Re-microfone seu microfone com a personalidade sonora dos melhores

microfones de estúdio do mundo

Mic Room é uma ferramenta de modelagem de microfone para T-RackS que coloca uma
coleção de categoria internacional com mais de 20 microfones clássicos e contemporâneos na ponta
dos seus dedos. Ele te dá o poder de processar e “re-microfonar” seus microfones físicos para soar e
se comportar como alguns dos mais cobiçados modelos de microfones de todos os tempos.
Com modelos de microfones dinâmicos, condensadores e de fita para escolher (mais alguns
modelos não convencionais e altamente criativos), ele oferece uma variedade essencial e
inspiradora de ferramentas de escultura sonora que estão convenientemente prontas para usar como
um módulo do T-RackS na sua DAW de escolha.

Som de qualidade profissional

Assim como todos os equipamentos e módulos do T-RackS, Mic Room oferece um
impressionante nível de detalhe e acuracidade. Cada um dos seus modelos de microfone virtual
apresenta a verdadeira frequência de resposta, nuances de personalidade e som específico de sua
contraparte física. Isto significa que você pode se aprofundar na complexidade harmônica dos
condensadores à válvula, o timbre na cara dos dinâmicos e na suavidade de veludo dos microfones
de fita. Você pode até mesmo tomar uma dose de inspiração com os modelos não convencionais no
Mic Room.

Som colorido
Se você leva som a sério, você não enxerga seus microfones apenas como equipamentos de
gravação… você os enxerga como um pintor enxerga seus pincéis. Cada microfone tem sua
personalidade única e colorida que contribui para o timbre de cada mix. É por isso que os maiores
estúdios do mundo tem sempre um estoque com uma variedade de microfones que se encaixam em
qualquer situação. Nem todo mundo tem acesso a esses grandes estúdios, mas com Mic Room, você
tem algo ainda melhor: Uma coleção virtual de microfones dentro do seu computador que pode
transformar o caráter sonoro de qualquer gravação para encaixar na pegada e no feeling da sua mix.

Já imaginou uma linha de vocal brilhante mas tinha apenas um humilde microfone dinâmico
para gravá-la? Simplesmente conecte-se com o que você tem, cante com a alma e deixe o resto com
o Mic Room. Ou, alternativamente, você pode usar a coleção do Mic Room para adicionar um
toque lo-fi em gravações que estão soando limpas demais.

Possibilidades infinitas
No fundo, Mic Room se trata de aprimorar a versatilidade e a flexibilidade sonora da sua
própria coleção de microfones físicos. Ele é um módulo do T-RackS, então pode ser usado tanto
como standalone quanto como um plug-in configurável. Para melhores resultados, aplique este
módulo em pistas individuais da sua mix que contenham áudio gravado de um microfone, como
vocais, violão ou pistas de bateria.

Uma vez inserido na pista, selecione o microfone usado para capturar o áudio original.
Todos os modelos de microfone do Mic Room podem ser selecionados como microfones fonte.
Você pode então escolher um novo microfone para re-microfonar as características da sua gravação
original para chegar a uma nuance específica e caráter tonal do microfone que você deseja para sua
mix.

Modelos de microfone disponíveis

Dinâmicos

6 – Dynamic 58 (based on Shure SM58)

Shure SM58
Cardioid Dynamic Microphone
Perhaps the most widely known vocal mic in the world, the SM58 celebrated its 40th
anniversary in 2006.
It is a cardioid dynamic mic, designed around the same Unidyne III capsule as the SM57. In
fact, the SM58 differs from the SM57 in only a few respects:
 The ball grille contains a foam blast filter.
 The ball grille reduces the bass boost due to proximity effect, simply because it prevents the
mic’s capsule from being positioned so close to a sound source.
 The dynamic cartridge has a different resonator disk than is found on the SM57 (although
the cartridges are internally identical).
 The mic can be used with the ball grille removed, but beware that the diaphragm would then
be exposed, and therefore easily damaged. Replacement capsules (p/n R59; street price ~$70) can
be obtained from Shure, and easily installed by soldering two or three wires.
More features:
 Frequency response tailored for vocals, with brightened midrange and bass rolloff
 Uniform cardioid pickup pattern isolates the main sound source and minimizes background
noise
 Pneumatic shock-mount system cuts down handling noise
 Effective, built-in spherical wind and pop filter
The mic’s “pnuematic shock-mount system” insulates the cartridge from mechanical
vibration in a way that is superior to typical mechanical isolation mounts. The result is that Shure’s
SM-series dynamic microphones have lower handling noise than competitive models.

Check out the SM58 torture test — a YouTube video in which a new SM58 is hammered,
dropped, dunked, frozen, and driven over — twice — and continues to work. (More or less.) In Part
II, the mic is buried for a year.
How is the SM58 different from the Beta 58?
 The Beta 58 has a supercardioid pickup pattern.
 The Beta 58 has a 4dB hotter output than the SM58.
 The Beta 58 has less handling noise than the SM58.
 The Beta 58 has a hardened grill that is very difficult to dent.
 The Beta 58 has extended low end and high end compared to SM58.
… in other words, it’s a completely different mic, and it sounds different.
The SM58, like the SM57, can be modified in at least two ways:
1. The transformer can be removed; see details on the SM57 page.
2. The stock transformer can be swapped for a unit from TAB-Funkenwerks, giving the SM58
a wider frequency response and a sound similar to the SM7; see TAB-Funkenwerks
transformer upgrades for the SM58.
The SM58S incorporates an on/off switch.
The Shure SM58 is also known as: SM-58, SM58.
The mic was released in 1966.

Read more: http://recordinghacks.com/microphones/Shure/SM58#ixzz7wXv94eif

Condensadores

4 – Condenser 87 (based on Neumann U87)

Neumann U 87
Multi-Pattern Condenser Microphone
The U 87 was designed as a solid-state version of the U 67 tube microphone. It retained the
K67-style capsule of the U67, but replaced the tube amplifier circuit with a FET/transformer design.
In short, the U87 was a tripolar FET condenser with a transformer-coupled output. A switch
below the headbasket allowed selection of Cardioid, Omni, or Figure-8 patterns.
The mic’s capsule, called the K87, was a center-terminated, dual-backplate, dual-diaphragm
34mm design, like the K67. It differed from the K67 in three acoustically-transparent respects:
1. the K87’s two backplates were electrically isolated from one another,
2. and it therefore connected to the amplifier circuit by four wires rather than three.
3. The capsule mounting screws were “sleeved” to prevent an electrical connection between
backplate halves.
These changes were required to support the Figure-8 polar pattern, which otherwise would
have required more power than the 48V phantom power supply could provide (without a DC-DC
converter).
Note that both the K67 and K87 capsules used a 40-micron spacer between the two
backplate halves. In the K67, the spacer is aluminum. In the K87, the spacer is made of (non-
conductive) plastic. The K67 (now called K870/67) and K87 capsules are said to be mechanically
and acoustically identical.
The K87 capsule was designed for a 60V polarization voltage, but was run in the U87(i) at
~46V; as a result, the U87(i) had ~10mV/Pa lower sensitivity, and 3dB lower signal-to-noise ratio
than the AB-powered U77 or the revised U87, called the U87A(i), both of which employed a DC-
DC converter to produce a ±60V supply for the capsule.
 The body of the U87(i) housed an optional pair of 22.5V batteries. This space was
repurposed to store a DC-DC converter when the U87A(i) was developed in 1986.
The mic’s output impedance was 200Ω. It could be changed to 50Ω by the user; this
modification required a solder gun, according to Neumann literature.
Four versions of the U87 were initially released by Neumann:
 U 87 - grey/silver finish, 7-pin Binder/Tuchel connector
 U 87 i - grey/silver finish, 3-pin XLRF connector
 U 87 mt - dark gray finish, 7-pin Binder/Tuchel connector
 U 87 i mt - dark gray finish, 3-pin XLRF connector
According to Klaus Heyne, over 20 variants of the U87(i) circuit were created by Neumann.
These changes did not affect or alter the sound of the circuit, even if the components and layout of
the PCB changed over time. Curiously, some of the very early U87 microphones even lacked a
battery compartment.

Does the vintage U87(i) sound different from today’s U87A(i)?

Klaus Heyne, 2006

[A]side of a slightly repositioned high frequency boost (up 2dB at 10k, vs at 8k in the
old model) the audio circuitry is virtually identical to that of the old model prior to
1986, both in performance and components.

My first U87, which I still own, was made in 1967. Just yesterday Neumann sent me a
brand new one for a client. I plugged both in, and, after adjusting for output differences,
I could have easily used both as [a] pair in a critical stereo apllication.
U87 circuitry photo credit: Ashley Styles, Saturn-Sound.com

The Neumann U 87 is also known as: U87, U87i, U-87i, U 87 i.

The mic was released in 1967.

Read more: http://recordinghacks.com/microphones/Neumann/U-87#ixzz7wWi9feLi

5 – Condenser 170 (Based on Neumann TML 170)

Neumann TLM 170
Studio Microphone
The TLM 170 R was the first microphone with the now so successful fet-100 technology. It
offers balanced, transformerless signal decoupling and highest controllability with extremely low
inherent-noise.
Five directional characteristics can be selected with a rotary switch. In the sixth switch,
position "R", the directional characteristics can be remotely switched using the N 248 network
device without the need for a special cable.
The microphone also has a switchable 10 dB pre-attenuation for very high sound levels and
a footfall filter with an operating frequency of 100 Hz.
Area of Application
The condenser microphone TLM 170 R is a switchable large-diaphragm microphone that is
characterised by its transmission characteristics and various switching options. It is used in a wide
variety of applications in broadcasting, film and television and also in the semi-professional field.
The directional characteristics can be switched both directly on the microphone, as well as
by remote control via a dedicated network device.
Acoustic Properties
The double diaphragm capsule in the wire mesh basket of the microphone has particularly
even frequency responses for all adjustable directional characteristics. This applies not only, as in
many cases, to the sound coming from the front, but also to sound coming laterally within an
angular range of more than ±100°.
Therefore, the diffuse field frequency responses up to 10 kHz run parallel to the 0° curves.
In practice, this concerns the sound components arriving indirectly via reflections in the recording
room to the microphone.
As a result, reverberations around the microphone that is to be recorded is not changed in its
tonal character. Since no resonance effects are used to achieve the said microphone characteristics,
the impulse response of the microphone is excellent. It is thus able to transmit all balancing
processes in music and speech without distortion. The capsule is elastically mounted to protect
against structure-borne sound transmission.
Directional Characteristics
In addition to the sphere, cardioid and figure-of-eight directional patterns, the hypercardioid
and wide cardioid characteristics are also available. The hypercardioid enables - better than the
cardioid - hiding sound sources placed to the right and left of the object to be recorded, while the
wide cardioid is best used for transmitting widespread sound sources.
Remote Control
The remote control of the directional characteristics with the help of the network device N
248 is carried out by varying the phantom voltage in the range 48 V ± 3 V (the corresponding
standard allows a range of ± 4 V).
 In the switch position "R" (= Remote control), the TLM 170 R microphone evaluates the
absolute level of the phantom voltage and adjusts itself to the corresponding directional
characteristic. As with conventional operation, the normal 3-pin microphone cable is used, cable
lengths up to 300 m are permitted.
Electrical Properties
The letters TLM stand for "transformerless microphone". The otherwise commonly used
output transformer is replaced in the TLM 170 R by an electronic circuit, which - as a transformer -
ensures good damping of unbalance. Therefore, interfering signals that act on the balanced
modulation line, as usual suppressed.
Tripod Operation
The TLM 170 R has a side-mounted swivel bracket for mounting on a tripod, which
effectively protects the microphone against low-frequency, mechanical vibrations by means of
integrated rubber elements. It can be removed as needed or mounted on the other side of the
microphone.
To use the IC 4 cable (e.g. to hang the microphone from the ceiling in conjunction with the
tilting device MNV 87), the swivel bracket with its support must be removed from the microphone.
Then. a thread for screwing the cable in place is freed at the connector of the microphone.
Filter and Pre-attenuation
In order to prevent overloading of the downstream amplifier input, a pre-attenuation of 10
dB can be switched on at the rear.
Another switch allows the reduction of the frequency response below 100 Hz for hiding
low-frequency interference.
Operational Safety
The surface of the capsule including the membranes is at ground potential and is therefore
insensitive to electrical and atmospheric influences as well as to dirt.
 5 Directional characteristics: Sphere, cardioid, figure-of-eight, hypercardioid and wide
kidney
 Remotely switchable with N 48
R-2
 Colour: Nickel or Matte-Black
Condensadores valvulados

1 – Bottle 563 (based on the Neumann/Gefell CMV-563)

Neumann CMV-563
Detachable-Capsule Tube Condenser Microphone
The Kondensator-Mikrofon CMV 563 is a tube condenser bottle microphone manufactured
by the division of the Georg Neumann company in Gefell, East Germany, which has since been
renamed Microtech Gefell. The mic was made from 1956-1971, then reintroduced in 2011 (see the
new MTG CMV563).
To be clear, although these mics are branded “Neumann,” they were not made by the
company known today as Neumann. The present-day Neumann company refers all CMV-563
inquiries to MTG.
The CMV-563 mic was conceived as a tube preamplifier that could be used with any of a
variety of interchangeable capsule heads: the M 55 (omni), M 7 (cardioid), M 8 (figure eight) and
M 9 (omni) as well as M7S, M8S and M9S with short handles. The M7, M8, and M9 attached via a
long “bayonet” mount. The “S” versions screwed directly onto the mic body.
Several contemporary microphone companies have copied the CMV-563’s bayonet mount,
and have released aftermarket capsules that are compatible with the older mics. See below for a
listing of Blue and Violet capsules for this bottle mic. (Flea makes compatible capsules as well; we
will add them to the listing soon.)
With the PVC-diaphragm M7 capsule, the 563 is said to sound very much like an original U-
47. That said, 50-year-old PVC capsules are unlikely to sound much like they did when new.
The 563’s circuit design was also found in the Gefell UM57, and is said to be similar to the
M92.1/UM92.1/UM75, although the latter three incorporate EMI/RFI rejection circuitry that is said
to “choke” the sound of the microphone. (See the
two schematic views on this page.)
The tube was an EC92 triode.
CMV-563s turn up on Ebay frequently, with
prices ranging from $1000-$3000 depending on
quality and the number of capsules included. The
consensus on the forums is that a good 563 is a
great microphone, whereas a poor one is a poor microphone, and that it’s hard to tell in advance
which is being sold.
Further, this mic seems to more commonly be refurbished/repaired with newer parts than is
the case with other vintage models (in which originality seems a requirement for maintaining the
desired sound).
Oliver Archut
[T]he historic Gefell [transformers] were made in Gefell due to the fact that no real
audio lamination [was] available in former East Germany… sometimes they used
whatever they could get their hands on. Same with most Gefell parts during the time…
The stuff Gefell used is home-made and barely works.

What Gefell made during the Soviet occupied times is 1.6 tons of microphones a month
(to quote Mr. Kuehnast) and quality was not the goal, quantity [was]…

[M]ost Gefell [microphones] that were made during the GDR times are plain old
garbage due to material problems… If someone wants to rebuild those mics, that is a
pretty good job if you can do it yourself, but please see it in relation… to what it [costs]
and what you get.

But in the end a rebuild CMV is a great mic to have.

In my experience everything needs to be replaced, resistors, capacitors as well as a new

high quality (tube) mic cable, and a capsule rebuild to get a mic that can stand up to any
west german Neumann counterparts, and do not forget the PSU.

The CMV prefix in the model name comes from the phrase Condensator-Mikrofon-
Verstärker, which means “condenser microphone amplifier.”
As of early 2009, Microtech Gefell continues to offer repair services for CMV-583 mics,
including reskinning of the PVC capsules; for a repair estimate, ship the mic to:
Microtech Gefell GmbH
Att: Michael Militzer
Georg-Neumann-Platz
D-07926 Gefell
Germany

(Mic photo courtesy Bill Bradley / micshop.com)

Read more: http://recordinghacks.com/microphones/Neumann/CMV-563#ixzz7wSMwE1Be

2 – Condenser 12 (Based on AKG C12)

AKG Acoustics C 12 VR
Multi-Pattern Tube Condenser Microphone
AKG presents the C12VR as a nearly exact replica of the original C12 tube microphone.
Yet, the mic is seen by high-end pro audio experts as, at best, a pretender to the throne.
 Terry Manning

The AKG C12VR was the biggest disappointment of any microphone I ever bought, and
totally turned my off of ever buying any NEW AKG products again.

The VR uses a 6072A vacuum tube. AKG states that minor circuitry changes have been
made to the original design to reduce self-noise.
The power supply provides nine polar patterns, from omnidirectional to figure-of-8.
The C12VR comes complete with an aluminum carrying case, power supply, cable,
windscreen, and spider type shock mount.

JJ Blair/EQ Magazine

The AKG C12VR was hyped as the revival of the venerable C12, but the only thing
these mics share in common is probably the shape and the 6072 tube. AKG abandoned
the original CK12 capsule decades ago because of the difficulty and expense involved
with manufacturing these gorgeous-sounding capsules…

The C12VR is a dark-sounding mic. I wouldn’t say that it’s wooly, but it definitely has
no sparkle. What it does have however, is a nice even tone and a velvety warmth. It
really sounded good on everything we recorded with it, but it did leave me wanting to
EQ in some high end.

Klaus Heyne

The VR is a [seamless] successor to “The Tube”, with identical electronics, slightly

changed cosmetics and a TLII capsule replacing the original Teflon/414P48 caspule of
“The Tube”.

A long thread on PSW describes Oliver Archut’s C12VR mod for Terry Manning, in which a
new grille, capsule (a real CK12), and circuit (an original Archut design) replace the stock parts,
with excellent results. (See sidebar link.)
The AKG Acoustics C 12 VR is also known as: C-12, C 12 VR, C12VR.
The mic was released in 1994.

Read more: http://recordinghacks.com/microphones/AKG-Acoustics/C-12-VR#ixzz7wSU38V4E

From the AKG page:

- Instruments: Vocals, Horns/Woodwinds, Guitar Amps/Bass Amps.
3 – Condenser 67 (based on the Neumann U67)
Neumann U 67
Multi-Pattern Tube Condenser Microphone
The Neumann U 67 is a multipattern large-diaphragm condenser microphone with a tube-
and-transformer topology. It was introduced by Neumann in 1960 with the intention of replacing the
U 47 in Neumann’s product line.
The new microphone, originally christened the U 60 for the year of its development, brought
numerous innovations to market.
The K67 capsule, which since 1960 has become the most common and most copied
condenser capsule in the world, was designed to avoid the challenges and costs of tuning the K47 so
that both diaphragms produce identical frequency responses. Unlike the K47, the K67 utilizes a
two-piece backplate, allowing the diaphragms to be tuned individually and then matched for
equivalent response.
A -10dB pad was incorporated, in response to the trend of placing microphones closer to
sources.
For the same reason, the mic had a switchable high-pass filter to roll off low frequencies.
The Neumann manual gives a 100Hz corner frequency, but the published graphs show attenuation
as high as 300Hz. In addition, a fixed 30Hz rolloff was incorporated into the amplifier circuit to
reduce pickup of mechanically transmitted noise (rumble).
According to Roessler, the tapered body shape was purely a cosmetic change, intended to
satisfy an increasingly style-conscious market. This body design is also used for the U87 and U87A
microphones.
The tube was a Telefunken EF86, a pentode wired into this circuit as a triode. It used a 6.3V
filament voltage, and was wired to the PCB via a Teflon socket.
The mic’s output transformer is somewhat unique. According to David Bock, “it uses a
tertiary winding for negative feedback through the capsule to the tube.”
 An initial production run of approximately 20 microphones was labeled and sold as the “U
60.” All of these reportedly used the K67 capsule, but according to Klaus Heyne, a variety of
prototype mounting methods were employed, such as the wire wrap pictured at right.
Neumann reportedly produced a reissue of the U67 sometime in the late 1980’s or early
1990’s. According to the late Stephen Paul, the reissue U67s suffered from what he characterized as
reduced tolerances on the CNC-lathed K67 capsule. The reduced tolerances affected the capsule’s
high-frequency response.
Nonetheless, Neumann staff maintain that the reissue U67 was identical to the original in
every way but one — the output connector differed.
The original U 67 shipped with its dedicated power supply, p/n NU 67.
The Neumann U 67 is also known as: U 60, U67.
The mic was released in 1960.

Read more: http://recordinghacks.com/microphones/Neumann/U-67#ixzz7wWgVi1g5

Microfones de fita (ribbon mics)

Outros
- Old telephone mic
Controle criativo de timbre
Além de sua alta-fidelidade sonora, Mic Room também vem com uma série de recursos de
controle de timbre adicionais que foram desenhados para aprimorar sua experiência ao gravar.
O efeito de ajuste de proximidade emula o “efeito de proximidade” que ocorre quando a
fonte e o microfone estão perto um do outro. Ajuste-o para fazê-lo soar como se a fonte estivesse
colada na mix para conseguir timbres ricos e vibrantes associados a “vocais de rádio FM”. Ou,
alternativamente, você pode tirar frequências graves ao virar o controle no sentido anti-horário.
O efeito de ajuste de conteúdo harmônico te dá controle total e rica complexidade
harmônica de um condensador à válvula. Este controle lhe permite adicionar saturação,
personalidade e textura às suas gravações. Ou, em outras palavras, isto é precisamente o tipo de
coisa que dá a um vocal sem graça aquele toque extra de personalidade e calor. Você pode também
tirar sons criativos e não usuais ao virar totalmente os controles.