Con via: XLR-3 (M)
$99 Slope: -
$299 Pad: -
Polar: Supercardioid SA: - Polar: Cardioid Filt Freq: -
Dim: 51 x 189 (mm) OA: - Dim: 54 x 217 (mm) Slope: -
Wght: 333g Wght: 681g SA: -
Freq: 80Hz - 16kHz Freq: 30Hz - 18kHz OA: Foam windscreen
Out Sens: 2.2mV/Pa (kick-drum), 45Hz - 18kHz (WSPL-2), isolation
Max SPL: - (general) shockmount (SASM-20),
Self Noise: - Out Sens: 2.5mV/Pa isolation mount (309A)
Out Imp: 600 Max SPL: -
Rec Load: - Self Noise: -
Pwr Type: - Out Imp: 150
Alt Pwr: - Rec Load: -
SC: - Pwr Type: -
Con via: XLR-3 (M) Alt Pwr: -

N/D267as Pad: - N/D367s Con via: XLR-3 (M)


Filt Freq: - Pad: -
$89 Slope: -
$99 Filt Freq: -
Polar: Cardioid SA: - Polar: Cardioid Slope: -
Dim: 52 x 181 (mm) OA: - Dim: 52 x 181 (mm) SA: -
Wght: 238g Wght: 258g OA: -
Freq: 45Hz - 15kHz Freq: 30Hz - 22kHz
Out Sens: 2.9mV/Pa (close), 60Hz - 22kHz (far)
Max SPL: - Out Sens: 3mV/Pa
Self Noise: - Max SPL: -
Out Imp: 600 Self Noise: -
Rec Load: - Out Imp: 350
Pwr Type: - Rec Load: -
Alt Pwr: - Pwr Type: -
SC: - Alt Pwr: -
Con via: XLR-3 (M) SC: -

SOS Buyers Guide Microphones 41


DYNAMIC MICROPHONES

RE16 Filt Freq: - RE20 Filt Freq: -


Slope: - Slope: -
$339 SA: -
$449 SA: -
Polar: Supercardioid OA: Stand adapter, foam Polar: Cardioid OA: Suspension
Dim: 45 x 187 (mm) windscreen pop filter Dim: 54 x 217 (mm) shockmount, stand
Wght: 227g Wght: 737g adaptor, replacement
Freq: 80Hz 15kHz Freq: 45Hz 18kHz suspension cords, stand
Out Sens: - Out Sens: - adaptor, windscreen pop
Max SPL: - Max SPL: - filter
Self Noise: - Self Noise: -
Out Imp: 150 Out Imp: 150
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con Via: XLR-3 (M) Con via: XLR-3 (M)
Pad: - Pad: -

RE27 Filt Freq: - N/D468 SC: -


Slope: - Con via: XLR-3 (M)
$499 SA: -
$149 Pad: -
Polar: Cardioid OA: Suspension Polar: Supercardioid Filt Freq: -
Dim: 54 x 217 (mm) shockmount, stand Dim: 52 x 115 (mm) Slope: -
Wght: 709g adaptor, replacement Wght: 190g SA: -
Freq: 45 Hz 20kHz suspension cords, stand Freq: 30Hz - 22kHz OA: -
Out Sens: - adaptor, windscreen pop (close), 60Hz - 22kHz
Max SPL: - filter (far)
Self Noise: - Out Sens: 3.1mV/Pa
Out Imp: 150 Max SPL: -
Pwr Type: P48 Self Noise: -
Alt Pwr: - Out Imp: 350
SC: - Rec Load: -
Con via: XLR-3 (M) Pwr Type: -
Pad:- Alt Pwr: -

N/D478 SC: - N/D868 Pad: -


Con via: XLR-3 (M) Filt Freq: -
$89 Pad: -
$199 Slope: -
Polar: Cardioid Filt Freq: - Polar: Cardioid SA: -
Dim: 41 x 170 (mm) Slope: - Dim: 60 x 133 (mm) OA: -
Wght: 247g SA: - Wght: 295g
Freq: 45Hz - 15kHz OA: - Freq: 20Hz - 10kHz
(close), 100Hz - 15kHz Out Sens: 1mV/Pa
(far) Max SPL: -
Out Sens: 2.9mV/Pa Self Noise: -
Max SPL: - Out Imp: 150
Self Noise: - Rec Load: -
Out Imp: 600 Pwr Type: -
Rec Load: - Alt Pwr: -
Pwr Type: - SC: -
Alt Pwr: - Con via: XLR-3 (M)

Golden Age Project D2


$149.99
Pad: -
Filt Freq: 120 and 210 Hz
Slope: -
Golden Age Project are a spin-off of the high-end pro Polar: Cardioid SA: Plastic case
audio distribution activities of Golden Age Music, a Dim: 75 x 195 (mm) OA: -
Wght: 800g
Swedish company founded by Bo Medin in 1982. Golden Freq: 50Hz - 20kHz
Age Project offer affordable vintage-style products. Out Sens: 2.5mV/Pa
Max SPL: -
USA: www.raddist.com Self Noise: -
Out Imp: 250
HQ: www.goldenagemusic.se Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

42 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Granelli Audio Labs G5790


$149.99
SC: -
Con via: XLR-3 (M)
Pad: -
Granelli Audio Labs were started in 2009 by John Grant Polar: Cardioid Filt Freq: -
of Secret Sound Studio and Tony Correlli of The Deep Dim: - Slope: -
Wght: 284g
End Studio in Baltimore, USA. One day, they modified a Freq: 40Hz - 15kHz
SA: Microphone clip, carrying bag
OA: -
Shure SM57 to make it easier to position in a crowded Out Sens: 1.6mV/Pa
drum kit and soon realised its potential. After many Max SPL: -
Self Noise: -
designs, tests and refinements, the G5790 was born, Out Imp: 150
and is now used by musicians all over the world. rated, 300
actual
Rec Load: -
HQ: www.granelliaudiolabs.com Pwr Type: -
Alt Pwr: -

JTS Professional NX-8


$89.95
Pad: -
Filt Freq: -
Slope: -
JTS Professional, founded in 1982, are a Taiwan-based Polar: Cardioid SA: PVC bag, microphone
manufacturer of professional wired and wireless Dim: 52 x 181 (mm) holder
Wght: 245g
microphones, wireless, conference and tour-guide Freq: 50Hz - 16.5kHz
OA: Cable

systems, headphones and earphones. JTS have official Out Sens: 2.5mV/Pa
distributors in over 70 countries, and are also an OEM Max SPL: 148dB
Self Noise: 19dBA
supplier of tailor-made products. Out Imp: 600
Rec Load: >2000
HQ: www.jtsusa.us Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

LD Systems D1USB
69 (US price not
Con via: XLR-3 (M) and
USB
Pad: -
LD Systems is a brand name of the Adam Hall Group, available) Filt Freq: -
associated with a wide range of value-for-money audio Polar: Cardioid Slope: -
Dim: 48 x 195 (mm)
products over the last decade. They offer a range of Wght: 435g
SA: Bag, clamp, USB
cable 3m, tripod stand
Chinese-sourced microphones, with German assembly Freq: 50Hz - 16kHz OA: -
and quality control, incorporating both moving-coil and Out Sens: -
Max SPL: -
capacitor models for stage and studio. Self Noise: -
Out Imp: 600
HQ: www.ld-systems.com Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -

D1001 Con via: XLR-3 (M) D1057 Con via: -


Pad: - Pad: -
49 (US price not Filt Freq: -
49 (US price not Filt Freq: -
available) Slope: - available) Slope: -
Polar: Supercardioid SA: - Polar: Cardioid SA: -
Dim: 52 x 165 (mm) OA: - Dim: 31 x 155 (mm) OA: -
Wght: 270g Wght: 250g
Freq: 50Hz - 16kHz Freq: 50Hz - 16.5kHz
Out Sens: 1.9mV/Pa Out Sens: -
Max SPL: 134dB Max SPL: -
Self Noise: - Self Noise: -
Out Imp: 300 Out Imp: 600
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -

SOS Buyers Guide Microphones 43


DYNAMIC MICROPHONES

D1020 Con via: XLR-3 (M) D1057 Con via: XLR-3 (M)
Pad: - Pad: -
69 (US price not Filt Freq: -
49 (US price not Filt Freq: -
available) Slope: - available) Slope: -
Polar: Hypercardioid SA: Bag, clamp, thread Polar: Cardioid SA: -
Dim: 49 x 190 (mm) adapter Dim: 31 x 155 (mm) OA: -
Wght: 280g OA: - Wght: 250g
Freq: 50Hz - 16kHz Freq: 50Hz - 16.5kHz
Out Sens: - Out Sens: -
Max SPL: 145dB Max SPL: 145dB
Self Noise: - Self Noise: -
Out imp: 370 Out imp: 600
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -

Lewitt DTP 340 REX


$179
Pad: -
Filt Freq: -
Slope: -
Founded in 2010, Vienna-based Lewitt produce high- Polar: Cardioid SA: Leather bag
performance microphones designed to deliver clarity Dim: 71 x 158 (mm) OA: -
Wght: 740g
and fidelity, and to work in a variety of demanding Freq: 20Hz - 16kHz
studio and live applications. Lewitt build recording, Out Sens: 2.5mV/Pa
wireless, performance and drum microphones. Max SPL: 149dB
Self Noise: -
Out Imp: <500
HQ: www.lewitt-audio.com Rec Load: >1500
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

DTP 640 REX Con via: XLR-3 (M), MTP 440 DM Pad: -
XLR-5 (M) Filt Freq: -
$329 Pad: - $89 Slope: -
Polar: Cardioid Filt Freq: - Polar: Cardioid SA: Leather bag,
Dim: 71 x 158 (mm) Slope: - Dim: 39 x 159 (mm) microphone clip
Wght: 755g SA: Leather bag, Wght: 280g OA: -
Freq: 20Hz - 20kHz audio cable Freq: 60Hz - 16kHz
Out Sens: 2.5mV/Pa OA: - Out Sens: 2.5mV/Pa
and 3.6mV/Pa Max SPL: -
Max SPL: 168dB Self Noise: -
Self Noise: 26dBA Out Imp: <500
Out Imp: <200 Rec Load: -
Rec Load: >1000 Pwr Type: -
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: -
SC: - Con via: XLR-3 (M)

Pad: - MTP 840 SC: -


MTP 540 DM Con via: XLR-3 (M)
Filt Freq: -
$99 $249 Pad: -
Slope: -
Polar: Cardioid SA: Leather bag, Polar: Supercardioid Filt Freq: 100Hz,
Dim: 49 x 175 (mm) microphone clip Dim: 183mm 250Hz
Wght: 330g OA: - Wght: 326g Slope: -
Freq: 60Hz - 16kHz Freq: 40Hz - 18kHz SA: Shockmount,
Out Sens: 2mV/Pa Out Sens: 2.5mV/Pa, leather bag
Max SPL: - 5mV/Pa, 10mV/Pa OA: -
Self Noise: - Max SPL: 129dB,
Out Imp: <300 135dB, 156 dB
Rec Load: - Self Noise: 9dBA
Pwr Type: - Out Imp: 600
Alt Pwr: - Rec Load: 1k
SC: - Pwr Type: P48
Con via: XLR Alt Pwr: Optional P48

44 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Miktek PM9
$199
Pad: -
Filt Freq: -
Slope: -
Miktek produce precision microphones, which are Polar: Supercardioid SA: Individual serialised
handmade in Nashville, USA. The company are inspired Dim: 57 x 177 (mm) frequency response
Wght: 500g graph, protective case,
by iconic mics of the past, and develop capsules and Freq: 50Hz - 19kHz microphone clip
unique circuits to capture sound. Using the very latest Out Sens: 1.4mV/Pa OA: -
in audio technology, Mikteks designs are approved by Max SPL: 150dB
Self Noise: -
some of the worlds most acclaimed sound engineers. Out Imp: 300
Rec Load: 300
HQ: www.miktekaudio.com Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Peavey PVM 45ir


$84.99
Pad: -
Filt Freq: -
Slope: -
Peavey are one of the largest independently owned Polar: Supercardioid SA: Carrying pouch,
suppliers of musical instruments and professional Dim: 38 x 140 (mm) microphone clip, stand
Wght: 295g adaptor
sound equipment in the world. Established by Hartley Freq: 20Hz - 18kHz OA: Hardshell case, PV
Peavey in 1965, Peavey hold 130 patents in musical Out Sens: 1.5mV/Pa series low Z cables (7.6m)
instrument designs and audio technology. Their Max SPL: -
Self Noise: -
products can be found in government buildings, theme Out Imp: 200
parks, airports, stadiums and more. Rec Load: -
Pwr Type: -
HQ: www.peavey.com Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Prodipe TT1
$49
French company Prodipe are known for making Polar: Cardioid
monitors with ribbon tweeters, as well as Dim: 48 x 185 (mm)
Wght: -
manufacturing a wide range of low-cost microphones Freq: 50Hz - 15kHz
for stage and studio use. Out Sens: 3.5mV/Pa
Max SPL: -
HQ: www.prodipe.com Self Noise: -
Out Imp: 600
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
MC1 Pad: -
SA: Clamp, bag
Filt Freq: -
$89 Slope: -
OA: -
Polar: Uni-directional SA: Mic clip
Dim: - SOS Review (October
OA: -
Wght: - 2010)
Freq: 50Hz - 16kHz www.soundonsound.
Out Sens: 1.7mV/Pa com/sos/oct10/articles/
Max SPL: - prodipe-tt1.htm
Self Noise: -
Out Imp: 400
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: -

SOS Buyers Guide Microphones 45


DYNAMIC MICROPHONES

Red5 Audio RVD30


37 (US price not available)
Pad: -
Filt Freq: -
Slope: -
Red5 Audio, formed in 2001, are a small Scottish Polar: Hypercardioid SA: Dual-threaded stand clip
company who manufacture microphones for both the Dim: 45 x 185 (mm) OA: -
Wght: 375g
professional and home enthusiast markets, and aim to Freq: 40Hz - 16kHz
provide excellent customer service. They also make a Out Sens: 2.5mV/Pa
range of mic accessories, including shockmounts and Max SPL: -
Self Noise: -
pop shields. Out Imp: 600
Rec Load: -
HQ: www.red5audio.com Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

RDE M1
$99
Pad: -
Filt Freq: -
Slope: -
Rode are based in Sydney, Australia, where all their Polar: Cardioid SA: Stand mount (RM1),
microphones are designed, and where the majority of Dim: 51 x 171 (mm) zip case (ZP1), lifetime
Wght: 360g warranty
their manufacturing takes place. They make all kinds Freq: 75Hz - 18kHz OA: -
of mics, from valve and solid-state condensers to lapel Out Sens: 1.58mV/Pa
and video microphones. Max SPL: -
Self Noise: -
Out Imp: 320
HQ: www.rodemic.com Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Podcaster Pad: - Procaster Pad: -


Filt Freq: - Filt Freq: -
$229 Slope: -
$229 Slope: -
Polar: Cardioid SA: Stand mount (RM2), 3m Polar: Cardioid SA: Stand mount (RM2), 3m
Dim: 56 x 215 (mm) USB cable, 10 year warranty Dim: 53 x 214 (mm) USB cable, 10 year warranty
Wght: 610g OA: Shockmount (PSM1), Wght: 695g OA: Shockmount (PSM1),
Freq: 40Hz - 14kHz boom arm (PSA1), Freq: 75Hz - 18kHz boom arm (PSA1),
Out Sens: 3mV/Pa windshield (WS2), zip case Out Sens: 1.58mV/Pa windshield (WS2), zip case
Max SPL: 115dB (ZP1) Max SPL: - (ZP1)
Self Noise: - Self Noise: -
Out Imp: - Out Imp: 320
Rec Load: - Rec Load: -
Pwr Type: USB Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: USB Con via: XLR-3 (M)

M1S Pad: - Reporter Pad: -


Filt Freq: - Filt Freq: -
$115 Slope: -
$199 Slope: -
Polar: Cardioid SA: Zip case, standmount, Polar: Omnidirectional SA: Microphone flag, zip
Dim: 171 x 51.5 (mm) screwdriver, 10 year Dim: 272.5 x 41.5 (mm) case, 10 year warranty
Wght: 360g warranty Wght: 256g OA: Standmount
Freq: 75Hz 18kHz OA: - Freq: 70Hz 15kHz
Out Sens: 1.5mV/Pa Out Sens: 1.5mV/Pa
Max SPL: - Max SPL: -
Self Noise: - Self Noise: -
Out Imp: 320 Out Imp: 150
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con Via: XLR-3 (M)

46 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Sennheiser e906
$189.95
Pad: -
Filt Freq: -
Slope: -
Longstanding German company Sennheiser make Polar: Supercardioid SA: Pouch,
microphones for a wide range of purposes, including Dim: 55 x 134 (mm) microphone clip
Wght: 140g
conferences, aviation, and music recording and Freq: 40Hz - 18kHz
OA: -

performance. Their high-end MKH condensers employ Out Sens: 2.2mV/Pa


some innovative capsule technology, and their wireless Max SPL: -
Self Noise: -
mic systems include vocal mics, headset mics and Out Imp: 350
lavelier models. Rec Load: -
Pwr Type: -
HQ: www.sennheiserusa.com Alt Pwr: -
SC: -
Con via: XLR-3 (M)

e935 Pad: - e945 Pad: -


Filt Freq: - Filt Freq: -
$169.95 Slope: -
$219.95 Slope: -
Polar: Cardioid SA: Pouch, microphone Polar: Supercardioid SA: Pouch, microphone
Dim: 47 x 181 (mm) clamp (MZQ 800) Dim: 47 x 186 (mm) clamp (MZQ 800)
Wght: 330g OA: - Wght: 330g OA: -
Freq: 40Hz - 18kHz Freq: 40Hz - 18kHz
Out Sens: 2.8mV/Pa Out Sens: 2mV/Pa
Max SPL: - Max SPL: -
Self Noise: - Self Noise: -
Out Imp: 350 Out Imp: 350
Rec Load: 1000 Rec Load: 1000
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

Shure Beta 52A


$189
American company Shure make some of the most Polar: Cardioid
widely used dynamic mics, including the SM57 and Dim: 96 x 114 (mm)
Wght: 605g
SM58. They also manufacture high-end studio Freq: 20Hz - 10kHz
condensers, as well as wireless mic kits. Out Sens: 0.6mV/Pa
Max SPL: 174dB
HQ: www.shure.com Self Noise: -
Out Imp: 150
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3
(M)
Pad: -
Filt Freq: -
SM7B Pad: -
Slope: -
Filt Freq: -
$349 Slope: -
SA: Storage bag,
thread adaptor
Polar: Cardioid SA: Switch cover plate, OA: -
Dim: 96 x 190 (mm) close-talk windscreen
Wght: 765g OA: Desk stand
Freq: 50Hz - 20kHz
Out Sens: 1.12mV/Pa
Max SPL: -
Self Noise: -
Out Imp: 150
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

SOS Buyers Guide Microphones 47


DYNAMIC MICROPHONES

SM58 Pad: - SM57 Pad: -


Filt Freq: - Filt Freq: -
$99 Slope: -
$99 Slope: -
Polar: Cardioid SA: Swivel stand Polar: Cardioid SA: Swivel stand adaptor,
Dim: 51 x 162 (mm) adaptor, storage bag Dim: 32 x 157 (mm) storage bag
Wght: 298g OA: Windscreen (6 Wght: 284g OA: Locking windscreen,
Freq: 50Hz - 15kHz colours available), desk Freq: 40Hz - 15kHz desk stand, shock
Out Sens: 1.85mV/Pa stand, shock stopper, Out Sens: 1.9mV/Pa stopper, isolation mount,
Max SPL: - isolation mount, dual Max SPL: - dual mount
Self Noise: - mount Self Noise: -
Out Imp: 150 Out Imp: 150
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

Sontronics STC-80
$149
Con via: XLR-3 (M)
Pad: -
Sontronics are a British microphone brand founded in Polar: Cardioid,
Filt Freq: -
Slope: -
2004 by mic designer and musician Trevor Coley. Their supercardioid
SA: Microphone clip,
range covers small- and large-diaphragm condensers, Dim: 47 x 190 (mm) aluminium flight case,
Wght: 426g lifetime warranty, free
valve and ribbon mics, as well as models made for Freq: 50Hz - 15kHz download of Toontrack
specific purposes, like recording drums and electric Out Sens: 2mV/Pa EZ Drummer Lite
guitar. Max SPL: - OA: Pop shield (ST-POP),
pro audio cables with
Self Noise: -
Out Imp: <600 Neutrik XX connectors,
USA: www.proaudiodesign.com Rec Load: - pro microphone stand)
HQ: www.sontronics.com Pwr Type: -
Alt Pwr: -
SC: -

Telefunken-Elektroakustik M80
$249
Pad: -
Filt Freq: -
Slope: -
Telefunken Elektroakustik manufacture microphones Polar: Cardioid SA: Leather bag,
ranging from replicas of historic vintage mics to their Dim: 48 x 184 (mm) microphone clip
Wght: 371g
R-F-T series and dynamic models for live use. Their Freq: 30Hz - 18kHz
OA: -

microphones are hand crafted in the USA. Out Sens: -


Max SPL: -
HQ: www.telefunken-elektroakustik.com Self Noise: -
Out Imp: 200
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Pad: - Dynamic Series Con via: XLR-3 (M)


M81 Pad: -
Filt Freq: -
$249 Slope: -
M82 Filt Freq: 350Hz
Polar: Cardioid SA: Microphone clip, bag $399 Slope: -
Dim: - OA: - Polar: Cardioid SA: Microphone clip,
Wght: - Dim: 63 x 155 (mm) leather carrying case
Freq: 30Hz - 18kHz Wght: 635g OA: -
Out Sens: - Freq: 25Hz - 18kHz
Max SPL: - Out Sens: 1.85mV/Pa
Self Noise: - Max SPL: 160dB
Out Imp: 200 Self Noise: -
Rec Load: - Out Imp: 300
Pwr Type: - Rec Load: -
Alt Pwr: - Pwr Type: -
SC: - Alt Pwr: -
Con via: XLR-3 (M) SC: -

48 SOS Buyers Guide Microphones


The Focusrite have been designing the finest microphone preamplifiers since
1985 when Sir George Martin commissioned no-holds-barred preamps for his
Air Studio facility in London.

Focusrite And so, the Focusrite DNA was formed, and today lies at the heart of our Scarlett

sound
range of USB 2.0 interfaces. Combined with class-leading digital conversion and
rock-solid driver stability, your sound could not be in safer hands.

on USB 2.0
Whatever your audio recording needs, theres a Focusrite Scarlett interface
for you. All you have to do is choose.

Focusrite mic pres 2 2 2 4 8

Analog ins 2 2 4 8 8

Analog outs 2 4 4 6 10

Digital ins - - 2 10 10

Digital outs - - 2 2 10

Headphone outs 1 1 2 2 2

ADAT I/O N N N In Only Y

S/PDIF N N Y Y Y

MIDI I/O N Y Y Y Y

Analog input pads - 2 2 4 2

48V phantom power Y Y Y Y Y

Max sample rate 96kHz 96kHz 96kHz 96kHz 96kHz

Max bit depth 24-bit 24-bit 24-bit 24-bit 24-bit

Bus powered Y Y N N N

Scarlett Plug-in Suite Y Y Y Y Y

Routing software N N Y Y Y

Direct Monitor Y Y Y* Y* Y*

www.focusrite.com/scarlett * via Scarlett MixControl


capacitor microphones: large-diaphragm

CAPACITOR
MICROPHONES:
LARGE-dIAPHRAGM
Large-diaphragm capacitor microphones (>20mm) are a popular
choice for vocal recording as many models have frequency
responses tuned to colour the sound in a flattering way,
ratherthan simply passing on exactly what they hear. They
are also used in studios to record instruments such as pianos,
drum kits and acoustic guitars. Though they are not always
the best choice forinstruments, their individual sonic flavours
sometimes bring about magical results. Both valve (see the
Valve Microphones section of this guide) and solid-state models
are available. There are also numerous multi-pattern models,
which are a good choice if you cant budget for a whole locker of
differentmicrophones.

ADK & 3 Zigma C-Lol-12 TL/FX


$549/$597
Founded by Steinway piano expert and musician Polar: Cardioid
Lawrence Villella in 1998, ADK aim to produce Dim: 19 x 127 (mm)
Wght: 360g
high-quality mics at affordable prices. In addition to Freq: 20Hz - 20kHz
their many large-diaphragm condensers, they also Out Sens: 22mV/Pa /
supply individual mic capsules, and upgrade mics to 17.8mV/Pa
Max SPL: 137dBA /
their users specifications. 151dBA
Self Noise: 7dBA / 9dBA
Part of the same company, 3 Zigma Audio create Out Imp: 100
a modular hybrid system of microphone capsule Rec Load: >1k
modules and ultra-low-noise head-amp modules. Pwr Type: P48
Alt Pwr: -
This system allows both large- and small-diameter SC: -
capsules to work with a variety of FET and valve Pad: None / Two-Way -8dB/-
16dB
head-amps. The head-amps listed here show the Con via: XLR-3 (M)
specifications available when used with the different Slope: -
bodies available. Filt Freq: -
SA: -
HQ: www.adkmic.com OA: -
HQ: www.hybridmic.com

50 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

C-Lol-47 TL/FX Con via: XLR-3 (M)


C-Lol-67 TL/FX
Slope: -
$549/$597 Filt Freq: -
$549/$597
Polar: Cardioid SA: - Polar: Cardioid
Dim: 19 x 127 (mm) OA: - Dim: 19 x 127 (mm)
Wght: 360g Wght: 360g
Freq: 20Hz - 20kHz For picture see: Freq: 20Hz - 20kHz
Out Sens: 18mV/Pa / 12.6mV/Pa Out Sens: 16mV/Pa /
C-Lol-67 TL/FX 14.1mV/Pa
Max SPL: 139dBA / 154dBA
Self Noise: 9dBA / 12dBA Max SPL: 140dBA /
Out Imp: 100 153dBA
Rec Load: >1k Self Noise: 10dBA / 11dBA
Pwr Type: P48 Out Imp: 100
Alt Pwr: - Rec Load: >1k
SC: - Pwr Type: P48
Pad: No / Two way -8dB/-16dB Alt Pwr: -
SC: 4mA
Pad: No / Two way -8dB/-
16dB
C-Lol-251 TL/FX Con via: XLR-3 (M) Con via: XLR-3 (M)
Slope: - Slope: -
$549/$597 Filt Freq: - Filt
Polar: Cardioid SA: - Freq: -
Dim: 19 x 127 (mm) OA: - SA: -
Wght: 360g OA: -
Freq: 20Hz - 20kHz For picture see:
Out Sens: 20mV/Pa / 15.8mV/Pa C-Lol-67 TL/FX
Max SPL: 138dBA / 152dBA
Self Noise: 8dBA / 10dBA
Out Imp: 100
Rec Load: >1k
Pwr Type: P48
Alt Pwr: -
SC: 4mA
Pad: No / Two way -8dB/-16dB

Pad: - Audiophile A-51 Con via: XLR-3 (M)


Audiophile A6 Pad: -
Filt Freq: - Mk5.1
$239 Slope: - Filt Freq: -
Polar: Cardioid $189 Slope: -
SA: Ringmount, piano-
Dim: - black wood jewel case Polar: Cardioid SA: Ringmount, piano-
Wght: - OA: Black heavy-duty Dim: - black wood jewel case
Freq: 20Hz - 20kHz elastic suspension system Wght: - OA: Black heavy-duty
Out Sens: 13mV/Pa (Super-Mount), Pro+ Kit Freq: 20Hz - 20kHz elastic suspension system
Max SPL: 131dB including Super-Mount, Out Sens: 15mV/Pa (Super-Mount), Pro+ Kit
Self Noise: 15dBA pop filter, Neutrik Max SPL: 130dB including Super-Mount,
XLR, foam windscreen, pop filter, Neutrik
Out Imp: 200 Self Noise: 17dBA
flightcase XLR, foam windscreen,
Rec Load: - Out Imp: 200
SOS Review (February flightcase
Pwr Type: P48 Rec Load: -
2008)
Alt Pwr: - Pwr Type: P48
ww.soundonsound.
SC: - Alt Pwr: -
com/sos/feb08/articles/
Con via: XLR-3 (M) SC: -
adka6s7.htm

Alt Pwr: - Audiophile Alt Pwr: -


Audiophile S-51
SC: - Hamburg Mk8 SC: -
Mk5.2
Con via: XLR-3 (M) Con via: XLR-3 (M)
$189 $349 Pad: -14dB
Pad: -10dB
Polar: Cardioid Filt Freq: Flat/100Hz Polar: Cardioid Filt Freq: Flat/89Hz
Dim: - Slope: - Dim: - Slope: -
Wght: - SA: Ringmount, piano- Wght: - SA: Ringmount, piano-
Freq: 20Hz - 20kHz black wood jewel case Freq: 20Hz - 20kHz black wood jewel case
Out Sens: 15mV/Pa OA: Black heavy-duty Out Sens: 15mV/Pa OA: Black heavy-duty
Max SPL: 130dB/140dB elastic suspension system Max SPL: 126dB/140dB elastic suspension system
(0db/-10dB switchable (Super-Mount), Pro+ Kit (0db/-14dB switchable (Super-Mount), Pro+ Kit
pad) including Super-Mount, pad) including Super-Mount,
Self Noise: 17dBA pop filter, Neutrik Self Noise: 15dBA pop filter, Neutrik
Out Imp: 200 XLR, foam windscreen, Out Imp: 200 XLR, foam windscreen,
Rec Load: - flightcase Rec Load: - flightcase
Pwr Type: P48 Pwr Type: P48

SOS Buyers Guide Microphones 51


capacitor microphones: large-diaphragm

Audiophile Alt Pwr: - Odin SC: -


Vienna Mk8 SC: - Con via: XLR-3 (M)
Con via: XLR-3 (M)
$299 Pad: -8/-18dB
$349 Pad: -14dB Polar: Cardioid switchable
Polar: Cardioid Filt Freq: - Dim: - Filt Freq:
Dim: - Slope: - Wght: - Flat/100Hz/150Hz
Wght: - SA: Ringmount, piano- Freq: 20Hz - 20kHz Slope: -
Freq: 20Hz - 20kHz black wood jewel case Out Sens: 13mV/Pa SA: Ringmount, piano-
Out Sens: 15mV/Pa OA: Black heavy-duty Max SPL: 132dB (0dB black wood jewel case
Max SPL: 126dB/140dB elastic suspension pad), 140dB (-8dB pad), OA: Black heavy-duty
(0db/-14dB switchable system (Super-Mount), 150dB (-18dB pad) elastic suspension
pad) Pro+ Kit including Self Noise: 15dBA system (Super-Mount),
Self Noise: 15dBA Super-Mount, pop Out Imp: 150 Pro+ Kit including
Out Imp: 200 filter, Neutrik XLR, foam Rec Load: - Super-Mount, pop
windscreen, flightcase filter, Neutrik XLR, foam
Rec Load: - Pwr Type: P48
windscreen, flight case
Pwr Type: P48 Alt Pwr: -

AKG C414-XLS
$1049
Founded in Vienna in 1947, AKG Acoustics are a Polar: Omnidirectional, cardioid,
manufacturer of microphones, headphones, wireless hypercardioid, figure-of-8
Dim: 55 x 160 (mm)
audio systems and related accessories for professional Wght: 300g
and consumer markets. Some of their vintage models, Freq: 20Hz - 20kHz
like the C12, are both rare and desirable, while their Out Sens: 20mV/Pa
Max SPL: 158dB
current models, including the C414, can be found in Self Noise: 6dBA
studios around the world. Out Imp: <200
Rec Load: >2.2k
HQ: www.akg.com Pwr Type: P48
Alt Pwr: -
SC: 4mA
Con via: XLR-3 (M)
Pad: -6/-12/-18 dB switchable
Filt Freq: 40/80/160 Hz
C414-XLII SC: 4mA
Slope: 12/12/6 dB/Oct
Con via: XLR-3 (M)
$1099 Pad: -6/-12/-18 dB
SA: Shockmount, pop screen,
windscreen, flight case
Polar: Cardioid, switchable
supercardioid, OA: Factory-matched stereo set
Filt Freq: 40/80/160 Hz including mounting bar
hypercardioid Slope: 12/12/6 dB/Oct
Dim: 55 x 160 (mm) SA: Shock mount, pop
Wght: 300g SOS Review (November 2004)
screen, windscreen,
Freq: 20Hz - 20kHz www.soundonsound.com/sos/nov04/
flight case
Out Sens: 20mV/Pa OA: Factory-matched articles/akgmics.htm
Max SPL: 158dB stereo set including
Self Noise: 6dBA mounting bar
Out Imp: <200
Rec Load: >2.2k
Pwr Type: P48
Alt Pwr: -

C4500BBC Filt Freq: - C214 Pad: 20dB


Slope: - Filt Freq: 160Hz
$499 SA: -
$399 Slope: 6dB/Oct
Polar: Cardioid OA: - Polar: Cardioid SA: Shockmount,
Dim: - Dim: 55 x 160 (mm) windscreen, flight case
Wght: 450g Wght: 280g OA: Factory-matched
Freq: 30Hz - 20kHz Freq: 20Hz - 20kHz stereo set including
Out Sens: 20mV/Pa Out Sens: 20mV/Pa mounting bar
Max SPL: 165dB Max SPL: 156dB
Out Imp: 200 Self Noise: 13dBA
Red Load: 1k Out Imp: <200
Pwr Type: - Rec Load: >1k
Alt Pwr: - Pwr Type: P12
SC: - Alt Pwr: -
Con Via: XLR-3 (M) SC: <2V
Pad: - Con via: XLR-3 (M)

52 SOS Buyers Guide Microphones


Sterling and Ocean Way Recording have
partnered to develop a microphone with
an impressive, larger-than-life sound in
an affordable and repeatable way.
Allen Sides

Sterling/Ocean Way
Signature Edition Microphone
Voiced by Allen Sides legendary engineer, producer and multiple
Grammy recipient the ST6050 was inspired by Ocean Ways expansive
collection of superb sounding microphones, spanning many decades
and musical eras.
By combining classic capsule and FET design with modern manufacturing
and consistency, the ST6050 yields stunning clarity with a rich, warm,
open sound and a silky top end ideal for modern artists, producers,
and engineers

Available at the following


preferred dealers.

2013 Sterling
capacitor microphones: large-diaphragm

Perception 420 Pad: 20dB Perception 220 Pad: 20dB


Filt Freq: 300Hz Filt Freq: 300Hz
$249 Slope: 12dB/Oct
$179 Slope: 12dB/Oct
Polar: Cardioid SA: Spider suspension, Polar: Cardioid SA: Spider suspension,
Dim: 53 x 165 (mm) metal case Dim: 53 x 165 (mm) metal case
Wght: 525g OA: Pop screen, Wght: 525g OA: Pop screen,
Freq: 20Hz - 20kHz windscreen Freq: 20Hz - 20kHz windscreen
Out Sens: 18mV/Pa Out Sens: 18mV/Pa
Max SPL: 155dB Max SPL: 155dB
Self Noise: 16dBA Self Noise: 16dBA
Out Imp: <200 Out Imp: <200
Rec Load: >1k Rec Load: >1k
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: <2mA SC: <2mA
Con via: XLR-3 (M) Con via: XLR-3 (M)

Audio-Technica AE3000
$279
Pad: 10dB
Filt Freq: 80Hz
Slope: 12dB/Oct
For 50 years Audio-Technica have aimed to produce Polar: Cardioid SA: Isolation clamp
audio excellence and innovations in transducer Dim: 48 x 116 (mm) for 5/8-27 threaded
Wght: 170g stands (AT8471), 5/8-
technology. Renowned for the design and manufacture Freq: 20Hz - 20kHz 27 to 3/8-16 threaded
of high-quality audio products, the company offers a Out Sens: 7mV/Pa adaptor, soft protective
pouch
complete range of wired and wireless microphones, Max SPL: 148dB
OA: -
Self Noise: 11dB
headphones and accessories for broadcast, live-sound, Out Imp: 100
recording and installed-sound functions. Rec Load: -
Pwr Type: P48
HQ: www.audio-technica.com Alt Pwr: -
SC: 3mA
Con via: XLR-3 (M)

AT4040 AT4047MP Con via: XLR-3 (M)


Pad: -
$299 $849 Filt Freq: 80Hz
Polar: Cardioid Polar: Omnidirectional, Slope: 12dB/Oct
Dim: 53 x 170 (mm) cardioid, figure-of-8 SA: Shockmount for
Wght: 360g Dim: 53 x 188 (mm) 5/8-27 threaded
Freq: 20Hz - 20kHz Wght: 524g stands (AT8449/SV),
Out Sens: 25.1mV/Pa Freq: 20Hz - 18kHz microphone dust cover,
Max SPL: 145dB Out Sens: 7.1mV/Pa protective carrying case
Self Noise: 12dBA Max SPL: 155dB OA: -
Out Imp: 100 Self Noise: 14dBA
Rec Load: - Out Imp: 100 SOS Review (December
Pwr Type: P48 Rec Load: - 2010)
Alt Pwr: - Pwr Type: P48 www.soundonsound.
SC: 4.2mA Alt Pwr: - com/sos/dec10/articles/
Con via: XLR-3 (M) SC: 3.4mA at4047-mp.htm
Pad: 10dB
Filt Freq: 80Hz
Slope: 12dB/Oct
AT5040 Filt Freq: -
SA: Stand clamp for 5/8-27 threaded
SA: AT8480
stands (AT8405a), windscreen (AT8159), $2999 MSRP shockmount; protective
protective carrying case
Polar: Cardioid carrying case
OA: -
Dim: 57 x 165.3 (mm) OA: -
Wght: 582g
Freq: 20Hz 20kHz
Out sens: 56.2mV/Pa
Max SPL: 142dB
Self Noise: 5dBA
Out Imp: 50
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: 3.8mA
Con Via: XLR-3 (M)

54 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

AE5100 Con Via: XLR-3 (M)


AT4050ST Filt Freq: 80Hz, 12dB/
$1299 $429 MSRP octave
Polar: Cardioid, figure-of-8 Polar: Cardioid SA: AT8471 isolation
Dim: 53 x 193 (mm) Dim: 26 x 148.5 (mm) clamp; thread adapter;
Wght: 517g Wght: 143g AT8136 windscreen; soft
Freq: 20Hz - 18kHz Freq: 20Hz - 20kHz protective pouch
Out Sens: Stereo 90: 7.9mV/Pa; Stereo Out sens: 15.8 mV/Pa OA: -
127: 8.9mV/Pa; Mid/Side: 15.8mV/Pa Max SPL: 148dB, 158dB
Max SPL: Mid/Side: 149dB Self Noise: 11dBA
Self Noise: Stereo 90: 25dBA; Stereo Out Imp: 150
127: 16dBA; Mid: 15dBA; Side: 17dBA Rec Load: -
Out Imp: 50 Pwr Type: 11-52V DC,
Rec Load: - P48 compatible
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: 3.2mA
SC: 6.4mA (both channels, total)
Con via: XLR-5 (M)
Pad: 10dB
Filt Freq: 80Hz AT4033/CL Pad: -
Slope: 12dB/Oct Con via: XLR-3 (M)
$595 MSRP Filt Freq: 80Hz
SA: Shock mount for 5/8-27 threaded
stands (AT8449), microphone dust cover, Polar: Cardioid SA: AT8449
protective carrying case, 5.0m long, Dim: 170 x 53.4 (mm) shockmount,
8-conductor, shielded, vinyl-jacketed Wght: 380g microphone dust cover,
stereo cable with 5-pin XLRF-type Freq: 30Hz 20kHz protective carrying case
connector at microphone end and two Out Sens: 25.1mV/Pa OA: -
3-pin XLRM-type connectors at output end Max SPL: 145dB /
OA: - 155dB with 10dB pad
(nominal)
SOS Review (November 2010) Self Noise: 17dBA
www.soundonsound.com/sos/nov10/ Out Imp: 100
articles/at4050.htm Rec Load: -
Pwr Type: P48
SC: 3.2mA

Audix VX5
$290
Pad: -
Filt Freq: 150Hz
Slope: -
Founded in 1984 in California, Audix are a well- Polar: Supercardioid SA: Clip, pouch
respected manufacturer of microphones for stage, Dim: 181mm (H) OA: -
Wght: 277g
studio and specialised purposes. Their dynamic mics, in Freq: 40Hz - 16.5kHz
particular, are very popular with engineers. Out Sens: 5mV/Pa
Max SPL: 140dB
HQ: www.audixusa.com Self Noise: 26dBA
Out Imp: 150
Rec Load:
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Pad: - VX10 Pad: -


SCX25-A Filt Freq: -
Filt Freq: -
$785 $590 Slope: -
Slope: -
Polar: Cardioid SA: Foam-lined wooden Polar: Cardioid SA: Clip, pouch
Dim: - case, tension-fit heavy- Dim: 180mm (H) OA: -
Wght: 244g duty nylon microphone Wght: 310g
Freq: 20Hz - 20kHz clip, metal adaptor to fit Freq: 40Hz - 20kHz
Out Sens: 28mV/Pa 3/8 microphone stands Out Sens: 24mV/Pa
Max SPL: >135dB OA: Various stands and Max SPL: 138dB
Self Noise: 80dBA mounting options, phantom Self Noise: 19dBA
power supply, shockmount
Out Imp: 200 Out Imp: 250
system, pop diffuser, carrying
Rec Load: - pouch Rec Load:
Pwr Type: P48-52 Pwr Type: P48
Alt Pwr: - SOS Review (July 2009) Alt Pwr: -
SC: - www.soundonsound.com/sos/ SC: -
Con via: - Con via: XLR-3 (M)
jul09/articles/audixcx212.htm

SOS Buyers Guide Microphones 55


capacitor microphones: large-diaphragm

VX10 LO Pad: - CX212B


Filt Freq: -
$590 Slope: -
$740
Polar: Cardioid SA: Clip, pouch Polar: Omnidirectional, cardioid,
Dim: 180mm (H) OA: - figure-of-8
Wght: 310g Dim: -
Freq: 40Hz - 20kHz Wght: 365g
Out Sens: 4mV/Pa Freq: 20Hz - 20kHz
Max SPL: 138dB Out Sens: 10mV/Pa
Self Noise: 19dBA Max SPL: 133dB / 143dB pad
Out Imp: 250 Self Noise: 75dBA
Rec Load: Out Imp: 120
Pwr Type: P48 Rec Load: -
Alt Pwr: - Pwr Type: -
SC: - Alt Pwr: -
Con via: XLR-3 (M) SC: -
Con via: -
Pad: -10dB
Filt Freq: 120Hz
CX112B Con via: XLR-3 (M) Slope: 12dB/Oct
Pad: - SA: Isolation shockmount, aluminium
$330 Filt Freq: 120Hz carrying case, adjustable one-piece
Polar: Cardioid Slope: - metal clip
Dim: 165mm (H) SA: Clip, wood box OA: Foam windscreen, two-channel
Wght: 340g OA: - phantom power supply, pop diffuser,
Freq: 20Hz - 20kHz tripod microphone stand
Out Sens: 18mV/Pa
Max SPL: 135dB/145dB SOS Review (July 2009)
with pad www.soundonsound.com/sos/jul09/
Self Noise: 15dBA articles/audixcx212.htm
Out Imp: 120
Rec Load:
Pwr Type: P48
Alt Pwr: -
SC: -

Avantone CK6
$179
Avantone are best known for their Mixcube single- Polar: Cardioid
driver loudspeakers, but they also make a range Dim: -
Wght: -
of high-quality solid-state and valve condenser Freq: 35Hz - 20kHz
microphones, as well as dynamic drum mics and Out Sens: -
ribbonmics. Max SPL: -
Self Noise: 17dBA
Out Imp: 200
HQ: www.avantonepro.com Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: 80Hz
Slope: 6dB/Oct
CV-12 Pad: -10dB
SA: Custom retro shockmount,
Filt Freq: 80Hz
$499 Slope: 6dB/Oct
padded wooden microphone box,
padded aluminium carry case,
Polar: Cardioid SA: Custom retro owners manual
Dim: - shockmount, padded OA: -
Wght: - wooden microphone box,
Freq: 35Hz - 20kHz padded aluminium carry
Out Sens: - case, owners manual
Max SPL: - OA: -
Self Noise: 17dBA
Out Imp: 200
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

56 SOS Buyers Guide Microphones


CK-40 (Stereo) Con via: XLR-5 (M)
SC: -
$599 Pad: -
Polar: Cardioid, Filt Freq: -
omnidirectional, figure- Slope: -
of-8
SA: Wooden box,
Dim: 49 x 276 (mm) shockmount, foam filter,
Wght: 95kgs 2 x 1 splitter box, cable,
Freq: 20Hz - 20kHz metal road case
Out Sens: 10mV/Pa OA: -
Max SPL: 147dB
Self Noise: 77dBA
Out Imp: 250
Rec Load: -
Pwr Type: P48
Alt Pwr: -

CK-7 Pad: -
Filt Freq: -
$279 Slope: -
Polar: Cardioid, SA: Shockmount, wooden
omnidirectional, figure-of-8 box in metal carrying case
Dim: 51 x 187 (mm) OA: -
Wght: 650g
Freq: 20Hz - 20kHz
Out Sens: 12.5mV/Pa
Max SPL: 139dB
Self Noise: 16dBA
Out Imp: 250
Pwr Type: P48
Alt Pwr: -
Con via: XLR-3 (M)
SC: -

Behringer
Behringer were founded in 1989 and offer equipment
for a range of applications at consumer prices. They
produce a comprehensive product line including
loudspeakers, amplifiers, mixers, powered mixers,
computer-based recording and DJ products,
microphones, headphones, wireless systems, musical
instruments and professional lighting systems.

HQ: www.behringer.com

B-2 Pro Rec Load: >1k


Pwr Type: P48
$149.99 Alt Pwr: -
Polar: Omnidirectional, SC: 3mA
cardioid, figure-of-8 Con via: XLR-3 (M)
Dim: 56 x 210 (mm) Pad: -10dB
Wght: 550g Filt Freq: 150Hz
Freq: 20Hz - 20kHz Slope: 6dB/Oct
Out Sens: 14mv/Pa (omni), SA: Heavy-duty suspension
16mV/Pa (cardioid), 18mV/Pa mount, windscreen,
(figure-of-8) aluminium travel case
Max SPL: 139dB/149dB pad OA: -
(omni), 138dB/148dB pad
SOS Review (April 2004)
(cardioid), 137dB/147dB pad
(figure-of-8) www.soundonsound.
Self Noise: - com/sos/apr04/articles/
Out Imp: <100 behringerb2.htm

SOS Buyers Guide Microphones 57


capacitor microphones: large-diaphragm

C-1 Pad: - B-1


Filt Freq: -
$49.99 Slope: -
$99.99
Polar: Cardioid SA: Swivel stand mount, Polar: Cardioid
Dim: 54 x 169 (mm) transport case Dim: 58 x 174 (mm)
Wght: 450g OA: - Wght: 450g
Freq: 40Hz - 20kHz Freq: 20Hz - 20kHz
Out Sens: - Out Sens: 20mV/Pa
Max SPL: 136dB Max SPL: 138dB/148dB pad
Self Noise: - Self Noise: -
Out Imp: 100 Out Imp: 50
Rec Load: >1k Rec Load: >1k
Pwr Type: P36-52 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: 2.5mA SC: 3mA
Con via: XLR-3 (M) Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: 75Hz
Slope: 6dB/Oct
C-3 Con via: XLR-3(M) SA: Heavy-duty suspension mount,
Pad: -10dB windscreen, aluminium travel case
$69.99 Filt Freq: 220Hz OA: -
Polar: Omnidirectional, Slope: 6dB/Oct
cardioid, figure-of-8 SA: Swivel mount,
Dim: 54 x 180 (mm) transport case
Wght: 450g OA: -
Freq: 40Hz - 18kHz
Out Sens: 10mV/Pa
Max SPL: 142dB
Self Noise: 23dBA
Out Imp: 350
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: 7mA

Beyerdynamic MC840
$1699
SC: 4.6mA
Con via: XLR-3 (M)
Pad: -10 and -20 dB
Beyerdynamic have been an industry leader Polar: Omnidirectional, Filt Freq: 80 or 160 Hz
in the design and manufacturer of premium- cardioid, hypercardioid,
figure-of-8
Slope: 6dB/Oct
grade microphones, headphones and wireless Dim: 70 x 165 (mm)
SA: Clamp, elastic
suspension, transport case
microphone systems since 1924. Their Wght: 286g
OA: Pop shield,
Freq: 30Hz - 20kHz
microphone range covers pretty much every type, Out Sens: 18mV/Pa
windscreen, multi-purpose
dual-mount clamp
including dynamic, capacitor and ribbon models. Max SPL: 127dB
Self Noise: 27dBA SOS Review (July 2007)
USA: www.americanmusicandsound.com Out Imp: 180 www.soundonsound.
Rec Load: >1k
HQ: www.beyerdynamic.com Pwr Type: P11 - P52
com/sos/jul07/articles/
beyerdynamicmc840.htm
Alt Pwr: -

Blue Microphones Baby Bottle


$399.99
Pad: -
Filt Freq: -
Blue Microphones, founded in 1995, design and Polar: Cardioid
Slope: -
SA: Wooden box,
produce an extensive line of award-winning Dim: 45 x 222 (mm) shockmount, custom pop
microphones and recording tools for audio Wght: 350g filter
Freq: 20Hz - 20kHz OA: Dual-cable, universal
professionals, musicians and consumers. From Out Sens: 33.5mV/Pa pop filter, XLR to USB
Blues flagship recording tool, the Bottle, to Max SPL: 133dB converter
the enCORE line of professional live mics, Blue Self Noise: 5.5dBA
Out Imp: 50
Microphones offer innovative design and top Rec Load: >1k
performance. Pwr Type: P48
Alt Pwr: -
HQ: www.bluemic.com SC: -
Con via: XLR-3 (M)

58 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Blueberry Pad: - Bluebird Pad: -


Filt Freq: - Filt Freq: -
$999.99 Slope: -
$299.99 Slope: -
Polar: Cardioid SA: Wooden box, Polar: Cardioid SA: Wooden box,
Dim: 50 x 235 (mm) shockmount Dim: 45 x 222 (mm) shockmount, custom
Wght: 520g OA: Dual-cable, universal Wght: 480g pop filter
Freq: 20Hz - 20kHz pop filter, XLR to USB Freq: 20Hz - 20kHz OA: Dual-cable, universal
Out Sens: 20mV/Pa converter Out Sens: 27mV/Pa pop filter, XLR to USB
Max SPL: 140dB Max SPL: 138dB converter
Self Noise: 9dBA Self Noise: 7.5dBA
Out Imp: 150 Out Imp: 50
Rec Load: >1k Rec Load: >1k
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

Bottle Rocket Alt Pwr: - Dragonfly Pad: -


Stage One SC: - Filt Freq: -
Con via: XLR-3 (M)
$999.99 Slope: -
$999.99 Pad: - Polar: Cardioid SA: Wooden box,
Polar: Omnidirectional, Filt Freq: - Dim: 60 x 165 (mm) shockmount, custom
cardioid, figure-of-8, Slope: - Wght: 980g popfilter
hemispherical Freq: 20Hz - 20kHz OA: Universal pop filter,
SA: B8 capsule, custom
Dim: - spider shockmount Out Sens: 21mV/Pa XLR to USB converter
Wght: - OA: Eight additional Max SPL: 138dB
Freq: 20Hz - 20kHz bayonet-mounted Self Noise: 8dBA
Out Sens: 27mV/Pa capsules Out Imp: 50
Max SPL: 133dB Rec Load: >1k
Self Noise: 7.5dBA Pwr Type: P48
Out Imp: 50 Alt Pwr: -
Rec Load: >1k SC: -
Pwr Type: P48 Con via: XLR-3 (M)

Kiwi Con via: XLR-3 (M) Con via: XLR-3 (M)


Reactor
Pad: - Pad: -
$1999 Filt Freq: -
$499.99 Filt Freq: -
Polar: Omnidirectional, Slope: - Polar: Omnidirectional, Slope: -
cardioid, figure-of-8 SA: Wooden box, cardioid, figure-of-8 SA: Metal case, custom
Dim: 60 x 220 (mm) shockmount, custom Dim: - shockmount, custom
Wght: 880g popfilter Wght: - popfilter
Freq: 20Hz - 20kHz OA: Quad cable, universal Freq: 20Hz - 20kHz OA: Universal pop filter,
Out Sens: 19mV/Pa pop filter, XLR to USB Out Sens: 19mV/Pa custom pop filter
Max SPL: 138dB converter Max SPL: 135dB
Self Noise: 8.5dBA Self Noise: 9.3dBA
Out Imp: 50 Out Imp: 50
Rec Load: >1k Rec Load: >1k
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -

Brauner Phanthera
$1934.10
Pad: -
Filt Freq: -
Slope: -
Brauner Microphones are a Germany-based Polar: Cardioid SA: Shockmount,
manufacturer of hand-crafted high-end microphones. Dim: 50 x 150 (mm) XLR-Vovox cable,
Wght: 500g aluminium case
The company were founded in 1995 by Sound Engineer Freq: 20Hz - 22kHz OA: Pop filter (P120-
Dirk Brauner. Out Sens: 28mV/Pa VT)
Max SPL: 142dB
HQ: www.braunerusa.com Self Noise: 11dBA SOS Review (August
Out Imp: 200 2007)
Rec Load: >1k www.soundonsound.
Pwr Type: P48 com/sos/
Alt Pwr: - aug07/articles/
SC: 10mA braunerphanthera.htm
Con via: XLR-3 (M)

SOS Buyers Guide Microphones 59


capacitor microphones: large-diaphragm

Phanthera V SC: 10mA Phantom Classic


Con via: XLR-3 (M)
$3419.10 Pad: -
$1754.10
Polar: Filt Freq: - Polar: Cardioid
Omnidirectional, Slope: - Dim: 50 x 150 (mm)
cardioid, figure-of-8 Wght: 500g
SA: Shockmount,
Dim: 50 x 150 (mm) XLR-Vovox cable, Freq: 20Hz - 22kHz
Wght: 500g aluminium case Out Sens: 28mV/Pa
Freq: 20Hz - 22kHz OA: Pop filter (P120- Max SPL: 142dB
Out Sens: 28mV/Pa VT) Self Noise: 11dBA
Max SPL: 142dB Out Imp: 200
Self Noise: 11dBA Rec Load: >1k
Out Imp: 200 Pwr Type: P48
Rec Load: >1k Alt Pwr: -
Pwr Type: P48 SC: -
Alt Pwr: - Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
Phantom V SC: - SA: Shockmount,
Con via: XLR-3 (M) XLR-Vovox cable,
$3059.10 Pad: -10dB aluminium case
Polar: Filt Freq: - OA: Pop filter (P120-
Omnidirectional, Slope: - VT)
cardioid, figure-of-8
SA: Shockmount,
Dim: 50 x 150 (mm) XLR-Vovox cable,
Wght: 500g aluminium case
Freq: 20Hz - 22kHz OA: Pop filter (P120-
Out Sens: 28mV/Pa VT)
Max SPL: 142dB
Self Noise: 11dBA
Out Imp: 200
Rec Load: >1k
Pwr Type: P48
Alt Pwr: -

CAD Audio Equitek E100S


$495.95
With over 80 years of experience, CAD Audio are Polar: Supercardioid
manufacturers of high-quality, cost-effective Dim: -
Wght: 896g
studio, live, and commercial microphone products Freq: 40Hz - 18kHz
and accessories. They offer four series of products: Out Sens: 28mV/Pa
Recording, Live, Astatic Commercial and Personal Max SPL: 150dB
Self Noise: 3.7dBA
Audio. Out Imp: 140
Rec Load: -
HQ: www.cadaudio.com Pwr Type: P48
Alt Pwr: -
SC: 2mA
Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: 80Hz
Slope: 6dB/Oct
Equitek E300S 9V nickel hydride
SA: Stealth
SC: 8mA
$399.99 Con via: XLR-3 (M)
shockmount,
composite carry
Polar: Pad: -20dB case
Omnidirectional, Filt Freq: 135Hz
cardioid, figure-of-8 OA: -
Slope: 6dB/Oct
Dim: -
SA: Shockmount, SOS Review (January
Wght: 2kg composite carry case
Freq: 20Hz - 20kHz 2011)
OA: - www.
Out Sens: 20mV/Pa
Max SPL: 145dB soundonsound.com/
Self Noise: 12dBA sos/jan11/articles/
Out Imp: 220 cade100s.htm
Rec Load: -
Pwr Type: P48
Alt Pwr: rechargeable

60 SOS Buyers Guide Microphones


Charter Oak
Founded in 2002 by producer and engineer Michael
Deming, Connecticut-based Charter Oak create
high-quality, hand-assembled recording products,
including equalisers and mic preamps, in addition to
their small- and large-diaphragm condenser mics.

USA: www.soundpure.com
HQ: www.charteroakacoustics.com

E700
$899
Polar: Omnidirectional, cardioid,
figure-of-8
Dim: -
Wght: -
Freq: 25Hz - 20kHz
Out Sens: 16mV/Pa
Max SPL: 125dB
Self Noise: 17dBA
Out Imp: <200
Rec Load: >200
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -10dB/-20dB
Filt Freq: -
Slope: -
SA: Flight case, shockmount
OA: -

SOS Review (May 2008)


www.soundonsound.com/sos/
may08/articles/charteroake700.
htm

Editors Keys
Editors Keys manufacture shortcut editing
keyboards and USB microphones. The new SL Series
of microphones offer broadcast-quality sound and
plug directly into your USB port, and have received
some excellent reviews.

HQ: www.editorskeys.com
capacitor microphones: large-diaphragm

Pad: - SL150 USB Pad: -


SL300 USB Filt Freq: -
Filt Freq: -
$149.99 $119.99 Slope: -
Slope: -
Polar: Omnidirectional SA: USB cable, carrying Polar: Omnidirectional SA: USB cable, carrying
Dim: 50 x 185 (mm) case, shockmount, Dim: 50 x 185 (mm) case, shockmount,
Wght: 490g lifetime guarantee Wght: 434g lifetime guarantee
Freq: 20Hz - 20kHz OA: Desk stand, Freq: 20Hz - 20kHz OA: Desk stand, portable
Out Sens: - portable vocal booth Out Sens: 1mv/Pa vocalbooth
Max SPL: 140dB Max SPL: 140dB
Self Noise: - Self Noise: -
Out Imp: - Out Imp: -
Rec Load: - Rec Load: -
Pwr Type: USB Pwr Type: USB
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: - Con via: -

Elation KM901
$1170
SC: 2.5mA
Con via: XLR-3 (M)
Pad: 0dB, -10dB, +6dB
Elation are a Russian manufacturer specialising in Polar: Cardioid, Filt Freq: flat, 150Hz,
condenser microphones. Their aim is to design mics supercardioid, figure-
of-8
300Hz
that combine a wide dynamic range and high SPL- Dim: 51 x 210 (mm)
Slope: 0, 3, 6 dB/Oct
SA: Ash or oak wooden
handling capability with a warm and defined sound. Wght: 610g case
Freq: 20Hz - 20kHz OA: Shockmount, pop
Out Sens: 25mV/Pa
HQ: www.elationmiclab.com Max SPL: 140dB
shield, cable, windscreen

Self Noise: 13dBA


Out Imp: -
Rec Load: -
Pwr Type: P48
Alt Pwr: -

Electro-Voice RE200
$349
Pad: -
Filt Freq: -
Slope: -
Electro-Voice (commonly referred to as EV) are Polar: Cardioid SA: -
a manufacturer of audio equipment, including Dim: 28 x 137 (mm) OA: Stand adaptor, desk
Wght: 185g
microphones, amplifiers and loudspeakers. Electro- Freq: 50Hz - 18kHz
stand with rubber mount,
isolating shockmount,
Voice market their products for use in small or large Out Sens: 10mV/Pa foam windscreen
concert venues, broadcasting, houses of worship, and Max SPL: 130dB
Self Noise: 21dBA
retail situations. Out Imp: 200
Rec Load: -
HQ: www.electrovoice.com Pwr Type: P12, P52
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

RE410 Pad: - RE510 Pad: -


Filt Freq: - Filt Freq: -
$199 Slope: -
$249 Slope: -
Polar: Cardioid SA: - Polar: Supercardioid SA: -
Dim: 51 x 185 (mm) OA: - Dim: 51 x 182 (mm) OA: Stand adaptor,
Wght: 260g Wght: 260g various coloured
Freq: 50Hz - 20kHz Freq: 40Hz - 20kHz windscreens
Out Sens: 4mV/Pa Out Sens: 3.2mV/Pa
Max SPL: - Max SPL: 146dB
Self Noise: 26dBA Self Noise: 22dBA
Out Imp: 250 Out Imp: 250
Rec Load: - Rec Load: -
Pwr Type: P24, P48 Pwr Type: P24, P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: - Con via: XLR-3 (M)

62 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Flea Flea 12
$4235.80
Con via: C12
Pad: -
Filt Freq: -
Flea Microphones are a Slovakian custom manufacturer Polar: Omnidirectional, Slope: -
of large-diaphragm microphones, mechanical spare cardioid, figure-of-8
SA: Wooden box, PSU
Dim: 48 x 260 (mm)
parts and accessories for old vintage microphones. Wght: 600g
with built-in pattern
selector, microphone
Freq: 30Hz - 18kHz cap, cable with swivel
USA: www.vintageking.com Out Sens: 10mV/Pa connector
HQ: www.flea-microphones.com Max SPL: 138dB OA: Flight case,
shockmount, vintage
Self Noise: 15dBA
Out Imp: 50/200 hardware (PSU/pattern
Rec Load: 500/2k selector)
Pwr Type: -
Alt Pwr: -
SC: -

Flea 47 Pad: - Flea 48


Filt Freq: -
$4216 Slope: -
$4216
Polar: Omnidirectional, SA: Wooden box, Polar: Cardioid
cardioid, figure-of-8 PSU, microphone cap, Dim: 63 x 225 (mm)
Dim: 48 x 260 (mm) shockmount, cable Wght: 660g
Wght: 600g OA: Swivel mount, flight Freq: 35Hz - 18kHz
Freq: 30Hz - 18kHz case, vintage-style power Out Sens: 20mV/Pa (cardioid), 14mV/
Out Sens: 10mV/Pa supply Pa (figure-of-8)
Max SPL: 138dB Max SPL: 138dB
Self Noise: 15dBA SOS Review (September Self Noise: 12dBA
Out Imp: 50/200 2011) Out Imp: 50/200
Rec Load: 500/2k www.soundonsound.com/ Rec Load: 500/2k
Pwr Type: - sos/sep11/articles/flea-47. Pwr Type: Flea UZ56
Alt Pwr: - htm Alt Pwr: -
SC: - SC: -
Con via: C12 Con via: Tuchel
Pad: -
Filt Freq: -
Flea 49 & 249 Slope: -
$4466.73 SA: Wooden box, PSU, microphone
cap, shockmount, cable
Polar: Omnidirectional, OA: Swivel mount, flight case,
cardioid, figure-of-8 vintage-style PSU
Dim: 80 x 160 (mm)
Wght: 780g
Freq: 40Hz - 18kHz
Out Sens: 9mV/Pa
(omnidirectional), 8mV/Pa
(cardioid), 10mV/Pa (figure-
of-8)
Max SPL: 138dB
Self Noise: 15dBA
Out Imp: 50/200
Rec Load: 500/2k
Pwr Type: Flea UZ56
Alt Pwr: -
SC: -
Con via: Tuchel (Flea 49), 50), binder (Flea 250)
binder (Flea 249)
Flea 50 & 250
Pad: -
Pad: - $4796.61 Filt Freq: -
Filt Freq: - Polar: Omnidirectional Slope: -
Slope: - Dim: 80 x 160 (mm) SA: Wooden box,
SA: Wooden box, power Wght: 780g PSU, microphone cap,
supply, microphone cap, Freq: 40Hz - 18kHz yokemount, cable
yokemount, cable Out Sens: 15mV/Pa OA: Swivel mount,
OA: - Max SPL: 136dB flight case
Self Noise: 14dBA
Out Imp: 50/200
Rec Load: 500/2k
Pwr Type: Flea UZ56
Alt Pwr: -
SC: -
Con via: Tuchel (Flea

SOS Buyers Guide Microphones 63


capacitor microphones: large-diaphragm

47 Next Pad: - 49 Next


Filt Freq: -
$3166.95 Slope: -
$3523.24
Polar: Cardioid SA: Microphone wooden Polar: Cardioid, omni, figure-of-8
Dim: - box, PSU, cable, Dim: -
Wght: - shockmount, microphone Wght: -
Freq: 35Hz - 18kHz cap Freq: 40Hz - 18kHz
Out Sens: 25mV/Pa OA: - Out Sens: 9mV/Pa, 8mV/Pa, 10mV/Pa
Max SPL: 138dB Max SPL: 138dB
Self Noise: 12dBA Self Noise: 15dBA
Out Imp: 50/200 Out Imp: 50/200
Rec Load: 500/2k Rec Load: 500/2k
Pwr Type: PSU Pwr Type: PSU
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: 7-pin Tuchel Con via: 7-pin Tuchel
Pad: -
Filt Freq: -
Slope: -
74 Next Con via: 7-pin Tuchel SA: Microphone wooden box, PSU,
Pad: - cable, shockmount, microphone cap
$3166.96 Filt Freq: - OA: -
Polar: Cardioid, omni, Slope: -
figure-of-8 SA: Microphone wooden
Dim: - box, PSU, cable,
Wght: - shockmount, microphone
Freq: 35Hz - 18kHz cap
Out Sens: 20mV/Pa OA: -
Max SPL: 138dB
Self Noise: 15dBA
Out Imp: 50/200
Rec Load: 500/2k
Pwr Type: PSU
Alt Pwr: -
SC: -

Golden Age Project FC1 Mk2


$99.99
Pad: -
Filt Freq: -
Slope: -
Golden Age Project are a spin-off of the high-end pro Polar: Cardioid SA: Shockmount
audio distribution activities of Golden Age Music, a Dim: 50 x 190 (mm) OA: -
Wght: 470g
Swedish company founded by Bo Medin in 1982. Golden Freq: 20Hz - 20kHz
Age Project offer affordable vintage-style products. Out Sens: 15mV/Pa
Max SPL: 130dB
USA: www.raddist.com Self Noise: -
Out Imp: 250
HQ: www.goldenagemusic.se Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

FC2 ST Pad: -10dB Con via: XLR-3 (M)


FC3
Filt Freq: 100Hz Pad: -10dB
$219.99 Slope: -
$149.99 Filt Freq: 100Hz
Polar: Cardioid SA: Shockmount Polar: Omnidirectional, Slope: -
Dim: 50 x 190 (mm) OA: - cardioid, hypercardioid SA: Shockmount
Wght: 470g Dim: 50 x 190 (mm) OA: -
Freq: 20Hz - 20kHz Wght: 470g
Out Sens: 15mV/Pa Freq: 20Hz - 20kHz
Max SPL: 140dB Out Sens: 14.5mV/Pa
Self Noise: - Max SPL: 140dB
Out Imp: 250 Self Noise: -
Rec Load: - Out Imp: 250
Pwr Type: P48 Rec Load: -
Alt Pwr: - Pwr Type: P48
SC: - Alt Pwr: -
Con via: XLR-3 (M) SC: -

64 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Josephson C700A
$4590
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Josephson Engineering are a microphone manufacturer Polar: Omnidirectional, Slope: -
catering to the professional studio, home studio, figure-of-8
SA: Pelican brand hard
Dim: -
broadcast and live sound markets. The company were Wght: -
case
OA: -
founded in 1988. Freq: 20Hz - 20kHz
Out Sens: 9mV/Pa
HQ: www.josephson.com Max SPL: 135dB
Self Noise: <15dBA
Out Imp: -
Rec Load: -
Pwr Type: 2 x P48
Alt Pwr: -
SC: -

C700S Con via: XLR-3 (M) C715


Pad: -
$6750 Filt Freq: -
$3795
Polar: Omnidirectional, Slope: - Polar: Omnidirectional, cardioid
figure-of-8 SA: Pelican brand hard Dim: -
Dim: - case Wght: -
Wght: - OA: - Freq: 20Hz - 20kHz
Freq: 20Hz - 20kHz Out Sens: 1.8mV/Pa
Out Sens: 9mV/Pa Max SPL: 140dB
Max SPL: 135dB Self Noise: <19dBA
Self Noise: <15dBA Out Imp: -
Out Imp: - Rec Load: -
Rec Load: - Pwr Type: P48
Pwr Type: 3 x P48 Alt Pwr: -
Alt Pwr: - SC: -
SC: - Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
C716 Pad: - SA: Pelican brand hard case
Filt Freq: -
$3995 Slope: -
OA: -
Polar: Cardioid SA: Pelican brand hard
Dim: - case
Wght: - OA: -
Freq: 20Hz - 20kHz
Out Sens: 26mV/Pa SOS Review (October
Max SPL: 136dB 2011)
Self Noise: <15dBA www.soundonsound.
Out Imp: - com/sos/oct11/articles/
Rec Load: - josephson-c716.htm
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

JTS JS-1
$209.95
Pad: -10dB
Filt Freq: 80Hz
Slope: 6dB/Oct
JTS Professional, founded in 1982, are a Taiwan-based Polar: Cardioid SA: Spider, windscreen
company who manufacturer professional microphones, Dim: 56 x 184 (mm) OA: -
Wght: 480g
wireless systems, conference systems, tour guide Freq: 20Hz - 20kHz
systems, headphones and earphones. JTS have official Out Sens: 12.6mV/Pa
distributors in over 70 countries, and are also an OEM Max SPL: 132dB
Self Noise: 20dBA
supplier for tailor-made products. Out Imp: 200
Rec Load: >1k
HQ: www.jtsusa.us Pwr Type: P36-52
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

SOS Buyers Guide Microphones 65


capacitor microphones: large-diaphragm

JS-1E Pad: - JS-1T Con via: XLR-3 (M)


Filt Freq: - Pad: -10dB
$119.95 Slope: -
$239.95 Filt Freq: 80Hz
Polar: Cardioid SA: Microphone clip, Polar: Omnidirectional, Slope: 6dB/Oct
Dim: 56 x 184 (mm) windscreen cardioid, figure-of-8 SA: Spider, windscreen
Wght: 480g OA: - Dim: 56 x 184 (mm) OA: -
Freq: 20Hz - 20kHz Wght: 480g
Out Sens: 12.6mV/Pa Freq: 20Hz - 20kHz
Max SPL: - Out Sens: 12.6mV/Pa
Self Noise: 20dBA Max SPL: 132dB
Out Imp: 200 Self Noise: 20dBA
Rec Load: >1k Out Imp: 200
Pwr Type: P36-52 Rec Load: >1k
Alt Pwr: - Pwr Type: P36-52
SC: <1mA Alt Pwr: -
Con via: XLR-3 (M) SC: <1mA

JZ Microphones Black Hole 1


$1999
Con via: XLR-3 (M)
Pad: -
JZ Microphones were established in 2007 in Latvia Filt Freq: -
Polar: Omnidirectional,
by Juris Zarins. Producing capsules made with the cardioid, figure-of-8
Slope: -
SA: Holder, shockmount,
Golden Drop sputtering technique, which provides a Dim: 51 x 203 (mm) wooden case
more detailed and transparent capsule response, JZ Wght: - OA: Black Hole
Freq: 20Hz - 20kHz shockmount, pop filter
Microphones have been used by many award-winning Out Sens: 18mV/Pa kit, JZ pop filter
musicians, sound engineers and famous studios Max SPL: 134.5dB
around the world. Self Noise: 7.5dBA SOS Review (January
Out Imp: 50 2012)
Rec Load: >250 www.soundonsound.
HQ: www.jzmic.com Pwr Type: P48 com/sos/jan12/articles/
Alt Pwr: - jz-vintage-11.htm
SC: 1.5mA

Black Hole 1s Con via: XLR-3 (M) Black Hole 2


Pad: -10dB/-20dB
$3799 Filt Freq: -
$999
Polar: Omnidirectional, Slope: - Polar: Cardioid
cardioid, figure-of-8 SA: Holder, Dim: 51 x 203 (mm)
Dim: 51 x 203 (mm) shockmount, Wght: -
Wght: - wooden case Freq: 20Hz - 20kHz
Freq: 20Hz - 20kHz OA: Black Hole Out Sens: 21mV/Pa
Out Sens: 18mV/Pa shockmount, pop Max SPL: 134.5dB
Max SPL: 134.5dB filter kit, JZ pop Self Noise: 6.5dBA
Self Noise: 7.5dBA filter Out Imp: 50
Out Imp: 50 Rec Load: >250
Rec Load: >250 Pwr Type: P48
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: 1.5mA
SC: 1.5mA Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
Vintage 11 Pad: - SA: Holder, shockmount, wooden
Filt Freq: - case
$699 Slope: - OA: Black Hole shockmount, pop
Polar: Cardioid SA: Holder, shockmount, filter kit, JZ pop filter
Dim: - wooden case
Wght: - OA: JZ pop filter
Freq: 20Hz - 20kHz
Out Sens: 22mV/Pa
Max SPL: 134dB
Self Noise: 6.5dBA
Out Imp: 50
Rec Load: >500
Pwr Type: P48
Alt Pwr: -
SC: >2mA
Con via: XLR-3 (M)

66 SOS Buyers Guide Microphones


T I S F C - 3 8 7
ATLAN your arsenal!
cal microphone in
ost versatile vo
g the m
Introducin

That Lauten Atlantis microphone is kick assthe most versatile


piece of gear entering my studio in years.
The 3-way character switch is awesome.
Now I can answer the question: If you only could buy one mic,
which one? - the Lauten Atlantis FC-387 hands down!!

Michael Wagener
Mtley Cre, Poison, Metallica, Alice Cooper, White Lion,
Megadeth, Skid Row, Janet Jackson, Queen, Ozzy Osbourne,
Dokken, and a lot more (visit www.michaelwagener.com)

One BIG microphone, three GIGANTIC personalities


Your ability to achieve fantastic recordings just got a lot easier with the new Atlantis FC-387 studio vocal microphone. Its voicing switch gives you
three very different timbres to choose from allowing you to configure the microphone to sound great on anything. Whether you want the warm 60s,
thick 70s, sizzling 80s, or a forward and open modern sound, the Atlantis has it all. In addition to the amazingly versatile voicing switch, you can also
choose between cardioid, omni-directional, and figure-8 polar patterns as well as three different attenuations. The Atlantis is a true modern-day
microphone and has raised the bar for versatility with literally 27 possible configurations. The Atlantis sound was designed by Fab Dupont, one of
the most sought-after producers, engineers, and educators of today so you know it sounds Fabulous.

visit www.lautenaudio.com for more information on Atlantis LAUTEN


AUDIO

Distributed in USA by Audio Plus Services Distribibuted in Canada by Plurison


S E R V I C E S www.audioplusservices.com - 800.663.9352 www.plurison.com - 866.271.5689
capacitor microphones: large-diaphragm

Vintage 12 Pad: - Vintage 67


Filt Freq: -
$1699 Slope: -
$1699
Polar: Cardioid SA: Holder, shockmount, Polar: Cardioid
Dim: - wooden case Dim: -
Wght: - OA: JZ pop filter Wght: -
Freq: 20Hz - 20kHz Freq: 20Hz - 20kHz
Out Sens: 22mV/Pa Out Sens: 22mV/Pa
Max SPL: 134dB Max SPL: 134dB
Self Noise: 6dBA Self Noise: 6dBA
Out Imp: 50 Out Imp: 50
Rec Load: >500 Rec Load: >500
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: >2mA SC: >2mA
Con via: XLR-3 (M) Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
Vintage 47 Pad: - SA: Wooden case
Filt Freq: -
$1699 Slope: -
OA: JZ pop filter
Polar: Cardioid SA: Holder, shockmount,
Dim: - wooden case
Wght: - OA: JZ pop filter
Freq: 20Hz - 20kHz
Out Sens: 22mV/Pa
Max SPL: 134dB
Self Noise: 6dBA
Out Imp: 50
Rec Load: >500
Pwr Type: P48
Alt Pwr: -
SC: >2mA
Con via: XLR-3 (M)

Karma Microphones Trinity


$199
Karma Audio are located in Cupertino, CA, and design, Polar: Omnidirectional, cardioid,
manufacture, and distribute a full range of professional figure-of-8
Dim: 77 x 220 (mm)
recording microphones. Karma Audios product Wght: 640g
philosophy is to provide distinctive, affordable and Freq: 20Hz - 20kHz
high-quality microphones that enable a new generation Out Sens: 17.78mV/Pa
Max SPL: 140dB
of recording engineers to produce music. The company Self Noise: -
were founded in 2001. Out Imp: 200
Rec Load: >500
HQ: www.karmamics.com Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: 100Hz
Unity Pad: -10dB
Slope: -
Filt Freq: 100Hz
$169 Slope: -
SA: Shockmount, extra shockmount
bands, hard case
Polar: Cardioid SA: Shockmount, extra OA: Inline XLR pad & phase
Dim: 77 x 220 (mm) shockmount bands, hard reverse, dual head pop filter,
Wght: 625g case reflection filter
Freq: 20Hz - 20kHz OA: Inline XLR pad &
Out Sens: 15.84mV/Pa phase reverse, dual
Max SPL: 125dB head pop filter,
Self Noise: - reflection filter
Out Imp: 200
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

68 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Lauten Clarion FC-357


$999
Lauten Audio, based in Northern California, is a Polar: Cardioid, omni, figure-
boutique designer and manufacturer of microphones of-8
Dim: 199 x 67 (mm)
and related equipment. Founded in 2004 by Brian Wght: 907g
Loudenslager, Lautens USP is that, unlike many Freq: 25Hz - 20kHz
manufacturers, they do not seek to create designs Out Sens: 16mV/Pa
Max SPL: 130dB
that are neutral and forensically accurate, but rather Self Noise: 15dBA
microphones that are musically involving and creative, Out Imp: 200
with an original sound character. Rec Load: 300
Pwr Type: P48
Alt Pwr: -
HQ: www.lautenaudio.com SC: -
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Atlantis FC-387 Con via: XLR-3 (M)
Slope: -
Pad: -
$1599 MSRP Filt Freq: -
SA: Shockmount, wooden
box, hard case
Polar: Cardioid, omni- Slope: -
directional, figure-of-8 OA: -
SA: Shockmount, cover,
Dim: 240 x 71 (mm) wooden box
Wght: 929g OA: -
Freq: 20Hz - 20kHz
Out Sens: 16mV/Pa
Max SPL: 130dB
Self Noise: 12dBA
Out Imp: 200
Rec Load: 300
Pwr Type: P48
Alt Pwr: -
SC: -

LD Systems D1013CUSB
95 (US price not available)
LD Systems is a brand name of the Adam Hall Group, Polar: Cardioid
associated with a wide range of value-for-money audio Dim: 55 x 180 (mm)
Wght: 385g
products over the last decade. They offer a range of Freq: 30Hz - 18kHz
Chinese-sourced microphones, with German assembly Out Sens: -
and quality control, incorporating both moving-coil and Max SPL: 140dB
Self Noise: -
capacitor models for stage and studio. Out imp: -
Rec Load: -
HQ: www.ld-systems.com Pwr Type: -
Alt Pwr: -
SC: -
Con via: USB
Pad: -
Filt Freq: -
Slope: -
DVOX Con via: XLR-3 (M)
SA: Shockmount, zip bag, USB-
Pad: -
279 (US price not Filt Freq: -
cable
available) Slope: -
OA: -
Polar: cardioid SA: case, foam
Dim: 58 x 163 (mm) windscreen, shock
Wght: 630g mount
Freq: 20Hz - 20kHz OA: -
Out Sens: 29.3mV/Pa
Max SPL: 129dB
Self Noise: 87.5dBA
Out imp: 200
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -

SOS Buyers Guide Microphones 69


capacitor microphones: large-diaphragm

D1105 Con via: XLR-3 (M) D1012C Con via: XLR-3 (M)
Pad: - Pad: -
35 (US price not Filt Freq: -
115 (US price not Filt Freq: -
available) Slope: - available) Slope: -
Polar: Hypercardioid SA: Leather gig bag, Polar: Cardioid SA: Bag, clamp, thread
Dim: 50 x 180 (mm) microphone clip Dim: 32 x 212 (mm) adapter
Wght: 345g OA: - Wght: 490g OA: -
Freq: 50Hz - 16kHz Freq: 35Hz - 20kHz
Out Sens: 2.2mV/Pa Out Sens: -
Max SPL: 144dB Max SPL: 142dB
Self Noise: - Self Noise: -
Out Imp: 600 Out Imp: 200
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: P48
Alt Pwr: - Alt Pwr: 9V battery
SC: - SC: -

Lewitt LCT 640


$799
SC: 5.5mA
Con via: XLR-3 (M)
Pad: -6, -12, -18 dB
Founded in 2010, Vienna-based Lewitt produce high- Polar: Omnidirectional, Filt Freq: 40, 150, 300 Hz
performance microphones designed to deliver clarity supercardioid,
hypercardioid, figure-of-8
Slope: 12, 6, 6 dB/Oct
and fidelity, and to work in a variety of demanding Dim: 52 x 158 (mm)
SA: Shockmount, leather
bag, windscreen, flight
studio and live applications. Lewitt build recording, Wght: 430g case
Freq: 20Hz - 20kHz
wireless, performance and drum microphones. Out Sens: 13mV/Pa
OA: Stereo mount, pop
shield
Max SPL: 145dB
USA: www.trunorthmusicandsound.com Self Noise: 10dBA
HQ: www.lewitt-audio.com Out Imp: >150
Rec Load: >1k
Pwr Type: P48
Alt Pwr: -

LCT 940 Alt Pwr: - MTP 940 SC: -


SC: 120mA Con via: XLR-3 (M)
$1599 Con via: XLR-3 (M)
$599 Pad: -
Polar: Omnidirectional, Pad: -6, -12, -18 dB Polar: Broad-cardioid, Filt Freq: 100Hz, 250 Hz
subcardioid, cardioid, Filt Freq: 40, 150, cardioid, super-cardioid Slope: -
supercardioid, 300Hz Dim: 183mm (H) SA: Shockmount, leather
hypercardioid, figure-of-8 Wght: 332g
Slope: 12, 6, 6 dB/Oct bag
Dim: 60 x 192 (mm) Freq: 20Hz - 20kHz
SA: PSU, shockmount, OA: -
Wght: 662g 11-pin audio cable, Out Sens: 10mV/Pa
Freq: 20Hz - 20kHz windscreen, flight case Max SPL: 144 dB, 150
Out Sens: 23mV/Pa OA: Stereo mount, pop dB, 156 dB
Max SPL: 143dB shield Self Noise: 9dBA
Self Noise: 8dBA Out Imp: 150
Out Imp: >200 Rec Load: 1k
Rec Load: >1k Pwr Type: P48
Pwr Type: PSU Alt Pwr: -

MXL Genesis FET


$399.95
Con via: XLR-3 (M)
Pad: -
Filter Freq: -
The microphone division of Marshall Electronics (not Polar: - Slope: -
the similarly named guitar-amp makers), MXL started Dim: 47 x 225 (mm) SA: Shockmount, pop
Wght: 431g
off producing low-cost studio capacitor mics, but Freq Response: 20Hz -
filter, cleaning cloth
OA: PF-002 or PF-003
have since branched out into ribbon mics and models 20kHz pop filter, windscreen
designed for the stage. Out Sens: 31mV/Pa
Max SPL: 140dB
Self Noise: -
HQ: www.mxlmics.com Out Imp: 150
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -

70 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

603 Pair Pad: - 770 Pad: -


Filt Freq: - Filt Freq: -
$299 Slope: -
$99.95 Slope: -
Polar: Cardioid SA: Aluminium flight Polar: Cardioid SA: Rugged carrying
Dim: 22 x 133 (mm) case, high-isolation Dim: 59 x 158 (mm) case, high-isolation
Wght: 137g shockmount Wght: 455g shockmount
Freq: 30Hz - 20kHz OA: Omnidirectional Freq: 30Hz - 20kHz OA: Pop filter,
Out Sens: 10mV/Pa capsule Out Sens: 15mV/Pa windscreen
Max SPL: 134dB Max SPL: 137dB
Self Noise: 18dBA Self Noise: 20dBA
Out Imp: 200 Out Imp: 150
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

990 Pad: - 2003a Pad: -10dB


Filt Freq: - Filt Freq: 150Hz
$49.99 Slope: -
$179.95 Slope: 6dB/Oct
Polar: Cardioid SA: Rugged carrying Polar: Cardioid SA: High-isolation
Dim: 60 x 130 (mm) case, shockmount, hard Dim: 50 x 197 (mm) shockmount
Wght: 550g mount, microphone Wght: 453g OA: Pop filter, hard
Freq: 30Hz - 20kHz stand adaptor Freq: 20Hz - 20kHz mount, windscreen
Out Sens: 15mV/Pa OA: Pop filter, Out Sens: -
Max SPL: 130dB windscreen Max SPL: 152dB
Self Noise: 20dBA Self Noise: 11dBA
Out Imp: 200 SOS Review (August Out Imp: 200
Rec Load: - 2005) Rec Load: -
Pwr Type: P48 www.soundonsound. Pwr Type: P48
Alt Pwr: - com/sos/aug05/ Alt Pwr: -
SC: - articles/mxl.htm SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

2010 Cube Pad: -


Filt Freq: -
$179.95 $99.95 Slope: -
Polar: Omnidirectional, Polar: Cardioid SA: Hard mount,
cardioid, figure-of-8 Dim: - microphone stand
Dim: 50 x 190 (mm) Wght: 385g adaptor
Wght: 525g Freq: 20Hz - 20kHz OA: Low-profile
Freq: 30Hz - 20kHz Out Sens: 20mV/Pa shockmount
Out Sens: 15mV/Pa Max SPL: 132dB
Max SPL: 130dB Self Noise: 14dBA
Self Noise: 20dBA Out Imp: 100
Out Imp: 200 Rec Load: -
Rec Load: - Pwr Type: P48
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: -
SC: - Con via: XLR-3 (M)
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: - CR89 Filt Freq: -
SA: Flight case,
SA: High-isolation shockmount, $349.95 shockmount, cleaning
windscreen
Polar: - cloth
OA: Pop filter, hard mount
microphone stand adaptor Dim: 64 x 185 (mm) OA: PF-002 or PF-003
Wght: 839.15g pop filter, windscreen
Freq: 20Hz - 20kHz
Out Sens: 31mV/Pa
Max SPL: 138dB
Self Noise: -
Out Imp: 150
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

SOS Buyers Guide Microphones 71


capacitor microphones: large-diaphragm

V67g Pad: - V67i


Filt Freq: -
$279 Slope: -
$189.95
Polar: Cardioid SA: Hard mount, Polar: Cardioid
Dim: 47 x 184 (mm) microphone stand Dim: 47 x 184 (mm)
Wght: 590g adaptor Wght: 590g
Freq: 30Hz - 20kHz OA: Shockmount, Freq: 30Hz - 20kHz
Out Sens: 15mV/Pa windscreen, pop filter Out Sens: 22mV/Pa
Max SPL: 130dB Max SPL: 140dB
Self Noise: 20dBA Self Noise: 20dBA
Out Imp: 200 Out Imp: 200
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)
Pad: -6dB
Filt Freq: 150Hz
Slope: 6dB/Oct
V87 Pad: - SA: Hard mount, microphone stand
Filt Freq: - adaptor, wooden storage box
$299.95 Slope: - OA: Shockmount, windscreen,
Polar: Cardioid SA: Metal mesh pop popfilter
Dim: 47 x 190 (mm) filter, low-profile
Wght: 500g shockmount, hard
Freq: 20Hz - 20kHz mount, microphone
Out Sens: - stand adaptor
Max SPL: 136dB OA: Pop filter, high
Self Noise: 8.5dBA isolation shockmount,
windscreen
Out Imp: 200
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

CR30 Tempo XLR Filt Freq: -


SA: Mic stand adapter,
$299.95 $79.95 cleaning cloth
Polar: - Polar: - OA: PF-001, PF-002 or
Dim: 47 x 145 (mm) Dim: 51 x 175 (mm) PF-003 pop filter
Wght: 498.95g Wght: 280g
Freq: 20Hz - 20kHz Freq: 30Hz - 20kHz
Out Sens: 25mV/Pa Out Sens: 10mV/Pa
Max SPL: 158dB Max SPL: 134dB
Self Noise: - Self Noise: -
Out Imp: 150 Out Imp: 200
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con Via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
SA: Aluminum flight case, Tempo SK/ SC: -
shockmount, microfiber KR USB Con via: USB
cleaning cloth Pad: -
$79.95 Filt Freq: -
OA: PF-002 or PF-003
pop filter, windscreen Polar: - Slope: -
Dim: 47 x 190 (mm) SA: Tripod stand,
Wght: 280g mic stand adapter,
Freq: 40Hz - 18kHz USB cable
Out Sens: 4.4mV/ OA: -
Pa
Max SPL: -
Self Noise: -
Out Imp: -
Rec Load: -
Pwr Type: USB
Alt Pwr: -

72 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Microtech Gefell M 930


$1220
Microtech Gefell GmbH are a German manufacturer Polar: Cardioid
of studio and measurement microphones that Dim: 45 x 118 (mm)
Wght: 210g
are exclusively hand made. Besides microphones, Freq: 40Hz - 18kHz
Microtech Gefell GmbH offer calibration and service for Out Sens: 21mV/Pa
the whole product range. They continue the tradition of Max SPL: 142dB
Self Noise: 7dBA
Georg Neumann who founded the company in1928. Out Imp: 100
Rec Load: 1k
HQ: www.microtechgefell.de Pwr Type: P48
Alt Pwr: -
SC: 3.6mA
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
M 900 Pwr Type: P48
SA: Wooden case, microphone
Alt Pwr: -
$1370 SC: 3mA
holder
Polar: Cardioid OA: Windscreen (W76), pop screen
Con via: XLR-3 (M) (P110), elastic suspension (EA93)
Dim: 47 x 218 (mm) Pad: -
Wght: 229g Filt Freq: - SOS Review (January 2004)
Freq: 40Hz - 20kHz Slope: - www.soundonsound.com/sos/
Out Sens: 17mV/Pa SA: Wooden case jan04/articles/microtechgefell.htm
Max SPL: 133dB OA: Windscreen (W90),
Self Noise: 13dBA elastic suspension (EA90)
Out Imp: 150
Rec Load: 1k

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capacitor microphones: large-diaphragm

UM 930 SC: 4.5mA UMT 70S Rec Load: 1k


Con via: XLR-3 (M) Pwr Type: P48
$4650 Pad: -
$1730 Alt Pwr: -
Polar: Omnidirectional, Filt Freq: - Polar: Omnidirectional, SC: -
subcardioid, cardioid, Slope: - cardioid, figure-of-8 Con via: XLR-3 (M)
hypercardioid, figure-of-8 Dim: 42 x 217 (mm)
SA: Wooden case Pad: -10dB
Dim: 65 x 158 (mm) Wght: 290g
OA: Windscreen Filt Freq: 90Hz
Wght: 930g (W93), elastic Freq: 40Hz - 20kHz Slope: -
Freq: 40Hz - 20kHz suspension (EA92), Out Sens: 7mV/Pa SA: Wooden case
Out Sens: 20mV/Pa microphone holder (omnidirectional), 13mV/Pa
OA: Windscreen (W76),
Max SPL: 142dB (MH80) (cardioid), 8mV/Pa (figure-
elastic suspension (EA21),
Self Noise: 7dBA of-8)
microphone holder (MH75)
Out Imp: 100 SOS Review (June 2008) Max SPL: 149dB
SOS Review (May 1995)
Rec Load: 1k www.soundonsound. (omnidirectional), 144dB
(cardioid), 149dB (figure-of-8) www.soundonsound.com/
Pwr Type: P48 com/sos/jun08/articles/ sos/1995_articles/may95/
Self Noise: 14dBA
Alt Pwr: - microtechgefellum930.htm microtechgefell.html
Out Imp: 150

MicW T551 Pad: -


Filt Freq: -
$1176
Slope: -
MicW are a professional recording microphone brand, Polar: Cardioid SA: Shockmount (PP591)
known for producing clean-sounding microphones. Dim: 42 x 163 (mm) OA: Shockmount (P5590)
Wght: 340g
With great options for instrument and voice recording, Freq: 20Hz - 20kHz
MicW strive to develop products that faithfully Out Sens: 40mV/Pa
reproduce and transmit sound cleanly. Max SPL: 130dB
Self Noise: <22dBA
Out Imp: <200
HQ: www.mic-w.com Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Miktek C7
$899
Pwr Type: P48
Alt Pwr: -
SC: -
Miktek produce precision microphones, which are Polar: Omnidirectional, Con via: XLR-3 (M)
handmade in Nashville, USA. They are inspired by iconic cardioid, figure-of-8
Pad: -10dB
Dim: 57 x 203 (mm)
mics of the past, and develop capsules and unique Wght: 680g
Filt Freq: 80Hz
Slope: 6dB/Oct
circuits to capture sound. Using the very latest in audio Freq: 20Hz - 20kHz
SA: Wood presentation
technology, Mikteks designs are approved by some of Out Sens: -29, -34, -38
dBV/Pa
case, serialised
frequency response
the worlds most acclaimed sound engineers. Max SPL: 118, 123, graph, swivel-mount,
127 dB shockmount, aluminium
HQ: www.miktekaudio.com Self Noise: 13, 18,
22dB
carry case
OA: -
Out Imp: -
Rec Load: -

Mojave Audio
Founded by David Royer (known for his ribbon mic designs for Royer Labs) in
1985, Mojave Audio were a one-man, custom pro-audio gear shop. Since the
mid-1990s, Mojave mics have been used by high-end engineers on a number
of well-known recordings. The company were relaunched in 2005, with Davids
non-ribbon mic designs.

HQ: www.mojaveaudio.com

74 SOS Buyers Guide Microphones


Sound Engineering

sE4400a T2 sE5600a II Gemini II sE RNR1 sE RN17

512 847 5696


ngerprintaudio.com
sales@ngerprintaudio.com
capacitor microphones: large-diaphragm

Con via: XLR-3 (M) MA-201fet Pad: -


MA-301fet Filt Freq: -
Pad: -
$895 $695 Slope: -
Filt Freq: -
Polar: Omnidirectional, Slope: - Polar: Cardioid SA: Microphone box, clip
cardioid, figure-of-8 SA: Flight case, Dim: 5 x 20 (mm) and pop filter
Dim: 5 x 20 (mm) shockmount Wght: 181g OA: -
Wght: 181g OA: - Freq: 20Hz - 20kHz
Freq: 20Hz - 20kHz Out Sens: 11mV/Pa
Out Sens: 11mV/Pa Max SPL: 125dB
Max SPL: 138dB Self Noise: 14dBA
Self Noise: 14dB nominal Out Imp: 500
Out Imp: 500 Rec Load: 2.5k
Rec Load: 2.5k Pwr Type: P48
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: 0.68mA
SC: 2mA Con via: XLR-3 (M)

Neumann TLM 103


$1095.95
Pad: -
Filt Freq: -
Slope: -
Georg Neumann GmbH, based in Berlin, Germany, are Polar: Cardioid SA: Stand mount,
renowned as one of the worlds leading manufacturers Dim: 60 x 132 (mm) wooden box
Wght: 450g
of microphones. Some of their decades-old designs, like Freq: 20Hz - 20kHz
OA: PSU, elastic
suspension, auditorium
the U87, are still considered among the best available Out Sens: 23mV/Pa mount, popscreen
today. Max SPL: 138dB
Self Noise: 7dBA SOS Review (June
Out Imp: 50 1998)
HQ: www.neumannusa.com Rec Load: 1k www.soundonsound.
Pwr Type: P48 com/sos/jun98/
Alt Pwr: N248 PSU articles/neumann.
SC: 3mA html
Con via: XLR-3 (M)

TLM 103D Con via: XLR-3 (M) U87ai Pwr Type: P48
Pad: - Alt Pwr: BS48 battery or
$1599.95 Filt Freq: -
$3199.95 N248 mains
Polar: Cardioid Slope: - Polar: Omnidirectional, SC: 0.8mA
Dim: 60 x 132 (mm) SA: Stand mount, cardioid, figure-of-8 Con via: XLR-3 (M)
Wght: 450g wooden box Dim: 56 x 200 (mm) Pad: -10dB
Freq: 20Hz - 20kHz OA: Elastic Wght: 500g Filt Freq: -
Out Sens: 11mV/Pa suspension, Freq: 20Hz - 20kHz Slope: -
Max SPL: - auditorium hanger, Out Sens: 20, 28, SA: Wooden box
Self Noise: 7dBA windscreen, pop 22mV/Pa OA: Battery power
Out Imp: - shield, popscreen Max SPL: 117dB supply, mains PSU,
Rec Load: - (cardioid), 127dB with elastic suspension,
Pwr Type: Digital phantom 10db pre-att swivel mount,
Alt Pwr: DM-I series, DiGiCo Self Noise: 15, 12, 14 dBA popscreen,
AES 42-input card Out Imp: 200 windscreen
SC: - Rec Load: 1k

Nevaton MC48 (Stereo)


$1499
Con via: XLR-5 (M)
Pad: -
Filt Freq: 100Hz
Formed in Russia in 1991, Nevaton have their roots in Polar: Subcardioid, Slope: 6dB/Oct
the Leningrad optical and mechanical association and cardioid, supercardioid
SA: Shockmount clip, XLR
Dim: 50 x 249 (mm)
the scientific and industrial association. Founded as a Wght: 500g
cable, hardwood box
OA: -
microphone manufacturer and a research laboratory, Freq: 20Hz - 20kHz
Nevatons base contains an acoustic lab, including a Out Sens: 20mV/Pa
Max SPL: 135dB
large anechoic chamber, as well as a factory in which Self Noise: 12dBA
each microphone is handassembled. Out Imp: 50
Rec Load: 1k
USA: www.redsquareaudio.com Pwr Type: P48
Alt Pwr: -
HQ: www.nevatonmics.com SC: 10mA

76 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

MC51 Con via: XLR-3 (M) MC404 (Stereo) Pwr Type: P48
Pad: -10dB Alt Pwr: -
$1199 Filt Freq: -
$1299 SC: 10mA
Polar: Omnidirectional, Slope: - Polar: Omnidirectional, Con via: XLR-5 (M)
cardioid, figure-of-8 SA: Shockmount clip, subcardioid, cardioid, Pad: -
Dim: 50 x 219 (mm) hardwood box supercardioid,
Filt Freq: 100Hz
Wght: 440g hypercardioid, figure-
OA: - Slope: 6dB/Oct
Freq: 20Hz - 20kHz of-8
Dim: 51 x 225 (mm) SA: Shockmount clip,
Out Sens: 10mV/Pa SOS Review (May 1995) XLR cable, hardwood
Max SPL: 140dB Wght: 320g
www.soundonsound.com/ box
Self Noise: 17dBA Freq: 20Hz - 20kHz
sos/1995_articles/may95/ OA: -
Out Imp: 50 Out Sens: 12mV/Pa
nevationmc51.html
Rec Load: 1k Max SPL: 134dB
Pwr Type: P48 Self Noise: 12dBA
Alt Pwr: - Out Imp: 50
SC: 10mA Rec Load: 1k

MC416 SC: 10mA


MC440
Con via: XLR-3 (M)
$1355 Pad: -
$1149
Polar: Omnidirectional, Filt Freq: - Polar: Cardioid
subcardioid, cardioid, Slope: - Dim: 50 x 175 (mm)
figure-of-8 Wght: 310g
SA: Shockmount clip,
Dim: 50 x 249 (mm) hardwood box Freq: 20Hz - 20kHz
Wght: 500g OA: - Out Sens: 12mV/Pa
Freq: 20Hz - 20kHz Max SPL: 135dB
Out Sens: 15mV/Pa Self Noise: 14dBA
Max SPL: 140dB Out Imp: 50
Self Noise: 15dBA Rec Load: 1k
Out Imp: 50 Pwr Type: P48
Rec Load: 1k Alt Pwr: -
Pwr Type: P48 SC: 10mA
Alt Pwr: - Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
MC420 Pad: - SA: Shockmount clip, hardwood box
Filt Freq: -
$999 Slope: -
OA: -
Polar: Cardioid SA: Shockmount clip, hardwood
Dim: 50 x 175 (mm) box
Wght: 310g OA: -
Freq: 20Hz - 20kHz
Out Sens: 12mV/Pa
Max SPL: 135dB
Self Noise: 14dBA
Out Imp: 50
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: 10mA
Con via: XLR -3 (M)

Oktava MK-101
$293
Pad: -10dB
Filt Freq: 200Hz
Slope: -
Oktava are the oldest major Russian manufacturer Polar: Cardioid SA: -10dB pad,
of professional audio equipment, famous for their Dim: 55 x 165 (mm) microphone holder
Wght: 260g
ribbon models as well as small- and large-diaphragm Freq: 20Hz - 20kHz
OA: Swivel joint,
low-cut filter,
condenser microphones. Out Sens: 15mV/Pa shockmount, pop
Max SPL: 122dB filter
HQ: www.oktavausa.com Self Noise: <18dBA
Out Imp: 150
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: 8mA
Con via: XLR-3 (M)

SOS Buyers Guide Microphones 77


capacitor microphones: large-diaphragm

MK-102 Pad: -10dB MK-104 Pad: -10dB


Filt Freq: Filt Freq: 200Hz
$389 200Hz $429 Slope: -
Polar: Cardioid Slope: - Polar: Cardioid SA: -10dB pad,
Dim: 39 x 125 (mm) SA: -10dB pad, Dim: 55 x 170 (mm) microphone holder
Wght: 230g microphone holder Wght: 203g OA: Swivel joint, low-
Freq: 20Hz - 20kHz OA: Swivel joint, low- Freq: 20Hz - 20kHz cut filter, shockmount,
Out Sens: 15mV/Pa cut filter, shockmount, Out Sens: >10mV/Pa pop filter
Max SPL: 120dB pop filter Max SPL: 140dB
Self Noise: <18dBA Self Noise: 18dBA
Out Imp: 150 Out Imp: 150
Rec Load: 1k Rec Load: 1k
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: 8mA SC: 8mA
Con via: XLR-3 (M) Con via: XLR-3 (M)

MK-105 Pad: - SC: -


MK-519
Filt Freq: - Con via: XLR-3 (M)
$429 Slope: -
$429 Pad: -
Polar: Cardioid SA: Microphone holder, Polar: Cardioid Filt Freq: -
Dim: 55 x 160 (mm) wooden box Dim: 52 x 170 (mm) Slope: -
Wght: 380g OA: Shockmount, Wght: 400g SA: Microphone holder,
Freq: 20Hz - 20kHz popfilter Freq: 20Hz - 20kHz wooden box
Out Sens: 16mV/Pa Out Sens: >21mV/Pa OA: Shockmount, pop filter
Max SPL: 120dB Max SPL: >124dB
Self Noise: <18dBA Self Noise: 18dBA
Out Imp: 200 Out Imp: 60
Rec Load: 1k Rec Load: 600
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: 8mA
Con via: XLR-3 (M)

MK-220 Con via: XLR-3 (M)


Pad: -10dB
$272 Filt Freq: 300Hz
Polar: Omnidirectional, Slope: -
cardioid, hypercardioid SA: Microphone holder
Dim: 52 x 205 (mm) OA: Shockmount,
Wght: 620g pop filter
Freq: 20Hz - 20kHz
Out Sens: 10mV/Pa
Max SPL: 140dB
Self Noise: 18dBA
Out Imp: 200
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: 8mA

Pearl CC22
$1532
Pad: -
Filt Freq: -
Slope: -
Pearl are a Swedish manufacturer of high-end Polar: Cardioid SA: Wooden box,
microphones. Their large-diaphragm condensers Dim: 32 x 150 (mm) shockmount
Wght: 270g
are based around unusual rectangular capsules, and Freq: 20Hz - 25kHz
OA: Windscreen

they also make a stereo mic, the ELM-A. All Pearl Out Sens: 18mV/Pa SOS Review (September
microphones are hand-made in Sweden. Max SPL: 126dB 2004)
Self Noise: 12dBA www.soundonsound.
Out Imp: 100
USA: www.independentaudio.com Rec Load: 1k
com/sos/sep04/articles/
pearlcc22.htm
HQ: www.pearl.se Pwr Type: P48
Alt Pwr: -
SC: 2.3mA
Con via: XLR-3 (M)

78 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

ELM-C Pad: - DS60 (Stereo)


Filt Freq: -
$2,055 $6,560
Slope: -
Polar: Cardioid SA: Wooden box, Polar: Omnidirectional, cardioid,
Dim: 32 x 192 (mm) shockmount figure-of-8
Wght: 305g OA: Wind shield, stereo Dim: 42 x 195 (mm)
Freq: 20Hz - 25kHz bar Wght: 470g
Out Sens: 22mV/Pa Freq: 20Hz - 25kHz
Max SPL: 126dB SOS Review (July 2006) Out Sens: 16mV/Pa
Self Noise: 10dBA www.soundonsound. Max SPL: 126dB
Out Imp: 100 com/sos/jul06/articles/ Self Noise: 14dBA
Rec Load: 1k pearlelmc.htm Out Imp: 100
Pwr Type: P48 Rec Load: 1k
Alt Pwr: - Pwr Type: P48
SC: 2.7mA Alt Pwr: -
Con via: XLR-3 (M) SC: 5.5mA
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
ELM-A Con via: XLR-5 (M) Slope: -
Pad: - SA: Flight case, elastic
$3069 Filt Freq: - suspension, splitter connector,
Polar: Omnidirectional, Slope: - 8-core cable (10m)
cardioid, figure-of-8 SA: Wooden box, OA: -
Dim: 32 x 192 (mm) shockmount
Wght: 305g OA: Wind shield
Freq: 20Hz - 25kHz
Out Sens: 22mV/Pa SOS Review (June 2011)
Max SPL: 126dB www.soundonsound.com/
Self Noise: 11dBA sos/jun11/articles/pear-elma.
Out Imp: 100 htm
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: 3.5mA

Peluso P-Stereo
$1443.94
Con via: XLR-5 (M)
Pad: -10dB
Filt Freq: -
Peluso produce top-quality studio microphones Polar: Omnidirectional, Slope: -
inspired by classic vintage designs. Hand assembled cardioid, figure-of-8
SA: Shockmount, wooden
Dim: 46 x 262 (mm)
from quality modern and vintage components, Peluso Wght: 750g
box, PSU and cable, XLR-5
(M) cable, flight case
mics are extensively tested by computer frequency Freq: 17Hz - 25kHz OA: -
response and human listening tests, ensuring the Out Sens: 12mV/Pa
Max SPL: 148dB
lowest noise standards. Self Noise: 15dBA
Out Imp: 200
HQ: www.pelusomicrophonelab.com Rec Load: 1k
Pwr Type: PSU
Alt Pwr: P48
SC: 6mA

Prodipe ST1
$109
Pad: -10dB
Filt Freq: -
Slope: -
French company Prodipe are known for making Polar: Cardioid SA: Flight case,
monitors with ribbon tweeters, as well as Dim: - shockmount
Wght: -
manufacturing a wide range of low-cost microphones Freq: 20Hz - 20kHz
OA: -

for stage and studio use. Out Sens: 14mV/Pa


Max SPL: 130dB
HQ: www.prodipe.com Self Noise: <20dB
Out Imp: 100
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

SOS Buyers Guide Microphones 79


capacitor microphones: large-diaphragm

SC: - ST-USB Pad: -


STC-3D Filt Freq: -
Con via: -
$229 $99 Slope: -
Pad: -10dB
Polar: Omnidirectional, Filt Freq: - Polar: Uni-directional SA: -
cardioid, figure-of-8 Slope: - Dim: - OA: -
Dim: 54 x 201 (mm) SA: Flight case, Wght: -
Wght: 590g shockmount Freq: 20Hz - 20kHz
Freq: 20Hz - 20kHz OA: - Out Sens: 17mV/Pa
Out Sens: -31, -34, Max SPL: 135dB
-35dB SOS Review (October Self Noise: -
Max SPL: 130dB 2007) Out Imp: -
Self Noise: 14, 15, 16 dB www.soundonsound. Rec Load: -
Out Imp: 200 com/sos/oct07/articles/ Pwr Type: -
Rec Load: - prodipestc3d.htm Alt Pwr: -
Pwr Type: P48 SC: -
Alt Pwr: - Con via: -

Peavey Studio Pro M1


$199.99
Peavey are one of the largest independently owned Polar: Cardioid
suppliers of musical instruments and professional Dim: 58 x 198 (mm)
Wght: 545g
sound equipment in the world. Established by Hartley Freq: 30Hz - 20kHz
Peavey in 1965, Peavey hold 130 patents in musical Out Sens: 16mV/Pa
instrument designs and audio technology. Their Max SPL: 140dB
Self Noise: 18dBA
products can be found in government buildings, theme Out Imp: 200
parks, airports, stadiums and more. Rec Load: 1k
Pwr Type: P48
HQ: www.peavey-eu.com Alt Pwr: -
SC: 2.7mA
Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: -
Slope: -
Studio Pro M2 Alt Pwr: -
SA: Carry case, stand mount
SC: 3mA
$299.99 Con via: XLR-3 (M)
OA: Studio windscreen,
shockmount
Polar: Omnidirectional, Pad: -
cardioid, figure-of-8 Filt Freq: -
Dim: 58 x 198 (mm) Slope: -
Wght: 545g SA: Carry case, stand
Freq: 30Hz - 20kHz mount
Out Sens: 12.5, 20, 15 OA: Studio windscreen,
mV/Pa shockmount
Max SPL: 145, 140,
144dB SOS Review (November
Self Noise: 20, 16, 18 dBA 2010)
Out Imp: 200 www.soundonsound.
Rec Load: 1k com/sos/nov10/articles/
Pwr Type: P48 peavey-m2.htm

Red5 Audio
Red5 Audio, formed in 2001, are a small Scottish
company who manufacture microphones for both the
professional and home enthusiast markets, and aim to
provide excellent customer service. They also make a
range of mic accessories, including shockmounts and
pop shields.

HQ: www.red5audio.com

80 SOS Buyers Guide Microphones


AKG D12 VR

Premium dynamic microPhone for live sound Four sound settings


and recording aPPlications

AKG Acoustics reinvents the legendary D12 microphone, offering performance, Cardioid polar pattern
quality and style for every application from instruments to vocals. Featuring the original

C414 transformer from the 1970s, the AKG D12 VR is capable of four distinct sound ...... ...
..........
..........
.......... ....
.....

Legendary AKG sound


..........
..........
.......... .....
......
......
..........
.......... ......
...... ...
..........
..........
................
.....
.....
..........
..........
..........
...............
....
.........

shapes: one in passive mode and three in active mode, P48 powered. So whatever
.........

the vibe, throw it down like you mean it with the AKG D12 VR.
Made in Austria. High dynamic range

akg.com/d12vr
ADV723/1/E

2013 HARMAN International Industries, Incorporated. All rights reserved. AKG is a trademark of AKG Acoustics GmbH, registered
in the United States and/or other countries. Features, specifications and appearance are subject to change without notice.
capacitor microphones: large-diaphragm

RV10 Pwr Type: P48 SC: -


RV8
Alt Pwr: - Con via: XLR-3 (M)
155 (US price not SC: -
105 (US price not Pad: -10dB
available) Con via: XLR-3 (M) available) Filt Freq: 125Hz
Polar: Omnidirectional, Pad: -10dB Polar: Cardioid Slope: 6dB/Oct
cardioid, figure-of-8 Filt Freq: 125Hz Dim: 55 x 200 (mm) SA: Locking flight case,
Dim: 55 x 200 (mm) Slope: 6dB/Oct Wght: 578g foam wind shield, metal
Wght: 585g SA: Locking flight case, Freq: 20Hz - 20kHz shockmount
Freq: 20Hz - 20kHz foam wind shield, metal Out Sens: 17.7mV/Pa OA: -
Out Sens: -31, -33, -34 dB shockmount Max SPL: 135dB (145dB
+/- 2dB OA: - with -10dB pad) SOS Review (June 2002)
Max SPL: 135dB (145dB Self Noise: 16dBA www.soundonsound.
with -10dB pad) SOS Review (June 2002) Out Imp: 250 com/sos/jun02/articles/
Self Noise: 14dBA www.soundonsound. Rec Load: - red5mics.asp
Out Imp: 250 com/sos/jun02/articles/ Pwr Type: P48
Rec Load: - red5mics.asp Alt Pwr: -

RDE Broadcaster
$419
Pad: -
Filt Freq: -
Slope: -
Rode are based in Sydney, Australia, where all their Polar: Cardioid SA: Zip case, stand
microphones are designed, and where the majority of Dim: 167 x 50 x 65 (mm) mount, 10 year warranty
Wght: 577g
their manufacturing takes place. They make all kinds Freq: 20Hz - 20kHz
OA: Windshield

of mics, from valve and solid-state condensers to lapel Out Sens: 19.9mV/Pa
and video microphones. Max SPL: 128dB
Self Noise: 14dBA
Out Imp: 40
HQ: www.rodemic.com Rec Load: -
Pwr Type: P48
Alt Pwr:
SC: -
Con via: XLR-3 (M)

NT1-A Con via: XLR-3 (M) NT2-A Pad: -5, -10 dB


Pad: - Filt Freq: 40Hz, 80Hz
$229 ($549 for Filt Freq: -
$399 Slope: -
matched pair) Slope: - Polar: Switchable, SA: Shockmount, 3m XLR cable,
Polar: Cardioid SA: Shockmount, 3m XLR including omnidirectional, microphone dust cover, studio tips
Dim: 50 x 190 (mm) cable, microphone dust cover, cardioid, figure-of-8 & tricks DVD, 10 year warranty
Wght: - studio tips & tricks DVD, 10 Dim: 55 x 209 (mm) OA: Ring mount, windshield, zip
Freq: 20Hz - 20kHz year warranty Wght: - case, desk stand
Out Sens: 25.41mV/Pa OA: Ring mount, windshield, Freq: 20Hz - 20kHz
Max SPL: 137dB zip case, desk stand Out Sens: 15.85mV/Pa SOS Review (March 2005)
Self Noise: 5dBA Max SPL: 147dB www.soundonsound.com/sos/
Out Imp: 100 SOS Review (May 2004) Self Noise: 7dBA mar05/articles/rodent2a.htm
Rec Load: - www.soundonsound.com/sos/ Out Imp: 200
Pwr Type: P48/24 may04/articles/rodent.htm Rec Load: -
Alt Pwr: - Pwr Type: P48/24
SC: - SC: -
Con via: XLR-3 (M)

NT1000 Filt Freq: - NT2000 Con via: XLR-3 (M)


Slope: - Pad: Variable 0dB to -10dB
$329 SA: Zip case, ring mount, 10
$599 Filt Freq: Variable 20Hz to 150Hz
Polar: Cardioid year warranty Polar: Infinitely Slope: -
Dim: 54 x 209 (mm) OA: Shockmounts, windshield, variable, including SA: Carry case, shockmount, 10
Weight: - desk stand omnidirectional, year warranty
Freq: 20Hz - 20kHz cardioid, figure-of-8
OA: Shockmount, ring mount,
Out Sens: 15.85mV/Pa SOS Review (September 2001) Dim: 55 x 208 (mm) windshield, zip case, desk stand
Max SPL: 140dB www.soundonsound.com/sos/ Wght: -
Self Noise: 6dBA sep01/articles/rodent1000.asp Freq: 20Hz - 20kHz SOS Review (May 2004)
Out Imp: 100 Out Sens: 15.85mV/Pa www.soundonsound.com/sos/
Rec Load: - Max SPL: 147dB may04/articles/rodent.htm
Pwr Type: P48/24 Self Noise: 7dBA
SC: - Out Imp: 200
Con via: XLR-3 (M) Rec Load: -
Pad: - Pwr Type: P48/24
SC: -

82 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

sE Electronics sE4400a
$649
SC: 5mA
Con via: XLR-3 (M)
Pad: 10, 20 dB
sE Electronics are one of the most prolific modern mic Polar: Omnidirectional, Filt Freq: 60, 120 Hz
manufacturers. Since being founded in 2000, theyve cardioid, hypercardioid,
figure-of-8
Slope: 3dB/Oct
released an enormous range of models covering almost Dim: 57 x 143 (mm)
SA: Shockmount,
flight case
every type of microphone and at pretty much every Wght: 280g
OA: Also available
Freq: 20Hz - 20kHz
price level. Out Sens: 24mV/Pa
as a factory-matched
stereo pair including
Max SPL: 130dB stereo bar
USA: www.fingerprintaudio.com Self Noise: 16dBA
HQ: www.seelectronics.com Out Imp: 200 SOS Review (April
Rec Load: 1k 2009)
Pwr Type: P48 www.soundonsound.com/sos/apr09/articles/
Alt Pwr: - se4400a.htm

(FET), 16dBA x XLR G3500 Pwr Type: P48


Gemini 5 (tube) Alt Pwr: -
Pad: -
$1099 Out Imp: 50
$799 SC: 3mA
Filt Freq: -
Polar: Cardioid Rec Load: 1k Slope: - Polar: Cardioid Con via: XLR-3 (M)
Dim: 68 x 183 (mm) Pwr Type: SA: Dim: 64 x 145 (mm) Pad: -
Wght: 820g Dedicated Shockmount, Wght: 740g Filt Freq: -
Freq: 20Hz - 20kHz mains PSU PSU, flight case Freq: 20Hz - 20kHz Slope: -
Out Sens: 25mV/Pa Alt Pwr: - OA: Pop shield Out Sens: 23.7mV/Pa SA: Shockmount, flight
(FET), 31.6mV/Pa (tube) SC: - Max SPL: 125dB case
Max SPL: 130dB (FET), Con via: 8-pin Self Noise: 12dBA OA: Pop shield
132dB (tube) proprietary Out Imp: 200
Self Noise: 18dBA mic-to-PSU & 2 Rec Load: 1k
capacitor microphones: large-diaphragm

sE2200a II Con via: XLR-3 (M) SC: 5mA


Pad: 10, 20 dB
T2 Titanium
Con via: XLR-3 (M)
$399 Filt Freq: 80Hz
$849 Pad: 10, 20 dB
Polar: Omnidirectional, Slope: 6dB/Oct Polar: Omnidirectional, Filt Freq: 60, 120Hz
cardioid, figure-of-8 SA: Shockmount cardioid, hypercardioid, Slope: 3dB/Oct
Dim: 51 x 215 (mm) OA: Metal pop shield figure-of-8
SA: Shockmount, flight
Wght: 598g Dim: 57 x 143 (mm) case
Freq: 20Hz - 20kHz Wght: 280g OA: Metal pop
Out Sens: 20mV/Pa Freq: 20Hz - 20kHz shield
Max SPL: 135dB Out Sens: 24mV/Pa
Self Noise: 16dBA Max SPL: 132dB
Out Imp: 200 Self Noise: 16dBA
Rec Load: 1k Out Imp: 200
Pwr Type: P48 Rec Load: 1k
Alt Pwr: - Pwr Type: P48
SC: 4mA Alt Pwr: -

USB2200a Pad: 10dB X1 Pad: 10dB


Filt Freq: 80Hz Filt Freq: 200Hz
$399 Slope: 6dB/Oct
$199 Slope: 3dB/Oct
Polar: Cardioid SA: Built-in stand Polar: Cardioid SA: Microphone clip
Dim: 59 x 163 (mm) clip, USB cable Dim: 57 x 168 (mm) OA: Shockmount, metal
Wght: 565g OA: Pop shield Wght: 455g pop filter
Freq: 20Hz - 20kHz Freq: 20Hz - 20kHz
Out Sens: 55mV/Pa Out Sens: 25mV/Pa SOS Review (February
Max SPL: 133dB Max SPL: 137dB 2010)
Self Noise: 14dBA Self Noise: 16dBA www.soundonsound.
Out Imp: 50 Out Imp: 50 com/sos/feb10/articles/
Rec Load: 1k Rec Load: 1k x1bundle.htm
Pwr Type: P48 Pwr Type: P48
Alt Pwr: USB Alt Pwr: -
SC: 4mA SC: 3mA
Con via: XLR-3 (M) Con via: XLR-3 (M)

Shure PG42-USB
$249
American company Shure make some of the most Polar: Cardioid
widely used dynamic mics, including the SM57 and Dim: -
Wght: 453g
SM58. They also manufacture high-end studio Freq: 20Hz - 20kHz
condensers, as well as wireless mic kits. Out Sens: -
Max SPL: 136dB
HQ: www.shure.com Self Noise: -
Out Imp: -
Rec Load: -
Pwr Type: USB
Alt Pwr: -
SC: 500mA
Con via: USB
Pad: 20dB
Filt Freq: -
Con via: XLR-3 (M) Slope: -
KSM44A SA: USB cable,
Pad: 15dB
$999 Filt Freq: -
aluminium
carry case,
Polar: Omnidirectional, Slope: - ShureLock
cardioid, figure-of-8 SA: ShureLock cristal rubber
Dim: 56 x 187 (mm) elastic shockmount, isolated
Wght: 492g ShureLock cristal swivel
shockmount
Freq: 20Hz - 20kHz adaptor, aluminium
carry case, protective OA:
Out Sens: 29.8mV/Pa Windscreen,
Max SPL: 152dB Velveteen pouch,
suspension shockmount, Popper
Self Noise: 7.5dBA Stopper
elastic cord
Out Imp: 50
OA: Windscreen, padded
Rec Load: -
and zippered carry bag,
Pwr Type: P48 Popper Stopper magnetic
Alt Pwr: - pop filter, ShureLock rubber
SC: 5.8mA suspension shockmount

84 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Pad: 20dB KSM42 Pad: -


PG27-USB Filt Freq: -
Filt Freq: -
$199 $799 Slope: -
Slope: -
Polar: Cardioid SA: USB cable, padded Polar: Cardioid SA: Magnetic pop
Dim: - zipper pouch, stand Dim: 56 x 185 (mm) filter, ShureLock rubber
Wght: 452g adaptor Wght: 494g suspension shockmount,
Freq: 20Hz - 20kHz OA: Windscreen, Popper Freq: 60Hz - 20kHz aluminium carry case,
Out Sens: - Stopper, ShureLock Out Sens: 14.1mV/Pa protective Velveteen
rubber isolated Max SPL: 139dB pouch, suspension
Max SPL: 144dB
shockmount mount O-rings
Self Noise: - Self Noise: 8.5dBA
OA: Windscreen,
Out Imp: - Out Imp: 147
padded and
Rec Load: - Rec Load: - zippered carry
Pwr Type: USB Pwr Type: P48 bag, swivel
Alt Pwr: - Alt Pwr: - stand mount
SC: 500mA SC: -
Con via: USB Con via: XLR-3 (M)

Sontronics Orpheus
$649
Con via: XLR-3 (M)
Pad: -10, +10 dB
Filt Freq: -
Sontronics are a British microphone brand founded Polar: Omnidirectional, Slope: -
in 2004 by mic designer and musician Trevor Coley. cardioid, figure-of-8
SA: Yokemount, angled
Dim: 86 x 204 (mm)
Their range covers small- and large-diaphragm Wght: 894g
microphone clip, stand adaptor,
wooden case, lifetime warranty
condensers, valve and ribbon mics, as well as models Freq: 20Hz - 20kHz OA: Pop shield, pro-quality
made for specific purposes, like recording drums and Out Sens: 20mV/Pa cables with Neutrik XX
Max SPL: 125dB connectors, professional
electricguitar. Self Noise: 16dBA microphone stand
Out Imp: <=200
HQ: www.sontronics.com Rec Load: - SOS Review (September 2005)
Pwr Type: P48 www.soundonsound.com/sos/
Alt Pwr: - sep05/articles/sontronicsmics.
SC: - htm

Saturn Rec Load: - STC-2 Pad: -10dB


Pwr Type: P48 Filt Freq: 75Hz
$1199 Alt Pwr: -
$329 Slope: -
Polar: SC: - Polar: Cardioid SA: Spider shockmount, 2
Omnidirectional, Con via: XLR-3 (M) Dim: 53 x 194 (mm) x elastics, aluminium flight
subcardioid, Wght: 683g case, lifetime warranty
Pad: -10, -20 dB
cardioid, Freq: 20Hz - 20kHz OA: Pop shield, pro-
hypercardioid, Filt Freq: 75, 125 Hz
Slope: - Out Sens: 20mV/Pa quality cables with
figure-of-8 Neutrik XX connectors,
SA: Shockmount, aluminium flight Max SPL: 125dB
Dim: 50 x 164 (mm) professional
case, lifetime warranty Self Noise: 18dBA
Wght: 421g microphone stand
OA: Pop shield, pro-quality cables Out Imp: <200
Freq: 20Hz - 20kHz
+/- 1dB with Neutrik XX connectors, Rec Load: -
professional microphone stand Pwr Type: P48
Out Sens: 11mV/Pa
SOS Review (September 2005) Alt Pwr: -
Max SPL: 130dB
www.soundonsound.com/sos/ SC: -
Self Noise: 14dBA
sep05/articles/sontronicsmics.htm Con via: XLR-3 (M)
Out Imp: <200

STC-2X Con via: XLR-3 (M) Pad: -


STC-20
Pad: -10, -20 dB Filt Freq: -
$399 Filt Freq: 75, 150 Hz
$225 Slope: -
Polar: Omnidirectional, Slope: - Polar: Cardioid SA: Microphone mounting
cardioid SA: Spider shockmount, Dim: 53 x 194 (mm) ring, lifetime warranty
Dim: 53 x 194 (mm) 2 x elastics, aluminium Wght: 596g OA: Pop shield, pro-
Wght: 621g flight case, lifetime Freq: 20Hz - 20kHz quality cables with
Freq: 20Hz - 20kHz warranty Out Sens: 16mV/Pa Neutrik XX connectors,
Out Sens: 20mV/Pa OA: Pop shield, Max SPL: 120dB professional microphone
Max SPL: 125dB pro-quality cables Self Noise: 18dBA stand
Self Noise: 18dBA with Neutrik Out Imp: <200
Out Imp: <200 XX connectors,
professional Rec Load: -
Rec Load: - Pwr Type: P48
microphone stand
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: -
SC: - Con via: XLR-3 (M)

SOS Buyers Guide Microphones 85


capacitor microphones: large-diaphragm

STC-20 PACK Filt Freq: - STC-3X PACK SC: -


Slope: - Pad: 0dB, -10dB,
$275 SA: Shockmount,
$425 -20dB
Polar: Cardioid popshield, XLR cable, Polar: Cardioid, Filt Freq: linear, 75Hz,
Dim: 53 x 194 (mm) microphone pouch omnidirectional, 150Hz
Wght: 596g OA: - figure-of-eight Slope: -
Freq: 20Hz - 20kHz Dim: 53 x 194 (mm) SA: Shockmount,
Out Sens: 16mV/Pa Wght: 614g popshield, XLR
Max SPL: 120dB Freq: 20Hz - 20kHz cable, zip-up
Self Noise: - Out Sens: 16mV/Pa microphone
Max SPL: 120dB pouch
Out Imp: 200
Self Noise: 18dBA OA: -
Pwr Type: P48
Alt Pwr: - Out Imp: 200
Con via: XLR-3 (M) Pwr Type: P48
SC: - Alt Pwr: -
Pad: - Con via: XLR-3 (M)

Sony C38B
$2,856 MSRP
Con via: XLR-3 (M)
Pad: -8dB
Filt Freq: -
Sony Electronics full line of professional audio Polar: Omnidirectional Slope: -
technology ranges from portable audio recorders Dim: 78 x 214 (mm) SA: Carry case, stand
Wght: 650g
to wireless and wired microphone technology and Freq: 30Hz - 18kHz
adaptors, screwdriver
OA: -
headphones. They make mics for a wide range of Out Sens: 3.98mV/Pa
applications, including recording, live sound, theatrical Max SPL: 140dB
Self Noise: -
performance and journalism. Out Imp: 250
Rec Load: -
HQ: http://pro.sony.com Pwr Type: -
Alt Pwr: 9V battery, DC
24-48V
SC: -

Studio Projects CS-1000 Bundle


$399.99
Studio Projects Microphones a division of PMI Audio Polar: Cardioid
Group are a California-based design house, headed Dim: 52 x 215 (mm)
Wght: 589g
by Brent Casey, which specialises in microphones and Freq: 20Hz - 20kHz
electronics for the professional audio market. Founded Out Sens: 25mV/Pa
by Alan Hyatt, the company is entering its 13thyear. Max SPL: 156dB
Self Noise: 11dBA
Out Imp: 50
USA: www.pmiaudio.com Rec Load: 1.2k
HQ: www.studioprojectsusa.com Pwr Type: P48
Alt Pwr: -
SC: 4mA
Con via: XLR-3 (M)
Pad: 5, 10, 15, 20 dB
Filt Freq: 1.5kHz,
7kHz, 5kHz, 3kHz,
CS5 Alt Pwr: - 50Hz, 75Hz, 150Hz,
SC: 4mA 300Hz
$299.99 Con via: XLR-3 (M) Slope: 6dB/Oct
Polar: Omnidirectional, Pad: 5, 10, 15, 20 dB SA: Spider
subcardioid, cardioid, Filt Freq: 1.5kHz, 7kHz, shockmount, pop
supercardioid, 5kHz, 3kHz, 50Hz, 75Hz, filter, custom pouch,
hypercardioid, figure-of-8 150Hz, 300Hz XLR cable
Dim: 52 x 215 (mm) Slope: 6dB/Oct OA: Metal pop
Wght: 589g SA: Halo shockmount, screen, Litz wire
Freq: 20Hz - 20kHz foam windscreen, flight microphone cable
Out Sens: 19.95mV/Pa case
Max SPL: 156dB OA: Metal pop screen,
Self Noise: 12dBA Litz wire microphone
Out Imp: 50 cable
Rec Load: 1.2k
Pwr Type: P48

86 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

LSD-2 Con via: XLR-5 (M) LSM Con via: Mini-XLR, Mini-USB
Pad: 10dB Pad: -
$599 Filt Freq: 150Hz
$179.99 Filt Freq: -
Polar: Omnidirectional, Slope: 6dB/Oct Polar: Cardioid Slope: -
cardioid, figure-of-8 SA: Magnum-sized Dim: 74 x 130 (mm) SA: Mini-to-standard XLR cable
Dim: 52 x 283 (mm) windscreen, Halo Wght: 317g (2m), mini USB cable
Wght: 816g shockmount, wooden case, Freq: 20Hz - 20kHz OA: -
Freq: 20Hz - 20kHz XLR-5 (M) to XLR-3 (M) Out Sens: 25.11mV/
Out Sens: 12mV/Pa adaptor Pa
Max SPL: 142dB OA: Metal pop screen, Litz Max SPL: 150dB
Self Noise: 18dBA wire microphone cable Self Noise: 14dBA
Out Imp: 200 Out Imp: 150
Rec Load: 1.2k Rec Load: 1.2k
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: 2.5mA SC: 2.8mA

SP B1 Pad: 10, 20 dB SP B3
Filt Freq: 75, 150 Hz
$119.99 Slope: 6dB/Oct
$159.99
Polar: Cardioid SA: Shockmount, foam Polar: Omnidirectional, cardioid,
Dim: 52 x 182 (mm) windscreen, wooden case figure-of-8
Wght: 499g OA: Metal pop screen, Litz Dim: 52 x 182 (mm)
Freq: 20Hz - 20kHz wire microphone cable Wght: 499g
Out Sens: 16mV/Pa Freq: 20Hz - 20kHz
Max SPL: 137dB SOS Review (June 2005) Out Sens: 14, 16, 18 mV/Pa
Self Noise: 12dBA www.soundonsound. Max SPL: 132dB
Out Imp: 50 com/sos/jun05/articles/ Self Noise: 14dBA
Rec Load: 1.2k studioprojectsb1.htm Out Imp: 50
Pwr Type: P48 Rec Load: 1.2k
Alt Pwr: - Pwr Type: P48
SC: 3mA Alt Pwr: -
Con via: XLR-3 (M) SC: 3.1mA
Con via: XLR-3 (M)
Pad: 10dB
Filt Freq: 150Hz
SP C1 Pad: 10, 20 dB Slope: 6dB/Oct
Filt Freq: 75, 150 Hz SA: Shockmount, foam windscreen,
$249.99 Slope: 6dB/Oct wooden case
Polar: Cardioid SA: Halo shockmount, OA: Metal pop screen, 20 Litz wire
Dim: 52 x 226 (mm) foam windscreen, wooden microphone cable
Wght: 762g case
Freq: 20Hz - 20kHz OA: Metal pop screen, Litz
Out Sens: 14mV/Pa wire microphone cable
Max SPL: 151dB
Self Noise: 16dBA SOS Review (December
Out Imp: 200 2002)
Rec Load: 1.2k www.soundonsound.
Pwr Type: P48 com/sos/dec02/articles/
Alt Pwr: - studioprojects.asp
SC: 3.5mA
Con via: XLR-3 (M)

Wunder Audio CM7FET


$2000
Pad: -
Filt Freq: -
Slope: -
Wunder Audio started off repairing mixing consoles Polar: Supercardioid SA: Shockmount,
and building mic preamps in 1999. Today, they make a Dim: 63 x 160 (mm) oakbox
Wght: 700g
wide range of vintage-inspired microphones, including Freq: 20Hz - 16kHz
OA: -

valve and solid-state models. They also now make their Out Sens: 8mV/Pa
own mixing console, the Wunderbar. Max SPL: 147dB
Self Noise: -
Out Imp: 50
USA: www.vintageking.com Rec Load: -
HQ: www.wunderaudio.com Pwr Type: P48
Alt Pwr: -
SC: 0.5mA
Con via: XLR-3 (M)

SOS Buyers Guide Microphones 87


capacitor microphones: small diaphragm

Capacitor
Microphones:
small-diaphragm
In theory, the smaller the mic diaphragm, the more accurately the incident
sound is captured. However, if the diaphragm diameter is made very small,
it picks up correspondingly less sound energy and so tends to suffer from
noise problems due to the high levels of amplification needed. In typical
studio applications, small-diaphragm mics tend to have capsule diameters
in the order of 12mm or so, though there are exceptions. Most small-
diaphragm models are less coloured sounding than their large-diaphragm
counterparts but, because of the smaller capsule size, valve models and
those with switchable patterns are far less common. Its more usual, where
various patterns may be required from a small-diaphragm microphone, to
find a range of swappable capsules. Small-diaphragm capacitor mics are
a popular choice for the accurate recording of acoustic instruments.

AKG Blue Line C391B


$499
SC: <2mA
Con via: XLR-3 (M)
Pad: -10dB
Founded in Vienna in 1947, AKG Acoustics are a Polar: Omnidirectional, Filt Freq: 75Hz
manufacturer of microphones, headphones, wireless cardioid, hypercardioid,
figure-of-8, long rifle
Slope: 12dB/Oct
audio systems and related accessories for professional Dim: 19 x 110 (mm)
SA: -
OA: Various capsules:
and consumer markets. Some of their vintage models, Wght: 80g
cardioid, omnidirectional,
Freq: 20Hz - 20kHz
like the C12, are both rare and desirable, while their Out Sens: -
hypercardioid, figure-of-8,
lavalier, shotgun
current models, including the C414, can be found in Max SPL: -
studios around the world. Self Noise: -
Out Imp: <200
Rec Load: >1k
HQ: www.akg.com Pwr Type: P9-52
Alt Pwr: -

Blue Line SE300B SC: <2mA C430 Pad: -


Con via: XLR-3 (M) Filt Freq: -
$279 Pad: -10dB
$199 Slope: -
Polar: Omnidirectional, Filt Freq: 75Hz Polar: Cardioid SA: Stand adaptor,
cardioid, hypercardioid, Slope: 12dB/Oct Dim: 19 x 79 (mm) protective case,
figure-of-8, long rifle Wght: 23g windscreen
SA: -
Dim: 19 x 110 (mm) Freq: 20Hz - 20kHz OA: -
OA: Various capsules:
Wght: 80g cardioid, omnidirectional, Out Sens: 7mV/Pa
Freq: 20Hz - 20kHz hypercardioid, figure-of-8, Max SPL: 126dB
Out Sens: - lavalier, shotgun Self Noise: 33dBA
Max SPL: - Out Imp: 200
Self Noise: - Rec Load: >2k
Out Imp: <200 Pwr Type: P9-52
Rec Load: >1k Alt Pwr: -
Pwr Type: P9-52 SC: 2mA
Alt Pwr: - Con via: XLR-3 (M)

88 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

C451B Pad: -10, -20 dB C480 B-ULS SC: <2mA


Filt Freq: 75, 150 Hz Con via: XLR-3 (M)
$499 Slope: 12dB/Oct
$799 Pad: +6, -10 dB
Polar: Cardioid SA: Stand adaptor, soft case, Polar: Omnidirectional, Filt Freq: 70, 50 Hz
Dim: 19 x 160 (mm) windscreen cardioid, hypercardioid, Slope: 12dB/Oct
Wght: 125g OA: Stereo bar, shockmount, short rifle, long rifle
SA: Stand adaptor, hard
Freq: 20Hz - 20kHz (3dB) pop screen, external power Dim: 21 x 150 (mm) case, windscreen
Out Sens: 9mV/Pa supply Wght: 140g OA: Various capsules:
Max SPL: 155dB Freq: 10Hz - 30kHz cardioid, omnidirectional,
Self Noise: 18dBA Out Sens: - hypercardioid, dual
Out Imp: <200 Max SPL: - shotgun. Shockmount,
Rec Load: >1k Self Noise: - stereo bar
Pwr Type: P9-52V Out Imp: 150
Alt Pwr: - Rec Load: >2k
SC: <2mA Pwr Type: P48
Con via: XLR-3 (M) Alt Pwr: -

Perception 120 Pad: -20dB Perception 170 Pad: -20dB


Filt Freq: 300Hz Filt Freq: -
$99 Slope: 12dB/Oct
$99 Slope: -
Polar: Cardioid SA: Stand adaptor Polar: Cardioid SA: Stand adaptor
Dim: 53 x 165 (mm) OA: Pop screen, spider Dim: 22 x 160 (mm) OA: Shockmount, stereo
Wght: 525g suspension, windscreen Wght: 130g bar, pop screen
Freq: 20Hz - 20kHz Freq: 20Hz - 20kHz
Out Sens: 22mV/Pa SOS Review (May 2011) Out Sens: 12mV/Pa SOS Review (February
Max SPL: 150dB www.soundonsound.com/ Max SPL: 155dB 2009)
Self Noise: 22dBA sos/may11/articles/akg- Self Noise: <21dBA www.soundonsound.
Out Imp: <200 perception-120.htm Out Imp: <200 com/sos/feb09/articles/
Rec Load: >1k Rec Load: >1k akgperception.htm
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: <3mA SC: <2mA
Con via: XLR-3 (M) Con via: XLR-3 (M)

Perception 120 USB Pad: - C5


Filt Freq: -
$149 Slope: -
$179
Polar: Cardioid SA: - Polar: Cardioid
Dim: - OA: - Dim: 185 (mm)
Wght: 460g Wght: 345g
Freq: 20Hz - 20kHz Freq: 65Hz - 20kHz
Out Sens: - Out Sens: 4mV/Pa
Max SPL: - Max SPL: 140dB, 145dB
Self Noise: - Self Noise: -
Out Imp: - Out Imp: 200
Rec Load: - Rec Load: 2k
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: USB Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
C1000S Con via: XLR-3 (M)
SA: -
Pad: -
$229 Filt Freq: -
OA: -
Polar: Hypercardioid, Slope: -
cardioid SA: -
Dim: - OA: -
Wght: 320g
Freq: 50Hz - 20kHz
Out Sens: 6mV/Pa
Max SPL: 137dB
Self Noise: -
Out Imp: 200
Rec Load: 2k
Pwr Type: -
Alt Pwr: -
SC: -

SOS Buyers Guide Microphones 89


capacitor microphones: small diaphragm

Audio-Technica AT4021
$349
Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: 80Hz
For 50 years Audio-Technica have aimed to produce Polar: Cardioid Slope: 12dB/Oct
audio excellence and innovations in transducer Dim: 21 x 144 (mm) SA: Stand clamp,
Wght: 119g
technology. Renowned for the design and manufacture Freq: 20Hz - 20kHz
windscreen, protective
carry case
of high-quality audio products, the company offers a Out Sens: 19.9mV/Pa OA: -
complete range of wired and wireless microphones, Max SPL: 146dB
Self Noise: 14dBA
headphones and accessories for broadcast, live-sound, Out Imp: 250
recording and installed-sound functions. Rec Load: -
Pwr Type: P48
HQ: www.audio-technica.com Alt Pwr: -
SC: 3mA

AT4022 Pad: - AT4041 Con via: XLR-3 (M)


Filt Freq: 80Hz Pad: -
$349 Slope: 12dB/Oct
$299 Filt Freq: -
Polar: Omnidirectional SA: Stand clamp, windscreen, Polar: Cardioid Slope: -
Dim: 21 x 144 (mm) protective carry case Dim: 21 x 160 (mm) SA: Stand clamp, windscreen,
Wght: 124g OA: - Wght: 120g protective carry case
Freq: 20Hz - 20kHz Freq: 20Hz - 20kHz OA: -
Out Sens: 19.9mV/Pa Out Sens: 15.8mV/Pa
Max SPL: 146dB Max SPL: 145dB
Self Noise: 13dBA Self Noise: -
Out Imp: 250 Out Imp: 100
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: 3mA SC: 3.2mA
Con via: XLR-3 (M)

ATM450 Pad: -
Filt Freq: -
$249 Slope: -
Polar: Cardioid SA: Isolation clamp,
Dim: 21 x 127 (mm) windscreen, soft
Wght: 98g protective pouch
Freq: 40Hz - 20kHz OA: -
Out Sens: 8.9mV/Pa
Max SPL: 152dB
Self Noise: -
Out Imp: 200
Rec Load: -
Pwr Type: P11-52
Alt Pwr: -
SC: 3.5mA
Con via: XLR-3 (M)

Audix SCX1
$590
Pad: -
Filt Freq: -
Slope: -
Founded in 1984 in California, Audix are a well- Polar: Cardioid SA: Clip, wood box,
respected manufacturer of microphones for stage, Dim: 104 (mm) windscreen
Wght: 114g
studio and specialised purposes. Their microphones Freq: 40Hz - 20kHz
OA: -

have long been popular with recording engineers. Out Sens: 26mV/Pa
Max SPL: 130dB
HQ: www.audixusa.com Self Noise: 15dBA
Out Imp: 200
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

90 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

SCX1HC Pad: - M44HC


Filt Freq: -
$615 Slope: -
$390
Polar: Hypercardioid SA: Clip, wood box, Polar: Hypercardioid
Dim: 104 (mm) windscreen Dim: 54 (mm)
Wght: 114g OA: - Wght: 20g
Freq: 40Hz - 20kHz Freq: 50Hz - 19kHz
Out Sens: 26mV/Pa Out Sens: 3mV/Pa
Max SPL: 130dB Max SPL: 150dB
Self Noise: 15dBA Self Noise: 25dBA
Out Imp: 200 Out Imp: 150
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: Mini XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
M44 SA: DVICE & lug-mount clips,
$370 windscreen, pouch
OA: -
Polar: Cardioid
Dim: 54 (mm)
Wght: 20g
Freq: 50Hz - 19kHz
Out Sens: 3mV/Pa
Max SPL: 150dB
Self Noise: 25dBA
Out Imp: 150
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: Mini XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
SA: DVICE & lug-mount clips, M1250B Pad: -
windscreen, pouch Filt Freq: -
$410 Slope: -
OA: -
Polar: Cardioid SA: Clip, hanging clip,
Dim: 54 (mm) windscreen
Wght: 16g OA: White finish,
Freq: 50Hz - 19kHz MicroBoom system,
Out Sens: 10mV/Pa mounting options
Max SPL: 140dB
Self Noise: 21dBA
Out Imp: 150
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: Mini XLR-3 (M)

M1250BHC Pad: - M1250BO Pad: -


Filt Freq: - Filt Freq: -
$430 Slope: -
$410 Slope: -
Polar: Hypercardioid SA: Clip, hanging clip, Polar: Cardioid SA: Clip, hanging clip,
Dim: 54 (mm) windscreen Dim: 54 (mm) windscreen
Wght: 16g OA: White finish, Wght: 16g OA: White finish,
Freq: 50Hz - 19kHz MicroBoom system, Freq: 50Hz - 19kHz MicroBoom system,
Out Sens: 10mV/Pa mounting options Out Sens: 10mV/Pa mounting options
Max SPL: 140dB Max SPL: 140dB
Self Noise: 21dBA Self Noise: 21dBA
Out Imp: 150 Out Imp: 150
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: Mini XLR-3 (M) Con via: Mini XLR-3 (M)

SOS Buyers Guide Microphones 91


capacitor microphones: small diaphragm

M1255B Pad: -
M1250BS Filt Freq: -
$450 $430 Slope: -
Polar: Supercardioid Polar: Cardioid SA: Clip, hanging clip,
Dim: 54 (mm) Dim: 54 (mm) windscreen
Wght: 16g Wght: 16g OA: White finish,
Freq: 50Hz - 19kHz Freq: 50Hz - 19kHz MicroBoom system,
Out Sens: 10mV/Pa Out Sens: 38mV/Pa mounting options
Max SPL: 140dB Max SPL: 130dB
Self Noise: 21dBA Self Noise: 21dBA
Out Imp: 150 Out Imp: 150
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: Mini XLR-3 (M) Con via: Mini XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
SA: Clip, hanging clip, windscreen M1255BO
OA: White finish, MicroBoom system, $430
mounting options
Polar: Omnidirectional
Dim: 54 (mm)
Wght: 16g
Freq: 50Hz - 19kHz
Out Sens: 38mV/Pa
Max SPL: 130dB
Self Noise: 21dBA
Out Imp: 150
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: Mini XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
M1255BHC Pad: - SA: Clip, hanging clip, windscreen
Filt Freq: -
$450 Slope: -
OA: White finish, MicroBoom system,
mounting options
Polar: Hypercardioid SA: Clip, hanging clip,
Dim: 54 (mm) windscreen
Wght: 16g OA: White finish,
Freq: 50Hz - 19kHz MicroBoom system,
Out Sens: 38mV/Pa mounting options
Max SPL: 130dB
Self Noise: 21dBA
Out Imp: 150
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: Mini XLR-3 (M)

M1255BS Pad: - M1280B Pad: -


Filt Freq: - Filt Freq: -
$470 Slope: -
$430 Slope: -
Polar: Supercardioid SA: Clip, hanging clip, Polar: Cardioid SA: Clip, hanging clip,
Dim: 54 (mm) windscreen Dim: 67 (mm) windscreen
Wght: 16g OA: White finish, Wght: 28g OA: MicroBoom system,
Freq: 50Hz - 19kHz MicroBoom system, Freq: 40Hz - 20kHz mounting options
Out Sens: 38mV/Pa mounting options Out Sens: 10mV/Pa
Max SPL: 130dB Max SPL: 147dB
Self Noise: 21dBA Self Noise: 21dBA
Out Imp: 150 Out Imp: 150
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: Mini XLR-3 (M) Con via: Mini XLR-3 (M)

92 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

M1280BO Pad: -
M1280BHC Filt Freq: -
$450 $430 Slope: -
Polar: Hypercardioid Polar: Omni SA: Clip, hanging clip,
Dim: 67 (mm) Dim: 67 (mm) windscreen
Wght: 28g Wght: 28g OA: MicroBoom system,
Freq: 40Hz - 20kHz Freq: 40Hz - 20kHz mounting options
Out Sens: 10mV/Pa Out Sens: 10mV/Pa
Max SPL: 147dB Max SPL: 147dB
Self Noise: 21dBA Self Noise: 21dBA
Out Imp: 150 Out Imp: 150
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: Mini XLR-3 (M) Con via: Mini XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
SA: Clip, hanging clip, windscreen TM1
OA: MicroBoom system, mounting $325
options
Polar: Omni
Dim: 150 (mm)
Wght: 132g
Freq: 20Hz - 25kHz
Out Sens: 6mV/Pa
Max SPL: 130dB
Self Noise: 28dBA
Out Imp: 200
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
M1280BS Pad: -
SA: Clip, pouch
Filt Freq: -
$470 Slope: -
OA: Threaded windscreen,
calibrator adaptor
Polar: Supercardioid SA: Clip, hanging clip,
Dim: 67 (mm) windscreen
Wght: 28g OA: MicroBoom system,
Freq: 40Hz - 20kHz mounting options
Out Sens: 10mV/Pa
Max SPL: 147dB
Self Noise: 21dBA
Out Imp: 150
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: Mini XLR-3 (M)

Avantone CK1
$149
Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: -
Avantone are best known for their Mixcube single- Polar: Omnidirectional, Slope: -
driver loudspeakers, but they also make a range cardioid, hypercardioid
SA: Padded wooden
Dim: 23 x 153 (mm)
of high-quality solid-state and valve condenser Wght: 148g
microphone box, 19mm
omnidirectional, cardioid
microphones, as well as dynamic drum mics and Freq: 25Hz - 20kHz (3dB) and hypercardioid capsules
ribbonmics. Out Sens: 15mV/Pa OA: -
Max SPL: 138dB
Self Noise: 17dBA
HQ: www.avantonepro.com Out Imp: 200
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: 5mA

SOS Buyers Guide Microphones 93


capacitor microphones: small diaphragm

Behringer B-5
$79
Rec Load: >1k
Pwr Type: P48
Alt Pwr: -
Behringer were founded in 1989 and offer equipment Polar: Omnidirectional, SC: 3mA
for a range of applications at consumer prices. They cardioid
Con via: XLR-3 (M)
Dim: 20 x 120 (mm)
produce a comprehensive product line including Wght: 90g
Pad: -10dB
Filt Freq: 150Hz
loudspeakers, amplifiers, mixers, powered mixers, Freq: 20Hz - 20kHz
Slope: 6dB/Oct
computer-based recording and DJ products, Out Sens: 10mV/
Pa (omnidirectional),
SA: Cardioid and
microphones, headphones, wireless systems, musical 12.6mV/Pa (cardioid)
omnidirectional
capsules, stand adaptor,
instruments and professional lighting systems. Max SPL: 150dB windscreen, transport
(omnidirectional), 140dB case
(cardioid)
OA: -
HQ: www.behringer.com Self Noise: -
Out Imp: 70

ECM8000 Pad: -
C-2
Filt Freq: -
$60 Slope: -
$65 (pair)
Polar: Omnidirectional SA: Stand adaptor, Polar: Cardioid
Dim: - transport case Dim: 20 x 94 (mm)
Wght: 120g OA: - Wght: 90g
Freq: 15Hz - 20kHz Freq: 20Hz - 20kHz
Out Sens: 6mV/Pa Out Sens: 20mV/Pa
Max SPL: 120dB Max SPL: 140dB, 150dB (with pad)
Self Noise: - Self Noise: -
Out Imp: 600 Out Imp: 75
Rec Load: - Rec Load: >1k
Pwr Type: P15-48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: 3mA
Con via: XLR-3 (M) Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: 120Hz
Slope: 6dB/Oct
C-4 Pad: -10dB
SA: Stand adaptors, stereo bar,
Filt Freq: 120Hz
$76 (pair) Slope: 6dB/Oct
windscreen, transport case
OA: -
Polar: Cardioid SA: Stand adaptor, stereo
Dim: 23 x 94 (mm) bar, windscreen, transport
Wght: 60g case
Freq: 20Hz - 20kHz OA: -
Out Sens: -
Max SPL: 136dB
Self Noise: -
Out Imp: 75
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: 3mA
Con via: XLR-3 (M)

Beyerdynamic MC 930
$629
Pad: -15dB
Filt Freq: 250Hz
Slope: 6dB/Oct
Beyerdynamic have been an industry leader in Polar: Cardioid SA: Clamp, padded pouch
the design and manufacture of premium-grade Dim: 21 x 128 (mm) OA: Elastic suspension,
Wght: 115g
microphones, headphones and wireless microphone Freq: 40Hz - 20kHz
windscreen, hanging
mounting clip
systems since 1924. Their microphone range covers Out Sens: 30mV/Pa
pretty much every type, including dynamic, capacitor Max SPL: 125dB
Self Noise: 16dBA
and ribbon models. Out Imp: 180
Rec Load: >1k
HQ: www.beyerdynamic.com Pwr Type: P11-52
Alt Pwr: -
SC: 4.6mA
Con via: XLR-3 (M)

94 SOS Buyers Guide Microphones


capacitor microphones: small diaphragm

MCE 530 Pad: - MCE 837 Pad: -


Filt Freq: - Filt Freq: -
$179 Slope: -
$1379 Slope: -
Polar: Cardioid SA: Clamp Polar: Long rifle SA: Padded pouch
Dim: 20 x 100 (mm) OA: Elastic suspension, Dim: 21 x 516 (mm) OA: Elastic suspension,
Wght: 36g windscreen, hanging Wght: 218g wind shield
Freq: 30Hz - 20kHz mounting clip Freq: 40Hz - 20kHz
Out Sens: 5mV/Pa Out Sens: 30mV/Pa
Max SPL: 136dB Max SPL: 130dB
Self Noise: 22dBA Self Noise: 13dBA
Out Imp: 200 Out Imp: 180
Rec Load: >1k Rec Load: >1k
Pwr Type: P12-48 Pwr Type: P11-52
Alt Pwr: - Alt Pwr: -
SC: 6mA SC: 4.3mA
Con via: XLR-3 (M) Con via: XLR-3 (M)

TG V56C Con via: XLR-3 (M) TG V96C


Pad: -
$279 Filt Freq: -
$699
Polar: Cardioid Slope: - Polar: Cardioid
Dim: 48 x 180 (mm) SA: Microphone clamp, Dim: 48 x 185 (mm)
Wght: 265g soft case Wght: 330g
Freq: 40Hz - 20kHz OA: Wind shield Freq: 20Hz - 20kHz
Out Sens: 3.3mV/Pa Out Sens: 4mV/Pa
Max SPL: 140dB Max SPL: 150dB
Self Noise: - Self Noise: -
Out Imp: 190 Out Imp: 60
Rec Load: - Rec Load: -
Pwr Type: P12-48 (P48 Pwr Type: P24-48 (P48
recommended) recommended)
Alt Pwr: - Alt Pwr: -
SC: - SC: 4.3mA
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
TG i53C SC: 4.7mA Slope: -
Con via: XLR-3 (M)
$129 Pad: -
SA: Microphone clamp,
protective case
Application: Percussion, Filt Freq: - OA: -
strings, brass Slope: -
Polar: Cardioid SA: Microphone clamp,
Dim: 20 x 100 (mm) soft case
Wght: 36g OA: Hanging microphone
Freq: 20Hz - 20kHz clamp, standard
Out Sens: 6.8mV/Pa microphone clamp, wind
Max SPL: 140dB shield
Self Noise: -
Out Imp: 200
Rec Load: -
Pwr Type: P12-48
Alt Pwr: -

Blue Microphones Spark


$199.99
Pad: -
Filt Freq: -
Slope: -
Blue Microphones, founded in 1995, design and produce Polar: Cardioid SA: Wooden box, custom
an extensive line of award-winning microphones and Dim: - shockmount, custom pop
Wght: - filter
recording tools for audio professionals, musicians and Freq: 20Hz - 20kHz OA: Universal pop filter,
consumers. From Blues flagship recording tool, the Out Sens: 28mV/Pa XLR to USB converter
Bottle, to the enCORE line of professional live mics Max SPL: 128dB
Self Noise: 10dBA
Blue Microphones products offer innovative design Out Imp: 50
andhighperformance. Rec Load: >1k
Pwr Type: P48
HQ: www.bluemic.com Alt Pwr: -
SC: -
Con via: XLR-3 (M)

96 SOS Buyers Guide Microphones


capacitor microphones: small diaphragm

Charter Oak M900


$549
Con via: XLR-3 (M)
Pad: -10, -20 dB
Filt Freq: 75, 150 Hz
Charter Oak, founded in 2002 by producer and Polar: Omnidirectional, Slope: 6dB/Oct
engineer Michael Deming, create high-quality, hand- cardioid, hypercardioid
SA: Three capsules, flight
Dim: -
assembled recording products that rival higher-priced Wght: -
case, shockmount
OA: -
microphones and signal processors in the industry. Freq: 30Hz - 20kHz
The studio background of its founder gives Charter Out Sens: 10mV/Pa
Max SPL: 137dB
Oak the inside edge and has resulted in multi-award- Self Noise: 18dBA
nominated products. Out Imp: <200
Rec Load: >200
HQ: www.charteroakacoustics.com Pwr Type: 48V
Alt Pwr: -
SC: -

M900T Alt Pwr: - S700 Con via: -


SC: - Pad: -
$999 Con via: -
$749 Filt Freq: -
Polar: Omnidirectional, Pad: -15dB Polar: Cardioid Slope: -
cardioid, hypercardioid Filt Freq: 100Hz Dim: - SA: -
Dim: - Slope: 6dB/Oct Wght: - OA: -
Wght: - SA: Case, shockmount Freq: 20Hz - 20kHz
Freq: 25Hz - 20kHz OA: - Out Sens: 16mV/Pa
Out Sens: -34dB (0dB=1V/ Max SPL: 125dB
Pa) Self Noise: 17dBA
Max SPL: 138dB Out Imp: <200
Self Noise: 13.5dBA Rec Load: >200
Out Imp: <200 Pwr Type: Custom
Rec Load: >200 power supply
Pwr Type: Proprietary Alt Pwr: -
power supply SC: -

DPA 4006A
$1859
Pad: -20dB
Filt Freq: -
Slope: -
DPA Microphones are a leading manufacturer of Polar: Omnidirectional SA: Windscreen, holder,
high-quality condenser microphones for studio, Dim: 19 x 170 (mm) three grids
Wght: 163g
broadcast, theatre, film and sound reinforcement Freq: 10Hz - 20kHz
OA: Holder, shockmount,
nose cone, gooseneck
environments. All DPA microphones and components Out Sens: 40mV/Pa mount, stereo booms, Peli
are manufactured at the companys purpose-built Max SPL: 147dB case
Self Noise: 15dBA
factory in Denmark. Out Imp: <200
Rec Load: -
HQ: www.dpamicrophones.com Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

4006C Con via: XLR-3 (M) 4011A Pad: -20dB


Pad: - Filt Freq: -
$1719 Filt Freq: -
$1699 Slope: -
Polar: Omnidirectional Slope: - Polar: Cardioid SA: Windscreen, holder
Dim: 19 x 64 (mm) SA: Windscreen, holder, Dim: 19 x 170 (mm) OA: Shockmount, holder,
Wght: 63g three grids Wght: 158g gooseneck mount, stereo
Freq: 20Hz - 20kHz OA: Suspension Freq: 40Hz - 20kHz +/- 2dB booms, Peli case
(2dB) mount, cable with slim Out Sens: 10mV/Pa
Out Sens: 40mV/Pa connector, nose cone, Max SPL: 159dB
Max SPL: 140dB gooseneck mount, Self Noise: 18dBA
Self Noise: 15dBA stereo booms, Peli case Out Imp: <200
Out Imp: <200 Rec Load: -
Rec Load: - Pwr Type: P48
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: -
SC: - Con via: XLR-3 (M)

98 SOS Buyers Guide Microphones


4015A Con via: XLR-3 (M) 4011C
Pad: -20dB
$1699 Filt Freq: -
$1549
Polar: Hemispherical Slope: - Polar: Cardioid
Dim: 19 x 170 (mm) SA: Windscreen, holder Dim: 19 x 64 (mm)
Wght: 158g OA: Shockmount, Wght: 58g
Freq: 40Hz - 20kHz holder, cable with Freq: 40Hz - 20kHz (2dB)
+/- 2dB slim XLR connector, Out Sens: 10mV/Pa
Out Sens: 10mV/Pa gooseneck mount, Max SPL: 152dB
Max SPL: 159dB stereo booms, Peli case Self Noise: 18dBA
Self Noise: 18dBA Out Imp: <200
Out Imp: <200 Rec Load: -
Rec Load: - Pwr Type: P48
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: -
SC: - Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
4015C Pwr Type: P48 SA: Windscreen, holder
Alt Pwr: -
$1549 SC: -
OA: Suspension mount, shockmount,
holder, cable with slim XLR connector,
Polar: Hemispherical Con via: XLR-3 (M) gooseneck mount, stereo booms, Peli
Dim: 19 x 64 (mm) Pad: - case
Wght: 58g Filt Freq: -
Freq: 40Hz - 20kHz +/- 2dB Slope: -
Out Sens: 10mV/Pa SA: Windscreen, holder
Max SPL: 152dB OA: Cable with slim XLR
Self Noise: 18dBA connector, gooseneck
Out Imp: <200 mount, stereo booms, Peli
Rec Load: - case

Designed by acclaimed microphone designer David


Royer, Mojave Audio builds microphones of
uncompromising quality that are within reach of
anyone who is serious about recording. Davids
simple yet elegant designs are all modern originals
- based on the classics but not limited to the past.
Step up to a Mojave - youll
be glad you did!
David Royer has made another winner. The
MA-301fet is a versatile, multi-pattern condenser that
has a vintage flavor, yet projects an accurate, fast
response, with a non-hyped top end with oodles of
smoothness.
John Gatski Sound On Sound
The MA-300 instantly became an integral part of
my drum sounds. From the moment I first put a pair
up, they have continued to impress me with a wide
open and balanced sound.
Ryan Hewitt, Engineer/Mixer: Avett Brothers, Red
Hot Chili Peppers, blink-182, Flogging Molly

Finished tracking a wonderful record yesterday. The


MA-100 is a STAR. But you know that.
Best snare mic on the planet!
Mick Wordley - Mixmasters Productions

www.mojaveaudio.com Follow us on

SOS Buyers Guide Microphones 99


capacitor microphones: small diaphragm

Pad: - D:Facto II Con via: XLR-3 (M)


4017B Pad: -
Filt Freq: 50Hz $899
$1699 Slope: - Filt Freq: -
Polar: Short rifle SA: Windscreen, holder Polar: Supercardioid Slope: -
Dim: 19 x 212 (mm) OA: Shockmount, holder, Dim: 52mm SA: Zipper case and mic
Wght: 68g cable, Rycote fur wind Wght: 309g clip
Freq: 70Hz - 20kHz (2dB) shield, Rycote Windjammer, Freq: 20Hz - 20kHz OA: -
Out Sens: 19mV/Pa Rycote suspension, Rycote Out Sens: 5mV/Pa
Max SPL: 152dB XLR holder Max SPL: 160dB
Self Noise: 14dBA Self Noise: 19dB(A) ref
Out Imp: <150 20Pa
Rec Load: - Out Imp: <100
Pwr Type: P48 Rec Load: >1k
Alt Pwr: - Pwr Type: P48
SC: - Alt Pwr: -
Con via: XLR-3 (M) SC: 2mA

Earthworks M30
$649
Pad: -
Filt Freq: -
Slope: -
American company Earthworks started out making Polar: Omnidirectional SA: Microphone clip,
test and measurement microphones, and their current Dim: 22 x 229 (mm) protective case, ADP1
Wght: 225g adaptor
mics still follow the ethos of aiming to sound as neutral Freq: 5Hz - 30kHz (1dB) OA: Wooden box,
and transparent as possible. All of their products Out Sens: 30mV/Pa shockmount microphone
including their studio monitors have unusually Max SPL: 142dB clip, foam teardrop
windscreen, 100mph
Self Noise: 22dBA
highbandwidths. Out Imp: 100 windscreen, foam
windscreen, LevelPad
Rec Load: 600
switchable -15 or -30 dB
HQ: www.earthworksaudio.com Pwr Type: P48
Alt Pwr: -
SC: 10mA
Con via: XLR-3 (M)

QTC40 Pad: - SR40V


Filt Freq: -
$1349 $999
Slope: -
Polar: Omnidirectional SA: Foam windscreen Polar: Hypercardioid
Dim: 229mm x 22mm OA: - Dim: 55 x 184 (mm)
Wght: 225g Wght: 363g
Freq: 4Hz - 40kHz (1dB) Freq: 30Hz - 40kHz (1.5dB)
Out Sens: 30mV/Pa Out Sens: 10mV/Pa
Max SPL: 142dB Max SPL: 145dB
Self Noise: 22dBA Self Noise: 22dBA
Out Imp: 100 Out Imp: 100
Rec Load: 600 Rec Load: 600
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: 10mA SC: 10mA
Con via: XLR-3 (M) Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
SR20 Pad: - SA: Protective case, microphone
Filt Freq: - clip
$599 Slope: - OA: -
Polar: Cardioid SA: Protective case,
Dim: 22 x 212 (mm) microphone clip, black
Wght: 135g aluminium windscreen
Freq: 50Hz - 20kHz (2dB) OA: Shockmount
Out Sens: 10mV/Pa microphone clip, foam
Max SPL: 145dB windscreen, LevelPad
Self Noise: 22dBA switchable -15 or -30 dB
Out Imp: 100
Rec Load: 600
Pwr Type: P48
Alt Pwr: -
SC: 10mA
Con via: XLR-3 (M)

100 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

SR30/HC Pad: - TC25 Con via: XLR-3 (M)


Filt Freq: - Pad: -
$849 Slope: -
$549 Filt Freq: -
Polar: Hypercardioid SA: Protective case, Polar: Omnidirectional Slope: -
Dim: 22 x 212 (mm) microphone clip Dim: 22 x 165 (mm) SA: Protective case,
Wght: 225g OA: Shockmount Wght: 160g microphone clip
Freq: 30Hz - 30kHz (1.5dB) microphone clip, stainless Freq: 9Hz - 25kHz (+1/-3 OA: Shockmount
Out Sens: 10mV/Pa steel screw-on windscreen, dB) microphone clip, foam
Max SPL: 145dB large foam windscreen, Out Sens: 8mV/Pa teardrop windscreen,
Self Noise: 22dBA wooden box, LevelPad Max SPL: 145dB 100mph foam windscreen,
switchable -15 or -30 dB Self Noise: 27dBA LevelPad switchable -15 or
Out Imp: 100
Out Imp: 100 -30 dB
Rec Load: 600
Pwr Type: P48 Rec Load: 600
Alt Pwr: - Pwr Type: P48
SC: 10mA Alt Pwr: -
Con via: XLR-3 (M) SC: 10mA

Electro-Voice RE920Tx
$189
Pad: -
Filt Freq: -
Slope: -
Electro-Voice (commonly referred to as EV) are Polar: Cardioid SA: -
a manufacturer of audio equipment, including Dim: 11 x 158 (mm) OA: -
Wght: 54g
microphones, amplifiers and loudspeakers. Electro- Freq: 80Hz - 18kHz
Voice market their products for use in small or large Out Sens: 1.3mV/Pa
concert venues, broadcasting, houses of worship, and Max SPL: -
Self Noise: -
recording situations. Out Imp: 1k
Rec Load: -
HQ: www.electrovoice.com Pwr Type: -
Alt Pwr: -
SC: -
Con via: -

Golden Age Project FC4


$59
Pad: -
Filt Freq: 100Hz
Slope: -
Golden Age Project are a spin-off of the high-end pro Polar: Cardioid SA: Shockmount, wooden
audio distribution activities of Golden Age Music, a Dim: 30 x 140 (mm) case
Wght: 200g
Swedish company founded by Bo Medin in 1982. Golden Freq: 20Hz - 20kHz
OA: -

Age Project offer affordable vintage-style products. Out Sens: 12mV/Pa


Max SPL: 140dB
USA: www.raddist.com Self Noise: -
Out Imp: 250
HQ: www.goldenagemusic.se Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Josephson C42
$435
Pad: -
Filt Freq: -
Slope: -
Josephson Engineering are a microphone manufacturer Polar: Cardioid SA: Shock-resistant
catering to the professional studio, home studio, Dim: - microphone clip, pouch
Wght: -
broadcast and live sound markets. The company was Freq: 40Hz - 20kHz (2dB)
OA: Pop screen

founded in 1988. Out Sens: 8.5mV/Pa


Max SPL: 135dB
HQ: www.josephson.com Self Noise: <21dBA
Out Imp: 50
Rec Load: >1k
Pwr Type: P48
Alt Pwr: -
SC: 4.5mA
Con via: XLR-3 (M)

SOS Buyers Guide Microphones 101


capacitor microphones: small diaphragm

Pad: - C42MP Pwr Type: P48


C617 Alt Pwr: -
Filt Freq: -
$9800 $975 (matched pair) SC: -
Slope: -
Polar: Omnidirectional SA: Shock-resistant Polar: Cardioid Con via: XLR-3 (M)
Dim: - microphone clip, pouch Dim: - Pad: -
Wght: - OA: Spherical baffle, stereo Wght: - Filt Freq: -
Freq: 10Hz - 20kHz (1dB) microphone baffle Freq: 40Hz - 20kHz (2dB) Slope: -
Out Sens: 66mV/Pa Out Sens: 8.5mV/Pa SA: Shock-resistant microphone
Max SPL: 127dB Max SPL: 135dB clip, Pelican brand hard case
Self Noise: <14dBA Self Noise: <21dBA OA: Pop screen
Out Imp: 50 Out Imp: 50
Rec Load: >1k Rec Load: >1k
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

e22S Pad: -
Filt Freq: -
$1335 Slope: -
Polar: Cardioid SA: Shock-resistant
Dim: - microphone clip, pouch
Wght: - OA: -
Freq: -
Out Sens: 3mV/Pa
Max SPL: 144dB
Self Noise: <15dBA
Out Imp: <15
Rec Load: 200
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

JTS JS-22
$109
Pad: -10dB
Filt Freq: 80Hz
Slope: 6dB/Oct
JTS Professional, founded in 1982, are a Taiwan- Polar: Cardioid SA: Windscreen
based manufacturer of professional wired and Dim: 23 x 150 (mm) OA: -
Wght: 130g
wireless microphones, conference and tour-guide Freq: 20Hz - 20kHz
systems, headphones and earphones. JTS have official Out Sens: 15.8mV/Pa
distributors in over 70 countries, and are also an OEM Max SPL: 140dB
Self Noise: 20dBA
supplier of tailor-made products. Out Imp: 100
Rec Load: >1k
USA: www.shsint.net Pwr Type: P36-52
HQ: www.jts.com.tw Alt Pwr: -
SC: <3mA
Con via: XLR-3 (M)

JZ Microphones BT-201
$479
Pad: -
Filt Freq: -
Slope: -
JZ Microphones were established in 2007 in Latvia Polar: Cardioid SA: Wooden case
by Juris Zarins. Producing capsules made with the Dim: - OA: Holder, optional
Wght: -
Golden Drop sputtering technique, which provides a Freq: 20Hz - 20kHz
omnidirectional, cardioid
or open cardioid -20dB
more detailed and transparent capsule response, JZ Out Sens: 11mV/Pa capsules
Microphones have been used by many award-winning Max SPL: 140dB
Self Noise: 12dBA
musicians, sound engineers and famous studios Out Imp: 50
around the world. Rec Load: >250
Pwr Type: -
HQ: www.jzmic.com Alt Pwr: -
SC: <2mA
Con via: XLR-3 (M)

102 SOS Buyers Guide Microphones


capacitor microphones: small diaphragm

BT-201/3s Con via: XLR-3 (M) BT-301 Pad: -


Pad: - Filt Freq: -
$549 Filt Freq: -
$1599 Slope: -
Polar: Omnidirectional, Slope: - Polar: Cardioid SA: Wooden case
cardioid SA: 2 x BT-201 Dim: - OA: Holder
Dim: - microphones, 6 Wght: -
Wght: - interchangeable Freq: 20Hz - 20kHz
Freq: 20Hz - 20kHz capsules, wooden case Out Sens: 33mV/Pa
Out Sens: 11mV/Pa OA: Holder, optional Max SPL: 133.5dB
Max SPL: 140dB omnidirectional or open Self Noise: 5.5dBA
Self Noise: 12dBA cardioid -20dB capsules Out Imp: 50
Out Imp: 50 Rec Load: 500
Rec Load: >250 Pwr Type: P48
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: <2mA
SC: <2mA Con via: XLR-3 (M)

Karma Microphones K10


$129 (matched pair)
Pad: -
Filt Freq: -
Slope: -
Karma Audio are located in Cupertino, CA, and design, Polar: Cardioid SA: 2 x K10 microphones, 2 x
manufacture, and distribute a full range of professional Dim: 24 x 163 (mm) microphone clips, hard case
Wght: 284g
recording microphones. Karma Audios product Freq: 20Hz - 18kHz
OA: In-line XLR pad & phase
reverse, dual-head pop filter,
philosophy is to provide distinctive, affordable and Out Sens: 12.59mV/Pa reflection filter
high-quality microphones that enable a new generation Max SPL: 128dB
Self Noise: -
of recording engineers to produce music. The company Out Imp: <200
were founded in 2001. Rec Load: -
Pwr Type: P48
HQ: www.karmamics.com Alt Pwr: -
SC: -
Con via: XLR-3 (M)

LD Systems D1102
69
Pad: -
Filt Freq: -
Slope: -
LD Systems is a brand name of the Adam Hall Group, Polar: Cardioid SA: -
associated with a wide range of value-for-money audio Dim: 23 x 153 (mm) OA: -
Wght: 240g
products over the last decade. They offer a range of Freq: 20Hz - 20kHz
Chinese-sourced microphones, with German assembly Out Sens: 11mV/Pa
and quality control, incorporating both moving-coil and Max SPL: 134dB
Self Noise: -
capacitor models for stage and studio. Out Imp: 200
Rec Load: -
HQ: www.ld-systems.com Pwr Type: P48
Alt Pwr: -
SC: 2mA
Con via: XLR-3 (M)

Lewitt LCT 140


$249
Pad: -10, -20 dB
Filt Freq: 40, 300 Hz
Slope: 12, 6 dB/Oct
Founded in 2010, Vienna-based Lewitt produce high- Polar: Cardioid SA: Leather bag,
performance microphones designed to deliver clarity Dim: 24 x 160 (mm) windscreen, rubber mount
Wght: 195g
and fidelity, and to work in a variety of demanding Freq: 30Hz - 20kHz (3dB)
OA: Shockmount, stereo
mount, pop shield
studio and live applications. Lewitt build recording, Out Sens: 8mV/Pa
wireless, performance and drum microphones. Max SPL: 143dB
Self Noise: 19dBA
Out Imp: <150
USA: www.trunorthmusicandsound.com Rec Load: >1k
HQ: www.lewitt-audio.com Pwr Type: P48
Alt Pwr: -
SC: 5.3mA
Con via: XLR-3 (M)

104 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

LCT 340 Con via: XLR-3 (M) MTP 340 CM Pad: -


Pad: -6, -12, -18 dB Filt Freq: -
$399 Filt Freq: 40, 150, 300 Hz
$149 Slope: -
Polar: Omnidirectional, Slope: 12, 6, 6 dB/Oct Polar: Cardioid SA: Leather bag,
cardioid SA: Leather bag, Dim: 49 x 175 (mm) microphone clip
Dim: 24 x 160 (mm) windscreen, rubber mount Wght: 330g OA: -
Wght: 200g OA: Shockmount, stereo Freq: 90Hz - 20kHz (3dB)
Freq: - mount, pop shield Out Sens: 3.1mV/Pa
Out Sens: 9mV/Pa Max SPL: 141dB
Max SPL: 139dB Self Noise: 25dBA
Self Noise: 15dBA Out Imp: <200
Out Imp: <150 Rec Load: >1k
Rec Load: >1k Pwr Type: P48
Pwr Type: P48 Alt Pwr: -
Alt Pwr: - SC: 5.3mA
SC: 6.6mA Con via: XLR-3 (M)

Microtech Gefell M300


$890
Pad: -
Filt Freq: -
Slope: -
Microtech Gefell GmbH are a German manufacturer Polar: Cardioid SA: Wooden case
of studio and measurement microphones that Dim: 21 x 130 (mm) OA: Windscreen,
Wght: 126g
are exclusively hand made. Besides microphones, Freq: 40Hz - 20kHz
microphone holder, elastic
suspension
Microtech Gefell GmbH offer calibration and service for Out Sens: 12mV/Pa
the whole product range. They continue the tradition of Max SPL: 147dB SOS Review (April 2006)
Self Noise: 16dBA www.soundonsound.com/
Georg Neumann who founded the company 1928. Out Imp: 100 sos/apr06/articles/mgm300.
Rec Load: 1k htm
HQ: www.microtechgefell.de Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

MicW E216
$215
Pad: -
Filt Freq: -
Slope: -
MicW are a professional recording microphone brand, Polar: Omnidirectional SA: Windscreen,
known for producing clean-sounding microphones. Dim: 22 x 155 (mm) shockmount
Wght: 155g
With great options for instrument and voice recording, Freq: 20Hz - 20kHz (2dB)
OA: Shockmount with
fixed pop screen, acoustic
MicW strive to develop products that faithfully Out Sens: 25mV/Pa equaliser, grid
reproduce sound and transmit the voice cleanly. Max SPL: 135dB
Self Noise: <21dBA
Out Imp: <75
USA: www.fdwcorp.com Rec Load: -
HQ: www.mic-w.com Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Pad: - N201 Pad: -


N241 Filt Freq: -
Filt Freq: -
$948 $828 Slope: -
Slope: -
Polar: Omnidirectional SA: Windscreen, Polar: Omnidirectional SA: Windscreen,
Dim: 22 x 155 (mm) shockmount Dim: 22 x 155 (mm) shockmount
Wght: 115g OA: Shockmount with Wght: 120g OA: Shockmount with
Freq: 20Hz - 40kHz (2dB) fixed pop screen, acoustic Freq: 20Hz - 20kHz (2dB) fixed pop screen, acoustic
Out Sens: 8mV/Pa equaliser, grid Out Sens: 40mV/Pa equaliser, grid
Max SPL: 146dB Max SPL: 130dB
Self Noise: <30dBA Self Noise: <18dBA
Out Imp: <75 Out Imp: <75
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

SOS Buyers Guide Microphones 105


capacitor microphones: small diaphragm

Miktek C5
$599
response graph, microphone clip,
shockmount, aluminium carry case
OA: Also available as a stereo
Miktek produce precision microphones, which are Polar: Cardioid matched pair
handmade in Nashville, USA. The company are inspired Dim: 26 x 115 (mm)
Wght: 226g
by iconic mics of the past, and develop capsules and Freq: 20Hz - 20kHz
unique circuits to capture sound. Using the very latest Out Sens: 23.99mV/Pa
in audio technology, Mikteks designs are approved by Max SPL: 126dB
Self Noise: 17dBA
some of the worlds most acclaimed sound engineers. Out Imp: -
Rec Load: -
HQ: www.miktekaudio.com Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
PM5 Pad: -
SA: Wooden case, serialised
Filt Freq: 80Hz
$599 Slope: 6dB/Oct
frequency
Polar: Supercardioid SA: Protective case,
Dim: 57 x 177 (mm) serialised frequency
Wght: 500g response graph,
Freq: 20Hz - 20kHz microphone clip, rugged
Out Sens: - aluminium carry case
Max SPL: 142dB OA: -
Self Noise: 17dBA
Out Imp: 200
Rec Load: 200
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Mojave Audio MA-101fet


$595
SC: 0.68mA
Con via: XLR-3
Pad: -15dB
Founded by David Royer (known for his ribbon mic Polar: Omnidirectional, Filt Freq: -
designs for Royer Labs) in 1985, Mojave Audio was cardioid
Slope: -
Dim: 28 x 171 (mm)
a one-man, custom pro audio gear shop. Since the Wght: 230g
SA: Flight case,
microphone clip
mid-1990s, Mojave mics have been used by high-end Freq: 20Hz - 20kHz (3dB) OA: -
engineers on a number of well-known recordings. The Out Sens: 11.22mV/Pa
Max SPL: 125dB, 140dB
company was relaunched in 2005, with Davids non- (with pad)
ribbon mic designs. Self Noise: 14dB
Out Imp: 500
Rec Load: 2.5k
HQ: www.mojaveaudio.com Pwr Type: P48
Alt Pwr: -

Nevaton MC 49-C
$999
Pad: -
Filt Freq: 100Hz
Slope: 6dB/Oct
Formed in Russia in 1991, Nevaton have their roots Polar: Cardioid SA: Shockmount,
in the Leningrad optical and mechanical association Dim: 23 x 158 (mm) microphone clip, hardwood
Wght: 165g box
(LOMO) and the scientific and industrial association Freq: 20Hz - 20kHz (3dB) OA: -
EKRAN. Founded as a microphone manufacturer Out Sens: 10mV/Pa
and a research laboratory, Nevatons base contains Max SPL: 140dB
Self Noise: 16dBA
an acoustic lab, including a large anechoic chamber, Out Imp: 50
as well as a factory in which each microphone is Rec Load: 1k
handassembled. Pwr Type: P48
Alt Pwr: -
SC: 4mA
HQ: www.nevatonmics.com Con via: XLR-3 (M)

106 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

MC 49-O Pad: - MC 401 Pad: -


Filt Freq: 100Hz Filt Freq: -
$999 Slope: 6dB/Oct
$1099 Slope: -
Polar: Omnidirectional SA: Shockmount, Polar: Short rifle SA: Shockmount,
Dim: 23 x 158 (mm) microphone clip, hardwood Dim: 20 x 250 (mm) microphone clip, hardwood
Wght: 165g box Wght: 120g box
Freq: - OA: - Freq: 40Hz - 20kHz (3dB) OA: -
Out Sens: 15mV/Pa Out Sens: 25mV/Pa
Max SPL: 140dB Max SPL: 134dB
Self Noise: 16dBA Self Noise: 18dBA
Out Imp: 50 Out Imp: 200
Rec Load: 1k Rec Load: 1k
Pwr Type: P48 Pwr Type: P12-48
Alt Pwr: - Alt Pwr: -
SC: 4mA SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

Neumann KMS 105


$699
Georg Neumann GmbH, based in Berlin, Germany, are Polar: Supercardioid
renowned as one of the worlds leading manufacturers Dim: 48 x 180 (mm)
Wght: 300g
of microphones. Some of their decades-old designs, Freq: 20Hz - 20kHz
like the U87, are still considered among the best Out Sens: 4.5mV/Pa
availabletoday. Max SPL: 150dB
Self Noise: 18dBA
Out Imp: 50
HQ: www.neumann.com Rec Load: 1k
Pwr Type: P48
Alt Pwr: Battery supply
SC: 3.5mA
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Pad: - Slope: -
KM 184 SA: Stand clamp, padded nylon bag
Filt Freq: -
$849 Slope: - OA: -
Polar: Cardioid SA: Windscreen, stand
Dim: 22 x 107 (mm) mount
Wght: 80g OA: Elastic suspension,
Freq: 20Hz - 20kHz auditorium hanger, pop
Out Sens: 15mV/Pa screen, windscreen
Max SPL: 138dB
Self Noise: 13dBA
Out Imp: 50
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: 3.2mA
Con via: XLR-3 (M)

Oktava
Oktava are the oldest major Russian manufacturer of
professional audio equipment, famous for their ribbon models
as well as small- and large-diaphragm condenser microphones.

HQ: www.oktava.eu

SOS Buyers Guide Microphones 107


capacitor microphones: small diaphragm

Pad: -10dB MK-012 SC: 8mA


MK-103 Con via: XLR-3 (M)
Filt Freq: 200Hz
$363 $305 Pad: -10dB
Slope: -
Polar: Cardioid SA: Microphone holder, Polar: Omnidirectional, Filt Freq: 200Hz
Dim: 30 x 130 (mm) wooden box cardioid, hypercardioid, Slope: -
Wght: 95g OA: Swivel joint, figure-of-8
SA: Microphone
Freq: 20Hz - 20kHz low-cut filter, figure- Dim: 23 x 128 (mm) holder, wooden box
Out Sens: 10mV/Pa of-8 adaptor, different Wght: 200g OA: Swivel joint,
Max SPL: 140dB shockmounts, Freq: 20Hz - 20kHz low-cut filter,
Self Noise: 18dBA windscreen, wind Out Sens: 12mV/Pa figure-of-8 adaptor,
jammer Max SPL: 130dB different shockmounts, windscreen, wind
Out Imp: 300
Self Noise: 18dBA jammer
Rec Load: 1k
Pwr Type: P48 Out Imp: 300
Rec Load: 1k SOS Review (July 1994)
Alt Pwr: -
Pwr Type: P48 www.soundonsound.com/sos/1994_articles/
SC: 8mA
Con via: XLR-3 (M) Alt Pwr: - jul94/oktavamk012.html

Pearl MSH 10 MS
(Stereo)
SC: -
Con via: XLR-5 (M)
Pad: -
Pearl are a Swedish manufacturer of high-end 12,800 SEK
Filt Freq: -
microphones. Their large-diaphragm condensers Polar: Hypercardioid, Slope: -
figure-of-8, short rifle
are based around unusual rectangular capsules, and Dim: 28 x 187 (mm)
SA: Wooden box,
shockmount
they also make a stereo mic, the ELM-A. All Pearl Wght: 175g OA: Wind shield
microphones are hand made in Sweden. Freq: 40Hz - 20kHz (6dB)
Out Sens: 20mV/Pa
Max SPL: 130dB
USA: www.independentaudio.com Self Noise: 16dBA
HQ: www.pearl.se Out Imp: 500
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -

Prodipe Duo A1
$129 (pair)
French company Prodipe are known for making Polar: Cardioid
monitors with ribbon tweeters, as well as Dim: -
Wght: 120g
manufacturing a wide range of low-cost microphones Freq: 30Hz - 18kHz
for stage and studio use. Out Sens: 12.59mV/Pa
Max SPL: 134dB
US: www.musicfactorydirect.com Self Noise: -
Out Imp: 100
HQ: www.prodipe.com Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: -
Pad: -
Filt Freq: 100Hz
Pad: - Slope: 12dB/Oct
MC1 Condenser SA: Clamps, pop shields
Filt Freq: -
$109 Slope: - OA: -
Polar: Cardioid SA: Mic clip
Dim: - OA: -
Wght: -
Freq: 30Hz - 20kHz
Out Sens: -37dB (3dB)
Max SPL: >125dB
Self Noise: <23dBA
Out Imp: 100
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

108 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Peavey Studio Pro CM1


$129
Peavey are one of the largest independently owned Polar: Cardioid
suppliers of musical instruments and professional Dim: 49 x 181 (mm)
Wght: 318g
sound equipment in the world. Established by Hartley Freq: 50Hz - 16kHz
Peavey in 1965, Peavey hold 130 patents in musical Out Sens: 7.08mV/Pa
instrument designs and audio technology. Their Max SPL: 130dB
Self Noise: 24dBA
products can be found in government buildings, theme Out Imp: 200
parks, airports, stadiums and more. Rec Load: 1k
Pwr Type: P48
HQ: www.peavey.com Alt Pwr: -
SC: 3mA
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
PVM 480 Pad: -
SA: Compact carry case
Filt Freq: -
$199 Slope: -
OA: Hardshell case, PV series low Z
Polar: Supercardioid cable (7.6m)
SA: Swivel adaptor, external
Dim: 22 x 137 (mm) windscreen, 25-foot
Wght: 60g balanced cable
Freq: 40Hz - 20kHz OA: Hardshell case, PV
Out Sens: 3.98mV/Pa series low Z cable (7.6m)
Max SPL: 128dB
Self Noise: - SOS Review (August 1995)
Out Imp: 500 www.soundonsound.com/
Rec Load: - sos/1995_articles/aug95/
Pwr Type: P9-52 peaveypvm480.html
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Peluso CEMC-6 Stereo


$679 (pair)
Peluso produce top-quality studio microphones Polar: Omnidirectional, cardioid,
inspired by classic vintage designs. Hand assembled wide cardioid, hypercardioid
Dim: 22 x 164 (mm)
from quality modern and vintage components, Peluso Wght: 134g
mics are extensively tested by computer frequency Freq: 19Hz - 25kHz (3dB)
response and human listening tests, ensuring the Out Sens: 10mV/Pa
Max SPL: 156dB
lowest noise standards. Self Noise: 14dBA
Out Imp: 200
HQ: www.pelusomicrophonelab.com Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: 4mA
Con via: XLR-3 (M)
Pad: -10, -20 dB
Filt Freq: 75, 150 Hz
CEMC-6 SC: 4mA
Slope: 12dB/Oct
Con via: XLR-3 (M)
$292 Pad: -10, -20 dB
SA: Shockmounts, hard mounts,
windscreens, flight case
Polar: Omnidirectional, Filt Freq: 75, 150 Hz
cardioid, supercardioid, OA: Matched capsules:
Slope: 12dB/Oct omnidirectional, wide cardioid,
hypercardioid
SA: Wooden box, hard hypercardioid
Dim: 22 x 164 (mm) mount
Wght: 134g OA: Shockmount,
Freq: 19Hz - 25kHz (3dB) stereo matched pair kits,
Out Sens: 10mV/Pa capsules: omnidirectional,
Max SPL: 156dB supercardioid, hypercardioid
Self Noise: 14dBA
Out Imp: 200
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -

SOS Buyers Guide Microphones 109


capacitor microphones: small diaphragm

RDE M2
$179
Rode are based in Sydney, Australia, where all their Polar: Supercardioid
microphones are designed, and where the majority of Dim: 47 x 187 (mm)
Wght: 308g
their manufacturing takes place. They make all kinds Freq: 35Hz - 20kHz
of mics, from valve and solid-state condensers to lapel Out Sens: 6.3mV/Pa
and video microphones. Max SPL: 141dB
Self Noise: 23dBA
Out Imp: 50
HQ: www.rodemic.com Rec Load: -
Pwr Type: P24/48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
M3 Pad: -10dB
SA: Stand mount, zip
Filt Freq: 80Hz
$149 Slope: -
case, 10 year warranty
Polar: Cardioid OA: -
SA: Stand mount, wind
Dim: 33 x 225 (mm) shield, zip case, 10 year
Wght: 390g warranty
Freq: 40Hz - 20kHz OA: -
Out Sens: 10mV/Pa
Max SPL: 142dB SOS Review (November
Self Noise: 21dBA 2007)
Out Imp: 200 www.soundonsound.
Rec Load: - com/sos/nov07/articles/
Pwr Type: P48 rodem3.htm
Alt Pwr: 9V battery
SC: -
Con via: XLR-3 (M)

NT3 Pad: - Con via: XLR-3 (M)


Filt Freq: -
NT5
Pad: -
$269 Slope: -
$219 ($426 for Filt Freq: -
Polar: Cardioid SA: Zip case, microphone matched pair) Slope: -
Dim: 32 x 206 (mm) clip, windshield, 10 year Polar: Cardioid SA: Stand mount, wind
Wght: - warranty Dim: 20 x 118 (mm) shield, zip case, 10 year
Freq: 20Hz - 20kHz OA: Shockmounts, RDE Wght: 101g warranty
Out Sens: 11.22mV/Pa Blimp, desk stand Freq: 20Hz - 20kHz OA: Shockmounts,
Max SPL: 140dB Out Sens: 12.6mV/Pa omnidirectional capsule
Self Noise: 16dBA SOS Review (November Max SPL: 143dB
Out Imp: 200 2000) Self Noise: 16dBA SOS Review (August 2002)
Rec Load: - www.soundonsound. Out Imp: 100 www.soundonsound.
Pwr Type: P48/24/12 com/sos/nov00/articles/ Rec Load: - com/sos/aug02/articles/
Alt Pwr: 9V battery rodent3.htm Pwr Type: P24/48 rodent4nt5.asp
SC: - Alt Pwr: -
Con via: XLR-3 (M) SC: -

Pad: -10dB NT4 (Stereo) Pad: -


NT6 Filt Freq: -
Filt Freq: 80Hz
$429 $529 Slope: -
Slope: -
Polar: Cardioid SA: Kevlar reinforced cable (3m), Polar: X/Y stereo cardioid SA: Carry case, windshield,
Dim: 20 x 45 (mm) swivel mount, stand mount, 10 year Dim: 41 x 231 (mm) stereo XLR cable, stereo
Wght: 42g warranty Wght: - minijack 3.5mm cable,
Freq: 40Hz - 20kHz OA: Omnidirectional capsule, wind Freq: 20Hz - 20kHz microphone clip, 10 year
Out Sens: 14.1mV/Pa shield, gooseneck mount Out Sens: 12.59mV/Pa warranty
Max SPL: 135dB Max SPL: 143dB OA: Shockmounts, RDE
Self Noise: 16dBA Blimp, desk stand, zip case,
Self Noise: 19dBA
Dead Kitten furry, extension
Out Imp: 200 Out Imp: 200 cable
Rec Load: - Rec Load: -
Pwr Type: P24/48 Pwr Type: P48 SOS Review (August 2002)
Alt Pwr: - Alt Pwr: 9V battery http://www.soundonsound.
SC: - SC: - com/sos/aug02/articles/
Con via: XLR-3 (M) Con via: XLR-3 (M) rodent4nt5.asp

110 SOS Buyers Guide Microphones


capacitor microphones: small diaphragm

NTG3 Pad: - S1
Filt Freq: -
$699 Slope: -
$329
Polar: Supercardioid SA: Aluminium storage Polar: Supercardioid
Dim: 19 x 255 (mm) cylinder, stand mount, wind Dim: 52 x 183 (mm)
Wght: 163g shield, zip case, 10 year Wght: 308g
Freq: 40Hz - 20kHz warranty Freq: 20Hz - 20kHz
Out Sens: 31.6mV/Pa OA: Shockmounts, deluxe Out Sens: 5mV/Pa
Max SPL: 130dB wind shield, DeadCat, pistol Max SPL: 151dB
Self Noise: 13dBA grips, boom poles Self Noise: 18dBA
Out Imp: 25 Out Imp: 50
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
NTG1 SA: Stand mount, zip case, 10 year warranty
$249 OA: Also available in black
Polar: Supercardioid
Dim: 22 x 217 (mm)
Wght: 105g
Freq: 20Hz - 20kHz
Out Sens: 15.8mV/Pa
Max SPL: 139dB
Self Noise: 18dBA
Out Imp: 50
Rec Load: -
Pwr Type: P24/48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -
Filt Freq: 80Hz
Slope: -
SA: Stand mount, wind shield, zip NTG2 Pad: -
case, 10 year warranty Filt Freq: 80Hz
$269 Slope: -
OA: Shockmounts, deluxe wind
shield, DeadCat, pistol grips, Polar: Supercardioid SA: Stand mount, wind
boom poles Dim: 22 x 278 (mm) shield, zip case, 10 year
Wght: 161g warranty
Freq: 20Hz - 20kHz OA: Shockmounts,
Out Sens: 15.8mV/Pa deluxe wind shield,
Max SPL: 131dB DeadCat, pistol grips,
Self Noise: 18dBA boom poles
Out Imp: 250
Rec Load: -
Pwr Type: P24/48
Alt Pwr: AA battery
SC: -
Con via: XLR-3 (M)

NT55 SC: - NTG8 Pad: -


Con via: XLR-3 (M) Filt Freq: -
$369 ($829 for Pad: -10, -20 dB
$999 Slope: -
matched pair) Filt Freq: 75, 150 Hz Polar: Supercardioid SA: shockmount, windshield,
Polar: Omnidirectional, Slope: - Dim: 559 x 19 x 19 (mm) aluminium cylinder, 10 year
cardioid SA: Omnidirectional Wght: 345g warranty
Dim: 20 x 145 (mm) capsule, stand mount, 10 Freq: 40hz 20khz OA: RDE Blimp
Wght: 110g year warranty Out Sens: 100mV/Pa
Freq: 20Hz - 20kHz OA: Shockmounts, wind Max SPL: 124dB
Out Sens: 12.6mV/Pa shield, zip case Self Noise: 8dBA
Max SPL: 136dB Out Imp: 25
Self Noise: 15dBA SOS Review (September Rec Load: -
Out Imp: 100 2007) www.soundonsound. Pwr Type: P48
Rec Load: - com/sos/sep07/articles/ Alt Pwr: -
Pwr Type: P48 rodent55.htm SC: 2.5mA
Alt Pwr: - Con via: XLR-3 (M)

112 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Schoeps CCM 4 LG
$2018
Pad: -
Filt Freq: -
Slope: -
Founded in 1948, Schoeps specialise in making small- Polar: Cardioid SA: Wooden case,
diaphragm condensers. They also manufacture the Dim: 20 x 46 (mm) miniature stand mount
Wght: 43g with swivel, Lemo/XLR
Colette range of modular mics, as well as shotgun Freq: 40Hz - 20kHz adaptor cable
models and multi-microphone stereo and surround Out Sens: 13mV/Pa OA: Extension tubes,
recording kits. Max SPL: 132dB table stand, basket-
type windscreens,
Self Noise: 15dBA
Out Imp: 90 double M/S, ORTF,
USA: www.reddingaudio.com Rec Load: >600
ORTF surround
HQ: www.schoeps.de Pwr Type: P12/48
Alt Pwr: -
SC: 8 or 4 mA
Con via: XLR-3 (M)

CMC 68 Set Pad: - CMC 64 Set


Filt Freq: -
$2138 $1698
Slope: -
Polar: Figure-of-8 SA: Polished wood case, Polar: Cardioid
Dim: 20 x 147 (mm) stand clamp with swivel Dim: 20 x 132 (mm)
Wght: 78g OA: Range of accessories Wght: 77g
Freq: 40Hz - 16kHz including extension tubes, Freq: 40Hz - 20kHz
Out Sens: 10mV/Pa table stands, windscreens, Out Sens: 13mV/Pa
Max SPL: 134dB mounting brackets, pop Max SPL: 132dB
Self Noise: 18dBA filters Self Noise: 15dBA
Out Imp: 25, 35 Out Imp: 35 @ P48, 25 @ P12
Rec Load: >600 Rec Load: 600
Pwr Type: P12/48 Pwr Type: P12/48
Alt Pwr: - Alt Pwr: -
SC: 8, 4 mA SC: 4mA @ P48, 8mA @ P12
Con via: XLR-3 (M) Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
CMC 641 Set SA: Stand clamp with swivel, polished wood
$1918 case
OA: Range of accessories including 20
Polar: Supercardioid interchangeable capsules, extension tubes,
Dim: 20 x 132 (mm) table stands, windscreens, mounting
Wght: 77g brackets, pop filters
Freq: 40Hz - 20kHz
Out Sens: 14mV/Pa
Max SPL: 132dB
Self Noise: 15dBA
Out Imp: 35 @ P48, 25 @ P12
Rec Load: 600
Pwr Type: P12/48
Alt Pwr: -
SC: 4mA @ P48, 8mA @ P12
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
SA: Polished wood case, stand CMXY 4V Ug Con via: XLR-5 (M)
clamp with swivel (Stereo) Pad: -
OA: Range of accessories including Filt Freq: -
$5495 Slope: -
extension tubes, table stands,
windscreens, mounting brackets, Polar: Cardioid SA: Polished
pop filters Dim: 43 x 119 (mm) wood case, AK
Wght: 190g SU/2U adaptor
Freq: 40Hz - 20kHz cable
Out Sens: 13mV/Pa OA:
Max SPL: 132dB Windscreen,
Self Noise: 14dBA stand clamp
with swivel
Out Imp: 90
Rec Load: >600
Pwr Type: P12/48
Alt Pwr: -
SC: 2 x 8, 2 x 4 mA

SOS Buyers Guide Microphones 113


capacitor microphones: small diaphragm

SuperCMIT CMIT 5U
$4449 $2199
Polar: Short rifle Polar: Short rifle
Dim: 21 x 280 (mm) Dim: 21 x 251 (mm)
Wght: 112g Wght: 89g
Freq: 40Hz - 20kHz Freq: 40Hz - 20kHz
Out Sens: 28.18mV/Pa Out Sens: 17mV/Pa
Max SPL: 125dB Max SPL: 132dB Pad: -
Self Noise: 14, 16 dBA Pad: - Self Noise: 14dBA Filt Freq: -
Out Imp: 110 Filt Freq: 80Hz, 10kHz Out Imp: 50 Slope: -
Rec Load: 110 Slope: 18dB/Oct +5dB Rec Load: >600 SA: Polished wood
case, foam windscreen,
Pwr Type: DPP, 10V SA: PSD 2U or Mini-DA42 powering box, Pwr Type: P48
stand clamp with swivel
Alt Pwr: - foam windscreen Alt Pwr: -
OA: Basket-type
SC: 170mA OA: Shockmount with pistol grip, basket- SC: 4.4mA windscreens
Con via: XLR-3 (M) type windscreen Con via: XLR-3 (M)

sE Electronics H1 Live
$249
sE Electronics are one of the most prolific modern mic Polar: Cardioid
manufacturers. Since being founded in 2000, theyve Dim: 48 x 183 (mm)
Wght: 345g
released an enormous range of models covering almost Freq: 20Hz - 20kHz
every type of microphone and at pretty much every Out Sens: 2mV/Pa
price level. Max SPL: 134dB
Self Noise: 18dBA
Out Imp: 50
USA: www.fingerprintaudio.com Rec Load: 1k
HQ: www.seelectronics.com Pwr Type: P48
Alt Pwr: -
SC: 3mA
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
sE4 SA: Microphone clip
$349 OA: -
Polar: Omnidirectional,
cardioid, hypercardioid
Dim: 28 x 178 (mm)
Wght: 280g
Freq: 20Hz - 20kHz
Out Sens: 25mV/Pa
Max SPL: 137dB
Self Noise: 15dBA
Out Imp: 200
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: 4mA
Con via: XLR-3 (M)
Pad: -10, -20 dB
Filt Freq: 75Hz
Slope: 6dB/Oct sE1a Pad: -
SA: Shockmount, flight Filt Freq: -
$199 Slope: -
case
OA: Capsules: Polar: Cardioid SA: Microphone clip
omnidirectional, Dim: 25 x 163 (mm) OA: Shockmount, stereo
hypercardioid, mics also Wght: 190g bar for matched pair
available as a factory Freq: 20Hz - 20kHz
matched pair Out Sens: 18mV/Pa
Max SPL: 130dB
SOS Review (March 2009) Self Noise: 17dBA
www.soundonsound. Out Imp: 200
com/sos/mar09/articles/ Rec Load: 1k
seelectronicsse4.htm Pwr Type: P48
Alt Pwr: -
SC: 3mA
Con via: XLR-3 (M)

114 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

sE Rupert Neve RN17


$1199
sE Electronics and Rupert Neve announced their first Polar: Omnidirectional,
collaborative mic, the RNR ribbon, in 2008. In 2011, they cardioid, hypercardioid,
figure-of-8
announced the RN17, which is the worlds first pencil Dim: 44 x 200 (mm) SC: 3mA
microphone to include a large transformer. Wght: 248g Con via: XLR-3
Freq: 20Hz - 20kHz (M)
Out Sens: 6mV/Pa Pad: -
USA: www.fingerprintaudio.com Max SPL: 150dB Filt Freq: -
HQ: www.seelectronics.com Self Noise: 18dBA Slope: -
Out Imp: 200 SA: Shockmount, wooden case,
Rec Load: 1k flight case
Pwr Type: P48 OA: Capsules: omni,
Alt Pwr: - hypercardioid, fig-8; pop shield

Sennheiser
Longstanding German company
Sennheiser make microphones
for a wide range of purposes,
including conferences, aviation,
and music recording and
performance. Their high-end
MKH condensers employ some
innovative capsule technology,
and their wireless mic systems
include vocal mics, headset mics
and lavelier models.

HQ: www.sennheiser.com

e965
$699
Polar: Cardioid, supercardioid
Dim: 48 x 199 (mm)
Wght: 396g
Freq: 40Hz - 20kHz
Out Sens: 7mV/Pa
Max SPL: 142dB
Self Noise: 21dBA
Out Imp: 50
Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: 3.5mA
Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: -
Slope: -
SA: Pouch, microphone clip
OA: -

SOS Buyers Guide Microphones 115


capacitor microphones: small diaphragm

Shure SM81
$349
American company Shure make some of the most Polar: Cardioid
widely used dynamic mics, including the SM57 and Dim: 24 x 212 (mm)
Wght: 230g
SM58. They also manufacture high-end studio Freq: 20Hz - 20kHz
condensers, as well as wireless mic kits. Out Sens: 5.6mV/Pa
Max SPL: 136dB
HQ: www.shure.com Self Noise: 16dBA
Out Imp: 150
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: 1.2mA
Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: -
Slope: -
KSM9HS Pwr Type: P48
SA: Microphone clip, swivel adaptor, 10dB
Alt Pwr: -
$699 SC: -
attenuator lock, carry case, windscreen
Polar: Hypercardioid, OA: Pop filter grille, heavy-duty windscreen,
Con via: XLR-3 (M) stereo microphone adaptor Shock Stopper,
subcardioid Pad: - isolation mount
Dim: 49mm x 191mm Filt Freq: -
Wght: 300g Slope: -
Freq: 50Hz - 20kHz SA: Aluminum carry case,
Out Sens: Hypercardioid stand adaptor
3mV/Pa, subcardioid OA: -
2.2mV/Pa
Max SPL: 150.8dB / 153dB
Self Noise: 20.7dB /
22.7dB
Out Imp: 145
Rec Load: -

Sontronics STC-1
$159
Con via: XLR-3 (M)
Pad: -10, -20 dB
Filt Freq: 75, 150 Hz
Sontronics are a British microphone brand founded Polar: Omnidirectional, Slope: -
in 2004 by mic designer and musician Trevor Coley. cardioid, hypercardioid
SA: Angled microphone
Dim: 24 x 162 (mm)
Their range covers small- and large-diaphragm Wght: 214g
clip, foam wind shield,
wooden case, lifetime
condensers, valve and ribbon mics, as well as models Freq: 25Hz - 20kHz (1dB) warranty
made for specific purposes, like recording drums and Out Sens: 12mV/Pa OA: Capsules:
Max SPL: 137dB omnidirectional,
electricguitar. Self Noise: 16dBA hypercardioid, pop shield,
Out Imp: <200 pro-quality audio mic
USA: www.proaudiodesign.com Rec Load: - cables with Neutrik XX
connectors
HQ: www.sontronics.com Pwr Type: P48
Alt Pwr: -
SC: -

STC-6 Con via: XLR-3 (M) STC-1S Con via: XLR-3 (M)
Pad: -10dB Pad: -10, -20 dB
$249 Filt Freq: 75Hz
$449 (Pair) Filt Freq: 75, 150 Hz
Polar: Cardioid, Slope: - Polar: Omnidirectional, cardioid, Slope: -
supercardioid SA: Microphone clip, hypercardioid SA: 2 x microphone clip, 2
Dim: 47 x 190 (mm) aluminium flight case, Dim: 24 x 162 (mm) x foam windshield, stereo
Wght: 436g lifetime warranty Wght: 424g mounting bar, wooden
Freq: 30Hz - 20kHz (2dB) OA: Pop shield, pro-quality Freq: 25Hz - 20kHz case, lifetime warranty
Out Sens: 8mV/Pa audio mic cables with Out Sens: 12mV/Pa OA: Pop shield, pro-quality
Max SPL: 140dB Neutrik XX connectors, Max SPL: 137dB cables with Neutrik XX
Self Noise: 14dBA professional microphone Self Noise: 16dBA connectors, two levels of
Out Imp: <200 stand Out Imp: <200 -10dB pad plus phase
inverse
Rec Load: - Rec Load: -
Pwr Type: P48 Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC: - SC: -

116 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Sound First SF101a


$890
Pad: -
Filt Freq: -
Slope: -
Founded by industry veteran Ray A Rayburn, Sound Polar: Omnidirectional SA: Stand adaptor, waterproof case
First make a range of small-diaphragm omnidirectional Dim: - OA: MATT-20 attenuator for 20dB
Wght:
microphones. They are made primarily for test and Freq: 10 Hz to 22 kHz
higher maximum SPL

measurement purposes, but are equally at home in the Out Sens: 15.8mV/Pa
studio when neutrality and precision are required. Max SPL: 138dB
Self Noise: 13dBA
Out Imp: -
HQ: www.soundfirst.com Rec Load: 1k
Pwr Type: P48
Alt Pwr: -
SC: -
Con Via: XLR-3 (M)

Studio Projects
Studio Projects Microphones a
division of PMI Audio Group is
a California-based design house,
headed by Brent Casey, which
specialises in microphones and
electronics for the professional
audio market.

USA: www.pmiaudio.com
HQ: www.studioprojects.com

SP C4 Since 1948
$349 (matched pair)
Polar: Omnidirectional, cardioid,
hypercardioid
Dim: 20 x 129 (mm)
Wght: 92g
Freq: 20Hz - 20kHz
Out Sens: 12, 12, 13
mV/Pa
Max SPL: 158dB
Self Noise: 18, 18,
17 dBA
Out Imp: 50
Rec Load: 1.2k
Pwr Type: P48
Alt Pwr: -
SC: 3.1mA
Con via: XLR-3 (M)
Pad: -10, -20 dB Time less
Filt Freq: 75, 150 Hz
Slope: 6dB/Oct
SA: Interchangeable
capsules, foam history & the lates news
windscreens with www.facebook.com/SchoepsMics
external acoustic
fabric overlay, stereo
X-Y bar, microphone
stand clips SCHOEPS GmbH www.schoeps.de
OA: Metal pop Spitalstr. 20 mailbox @ schoeps.de
sreen, 20-foot Litz
wire microphone D-76227 Karlsruhe Tel. + 49 721 943 200
cable

SOS Buyers Guide Microphones 117


RIBBON MICROPHONES

RIBBON
Microphones
Ribbon mics are a subset of dynamic microphones and
today come in both active and passive variants. Passive models tend
to have a very low electrical output and so place high demands on the
preamp to which they are connected, unless the sound source is relatively
loud. Because of their construction, ribbon mics are almost always figure-of-
eight pattern types, which also means they exhibit a strong proximity effect.
This, combined with their smooth and often restricted high end, means some low-
cut EQ may be necessary when working close to the sound source. While the lack
of high-end reach might be considered a limitation, ribbon mics have the ability to
smooth out the aggressive highs encountered when miking bowed strings, guitar
amplifiers and the cymbals above a drum kit. They also suit some vocal styles. A few
of the more recent models have a more extended high-frequency response but still
exhibit the characteristic ribbon smoothness, which contrasts with the often rather
more assertive high end of a capacitor microphone.

AEA A440
$5220
AEA Audio Engineering Associates manufacture Polar: Figure-of-8
a wide range of studio ribbon microphones based on Dim: 117 x 312 (mm)
Wght: 2.4kg
classic designs from RCA. They also repair vintage Freq: 20Hz - 20kHz
RCA models, as well as building preamps designed Out Sens: 22mV/Pa
specifically for ribbon mics. Max SPL: 136dB
Self Noise: 9dBA
Out Imp: 92
HQ: www.ribbonmics.com Rec Load: >1k
Pwr Type: P48
Alt Pwr: -
SC: 7mA
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
A840 Pad: -
SA: Custom storage/shipping case,
Filt Freq: -
$1553 Slope: -
grey zippered bag, Accusound silver
studio pro cable (3m)
Polar: Figure-of-8 SA: Custom storage/ OA: Hand-tuning to stereo match a
Dim: 99 x 295 (mm) shipping case, grey pair, custom body graphics or colours,
Wght: 816g zippered bag, Accusound custom microphone flag, round low-
Freq: 20Hz - 20kHz silver studio pro profile desk stand
Out Sens: 6.3mV/Pa cable(3m)
SOS Review (June 2009)
Max SPL: 141dB OA: Non-reflective
www.soundonsound.com/sos/jun09/
Self Noise: 17.5dBA exterior, stereo-matched
pair, custom graphics articles/aeaa440.htm
Out Imp: 92
laser engraved on the
Rec Load: >1k trim band
Pwr Type: P48 SOS Review (Feb 2012)
Alt Pwr: - www.soundonsound.
SC: 7mA com/sos/feb12/articles/
Con via: XLR-3 (M) aea-a840.htm

118 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

KU4 Pad: - R44C


Filt Freq: -
$4356 Slope: -
$3780
Polar: Supercardioid SA: Custom storage/ Polar: Figure-of-8
Dim: 117 x 320 (mm) shipping case, grey Dim: 117 x 312 (mm)
Wght: 2.15kg zippered bag, Accusound Wght: 2.39kg
Freq: 30Hz - 20kHz silver studio pro Freq: 20Hz - 20kHz
Out Sens: 2.5mV/Pa cable(3m) Out Sens: 2.5mV/Pa
Max SPL: 165dB OA: Hand-tuning to Max SPL: 165dB
Self Noise: - stereo match a pair Self Noise: -
Out Imp: 300 Out Imp: 270
Rec Load: >1.5k SOS Review (January Rec Load: >1.5k
Pwr Type: - 2012) Pwr Type: -
Alt Pwr: - www.soundonsound.com/ Alt Pwr: -
SC: - sos/jan12/articles/aea- SC: -
Con via: XLR-3 (M) ku4.htm Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
R84 SA: Custom storage/shipping case,
$1035 grey zippered bag, Accusound silver
studio pro cable (3m)
Polar: Figure-of-8 OA: Hand-tuning to stereo match
Dim: 117 x 312 (mm) a pair, custom body graphics or
Wght: 2.4kg colours, custom microphone flag,
Freq: 20Hz - 20kHz round low-profile desk stand
Out Sens: 5mV/Pa
Max SPL: 165dB SOS Review (June 2002)
Self Noise: - www.soundonsound.com/sos/jun02/
Out Imp: 270
articles/aearibbon.asp
Rec Load: >1.5k
Pwr Type: -
Alt Pwr: -
SC: -
Con via: -
Pad: -
Filt Freq: -
Slope: -
SA: Custom storage/shipping case,
grey zippered bag, Accusound silver R44CX
studio pro cable(3m) $4230
OA: Hand-tuning to stereo match a
Polar: Figure-of-8
pair, custom body graphics or colours,
custom microphone flag, round low- Dim: 117 x 312 (mm)
profile desk stand Wght: 2.4kg
Freq: 20Hz - 20kHz
Out Sens: 5mV/Pa
SOS Review (Feb 2004)
Max SPL: 165dB
www.soundonsound.com/sos/feb04/
Self Noise: -
articles/aear84.htm
Out Imp: 270
Rec Load: >1.5k
Pwr Type: -
Alt Pwr: -
SC: -
Con via: -
Pad: -
Filt Freq: -
Slope: -
SA: Custom storage/shipping case,
R44CE Filt Freq: - grey zippered bag, Accusound silver
Slope: - studio pro cable (3m)
$2520 SA: Custom storage/ OA: Hand-tuning to stereo match
Polar: Figure-of-8 shipping case, grey a pair, custom body graphics or
Dim: 117 x 312 (mm) zippered bag, Accusound colours, custom microphone flag,
Wght: 2.2kg silver studio pro cable round low-profile desk stand
Freq: 20Hz - 20kHz (3m)
Out Sens: 2.5mV/Pa OA: Hand-tuning to
Max SPL: 165dB stereo match a pair,
Self Noise: - custom body graphics
Out Imp: 270 or colours, custom
Rec Load: >1.5k microphone flag, round
Pwr Type: - low-profile desk stand
Alt Pwr: -
SC: -
Con via: -
Pad: -

SOS Buyers Guide Microphones 119


RIBBON MICROPHONES

Filt Freq: - R92 Pad: -


R88 Mk2 (Stereo) Slope: - Filt Freq: -
$1995 SA: XLR-5 (F) to 2 x XLR-3
$765 Slope: -
Polar: Figure-of-8 (M) breakout cable, custom Polar: Figure-of-8 SA: Custom storage/
Dim: 95 x 381 (mm) storage/shipping case, Dim: 73 x 191 (mm) shipping case, swivel
Wght: 1.09kg swivel adaptor, microphone Wght: 454g adaptor, captive
Freq: 20Hz - 20kHz bag Freq: 20Hz - 18kHz cable(2m)
Out Sens: 2.5mV/Pa OA: Hand-tuning to stereo Out Sens: 1.8mV/Pa OA: Any length cable
Max SPL: 165dB match a pair, custom body (enquire for details),
Max SPL: 165dB
Self Noise: - graphics or colours, custom laser engraving with
microphone flag, round Self Noise: -
Out Imp: 270 art or logo
low-profile desk stand Out Imp: 270
Rec Load: >1.5k
Rec Load: >1.5k
Pwr Type: -
Alt Pwr: - Pwr Type: -
SC: - Alt Pwr: -
Con via: - XLR-5 (M) SC: -
Pad: - Con via: XLR-3 (M)

Audio-Technica AT4080
$999
For 50 years Audio-Technica have aimed to produce Polar: Figure-of-8
audio excellence and innovations in transducer Dim: 53 x 118 (mm)
Wght: 474g
technology. Renowned for the design and manufacture Freq: 20Hz - 18kHz
of high-quality audio products, the company offer a Out Sens: 11.2mV/Pa
complete range of wired and wireless microphones, Max SPL: 150dB
Self Noise: -
headphones and accessories for broadcast, live-sound, Out Imp: 100
recording and installed-sound functions. Rec Load: -
Pwr Type: P48
HQ: www.audio-technica.com Alt Pwr: -
SC: 3mA
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
AT4081 Pad: -
SA: Shockmount, microphone dust cover,
Filt Freq: -
$699 Slope: -
protective carry case
Polar: Figure-of-8 OA: -
SA: Isolation clamp for 5/8-
Dim: 21 x 155 (mm) inch threaded stands, 5/8-
Wght: 152g inch to 3/8-inch threaded SOS Review (August 2010)
Freq: 30Hz - 18kHz adaptor, windscreen, www.soundonsound.com/sos/aug10/
Out Sens: 7.9mV/Pa protective carry case articles/at-4080-4081.htm
Max SPL: 150dB OA: -
Self Noise: -
Out Imp: 100 SOS Review (August 2010)
Rec Load: - www.soundonsound.com/
Pwr Type: P48 sos/aug10/articles/at-4080-
Alt Pwr: - 4081.htm
SC: 3mA
Con via: XLR-3 (M)

Avantone CR-14
$259
Pad: -
Filt Freq: -
Slope: -
Avantone are best known for their Mixcube single- Polar: Figure-of-8 SA: Custom retro
driver loudspeakers, but they also make a range Dim: 37 x 175 (mm) shockmount, padded
Wght: 496g wooden case,
of high-quality solid-state and valve condenser Freq: 30Hz - 15kHz microphone box,
microphones, as well as dynamic drum mics and Out Sens: 2.5mV/Pa padded aluminium
storage/travelcase
ribbonmics. Max SPL: 148dB
OA: -
Self Noise: 70dBA
Out Imp: 600
HQ: www.avantonepro.com Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

120 SOS Buyers Guide Microphones


Any Questions?

This Miktek C7 is my Ive been tracking with The CV3 sounds warm The CV4 has been a
new favorite mic. At the my CV4 non stop. The and clean. The texture go to for months now
studio, we fight over addition of the MPA- from the tube and on vocals Ive been
who gets to use it! 201 has created a killer transformer makes using my C5s for my
Supa Dups chain. it sound great. A lot least favorite job ever,
Rihanna, John Legend, Bruno Graham Marsh of mics fall flat when hi hats. Love them on
Mars, Drake, Eminem
Cee Lo Green, Bruno Mars, T.I., compared to this one. acoustics also...
Leona Lewis, Ludacris, Gnarls
Charles Wakeman Vance Powell
Barkley.
Calle 13, Nas and Damian Jack White, The Dead Weather,
Marley, DJ Khaled, Inner Circle Red Fang, Buddy Guy, The
Raconteurs, Wanda Jackson

Theres a lot of talk about microphones these days. Old ones, new ones, vintage, modern....
samples, sound clips, shoot outs.... its all good. But why are top engineers everywhere, who
could use any microphone, placing Miktek mics in front of their most critical sources?
Visit your exclusive Miktek dealer today and listen for yourself. (It takes about three seconds.)

Miktek, LLC Nashville, TN USA 615 250 2434 www.miktekaudio.com


2013 Miktek, All Rights Reserved
RIBBON MICROPHONES

Beyerdynamic TG V90r
$499
Pad: -
Filt Freq: -
Slope: -
Beyerdynamic have been an industry leader in Polar: Cardioid SA: Clamp
the design and manufacture of premium-grade Dim: 57 x 184 (mm) OA: -
Wght: 471g
microphones, headphones and wireless microphone Freq: 50Hz - 14kHz
systems since 1924. Their microphone range covers Out Sens: 0.9mV/Pa
pretty much every type, including dynamic, capacitor Max SPL: -
Self Noise: -
and ribbon models. Out Imp: 330
Rec Load: >1k
USA: www.americanmusicandsound.com Pwr Type: -
HQ: www.beyerdynamic.com Alt Pwr: -
SC: -
Con via: XLR-3 (M)

BeesNeez Judas
$1399
Australian company BeesNeez offer a diverse range Polar: Figure-of-8
of microphones for the recording, broadcast and Dim: 38 x 145 (mm)
Wght: 400g
film industries. Theyre a small company, yet they Freq: 18Hz - 17kHz
manufacture every part of their mics themselves, Out Sens: -
including the capsules. Max SPL: 148dB
Self Noise: -
Out Imp: 50
HQ: www.beesneezmicrophones.com.au Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
Lily Pad: -
SA: Shockmount, waterproof case
Filt Freq: -
$1450 Slope: -
OA: -
Polar: Figure-of-8 SA: Shockmount,
Dim: 64 x 195 (mm) waterproof case
Wght: 950g OA: -
Freq: 18Hz - 17kHz
Out Sens: -
Max SPL: 150dB
Self Noise: -
Out Imp: 50
Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

Blue Microphones Woodpecker


$999.99
Filt Freq: -
SA: Includes custom
Blue Microphones, founded in 1995, design and produce Polar: Fig-8
shockmount and
cherrywood box
an extensive line of award-winning microphones and Dim: 227 x 45 mm OA: The Pop (brass
recording tools for audio professionals, musicians and Wght: 725g mesh pop filter), Kiwi or
Freq: 20Hz - 20kHz Blueberry (high-definition
consumers. From Blues flagship recording tool, the Out Sens: 26mV/Pa mic cables)
Bottle, to the enCORE line of professional live mics, Max SPL: 136dB
Blue Microphones offer innovative design and top Self Noise: 22.9dBA
Out Imp: 50
performance. Rec Load: >1k
Pwr Type: P48
HQ: www.bluemic.com Alt Pwr: -
SC: -
Con Via: XLR-3 (M)

122 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Cloud Microphones JRS-34


$1599
Pad: -
Filt Freq: -
Slope: -
Cloud are an American manufacturer of both passive Polar: - SA: Wooden box,
and active ribbon microphones, as well as in-line Dim: 77 x 216 (mm) microphone dust cover/
Wght: 400g polishing cloth
preamps. They were founded by Stephen Sank, Freq: 20Hz - 20kHz OA: Universal microphone
whosefather, Jon Sank, designed many of RCAs Out Sens: 35mV/Pa shockmount
classicmicrophones. Max SPL: 138dB
Self Noise: - SOS Review (December
Out Imp: - 2011)
HQ: www.cloudmicrophones.com Rec Load: - www.soundonsound.com/
Pwr Type: P48 sos/dec11/articles/cloud-
Alt Pwr: - mics.htm
SC: 6mA
Con via: XLR-3 (M)

Pad: - 44-A Con via: XLR-3 (M)


JRS-34-P Pad: -
Filt Freq: -
$1499 $1899 Filt Freq: 80Hz
Slope: -
Polar: Figure-of-8 SA: Wooden box, Polar: Fig-8 Slope: -
Dim: 77 x 216 (mm) microphone dust cover/ Dim: 76 x 19.6 mm SA: Cloud U1
Wght: 400g polishing cloth Wght: 485g shockmount, wood case,
Freq: 20Hz - 20kHz OA: Universal Freq: 20Hz - 20kHz mic cover
Out Sens: 2mV/Pa microphone shockmount, Out Sens: 39mV/Pa OA: -
Max SPL: 138dB CL-1 microphone Max SPL: 136dB
Self Noise: - activator (phantom- Self Noise: -
powered active
Out Imp: 150 Out Imp: 150
gainstage)
Rec Load: >1k Rec Load: 1k
SOS Review (December
Pwr Type: - Pwr Type: P48
2011)
Alt Pwr: - Alt Pwr: 24V phantom
www.soundonsound.com/
SC: - power
sos/dec11/articles/cloud-
Con via: XLR-3 (M) SC: 4mA
mics.htm

Coles Electroacoustics
Coles Electroacoustics are a long-established manufacturer of specialised
microphones and other acoustic transducers. The most well known are the
legendary 4038 studio ribbon microphone, and 4104 and 4115 lip microphones.

USA: www.independentaudio.com
HQ: www.coleselectroacoustics.com

4038 Pad: - Con via: -


Filt Freq: -
4040
Pad: -
$1502 MSRP Slope: -
$1589 MSRP Filt Freq: -
Polar: Figure-of-8 SA: Carrying case with Polar: Figure-of-8 Slope: -
Dim: 83 x 197 (mm) 4069 jack plug and soft Dim: 66 x 145 (mm) SA: Plastic case, cloth
Wght: 1080g cloth protective bag Wght: 1kg protective bag, swivel
Freq: 30Hz - 15kHz OA: 4069/XLR Freq: 20Hz - 20kHz mount and a selection
Out Sens: - mating connector, Out Sens: 0.56mV/ of thread adaptors
Max SPL: 125dB stand-mounting and Pa) OA: Stereo-mounting
Self Noise: - connecting cable unit Max SPL: 125dB bracket
Out Imp: 300 Self Noise: -
Rec Load: - Out Imp: -
Pwr Type: - Rec Load: -
Alt Pwr: - Pwr Type: -
SC: - Alt Pwr: -
Con via: - SC: -

SOS Buyers Guide Microphones 123


RIBBON MICROPHONES

Golden Age Project R1 Mk2


$179.99
Golden Age Project are a spin-off of the high-end pro Polar: Figure-of-8
audio distribution activities of Golden Age Music, a Dim: 69 x 185 (mm)
Wght: 950g
Swedish company founded by Bo Medin in 1982. Golden Freq: 30Hz - 18kHz
Age Project offer affordable vintage-style products. Out Sens: -
Max SPL: 160dB
USA: www.raddist.com Self Noise: -
Out Imp: -
HQ: www.goldenagemusic.se Rec Load: -
Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
R1 Active Mk3 Pad: -10dB
SA: Cable and soft
Filt Freq: 100Hz
$219.99 Slope: -
case
OA: Shockmount
Polar: Figure-of-8 SA: Cable and soft case
Dim: 69 x 185 (mm) OA: Shockmount
Wght: 950g
Freq: 30Hz - 18kHz
Out Sens: -
Max SPL: 150dB
Self Noise: -
Out Imp: 50
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

R2 Mk2 R1 Tube Active


$139.99 $299.99
Polar: Figure-of-8 Polar: Figure-of-8
Dim: 76 x 166 (mm) Dim: 69 x 185 (mm)
Wght: 350g Wght: 950g
Freq: 30Hz - 18kHz Freq: 30Hz - 18kHz
Out Sens: - Out Sens: 10mV/Pa
Max SPL: 140dB Max SPL: 150dB
Self Noise: - Self Noise: -16dBA
Out Imp: 250 Out Imp: 200
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: PSU
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-3 (M) Con via: -
Pad: - Pad: -
Filt Freq: - Filt Freq: -
Slope: - Slope: -
SA: Wooden case, SA: Power supply, cables,
shockmount aluminium case
OA: - OA: Shockmount

124 SOS Buyers Guide Microphones


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RIBBON MICROPHONES

Harper Diabate HDR-1


250
Pad: -
Filt Freq: -
Slope: -
Harper Diabate are a specialist manufacturer of valve Polar: Figure-of-8 SA: Metal padded case
and ribbon microphones. They are also the record label Dim: 90 x 220 (mm) OA: -
Wght: 1500g
behind the successful Invisible System album releases. Freq: 30Hz - 18kHz
Out Sens: -
HQ: www.harperdiabate.com Max SPL: 165dB
Self Noise: 2dBA
Out Imp: 600
Rec Load: >1k
Pwr Type: -
Alt Pwr: -
SC: -
Con via: -

Karma K6
$199
Pad: -
Filt Freq: -
Slope: -
Karma Audio are located in Cupertino, CA, and design, Polar: Figure-of-8 SA: Shockmount,
manufacture, and distribute a full range of professional Dim: 50 x 165 (mm) hardcase
Wght: 455g
recording microphones. Karma Audios product Freq: 20Hz to 15kHz
OA: Inline XLR pad &
phase reverse, dual-head
philosophy is to provide distinctive, affordable and Out Sens: - pop filter, reflection filter
high-quality microphones that enable a new generation Max SPL: 140dB
Self Noise: -
of recording engineers to produce music. The company Out Imp: 150
was founded in 2001. Rec Load: -
Pwr Type: P48
HQ: www.karmamics.com Alt Pwr: -
SC: -
Con via: -

MXL R144
$99.99
Pad: -
Filt Freq: -
Slope: -
The microphone division of Marshall Electronics (not Polar: Figure-of-8 SA: Heavy-duty
the similarly named guitar-amp makers), MXL started Dim: 47 x 171 (mm) shockmount, wooden
Wght: 400g case
off producing low-cost studio capacitor mics, but Freq: 20Hz - 17kHz OA: Pop filter,
have since branched out into ribbon mics and models Out Sens: - windscreen
designed for the stage. Max SPL: 130dB
Self Noise: - SOS Review (May 2011)
Out Imp: 250 www.soundonsound.
HQ: www.mxlmics.com Rec Load: >1.5k com/sos/may11/articles/
Pwr Type: - mxl-r144.htm
Alt Pwr: -
SC: -
Con via: -

Oktava ML 5202
$397
Pad: -
Filt Freq: -
Slope: -
Oktava are the oldest major Russian manufacturer Polar: Figure-of-8 SA: Mic holder
of professional audio equipment, famous for their Dim: 62 x 185 (mm) OA: Shockmount,
Wght: 590g
ribbon models as well as small- and large-diaphragm Freq: 20Hz - 20kHz
pop filter

capacitor microphones. Out Sens: 1.6mV/Pa


Max SPL: 135dB
HQ: www.oktava.eu Self Noise: -
Out Imp: 300
Rec Load: >1.5k
Pwr Type: -
Alt Pwr: -
SC: -
Con via:

126 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Peluso R14
$645.47
Pad: -
Filt Freq: -
Slope: -
Peluso produce top-quality studio microphones Polar: Figure-of-8 SA: Shockmount, wooden
inspired by classic vintage designs. Hand assembled Dim: 36 x 176 (mm) box
Wght: 496g
from quality modern and vintage components, Peluso Freq: 30Hz - 16kHz
OA: -

mics are extensively tested by computer frequency Out Sens: 3mV/Pa


response and human listening tests, ensuring the Max SPL: 149dB
Self Noise: -
lowest noise standards. Out Imp: 200
Rec Load: >1k
HQ: www.pelusomicrophonelab.com Pwr Type: -
Alt Pwr: -
SC: -
Con via: XLR-3 (M)

SR14 (Stereo) Pwr Type: - TR14 Pwr Type: PSU


Alt Pwr: - Alt Pwr: -
$1341.94 SC: -
$997.69 SC: 500mA
Polar: Figure-of-8 Con via: XLR-7 (M) Polar: Figure-of-8 Con via: XLR-7 (M)
Dim: 36 x 281 Pad: - Dim: 36 x 210 (mm) Pad: -
Wght: 750g Filt Freq: - Wght: 450g Filt Freq: -
Freq: 30Hz - 16kHz Slope: - Freq: 30Hz - 16kHz Slope: -
Out Sens: 2.5mV/Pa SA: Shockmount, wooden Out Sens: - SA: Shockmount, cables,
Max SPL: 149dB box, stereo matrix,cable Max SPL: 149dB power supply, flight case
Self Noise: - OA: - Self Noise: 15dBA OA: -
Out Imp: 200 Out Imp: 200
Rec Load: >1000 Rec Load: >1k

Loads of Character!
Ph
Po anto
we m
Mic Activator re
d
*

Give your mics a whole new


spectrum of possibilities!
With up to +25dB of ultra-clean gain,
variable impedance loading, and variable
high pass filtering, the CL-Z puts the power
of character control in your hands. It's as
simple as turning the big silver "Z" knob.

*Compatible with any dynamic, tube, battery powered, or


ribbon mic. Requires phantom power, does not pass phantom power

Made in the USA! www.cloudmicrophones.com

SOS Buyers Guide Microphones 127


RIBBON MICROPHONES

Prodipe
French company Prodipe are known for making monitors with ribbon
tweeters, as well as manufacturing a wide range of low-cost microphones for
stage and studio use.

HQ: www.prodipe.com

Ribbon 1 Pad: - Con via: XLR-5 (M)


Filt Freq: -
Ribbon Stereo
Lanen Pad: -
$229 Slope: - Filt Freq: -
Polar: Figure-of-8 SA: Flightcase,
$449 Slope: -
Dim: 76 x 190 (mm) shockmount Polar: Figure-of-8 SA: Flightcase,
Wght: 464g OA: - Dim: 32 x 237 (mm) shockmount
Freq: 25Hz - 18KHz Wght: - OA: -
Out Sens: 2.5mV/Pa Freq: 30Hz - 18kHz
Max SPL: 148dB Out Sens: 3.16mV/Pa SOS Review (April 2013)
Self Noise: 18dBA Max SPL: 140dB www.soundonsound.
Out Imp: 350 Self Noise: 17dBA com/sos/apr13/articles/
Rec Load: - Out Imp: 20 prodipe-rsl.htm
Pwr Type: - Rec Load: 1k
Alt Pwr: - Pwr Type: -
SC: - Alt Pwr: -
Con via: - SC: -

Royer Labs R-101


$895 MSRP
Pad: -
Filt Freq: -
Slope: -
Based in Burbank, California, Royer Labs were founded Polar: Figure-of-8 SA: Shockmount, carrying
by David Royer and Rick Perotta. David Royer combines Dim: 200 x 36 (mm) case, mic sock
Wght: 483g
his extensive knowledge of classic mic designs with Freq: 30Hz - 15kHz
OA: -

modern materials and production techniques to Out Sens: 3.9mV/Pa


produce a wide range of active and passive ribbon Max SPL: 135dB
Self Noise: -
microphones. Out Imp: 300
Rec Load 1.5k
USA: www.royerlabs.com Pwr Type: -
Alt Pwr: -
SC: -
Con Via: XLR-3 (M)

R-121 Pad: R-122 Pad:-


Filt Freq: - Filt Freq: -
$1395 MSRP Slope: -
$1895 MSRP Slope: -
Polar: Figure-of-8 SA: Protective wood case, Polar: Figure-of-8 SA: Protective wood case,
Dim: 158 x 25 (mm) mic sock Dim: 206 x 25 (mm) mic sock
Wght: 244g OA: Shockmount, RSM-1, Wght: 309g OA: Shockmount, RSM-1,
Freq: 30Hz - 15kHz sling shock Freq: 30Hz - 15kHz sling shock
Out Sens: 3.9mV/Pa Out Sens: 14mV/Pa
Max SPL: 135dB Max SPL: 135dB
Self Noise: 14dBA Self Noise: 20dBA
Out Imp: 300 Out Imp: 200
Rec Load: 1.5k Rec Load: 1k
Pwr Type: - Pwr Type: P48
Alt Pwr: - Alt Pwr:-
SC:- SC: 4mA
Con via: XLR-3 (M) Con via: XLR-3 (M)

128 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

R-122V cable SF-2


Pad: -
$3295 MSRP Filt Freq: -
$2495 MSRP
Polar: Figure-of-8 Slope: - Polar: Figure-of-8
Dim: 206 x 25 (mm) SA: Protective wood case, Dim: 203 x 39 (mm)
Wght: 300g shock mount, power supply, Wght: 465g
Freq: 30Hz - 15kHz locking 25-foot microphone Freq: 30Hz - 15kHz
Out Sens: 15mV/Pa cable assembly, carrying case Out Sens: 12.5mV/Pa
Max SPL: 135dB OA: - Max SPL: 130dB
Self Noise: 18dBA Self Noise: 20dBA
Out Imp: 200 Out Imp: 200
Rec Load: 1k Rec Load: 1k
Pwr Type: PSU Pwr Type: P48
Alt Pwr: - Alt Pwr: -
SC:- SC: 4mA.
Con via: Multi-conductor Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Slope: -
SF-12 Pwr Type: - SA: Shockmount, protective case,
Alt Pwr: - mic sock
$2895 MSRP SC: - OA: -
Polar: Figure-of-8 Con via: XLR-3 (M)
Dim: 206 x 25 (mm) Pad: -
Wght: 369g Filt Freq: -
Freq: 30Hz - 15kHz Slope: -
Out Sens: 2.5mV/Pa SA: Wooden case, mic sock
Max SPL: 130dB OA: Shockmount, RSM-1,
Self Noise: 18dBA sling shock
Out Imp: 300
Rec Load:1.5k

Royer Labs' line of ribbon microphones has made a profound difference in the way engineers record
music. The Company's ribbon technology is extremely natural sounding and brings a more realistic, analog
sound and feel to digital recordings and live sound reproduction. In the '90s, Royer Labs single-handedly
Royer Ribbons
brought ribbon microphones into mainstream recording. Royer's innovations continue to win the praise of 818.847.0121
artists, producers, and engineers today. www.royerlabs.com
- The Recording Academy

SOS Buyers Guide Microphones 129


RIBBON MICROPHONES

cable SF-24V (M)


SF-24
Pad: - Pad: -
$4495 MSRP $6195 MSRP Filt Freq: -
Filt Freq: -
Polar: Figure-of-8 Slope: - Polar: Figure-of-8 Slope: -
Dim: 270 x 39 mm SA: Carrying case, XLR-5 Dim: 270 x 39 mm SA: Carrying case, PSU,
Wght: 583g to two XLR-3 cable, Wght: 583g wooden case, XLR-5
Freq: 40Hz - 15kHz shockmount, protective Freq: 30Hz - 15kHz to two XLR-3 cable,
Out Sens: 12.5mV/Pa case, mic sock Out Sens: 12.5mV/Pa shockmount
Max SPL: 130dB OA: - Max SPL:130dB OA: -
Self Noise: 18dBA Self Noise: 18dBA
Out Imp: 200 Out Imp: 300
Rec Load: 1k Rec Load: 1.5k
Pwr Type: P48 Pwr Type: PSU
Alt Pwr: - Alt Pwr: -
SC: 4mA per channel SC: 4mA
Con via: Multi-conductor Con via: XLR-7 (M), XLR-3

sE Electronics
sE Electronics are one of the most prolific modern mic
manufacturers. Since being founded in 2000, theyve
released an enormous range of models covering almost
every type of microphone and at pretty much every
price level.

USA: www.fingerprintaudio.com
HQ: www.seelectronics.com

Pad: - Voodoo VR1 Pad: -


Voodoo VR2 Filt Freq: -
Filt Freq: -
$999 $699 Slope: -
Slope: -
Polar: Figure-of-8 SA: Shockmount, wooden Polar: Figure-of-8 SA: Shockmount, wooden
Dim: 40 x 183 (mm) case Dim: 40 x 123 (mm) case
Wght: 325g OA: Pop shield Wght: 235g OA: Pop shield
Freq: 20Hz - 20kHz Freq: 20Hz - 20kHz
Out Sens: 10mV/Pa SOS Review (February Out Sens: 1.8mV/Pa SOS Review (February
Max SPL: 135dB 2011) Max SPL: 135dB 2011)
Self Noise: 20dBA www.soundonsound.com/ Self Noise: 17dBA www.soundonsound.com/
Out Imp: 200 sos/feb11/articles/se- Out Imp: 300 sos/feb11/articles/se-
Rec Load: 1k voodoo.htm Rec Load: 1.5k voodoo.htm
Pwr Type: P48 Pwr Type: Passive
Alt Pwr: - Alt Pwr: -
SC: 2mA SC: -
Con via: XLR-3 (M) Con via: XLR-3 (M)

sE Rupert Neve RNR1


$1995
Pad: -
Filt Freq: 250Hz
Slope: 6dB/Oct
sE Electronics and Rupert Neve announced their first Polar: Figure-of-8 SA: Shockmount,
collaborative mic, the RNR ribbon, in 2008. In 2011, they Dim: 47 x 265 (mm) wooden case, flightcase
Wght: 845g
announced the RN17, which is the worlds first pencil Freq: 20Hz - 25kHz
OA: Pop shield

microphone to include a large transformer. Out Sens: 25mV/Pa SOS Review (May 2009)
Max SPL: 135dB www.soundonsound.
USA: www.fingerprintaudio.com Self Noise: 15dBA com/sos/may09/
Out Imp: 200
HQ: www.seelectronics.com Rec Load: 1k
articles/sernr1.htm

Pwr Type: P48


Alt Pwr: -
SC: 3.5mA
Con via: XLR-3 (M)

130 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Shure
American company Shure make some of the most
widely used dynamic mics, including the SM57 and
SM58. They also manufacture high-end studio
condensers, as well as wireless mic kits.

HQ: www.shure.com

KSM313/NE Pad: - Pad: -


Con via: -
KSM353/ED
Ribbon Ribbon Con via: -
Slope: - Slope: -
$1295 Filt Freq: -
$2695 Filt freq: -
Polar: Figure-of-8 SA: Aluminum carry case, Polar: Figure-of-8 SA: Aluminum carry
Dim: 135 x 43 mm Shure lock stand mount, Dim: 158 x 48 mm case, Shure lock wire-
Wght: 400g velveteen Pouch Wght: 633g rope suspension mount,
Freq: 30Hz - 15kHZ OA: - Freq: 30Hz - 15kHz velveteen pouch,
Out Sens: 1.8mV/Pa Out Sens: 2.1mV/Pa polishing cloth
Max SPL: 146dB Max SPL: 146dB OA: -
Self Noise: - Self Noise: -
Out Imp: 330 Out Imp: 330
Rec Load: - Rec Load: -
Pwr Type: - Pwr Type: -
Alt Pwr: - Alt Pwr: -
SC: - SC: -

Sontronics Apollo (Stereo)


$1599
Con via: XLR-6 (M)
Filt Freq: -
Slope: -
Sontronics are a British microphone brand founded Polar: Figure-of-8 SA: Shockmount,
in 2004 by mic designer and musician Trevor Coley. Dim: 65 x 260 (mm) aluminium flightcase,
Wght: 744g Y-cable, lifetime
Their range covers small- and large-diaphragm Freq: 20Hz - 18kHz +/- warranty
condensers, valve and ribbon mics, as well as models 1dB OA: ST-Pad/Phase
made for specific purposes, like recording drums and Out Sens: 18mV/Pa (in-line -10dB
pad and phase
Max SPL: 125dB
electricguitar. Self Noise: 12dBA invert), ST-Pop
Out Imp: <150 shield, Ultima
XLR cables
USA: www.proaudiodesign.com Rec Load: -
with Neutrik
HQ: www.sontronics.com Pwr Type: P48
Alt Pwr: -
connectors, Matrix
microphonestand
SC: -

Delta Pad: - Sigma Filt Freq: -


Filt Freq: - Slope: -
$999 Slope: - $849 SA: Shockmount,
Polar: Figure-of-8 SA: Shockmount, Polar: Figure-of-8 aluminium flight case,
Dim: 72 x 164 (mm) aluminium flight case, Dim: 50 x 164 (mm) lifetime warranty
Wght: 470g lifetime warranty Wght: 421g OA: ST-Pad/Phase
Freq: 20Hz - 15kHz OA: ST-Pad/Phase Freq: 20Hz - 15kHz (in-line -10dB pad
Out Sens: 6mV/Pa (in-line -10dB Out Sens: 18mV/Pa and phase invert),
pad and phase Max SPL: 125dB ST-Pop shield,
Max SPL: 140dB
invert), ST-Pop Self Noise: 14dBA Ultima XLR cables
Self Noise: 14dBA with Neutrik connectors,
shield, Ultima XLR Out Imp: <150
Out Imp: <200 Matrix microphonestand
cables with Neutrik Rec Load: -
Rec Load: - connectors, Matrix
Pwr Type: P48 Pwr Type: P48
microphonestand Alt Pwr: - SOS Review (May 2007)
Alt Pwr: - SOS Review (April 2010) www.soundonsound.com/sos/may07/articles/
SC: -
SC: - www.soundonsound.com/sos/apr10/articles/ sontronicssigma.htm
Con via: XLR-3 (M)
Con via: XLR-3 (M) sontronicsdelta.htm Pad: -

SOS Buyers Guide Microphones 131


valve/tube microphones

Valve/Tube
microphones
Before solid-state circuitry became widely available, all active
microphones (capacitor mics, mostly) used valves. Although
solid-state microphones are theoretically capable of capturing
sound more accurately than valve models, valves in audio
equipment can impart a pleasing sonic character, and are
often said to make things sound slightly larger than life.
For this reason, classic valve microphones like Neumanns
U47 are still highly sought after, and many companies are
making new valve models too, usually with the aim of making
a microphone that has a vintage sound quality. Because of
the high voltages required to adequately power a valve, most
of these models come with their own power supply, which will
usually connect to the microphone via a non-standard, multi-
pin XLR cable. If the mic is a multi-pattern model, the power
supply will often also house the patternselector switch.

ADK & 3 Zigma Custom Shop


TC12
Con via: XLR-7 (M)
Pad: -
Filt Freq: -
Founded by Steinway piano expert and musician $999
Slope: -
Lawrence Villella in 1998, ADK aim to produce Polar: Cardioid SA: Shock mount,
Dim: -
high-quality mics at affordable prices. In addition to Wght: -
ring mount, 7-pin XLR
cable, power supply,
their many large-diaphragm condensers, they also Freq: 20Hz - 20kHz pop filter, wind
supply individual mic capsules, and upgrade mics to Out Sens: 20mV/Pa screen, case
Max SPL: 125dB OA: Upgraded
their users specifications. Self Noise: 15dBA Accusound OFC
Out Imp: <250 copper cables or
Part of the same company, 3 Zigma Audio create Rec Load: 1k
silver cables, low
a modular hybrid system of microphone capsule Pwr Type: PSU
noise tube

modules and ultra-low-noise head-amp modules. Alt Pwr: -


SC: -
This system allows both large- and small-diameter
capsules to work with a variety of FET and valve
head-amps. The head-amps listed here show the Con via: XLR-7 (M)
Custom Shop
specifications available when used with the different TC67 Pad: -
bodies available. $999
Filt Freq: -
Slope: -
HQ: www.adkmic.com Polar: Cardioid SA: Shockmount,
Dim: - ringmount, XLR-7 (M)
HQ: www.hybridmic.com Wght: - cable, power supply,
Freq: 20Hz - 20kHz pop filter, windscreen,
Out Sens: 20mV/Pa case
Max SPL: 125dB OA: Upgraded
Self Noise: 15dBA Accusound OFC
copper cables or silver
Out Imp: <250
cables, low noisetube
Rec Load: 1k
Pwr Type: PSU
Alt Pwr: -
SC: -

132 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Custom Shop Con via: XLR-7 (M) Custom Shop Con via: XLR-7 (M)
TC47 Pad: - TC251 Pad: -
Filt Freq: - Filt Freq: -
$999 Slope: -
$999 Slope: -
Polar: Cardioid SA: Shockmount, Polar: Cardioid SA: Shockmount,
Dim: - ring mount, XLR-7 Dim: - ringmount, XLR-7 (M)
Wght: - (M) cable, power Wght: - cable, power supply,
Freq: 20Hz - 20kHz supply, pop filter, Freq: 20Hz - 20kHz pop filter, windscreen,
Out Sens: 20mV/Pa windscreen, case Out Sens: 20mV/Pa case
Max SPL: 125dB OA: Upgraded Max SPL: 125dB OA: Upgraded
Self Noise: 15dBA Accusound OFC Self Noise: 15dBA Accusound OFC
copper cables or copper cables or
Out Imp: <250 Out Imp: <250
silver cables, low silver cables, low
Rec Load: 1k noise tube Rec Load: 1k noise tube
Pwr Type: PSU Pwr Type: PSU
Alt Pwr: - Alt Pwr: -
SC: - SC: -

Z-12 Pad: - Z-47 Pad: -


Con via: XLR-3 (M), Con via: XLR-3 (M),
$2999 XLR-7 (M) $2999 XLR-7 (M)
Polar: Nine selectable Slope: - Polar: Nine selectable Slope: -
patterns Filt Freq: - patterns Filt Freq: -
Dim: 53 x 225 (mm) SA: Mounting hardware, Dim: 53 x 225 (mm) SA: Mounting hardware,
Wght: 750g XLR-3 & XLR-7 cables Wght: 750g XLR-3 & XLR-7 cables
Freq: 20Hz - 20kHz PSU, flight case Freq: 20Hz - 20kHz PSU, flight case
Out Sens: 17.8mV/Pa OA: - Out Sens:14.1mV/Pa OA: -
Max SPL: 127dB Max SPL: 129dB
Self Noise: 14dBA Self Noise: 16dBA
Out Imp: 250 Out Imp: 250
Rec Load: 1.2k Rec Load: 1.2k
Pwr Type: PSU Pwr Type: PSU
Alt Pwr: - Alt Pwr: -
SC: - SC: -

Z-49 Pad: - Z-67


Con via: XLR-3 (M), XLR-7
$2999 (M) $2999
Polar: Nine selectable Slope: - Polar: Nine selectable patterns
patterns Filt Freq: - Dim: 53 x 225 mm
Dim: 53 x 225 (mm) SA: Mounting hardware, Wght: 750g
Wght: 750g XLR-3 & XLR-7 cables Freq: 20Hz - 20kHz
Freq: 20Hz - 20kHz PSU, flight case Out Sens: 14.1mV/Pa
Out Sens: 17.8mV/Pa OA: - Max SPL: 130dB
Max SPL: 129dB Self Noise: 16dBA
Self Noise: 16dBA Out Imp: 250
Out Imp: 250 Rec Load: 1.2k
Rec Load: 1.2k Pwr Type: PSU
Pwr Type: PSU Alt Pwr: -
Alt Pwr: - SC: -
SC: - Pad: -
Con via: XLR-3 (M), XLR-7 (M)
Slope: -
Filt Freq: -
Z-251 Pad: - SA: Mounting hardware, XLR-3 & XLR-7 cables
Con via: XLR-3 (M), XLR-7 PSU, flight case
$2999 (M) OA: -
Polar: Nine selectable Slope: -
patterns Filt Freq: -
Dim: 53 x 225 mm SA: Mounting hardware,
Wght: 750g XLR-3 & XLR-7 cables
Freq: 20Hz - 20kHz PSU, flight case
Out Sens: 17.8mV/Pa OA: -
Max SPL: 128dB
Self Noise: 15dBA
Out Imp: 250
Rec Load: 1.2k
Pwr Type: PSU
Alt Pwr: -
SC: -

SOS Buyers Guide Microphones 133


valve/tube microphones

Audiophile TT SC: - Audiophile TC Mk9


Mk10 Con via: XLR-7 (M)
$597
Pad: -
$897 Filt Freq: - Polar: Cardioid
Polar: Omnidirectional, Slope: - Dim: 53 x 165 (mm)
cardioid, figure-of-8 SA: PSU, shockmount, Wght: 550g
Dim: 53 x 225 (mm) deluxe flight case, Freq: 20Hz - 20kHz
Wght: 750g multi-pin cable, XLR-3 Out Sens: 14mV/Pa
Freq: 20Hz - 20kHz (M) cable, windscreen, Max SPL: 125dB
Out Sens: 14mV/Pa pop filter Self Noise: 18dBA
Max SPL: 125dB OA: - Out Imp: <250
Self Noise: 18dBA Rec Load: 1k
Out Imp: <250 Pwr Type:
Rec Load: 1k Dedicated power
Pwr Type: PSU supply
Alt Pwr: - Alt Pwr: -
SC: -
Con via: XLR-7 (M)
Pad: -
Custom Shop TT12 Filt Freq: -
$1449 Slope: -
SA: PSU, shockmount,
Polar: Omnidirectional, deluxe flight
cardioid, figure-of-8 case, multi-pin
Dim: - cable, XLR-3
Wght: - (M) cable,
Freq: 20Hz - 20kHz windscreen, pop filter
Out Sens: 14mV/Pa OA: -
Max SPL: 125dB
Self Noise: 15dBA
Out Imp: <250
Rec Load: 1k
Pwr Type: Dedicated power
supply
Alt Pwr: -
SC: -
Con via: XLR-7 (M)
Pad: -
Filt Freq: - Custom Shop Con via: XLR-7 (M)
Slope: - TT47 Pad: -
SA: Shockmount, ring Filt Freq: -
mount, XLR-7 (M) cable,
$1449 Slope: -
9 polar patterns and 6 Polar: Omnidirectional, SA: Shockmount,
intermediate positions, cardioid, figure-of-8 ringmount, XLR-7 (M)
PSU, XLR-3 (M) cable, Dim: - cable, 9 polar patterns
windscreen, pop filter, Wght: - and 6 intermediate
case Freq: 20Hz - 20kHz positions, power
OA: Upgrade to Out Sens: 14mV/Pa supply, XLR-3 (M)
Accusound OFC copper Max SPL: 125dB cable, windscreen,
cables or silver cables, low pop filter, case
noise tube Self Noise: 15dBA
OA: Upgrade to
Out Imp: <250
Accusound OFC
Rec Load: 1k copper cables or silver
Pwr Type: PSU cables, low noise tube
Alt Pwr: -
SC: -

Custom Shop SC: - Custom Shop SC: -


TT67 Con via: XLR-7 (M) TT251 Con via: XLR-7 (M)
Pad: - Pad: -
$1449 Filt Freq: -
$1449 Filt Freq: -
Polar: Omnidirectional, Slope: - Polar: Omnidirectional, Slope: -
cardioid, figure-of-8 SA: Shockmount, cardioid, figure-of-8 SA: Shockmount,
Dim: - ringmount, XLR-7 (M) Dim: - ringmount, XLR-7 (M)
Wght: - cable, 9 polar patterns Wght: - cable, 9 polar patterns
Freq: 20Hz - 20kHz and 6 intermediate Freq: 20Hz - 20kHz and 6 intermediate
Out Sens: 14mV/Pa positions, power Out Sens: 14mV/Pa positions, power
Max SPL: 125dB supply, XLR-3 (M) cable, Max SPL: 125dB supply, XLR-3 (M) cable,
Self Noise: 15dBA windscreen, pop filter, Self Noise: 15dBA windscreen, pop filter,
case case
Out Imp: <250 Out Imp: <250
OA: Upgrade to OA: Upgrade to
Rec Load: 1k Rec Load: 1k
Accusound OFC copper Accusound OFC copper
Pwr Type: PSU cables or silver cables, Pwr Type: PSU cables or silver cables,
Alt Pwr: - low noise tube Alt Pwr: - low noise tube

134 SOS Buyers Guide Microphones


MAXIMUM VELOCITY

When working fast to capture an emotional performance, you


need tools that deliver a big sound with a straight-forward setup.
Famed producer/engineer Vance Powell (Jack White, Buddy Guy,
The Dead Weather, Red Fang) uses AEA RPQ500 preamps and R92
Big RibbonTM mics to create his multi-Grammy winning records.
Call us or visit us online to find out
what AEA can do for your sound.
Call +1 626-798-9128
www.RibbonMics.com Audio Engineering
Associates
facebook.com/ribbonmics Handmade in Pasadena, California
valve/tube microphones

AKG Perception 820


$699
Founded in Vienna in 1947, AKG Acoustics are a Polar: Omnidirectional,
manufacturer of microphones, headphones, wireless subcardioid, cardioid,
supercardioid, hypercardioid,
audio systems and related accessories for professional figure-of-8
and consumer markets. Some of their vintage models, Dim: 53 x 212 (mm)
Wght: 870g
like the C12, are both rare and desirable, while their Freq: 20Hz - 20kHz
current models, including the C414, can be found in Out Sens: 20mV/Pa
studios around the world. Max SPL: 155dB
Self Noise: 16dBA
Out Imp: <200
HQ: www.akg.com Rec Load: >1k
Pwr Type: Via remote
control unit
Alt Pwr: -
SC: -
C12 Alt Pwr: - Con via: XLR-7 (M)
SC: - Pad: -20dB
$4999 Con via: XLR-3 (M) Filt Freq: 80Hz
Polar: Omnidirectional, Pad: -10, -20 dB Slope: 12dB/Oct
cardioid, hypercardioid, Filt Freq: 100, 130 Hz SA: Power supply, spider
figure-of-8
Slope: 6, 12 dB/Oct suspension, metal case,
Dim: 42 x 225 (mm) cable
SA: Shockmount, power
Wght: 680g supply, cable, windscreen, OA: Windscreen, pop
Freq: 30Hz - 20kHz flight case screen
Out Sens: 10mV/Pa OA: Pop screen
Max SPL: 128dB SOS Review (August
Self Noise: 22dBA 2010)
Out Imp: 200 www.soundonsound.
Rec Load: >1k com/sos/aug10/articles/
Pwr Type: Dedicated akg-perception-820.htm
power supply

Audio-Technica AT4060
$1815
Pad: -
Filt Freq: -
Slope: -
For 50 years Audio-Technica have aimed to produce Polar: Cardioid SA: PSU, shockmount;
audio excellence and innovations in transducer Dim: 53.4 x 210 (mm) rackmount adapters for
Wght: 640g PSU, carrying case, 10m
technology. Renowned for the design and manufacture Freq: 20Hz - 20kHz XLR-6 cable, AC PSU
of high-quality audio products, the company offer a Out sens: 19.9mV/Pa cable
complete range of wired and wireless microphones, Max SPL: 150dB, 149dB OA: -
Self Noise: 19dBA
headphones and accessories for broadcast, live-sound, Out Imp: 200
recording and installed-sound functions. RL: -
Pwr Type: PSU
HQ: www.audio-technica.com Alt Pwr: -
SC: -
Con Via: XLR-6 (M)

Avantone CV-12
$499
SC: -
Con via: XLR-7 (M)
Pad: -10dB
Avantone are best known for their Mixcube single- Polar: Omnidirectional, Filt Freq: 80Hz
driver loudspeakers, but they also make a range cardioid, supercardioid,
hypercardioid, figure-of-8
Slope: 6dB/Oct
of high-quality solid-state and valve condenser Dim: 46 x 237 (mm)
SA: Retro shockmount,
extra elastic bands, PS-12
microphones, as well as dynamic drum mics and Wght: 800g multi-pattern, power
Freq: 25Hz - 20kHz
ribbonmics. Out Sens: 18mV/Pa
supply with cables, padded
wooden box, padded
Max SPL: 136dB aluminium storage,
HQ: www.avantonepro.com Self Noise: 78dBA travelcase
Out Imp: 250 OA: -
Rec Load: -
Pwr Type: PSU
Alt Pwr: -

136 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

BV1 Pad: - BV-12


Filt Freq: -
$999 Slope: -
$899
Polar: - SA: Power supply, Polar: 9 patterns
Dim: 63 x 250 (mm) padded wooden box, selectable at PSU
Wght: 1.3kg shockmount, tweed Dim: 46 x 237 (mm)
Freq: - road case, removable Wght: 800g
Out Sens: 17mV/Pa metal pop filter, cable Freq: 20Hz - 20kHz
Max SPL: 134dB, OA: - Out Sens: 12.5mV/Pa
144dB Max SPL: 136dB
Self Noise: 78dBA Self Noise: 78dBA
Out Imp: 200 Out Imp: 250
Pwr Type: - Pwr Type: PSU
Alt Pwr: - Alt Pwr: -
Con via: XLR-7 (M) Con via: XLR-7 (M)
SC: - SC: -
Pad: -
Filt Freq: -
Slope: -
CV-28 Con via: XLR-7 (M) SA: Wood box,
SC: - shockmount, cable,
$449 Pad: - tweed road case, PSU
Polar: Omni, cardioid, Filt Freq: - OA: -
hypercardioid Slope: -
(interchangeable
SA: Padded wooden
capsules)
box, shockmount, metal
Dim: - road case
Wght: - OA: -
Freq: 20Hz - 20kHz
Out Sens: 20mV/Pa
Max SPL: 136dB
Self Noise: -
Out Imp: 250
Pwr Type: PSU
Alt Pwr: -

BeesNeez Arabella
$3000
Alt Pwr: -
SC: -
Con via: XLR-7 (M) to mic,
Australian company BeesNeez offer a diverse range Polar: Omnidirectional, XLR-3 (M) output
of microphones for the recording, broadcast and subcardioid, cardioid,
supercardioid,
Pad: -
film industries. Theyre a small company, yet they hypercardioid, figure-of-8
Filt Freq: -
Slope: -
manufacture every part of their mics themselves, Dim: 63 x 195 (mm)
SA: Shockmount,
Wght: 1.2kg
including the capsules. Freq: 20Hz - 20kHz
lead, power supply,
waterproofcase
Out Sens: 12mV/Pa OA: -
HQ: www.beesneezmicrophones.com.au Max SPL: 140dB
Self Noise: 13dBA
Out Imp: 150
Rec Load: -
Pwr Type: PSU

James Alt Pwr: - XLR-3 (M) output


Mahalia
SC: - Pad: -
$2200 Con via: XLR-7 (M) to mic,
$2800 Filt Freq: -
Polar: Omnidirectional, XLR-3 (M) output Polar: - Slope: -
subcardioid, cardioid, Pad: - Dim: 53 x 195 (mm) SA: Shockmount,
supercardioid, Filt Freq: - Wght: 1.05kg lead, power supply,
hypercardioid, figure-of-8 Freq: 20Hz - 21kHz waterproofcase
Slope: -
Dim: 53 x 195 (mm) Out Sens: 12mV/Pa OA: -
SA: Shockmount,
Wght: 1.05kg lead, power supply, Max SPL: 136dB
Freq: 20Hz - 19kHz waterproofcase Self Noise: 14dBA
Out Sens: 12mV/Pa OA: - Out Imp: 150
Max SPL: 136dB Rec Load: -
Self Noise: 13dBA Pwr Type: PSU
Out Imp: 150 Alt Pwr: -
Rec Load: - SC: -
Pwr Type: PSU Con via: XLR-7 (M) to mic,

SOS Buyers Guide Microphones 137


valve/tube microphones

Phelicity Alt Pwr: - Sally


SC: -
$3000 Con via: XLR-7 (M) to mic,
$2800
Polar: Omnidirectional, XLR-3 (M) output Polar: Omnidirectional, subcardioid,
subcardioid, cardioid, Pad: - cardioid, supercardioid, hypercardioid,
supercardioid, Filt Freq: - figure-of-8
hypercardioid, figure-of-8 Dim: 53 x 195 (mm)
Slope: -
Dim: 53 x 195 (mm) Wght: 1.1kg
SA: Shockmount,
Wght: 1.1kg lead, power supply, Freq: 20Hz - 20kHz
Freq: - waterproofcase Out Sens: 12mV/Pa
Out Sens: 12mV/Pa OA: - Max SPL: 140dB
Max SPL: 140dB Self Noise: 12dBA
Self Noise: 12dBA Out Imp: 150
Out Imp: 150 Rec Load: -
Rec Load: - Pwr Type: PSU
Pwr Type: PSU Alt Pwr: -
SC: -
Con via: XLR-7 (M) to mic, XLR-3 (M)
output
Pad: -
LuLu Con via: XLR-3 (M)
Filt Freq: -
Pad: -
$1378.85 Filt Freq: -
Slope: -
SA: Shockmount, lead, power supply,
Polar: Cardioid, Slope: - waterproofcase
hypercardioid SA: Shockmount, OA: -
Dim: 15 x 120 (mm) wooden box
Wght: 100g OA: - SOS Review (November 2011)
Freq: 20Hz - 20kHz
www.soundonsound.com/sos/nov11/
Out Sens: 12mV/Pa
articles/bees-neez-sally.htm
Max SPL: 140dB
Self Noise: 8dBA
Out Imp: 150
Rec Load: -
Pwr Type: P48
Alt Pwr: -
SC: -

Alt Pwr: - T2 ELA M251 Pwr Type: PSU


T1 U47 Tribute
SC: - Tribute Alt Pwr: -
$4600 Con via: XLR-7 (M) to mic, SC: -
Polar: Omnidirectional, XLR-3 (M) output $4600 Con via: XLR-7 (M) to
subcardioid, cardioid, Pad: - Polar: Omnidirectional, mic, XLR-3 (M) output
supercardioid, Filt Freq: - subcardioid, cardioid, Pad: -
hypercardioid, figure-of-8 supercardioid, Filt Freq: -
Slope: -
Dim: 64 x 195 (mm) hypercardioid, figure-of-8
Slope: -
SA: Shockmount,
Wght: 1.3kg lead, power supply, Dim: 53 x 195 (mm)
SA: Shockmount,
Freq: 20Hz - 20kHz waterproofcase Wght: 1.2kg lead, power supply,
Out Sens: 12mV/Pa OA: - Freq: - waterproofcase
Max SPL: 140dB Out Sens: 12mV/Pa OA: -
Self Noise: 12dBA Max SPL: 136dB
Out Imp: 150 Self Noise: 13dBA
Rec Load: - Out Imp: 150
Pwr Type: PSU Rec Load: -

Behringer
Behringer were founded in 1989 and offer equipment for a range of
applications at consumer prices. They produce a comprehensive product line
including loudspeakers, amplifiers, mixers, powered mixers, computer-based
recording and DJ products, microphones, headphones, wireless systems,
musical instruments and professional lighting systems.

HQ: www.behringer.com

138 SOS Buyers Guide Microphones


FROM A GOOD MICROPHONE
WE EXPECT CLARITY.

With the rebirth of Atlantic Studios, we are The LEWITT LCT 940 combines the characteristics of
constantly searching for state-of-the-art gear both Tube and FET condenser microphones in a single
to bring out the best in our artists performanc- housing. Two independent signal paths can be blended
es. The LEWITT LCT 940 has been a fantastic in any ratio.
addition to our audio arsenal. It not only has a
full, rich low end and crystal clear highs, but its
combination of sonic exibility and transparency
is truly exceptional.

We have been making beautiful recordings


with the LCT 940 and are looking forward to
more great things from our friends at LEWITT.

Thank you for the amazing gear!

Craig Kallman
CEO of Atlantic Records //
Ofcial LEWITT Endorser

LCT Recording Series DTP Percussion Series MTP Performance Series LTS Wireless Series

Also available at
For sales inquiries contact sales@trunorthmusicandsound.com // +1 855 878 6668 105 // www.trunorthmusicandsound.com

www.lewitt-audio.com
visit us on Facebook and YouTube
valve/tube microphones

T1 Pad: - T47 Pad: -


Filt Freq: 100Hz Filt Freq: 100Hz
$179.99 Slope: -
$179.99 Slope: -
Polar: Cardioid SA: PSU with cable, Polar: Cardioid SA: PSU with cable,
Dim: 68 x 211 (mm) shockmount, windscreen, Dim: 62 x 215 (mm) shockmount, windscreen,
Wght: 0.77kg carrying case Wght: 0.47kg carrying case
Freq: 20Hz - 20kHz OA: - Freq: 20Hz - 20kHz OA: -
Out Sens: 10mV/Pa Out Sens: 10mV/Pa
Max SPL: 130dB Max SPL: 130dB
Self Noise: - Self Noise: -
Out Imp: 200 Out Imp: 200
Rec Load: >1k Rec Load: >1k
Pwr Type: PSU Pwr Type: PSU
Alt Pwr: - Alt Pwr: -
SC: 160mA SC: 250mA / 125mA
Con Via: XLR-3 (M) Con Via: -

Blue Microphones Bottle


$5999.99
SC: -
Con via: XLR-3 (M)
Pad: -
Blue Microphones, founded in 1995, design and produce Polar: Omnidirectional, Filt Freq: -
an extensive line of award-winning microphones and cardioid, figure-of-8,
hemispherical
Slope: -
recording tools for audio professionals, musicians and Dim: 90 x 390 (mm)
SA: B6 capsule, PSU,
tube microphone cable,
consumers. From Blues flagship recording tool, the Wght: 1.7kg ATA flight case
Freq: 20Hz - 20kHz
Bottle, to the enCORE line of professional live mics, Out Sens: 20mV/Pa
OA: Eight additional
bayonet-mounted
Blue Microphones products offer innovative design and Max SPL: 134dB capsules, Kiwi cable:
high performance. Self Noise: 7.5dBA quad-conductor cable
Out Imp: 200 for maximum frequency
Rec Load: >1k resolution
HQ: www.bluemic.com Pwr Type: PSU
Alt Pwr: -

Brauner Valvet
$3285
Con via: -
Pad: -
Filt Freq: -
Brauner Microphones are a Germany-based Polar: Omnidirectional, Slope: -
manufacturer of hand-crafted high-end microphones. cardioid
SA: PSU, shockmount,
Dim: 50 x 150 (mm)
The company were founded in 1995 by Sound Engineer Wght: 550g
Vovox-Tubelink cable,
aluminium case
Dirk Brauner. Freq: 20Hz - 22kHz OA: Pop filter
Out Sens: 28mV/Pa
USA: www.braunerusa.com Max SPL: 142dB
Self Noise: 11dBA
SOS Review (March
HQ: www.brauner-microphones.com Out Imp: 200
2004)
www.soundonsound.
Rec Load: >1k com/sos/
Pwr Type: PSU mar04/articles/
Alt Pwr: - braunervalet.htm
SC: -

Valvet X Pad: - VM1 Alt Pwr: -


Filt Freq: - SC: -
$2835 Slope: -
$5849.10 Con via: -
Polar: Cardioid SA: PSU, shockmount, Polar: Omnidirectional, Pad: -10dB
Dim: 50 x 150 (mm) Vovox-Tubelink cable, subcardioid, cardioid, Filt Freq: -
Wght: 550g aluminium case supercardioid, hypercardioid,
Slope: -
Freq: 20Hz - 22kHz OA: Pop filter figure-of-8
SA: PSU, pop shield,
Out Sens: 28mV/Pa Dim: 50 x 210 (mm)
shockmount, Vovox-
Max SPL: 142dB Wght: 850g Tubelink cable,
Self Noise: 9dBA Freq: 20Hz - 20kHz aluminiumcase
Out Imp: 200 Out Sens: 28mV/Pa OA: -
Rec Load: - Max SPL: 142dB
Pwr Type: PSU Self Noise: 11dBA
Alt Pwr: - Out Imp: 200
SC: - Rec Load: >1k
Con via: - Pwr Type: PSU

140 SOS Buyers Guide Microphones


VMX Alt Pwr: -
SC: -
$6119.10 Con via: -
Polar: Omnidirectional, Pad: -10dB
subcardioid, cardioid, Filt Freq: -
supercardioid, Slope: -
hypercardioid, figure- SA: PSU, pop shield,
of-8 shockmount, Vovox-
Dim: 50 x 210 (mm) Tubelink cable,
Wght: 850g aluminium case
Freq: 20Hz - 22kHz OA: -
Out Sens: 28mV/Pa
Max SPL: 142dB
Self Noise: 11dBA
Out Imp: 200
Rec Load: >1k
Pwr Type: PSU

VMA Pwr Type: PSU


Alt Pwr: -
$8729.10 SC: -
Polar: Omnidirectional, Con via: -
subcardioid, cardioid, Pad: -
supercardioid,
Filt Freq: -
hypercardioid, figure-
of-8 Slope: -
Dim: 50 x 210 (mm) SA: PSU, pop shield,
shockmount, Vovox-
Wght: 850g
Tubelink cable,
Freq: 20Hz - 22kHz aluminium case
Out Sens: 28mV/Pa OA: -
Max SPL: 142dB
Self Noise: 11dBA
Out Imp: 200
Rec Load: >1k

Charter Oak
Charter Oak, founded in 2002 by producer and
engineer Michael Deming, create high-quality, hand-
assembled recording products that rival higher-
priced microphones and signal processors in the
industry. The studio background of its founder gives
Charter Oak the inside edge and has resulted in
multi-award-nominated products.

USA: www.soundpure.com
HQ: www.charteroakacoustics.com

H1000 Con via: XLR-7 (M)


Pad: -
$1999 Filt Freq: -
Polar: Omnidirectional, Slope: -
cardioid, figure-of-8 SA: Case, shockmount,
Dim: - PSU, cables, windscreen
Wght: - OA: -
Freq: 30Hz - 20kHz
Out Sens: 12mV/Pa
Max SPL: 129dB
Self Noise: 20dBA
Out Imp: <200
Rec Load: >200
Pwr Type: PSU
Alt Pwr: -
SC: -

SOS Buyers Guide Microphones 141


valve/tube microphones

SA538 Con via: XLR-7 (M) SA538B


Pad: -
$1349 Filt Freq: -
$1429
Polar: Omnidirectional, Slope: - Polar: Omnidirectional, cardioid,
cardioid, figure-of-8 SA: Shockmount, cables, figure-of-8
Dim: - PSU, locking flight case, Dim: -
Wght: 900g lifetime warranty Wght: 900g
Freq: 30Hz - 20kHz OA: Pop filter Freq: 25Hz - 20kHz
Out Sens: 12mV/Pa Out Sens: 12mV/Pa
Max SPL: 128dB SOS Review (December Max SPL: 125dB
Self Noise: - 2006) Self Noise: 20dBA
Out Imp: <200 www.soundonsound. Out Imp: <200
Rec Load: >200 com/sos/dec06/articles/ Rec Load: >200
Pwr Type: PSU charteroak.htm Pwr Type: PSU
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-7 (M)
Pad: -
Filt Freq: -
S600 Pad: - Slope: -
Filt Freq: - SA: Shockmount, cables, PSU,
$1899 Slope: - locking flight case, lifetimewarranty
Polar: Cardioid SA: Stereo pair, flight OA: Pop filter
Dim: - case, shockmounts, cables
Wght: - OA: - SOS Review (December 2006)
Freq: 20Hz - 18kHz www.soundonsound.com/sos/
Out Sens: 13mV/Pa SOS Review (June 2007) dec06/articles/charteroak.htm
Max SPL: 125dB www.soundonsound.
Self Noise: 22dBA com/sos/jun07/articles/
Out Imp: <200 charteroak_s600.htm
Rec Load: >200
Pwr Type: PSU
Alt Pwr: -
SC: -
Con via: XLR-7 (M)

Golden Age Project TC1


$299.99
SC: -
Con via: -
Pad: -10dB
Golden Age Project are a spin-off of the high-end pro Polar: Omnidirectional, Filt Freq: 100Hz
audio distribution activities of Golden Age Music, a cardioid, hypercardioid,
figure-of-8
Slope: -
Swedish company founded by Bo Medin in 1982. Golden Dim: 52 x 193 (mm)
SA: PSU, cables,
shockmount,
Age Project offer affordable vintage-style products. Wght: 500g aluminiumcase
Freq: 20Hz - 20kHz OA: -
Out Sens: 15mV/Pa
HQ: www.goldenagemusic.se Max SPL: 140dB
Self Noise: -
Out Imp: -
Rec Load: -
Pwr Type: PSU
Alt Pwr: -

Harper Diabate HDV-1


325.50 (US price
SC: -
Con via: -
Pad: -
Harper Diabate are a specialist manufacturer of valve not available)
Filt Freq: -
and ribbon microphones. They are also the record label Polar: Omnidirectional, Slope: -
cardioid, figure-of-8
behind the successful Invisible System album releases. Dim: 48 x 245 (mm)
SA: Hard-lined padded
case, PSU, foam cover,
Wght: 1kg cradle
HQ: www.harperdiabate.com Freq: 20Hz - 20kHz OA: -
Out Sens: 25mV/Pa
Max SPL: 134dB SOS Review (November
Self Noise: 20dBA 2008)
Out Imp: <200 www.soundonsound.
Rec Load: - com/sos/nov08/articles/
Pwr Type: PSU harperdiabatehdv1.htm
Alt Pwr: -

142 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

Lauten Oceanus LT-381


$1899 MSRP
SC: -
Con Via: XLR-7 (M)
Filt Freq: -
Lauten Audio, based in Northern California, are a Polar: Nine-step SA: Shockmount, 7-pin
boutique designer and manufacturer of microphones cardioid, omni-
directional, figure-8
cable, wooden box,
PSU
and related equipment. Founded in 2004 by Brian Dim: 195 x 79 (mm) OA: -
Loudenslager, Lautens USP is that, unlike many Wght: 1.2kg
Freq: 20Hz - 20kHz
manufacturers, they do not seek to create designs Out Sens: 16mV/Pa
that are neutral and forensically accurate, but rather Max SPL: 130dB
microphones that are musically involving and creative, Self Noise: 20dBA
Out Imp: <200
with an original sound character. Rec Load: 300
Pwr Type: PSU
HQ: www.lautenaudio.com Alt Pwr: -

Manley Laboratories Reference


Cardioid
Con via: XLR-3 (M)
Pad: -10dB
Filt Freq: -
Manleys first commercially available products were $2700
Slope: -
hi-fi tube amps and preamps, but their portfolio now Polar: Cardioid SA: Shockmount,
Dim: 114 x 246 (mm)
includes a small selection of premium, tube-based, Wght: 1.02kg
swivel, leather capsule
protector, power
large-diaphragm capacitor mics. Freq: 10Hz - 30kHz supply, 6-pin cable to
Out Sens: 17mV/Pa PSU, carry case
HQ: www.manley.com Max SPL: 150dB OA: -
Self Noise: -
Out Imp: 200
Rec Load: 2k
Pwr Type: PSU
Alt Pwr: -
SC: -

Reference Gold Pwr Type: PSU Pwr Type: PSU


Stereo Reference
Alt Pwr: - Alt Pwr: -
$4950 Gold
SC: - SC: -
Polar: Omnidirectional, Con via: XLR-3 (M)
$7200 Con via: XLR-3 (M)
subcardioid, cardioid, Pad: -10dB Polar: Omnidirectional, Pad: -10dB
supercardioid, subcardioid, cardioid,
Filt Freq: - Filt Freq: -
hypercardioid, figure- supercardioid,
of-8 Slope: - Slope: -
hypercardioid, figure-of-8
Dim: 114 x 246 (mm) SA: Shockmount, SA: Shockmount,
swivel, leather capsule Dim: 114 x 318 (mm)
swivel, leather
Wght: 1.02kg Wght: 1.13kg
protector, power capsule
Freq: 10Hz - 30kHz supply,6-pin cable to Freq: 10Hz - 30kHz protector,
Out Sens: 17mV/Pa PSU, carry case Out Sens: 17mV/Pa PSU, 4-pin
Max SPL: 150dB OA: - Max SPL: 150dB power cable, 6-pin-to-dual
Self Noise: - Self Noise: - XLR Y cable, carry case
Out Imp: 200 Out Imp: 200 OA: -
Rec Load: 2k Rec Load: 2k

Microtech Gefell M92.1S


$2810
Pad: -
Filt Freq: -
Slope: -
Microtech Gefell GmbH are a German manufacturer Polar: Cardioid SA: Power supply,
of studio and measurement microphones that Dim: 42 x 197 (mm) microphone cable, elastic
Wght: 430g suspension
are exclusively hand made. Besides microphones, Freq: 40Hz - 20kHz OA: Windscreen (W92),
Microtech Gefell GmbH offer calibration and service for Out Sens: 19mV/Pa microphone holder
the whole product range. They continue the tradition of Max SPL: 118dB (MH80)
Self Noise: 15dBA
Georg Neumann who founded the company in1928. Out Imp: 200
Rec Load: 1k
HQ: www.microtechgefell.de Pwr Type: Power supply
Alt Pwr: -
SC: -
Con via: XLR-7 (M)

SOS Buyers Guide Microphones 143


valve/tube microphones

SC: 4mA CMV 563 / M 7 S Filt Freq: -


UM 900 SA: Elastic suspension EA
Con via: XLR-3 (M)
$4730 $5850 92, bayonet adaptor G/B
Pad: -10dB
Polar: Omnidirectional, Filt Freq: 70Hz Polar: cardioid OA: -
wide cardioid, cardioid, Slope: - Dim: 42 x 216 (mm)
hypercardioid, figure-of-8 Wght: 540g SOS Review (April 2013)
SA: Wooden case
Dim: 75 x 200 (mm) Freq: 20Hz - 20 kHz www.soundonsound.com/
OA: Windscreen (W81),
Wght: 900g elastic suspension Out Sens: 17mV/Pa sos/apr13/articles/gefell-
Freq: 40Hz - 20kHz (EA92), microphone Max SPL: 115dB cmv563.htm
Out Sens: 25mV/Pa holder (MH80) Self Noise: 16dBA
Max SPL: 130dB Out Imp: 200
Self Noise: 16dBA SOS Review (January Rec Load: 1k
Out Imp: 30 1999) Pwr Type: -
Rec Load: 1k www.soundonsound. Alt Pwr: -
Pwr Type: P48 com/sos/jan99/articles/ SC: -
Alt Pwr: - geffelum900.968.htm Con via: PSU

Miktek CV4
$1399
Con via: XLR-7 (M)
Pad: -
Filt Freq: -
Miktek produce precision microphones, which are Polar: Omnidirectional, Slope: -
handmade in Nashville, USA. The company are inspired subcardioid, cardioid, figure- SA: Wood
of-8, hemispherical case, serialised
by iconic mics of the past, and develop capsules and Dim: 51 x 229 (mm) frequency response
unique circuits to capture sound. Using the very latest Wght: 680g graph, PSU, XLR-7
Freq: 20Hz - 20kHz
in audio technology, Mikteks designs are approved by Out Sens: 18mV/Pa
(M) cable, swivel
mount, shockmount,
some of the worlds most acclaimed sound engineers. Max SPL: 133dB aluminium carry case
Self Noise: 16dBA OA: -
Out Imp: -
HQ: www.miktekaudio.com Rec Load: - SOS Review (May 2011)
Pwr Type: PSU www.soundonsound.com/sos/
Alt Pwr: -
may11/articles/miktek-cv4.htm
SC: -

Mojave Audio MA-300


$1295
SC: 0.5mA (120V)m 150mA
(6V)
Con via: XLR-7 (M) to PSU,
Founded by David Royer (known for his ribbon mic Polar: Omnidirectional, XLR-3 (M) out
designs for Royer Labs) in 1985, Mojave Audio was subcardioid, supercardioid,
hypercardioid, figure-of-8
Pad: -15dB
Filt Freq: 100Hz
a one-man, custom pro audio gear shop. Since the Dim: 50 x 190 (mm) Slope: 6dB/Oct
mid-1990s, Mojave mics have been used by high-end Wght: 454g SA: PSU, XLR-7 (M) cable,
Freq: 20Hz - 20kHz
engineers on a number of well-known recordings. The Out Sens: 14mV/Pa
flight case, power cable,
shockmount, microphone
company was relaunched in 2005, with Davids non- Max SPL: 120dB case
ribbon mic designs. Self Noise: 14dBA OA: -
Out Imp: 200
Rec Load: >1k
HQ: www.mojaveaudio.com Pwr Type:PSU
Alt Pwr: -

XLR-3 (M) out MA-100 Alt Pwr: -


MA-200 Pad: - SC: -
$1095 Filt Freq: -
$795 Con via: XLR-5 (M) to PSU,
Polar: Cardioid Slope: - Polar: Omnidirectional, XLR-3 (M) out
Dim: 50 x 190 (mm) SA: PSU, XLR-5 (M) cable, cardioid Pad: -
Wght: 454g flight case, power cable, Dim: 19 x 140 (mm) Filt Freq: -
Freq: 20Hz - 20kHz shockmount, microphone Wght: 181g Slope: -
Out Sens: 14mV/Pa case Freq: 20Hz - 20kHz SA: PSU, XLR-5 (M) cable,
Max SPL: 120dB OA: - Out Sens: 14mV/Pa flight case, power cable,
Self Noise: 14dBA Max SPL: 130dB microphoneclip
Out Imp: 200 Self Noise: 16dBA OA: -
Rec Load: 1k Out Imp: 450
Pwr Type: PSU
Rec Load: 2.5k
Alt Pwr: -
Pwr Type: PSU
SC: 0.5mA (120V)m 150mA
(6V)
Con via: XLR-5 (M) to PSU,

144 SOS Buyers Guide Microphones


MXL Genesis
$595
The microphone division of Marshall Electronics (not Polar: Cardioid
the similarly named guitar-amp makers), MXL started Dim: 59 x 240 (mm)
Wght: 703g
off producing low-cost studio capacitor mics, but Freq: 20Hz - 20kHz
have since branched out into ribbon mics and models Out Sens: -
designed for the stage. Max SPL: 130dB
Self Noise: 18dBA
Out Imp: 200
HQ: www.mxlmics.com Rec Load: -
Pwr Type: PSU
Alt Pwr: -
SC: -
V69 Mogami SC: - Con via: XLR-3 (M)
Edition Con via: XLR-3 (M) Pad: -10dB
Pad: - Filt Freq: 150Hz
$299.95 Filt Freq: - Slope: 6dB/Oct
Polar: Cardioid Slope: - SA: High-isolation shockmount, metal mesh
Dim: 47 x 218 (mm) SA: High-isolation pop filter, dedicated PSU, Mogami cable,
Wght: 500g shockmount, Mogami wooden storage case
Freq: 20Hz - 18kHz cable, hard mount, OA: Windscreen
Out Sens: 79mV/Pa microphone stand
Max SPL: 140dB adaptor, windscreen, PSU, SOS Review (July 2010)
Self Noise: 22dBA aluminium flight case
www.soundonsound.com/sos/jul10/articles/
Out Imp: 200 OA: Metal mesh pop filter
mxlgenesis.htm
Rec Load: -
Pwr Type: PSU
Alt Pwr: -

SOS Buyers Guide Microphones 145


valve/tube microphones

Revelation Pad: - Revelation Solo Pad: -


Filt Freq: - Filt Freq: -
$1,495 Slope: -
$TBA Slope: -
Polar: SA: 7-pin Mogami cable, Polar: - SA: Aluminum case,
Dim: 190 x 63.5 (mm) aluminum flight case, Dim: 190 x 63.5 (mm) 7-pin Mogami cable,
Wght: 907g cleaning cloth, PSU, Wght: 907g XLR Mogami cable, PSU,
Freq: 20Hz - 20kHz shockmount Freq: 20Hz - 20kHz shockmount
Out Sens: 10mV/Pa OA: PF-002 or PF-003 Out Sens: 10mV/Pa OA: PF-002 or PF-003 pop
Max SPL: 138dB pop filter Max SPL: 138dB filter
Self Noise: - Self Noise: -
Out Imp: 140 Out Imp: 140
Rec Load: - Rec Load: -
Pwr Type: PSU Pwr Type: PSU
Alt Pwr: - Alt Pwr: -
SC: - SC: -
Con via: XLR-7 (M) Con Via: XLR-7 (M)

Oktava Mini Tube


$650
Pwr Type: PSU
Alt Pwr: -
SC: -
Oktava are the oldest major Russian manufacturer Polar: Omnidirectional, cardioid, Con via: XLR-5 (M)
of professional audio equipment, famous for their hypercardioid, figure-of-8
Pad: -10dB
Dim: 20 x 105 (mm)
ribbon models as well as small- and large-diaphragm Wght: 120g
Filt Freq: 200Hz
Slope: -
condenser microphones. Freq: 20Hz - 20kHz
SA: PSU, cable, microphone holder,
Out Sens: 10- wooden box
14mV/Pa
HQ: www.oktavausa.com Max SPL:
OA: Small-diaphragm
capsules (cardioid, omni,
>120dB hypercardioid, figure-
Self Noise: of-8), large-diaphragm
18dBA capsules, medium-
Out Imp: 200 diaphragm capsules
Rec Load: 1k

Peluso 22 47 LE
$2070.29
Alt Pwr: -
SC: 500mA
Con via: 8-pin screw-on
Peluso produce top-quality studio microphones Polar: Omnidirectional, Pad: -
inspired by classic vintage designs. Hand assembled subcardioid, cardioid,
supercardioid,
Filt Freq: -
from quality modern and vintage components, Peluso hypercardioid, figure-of-8 Slope: -
SA: Shockmount, 8-pin
mics are extensively tested by computer frequency Dim: 58 x 235 (mm)
microphone cable, PSU,
Wght: 855g
response and human listening tests, ensuring the Freq: 20Hz - 22kHz
power cable, wooden
microphone box, flightcase
lowest noise standards. Out Sens: 12mV/Pa OA: Stereo matched pair
Max SPL: 140dB
HQ: www.pelusomicrophonelab.com Self Noise: 16dBA
Out Imp: 200
Rec Load: 1k
Pwr Type: PSU

22 47 SE Alt Pwr: - 22 251 Alt Pwr: -


SC: 500mA SC: 500mA
$1671.85 Con via: 8-pin screw-on
$1292.84 Con via: 8-pin screw-on
Polar: Omnidirectional, Pad: - Polar: Omnidirectional, Pad: -
subcardioid, cardioid, Filt Freq: - subcardioid, cardioid, Filt Freq: -
supercardioid, hypercardioid, supercardioid,
Slope: - Slope: -
figure-of-8 hypercardioid, figure-of-8
SA: Shockmount, 8-pin SA: Shockmount, 8-pin
Dim: 60 x 235 (mm) Dim: 45 x 240 (mm)
microphone cable, PSU, microphone cable, PSU,
Wght: 855g power cable, wooden Wght: 750g power cable, wooden
Freq: 20Hz - 33kHz microphone box, flightcase Freq: 20Hz - 24kHz microphone box, flight case
Out Sens: 12mV/Pa OA: Stereo matched pair Out Sens: 14mV/Pa OA: Stereo matched pair
Max SPL: 140dB SOS Review (September Max SPL: 138dB
Self Noise: 14dBA 2007) Self Noise: 15dBA
Out Imp: 200 www.soundonsound. Out Imp: 200
Rec Load: 1k com/sos/sep07/articles/ Rec Load: 1k
Pwr Type: PSU peluso2247SE.htm Pwr Type: PSU

146 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

P-12 Alt Pwr: - P-28 Pad: -


SC: 500mA Filt Freq: -
$1297.09 Con via: XLR-7 (M)
$763.41 Slope: -
Polar: Omnidirectional, Pad: - Polar: Cardioid SA: Shockmount, XLR-7
subcardioid, cardioid, Filt Freq: - Dim: 28 x 184 (mm) (M) microphone cable,
supercardioid, Wght: 300g PSU, power cable, wooden
Slope: -
hypercardioid, figure-of-8 Freq: 20Hz - 24kHz microphone box, flight case
SA: Shockmount, XLR-7
Dim: 45 x 240 (mm) Out Sens: 11mV/Pa OA: Omnidirectional
(M) microphone cable,
Wght: 750g PSU, power cable, wooden Max SPL: 141dB capsules, stereo-
Freq: 20Hz - 24kHz microphone box, flight Self Noise: 15dBA matchedpair
Out Sens: 11mV/Pa case Out Imp: 200
Max SPL: 138dB OA: Stereo-matched pair Rec Load: 1k
Self Noise: 15dBA Pwr Type: PSU
Out Imp: 200 Alt Pwr: -
Rec Load: 1k SC: 500mA
Pwr Type: PSU Con via: XLR-7 (M)

P-67 Alt Pwr: - VTB Alt Pwr: -


SC: 500mA SC: 500mA
$1963.50 Con via: 8-pin screw-on
$1271.81 Con via: XLR-7 (M)
Polar: Omnidirectional, Pad: -10dB Polar: Omnidirectional, Pad: -15dB
subcardioid, cardioid, Filt Freq: - subcardioid, cardioid, Filt Freq: 100Hz
supercardioid, supercardioid,
Slope: - Slope: 6dB/Oct
hypercardioid, figure-of-8 hypercardioid, figure-of-8
SA: Shockmount, 8-pin SA: Shockmount, XLR-7
Dim: 56 x 205 (mm) Dim: 50 x 225 (mm)
microphone cable, PSU, (M) microphone cable,
Wght: 600g power cable, wooden Wght: 620g PSU, power cable, wooden
Freq: 20Hz - 20kHz microphone box, flight Freq: 20Hz - 24kHz microphone box, flight
Out Sens: 18mV/Pa case Out Sens: 11mV/Pa case, pop screen
Max SPL: 148dB OA: Stereo-matched pair Max SPL: 150dB OA: Stereo-matched pair
Self Noise: 14dBA Self Noise: 15dBA
Out Imp: 200 Out Imp: 200
Rec Load: 1k Rec Load: 1k
Pwr Type: PSU Pwr Type: PSU

Red5 Audio RV15


220 (US price not
Con via: XLR-3 (M)
Pad: -
Filt Freq: -
Red5 Audio, formed in 2001, are a small Scottish available)
Slope: -
company who manufacture microphones for both the Polar: Cardioid SA: Flight case,
Dim: 55 x 205 (mm)
professional and home enthusiast markets, and aim to Wght: 580g
shockmount, foam wind
shield, PSU withcable
provide excellent customer service. They also make a Freq: 20Hz - 20kHz OA: -
range of mic accessories, including shockmounts and Out Sens: 20mV/Pa
Max SPL: 128dB
pop shields. Self Noise: 15dBA
Out Imp: 200
HQ: www.red5audio.com Rec Load: -
Pwr Type: PSU
Alt Pwr: -
SC: -

RDE Classic II
$2099
SC: -
Con Via: XLR-3 (M)
Pad: -10, -20 dB
Rode are based in Sydney, Australia, where all their Polar: Nine selectable Filt Freq: 20Hz
microphones are designed, and where the majority of patterns including
omnidirectional, cardioid,
Slope: -
their manufacturing takes place. They make all kinds figure-of-8 SA: Shockmount,
ringmount, aluminium
of mics, from valve and solid-state condensers to lapel Dim: 65 x 201 (mm)
flight case, spare twin
Wght: -
and video microphones. Freq: 20Hz - 20kHz
triode valve, valve storage
case, lifetime warranty
Out Sens: 14mV/Pa OA: -
HQ: www.rodemic.com Max SPL: 131dB
Self Noise: 18dBA
Out Imp: 200
Rec Load: -
Pwr Type: PSU

SOS Buyers Guide Microphones 147


valve/tube microphones

K2 Con via: XLR-3 (M) NTK Filt Freq: -


Pad: - Slope: -
$699 Filt Freq: -
$529 SA: Carry case, ringmount,
Polar: Infinitely variable, Slope: - Polar: Cardioid 10 year warranty
including omnidirectional, SA: Carry case, Dim: 55 x 208 (mm) OA: Shockmounts,
cardioid, figure-of-8 shockmount, 10 year Wght: - windshield, zip case, desk
Dim: 55 x 208 (mm) warranty Freq: 20Hz - 20kHz stand
Wght: - OA: Shockmount, Out Sens: 12.5mV/Pa
Freq: 20Hz - 20kHz ringmount, windshield, Max SPL: 158dB SOS Review (July 2001)
Out Sens: 15.8mV/Pa zip case, desk stand Self Noise: 12dBA http://www.soundonsound.
Max SPL: 162dB Out Imp: 200 com/sos/jul01/articles/rode.
Self Noise: 10dBA SOS Review (July 2004) Rec Load: - asp
Out Imp: 200 http://www. Pwr Type: PSU
Rec Load: - soundonsound.com/sos/ SC: -
Pwr Type: PSU jul04/articles/rodek2.htm Con Via: XLR-3 (M)
SC: - Pad: -

SB Audio NR47
949 (US price not
SC: -
Con via: XLR-3 (M)
Pad: -
Newmann Retro, also known as SB Audio Ltd., were available)
Filt Freq: -
formed by producer Stephen Bull in 2011. The company Polar: Omnidirectional, Slope: -
cardioid, figure-of-8
design and sell the NR range of microphones. Dim: 60 x 235 (mm)
SA: Shockmount, aluminium case,
wooden box, switchable 110-
Wght: 860g 240V PSU, mains cable, XLR-7 (M)
HQ: www.sbaudioltd.com Freq: 20Hz - 22kHz mic-to-PSU cable, microphone
Out Sens: 12.6mV/Pa stand thread adaptor
Max SPL: 140dB OA: Abbey Road-style metal pop
Self Noise: 16dBA filter
Out Imp: 200 SOS Review (March 2010)
Rec Load: - www.soundonsound.com/sos/
Pwr Type: PSU mar10/articles/newmannretronr47.
Alt Pwr: - htm

sE Electronics Gemini II
$1599
sE Electronics are one of the most prolific modern mic Polar: Cardioid
manufacturers. Since being founded in 2000, theyve Dim: 80 x 223 (mm)
Wght: 1.24kg
released an enormous range of models covering almost Freq: 20Hz - 20kHz
every type of microphone and at pretty much every Out Sens: 25mV/Pa
price level. Max SPL: 135dB
Self Noise: 16dBA
Out Imp: 50
USA: www.fingerprintaudio.com Rec Load: 1k
HQ: www.seelectronics.com Pwr Type: PSU
Alt Pwr: -
SC: -
Con via: 8-pin mic
to PSU, XLR-3 (M)
Pad: -10dB
Filt Freq: 250Hz
Gemini G5 Alt Pwr: -
Slope: 6dB/Oct
SC: -
$1099 Con via: 8-pin mic to
SA: Shockmount,
PSU, flightcase
Polar: Cardioid PSU, XLR-3 (M) x 2
OA: Pop shield
Dim: 68 x 183 (mm) Pad: -
Wght: 820g Filt Freq: -
SOS Review (March
Freq: 20Hz - 20kHz Slope: -
2008)
Out Sens: 25mV/Pa SA: Shockmount, PSU,
(FET), 31.6mV/Pa (tube) www.
flight case
Max SPL: 130dB (FET), soundonsound.
OA: Pop shield
132dB (tube) com/sos/
Self Noise: 18dBA mar08/articles/
(FET), 16dBA (tube) segeminiz5600aii.
Out Imp: 50 htm
Rec Load: 1k
Pwr Type: PSU

148 SOS Buyers Guide Microphones


Specification Key Polar: Polar Pattern Dim: Dimensions (width & length) Wght: Weight Freq: Frequency Response Out Sens: Output Sensitivity Out Imp: Output Impedance
RL: Recommended Load Pwr Type: Powering Type Alt Pwr: Powering Alternative SC: Supply Current Con via: Connection via Filt Freq: Filter Frequency SA: Supplied accessories
OA: Optional accessories

XLR-3 (M) Z5600a II Alt Pwr: -


sE2200T
Pad: -10dB SC: -
$499 $849 Con via: 8-pin mic to PSU,
Filt Freq: 80Hz
Polar: Cardioid Slope: 6dB/Oct Polar: 9-stage variable XLR-3 (M)
Dim: 51 x 212 (mm) SA: Shockmount, PSU, from omnidirectional Pad: -10dB
Wght: 575g flight case through cardioid to Filt Freq: 75Hz
Freq: 20Hz - 20kHz figure-of-8
OA: Pop shield Slope: 6dB/Oct
Out Sens: 22mV/Pa Dim: 62 x 224 (mm)
SA: Shockmount, PSU, flight
Max SPL: 130dB Wght: 750g case
Self Noise: 16dBA Freq: 20Hz - 20kHz OA: Pop shield
Out Imp: 50 Out Sens: 17mV/Pa
Rec Load: 1k Max SPL: 135dB SOS Review (March 2008)
Pwr Type: PSU Self Noise: 16dBA www.soundonsound.
Alt Pwr: - Out Imp: 50 com/sos/mar08/articles/
SC: - Rec Load: 1k segeminiz5600aii.htm
Con via: XLR-7 (M) to PSU, Pwr Type: PSU

Sony C800GPAC
$2856
Alt Pwr: -
SC: -
Con via: Mic output
Sony Electronics full line of professional audio Polar: Omnidirectional, JR16RK-7P type
technology ranges from portable audio recorders cardioid Pad: -
Dim: 57 x 237 (mm)
to wireless and wired microphone technology and Wght: 900g
Filt Freq: -
Slope: -
headphones. They make mics for a wide range of Freq: 20Hz - 18kHz SA: Windscreen,
applications, including recording, live sound, theatrical Out Sens: 18mV/Pa
(omni), 25mV/Pa (cardioid)
cradle suspension,
stand screw
performance and journalism. Max SPL: 134dB (omni), adaptor, mic cable,
131dB (cardioid) carry case, G sticker,
HQ: http://pro.sony.com Self Noise: -
Out Imp: 100
frequency response chart
OA: -
Rec Load: -
Pwr Type: PSU

Sontronics Helios
$899
Sontronics are a British microphone brand founded Polar: Omnidirectional, subcardioid,
in 2004 by mic designer and musician Trevor Coley. cardioid, supercardioid, hypercardioid,
figure-of-8
Their range covers small- and large-diaphragm Dim: 86 x 204 (mm)
condensers, valve and ribbon mics, as well as models Wght: 900g
Freq: 20Hz - 20kHz
made for specific purposes, like recording drums and Out Sens: 20mV/Pa
electricguitar. Max SPL: 125dB
Self Noise: 18dBA
USA: www.proaudiodesign.com Out Imp: <200
HQ: www.sontronics.com Rec Load: -
Pwr Type: PSU
Alt Pwr: -
SC: -
Con via: 8-pin connector, XLR-3
(M)
Omega Pad: -10dB Pad: -10dB
Filt Freq: 75Hz Filt Freq: 75Hz
$799 Slope: - Slope: -
Polar: Cardioid SA: Spider shockmount, 2 spare SA: Yoke-style mount, angled
Dim: 76 x 261 (mm) shockmount elastics, wooden case, microphone clip, stand adaptor,
Wght: 749g PSU, -10dB pad and 75Hz filter, wooden case, PSU, -10dB pad and
Freq: 20Hz - 20kHz 8-pin to 3-pin cable, power cable, 75Hz filter, 8-pin to 3-pin cable,
Out Sens: 25mV/ aluminium flight case, lifetime power cable, aluminium flight case,
Pa warranty lifetime warranty
Max SPL: 125dB OA: Pop shield, pro-quality audio OA: Pop shield, pro-quality audio
Self Noise: 18dBA cables with Neutrik XX connectors, cables with Neutrik XX connectors,
Out Imp: <200 professional microphone stand professional microphone stand
Rec Load: -
Pwr Type: PSU SOS Review (September 2006) SOS Review (September 2005)
Alt Pwr: - www.soundonsound.com/sos/ www.soundonsound.com/sos/sep05/
SC: - sep06/articles/omega.htm articles/sontronicsmics.htm
Con via: 8-pin connector, XLR-3 (M)

SOS Buyers Guide Microphones 149


valve/tube microphones

Studio Projects Microphones SP T3


$499.99
Studio Projects Microphones a division of PMI Audio Polar: Omnidirectional,
Group is a California-based design house, headed subcardioid, cardioid,
supercardioid, hypercardioid,
by Brent Casey, which specialises in microphones figure-of-8
and electronics for the professional audio market. Dim: 52 x 226 (mm)
Wght: 762g
Founded by Alan Hyatt, the company is entering its Freq: 20Hz - 20kHz
thirteenthyear. Out Sens: 14mV/Pa
Max SPL: 125dB
USA: www.pmiaudio.com Self Noise: 18dBA
Out Imp: 200
HQ: www.studioprojects.com Rec Load: 1.2k
Pwr Type: PSU
Alt Pwr: -
SC: 1.5mA, 150mA
Con via: XLR-7 (M)
SP TB1 Pad: - Pad: -
Filt Freq: - Filt Freq: -
$499.99 Slope: - Slope: -
Polar: Cardioid SA: Foam windscreen, SA: Halo shockmount, XLR-7 (M)
Dim: 52 x 210 (mm) XLR-7 (M) cable, PSU, cable, variable pattern PSU, flight
Wght: 408g shockmount case
Freq: 20Hz - 20kHz OA: Metal pop screen, Litz OA: Metal pop screen, Litz wire
Out Sens: 27mV/Pa wire microphone cable microphone cable
Max SPL: 120dB
Self Noise: 16dBA
Out Imp: 200
Rec Load: 1.2k
Pwr Type: P48
Alt Pwr: -
SC: 1mA, 150mA
Con via: XLR-7 (M)

Telefunken-Elektroakustik AR-51
$1895