AudioMedia Microphone Guide 2010

THE INTERNATIONALBUYER’S GUIDE

A SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP

AUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDING

T H E W O R L D ’ S L E A D I N G P R O F E S S I O N A L A U D I O T E C H N O L O G Y M A G A Z I N E

PRODUCED BY

MICROPHONES2010

AUDIO MEDIA

Exclusively distributed in the UK & Ireland by Source • www.sourcedistribution.co.uk/rode • T: 020 8962 5080

There was a time when a truly great microphone cost an unreal amount ofmoney. Then came Røde, and no-one could believe how a range ofmicrophones that performed so well could cost so little.

Today, discerning producers, engineers and recording musicians chooseRøde not just because they’re great mics for the money,

but because they’re great mics – period.

Discover more about Røde microphones at www.rodemic.com

It’s your route to a great recording.

The route to agreat recording

#27256 - AM Rode Studio Ad_Layout 23/06/2010 13:28 Page 1

4 Ribbon Mics: Fact or Fiction? . . . . . . . . . . . . . . . . .

6 An Engineer’s Guide to the Orchestra . . . . . . . .

8 AKG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10 Audio Technica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12 Beyerdynamic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

14 Blue (TC Electronic) . . . . . . . . . . . . . . . . . . . . . . . . . . .

16 DPA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18 Mic W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

20 Prism Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

22 Sennheiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24 Shure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

26 Telefunken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28 Violet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

30 Manufacturers Directory . . . . . . . . . . . . . . . . . . . . . .

34 Microphone Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Welcome to Microphones 2010, an International Buyer’s Guide. We’ve scoured the ever-widening market of professional microphone products for your convenience, and thrown in a few informative and hopefully thought provoking articles from experts in the field.

Now updated and refreshed, this guide is a collection of promotional articles looking at some of the world’s leading microphone manufacturers and their product ranges.

Inside you’ll find the stories behind the gear – the ethos’ and design ethics that go into producing one of the core components in professional audio – and details of the products themselves. In addition, we’ve collated a massive directory of mic manufacturers, and included three articles around the subject of microphone technology and technique for the audio pro.

Whatever your field of work, the quality of your product depends heavily on the quality and method of acquisition. This is why microphones are so important, and why this genre of audio gear probably generates more passion than any other. While the range of basic principles in microphone technology is relatively small, the variations on these themes are incredibly numerous – we’ve listed over 80 manufacturers in our directory, from all over the world, most offering choice across several transducer or electronic approaches.

You might be a film or drama location recordist, a music studio engineer, a Foley editor, a radio journalist, a member of an ENG crew, a live sound engineer – any, in fact, of the hundreds of very specialised roles that require not only a theoretical grounding in microphone technology, but also intimate knowledge of the ‘art’ of microphone practise, placement, and choice.

You might even just be starting to build your microphone stock and need a place to start. Are you aware of recent advances in all areas of microphone technology? Are you familiar with a handful of high-profile manufacturers, but would like a greater breadth of awareness when it comes to the ‘alternatives’? Whatever your needs, Microphones 2010 should be able to help. It should be a place to begin your search.

Microphones 2010 is a project developed by Audio Media Worldwide (www.audiomedia.com). Audio Media concerns itself with the business of production and production technology for professional creatives, operators, technicians, and engineers everywhere.

Paul Mac, Editor

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c o n t e n t s

Mic

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Sales ManagerGraham [email protected]

Editor In ChiefPaul [email protected]

Editorial Manager (Europe)Lanna [email protected]

Design & Production ManagerJohn-Paul [email protected]

AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0)1480 461555 - Fax: +44 (0)1480 461550

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether

mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure

accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or

any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers

accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.

© 2010 NewBay Media. All rights reserved.

www.nbmedia.com

Ribbon Mics:Fact Or Fiction?

4 FACT OR FICTION

“I think ribbons have become more important to me, since I have been recording in digital.”Bruce Swedien (legendary engineer)

ANDREW GRAEME explodes the bare truth behind common ribbon microphone myths...

It seems strange in today’s digital world, but just a few years ago, avoiding noise was everything! And the one piece of equipment

that added more noise than most was the tape recorder. Early tape was noisy and bouncing tracks meant losing the top end.

So I suppose it was inevitable that we would forget the poor old ribbon back in the 60s and 70s. After all, condensers sounded so much brighter and sharper and we needed that to overcome the effects of tape. The subtlety, purity, and open sound of a good ribbon microphone was often lost under all that tape noise of earlier recordings. The condenser had enough top-end for tape, and some of us even preferred a bit of a presence peak.

But then along came digital and a new beast raised its ugly head: digital harshness. That presence peak was no longer as desirable as it once was. Our initial pleasure of a life without noise was somewhat diminished by the new bugbear of a harsh top end caused by distortion. Today, better digital fi lter designs and fewer clocking problems gives us nearly

perfect recordings every time. But we still have cupboards full of condenser mics that were ideal at overcoming the effects of tape.

Time to Take a New Look at

Ribbons!Back in the 19th Century, Werner von Siemens discovered that vibrating a thin sheet of conductive material suspended in a magnetic fi eld created a very small current. At the time, this was of no practical use, but with the advent of sound reproduction, Harry Olson, an engineer working at RCA, was able to use this principle to build good quality microphones.

In the era of direct-to-disc recording, the ribbon did a good job, but by the end of the 60s, all popular commercial

recordings were made using tape recorders and the ribbon mic was all but forgotten and in 1976, RCA stopped making ribbon mics.

The Difference The idea may not be high-tech, but the biggest physical difference has to be the extremely low mass of the ribbon when compared to other types of membrane. This low mass means that transient response at all parts of the audio spectrum should be better. The ribbon can follow the smallest movement of the higher frequencies better and, at the same time, cope better with the large movements of bass notes and the thump of kick drums.

For this reason, it has been my experience that a good passive ribbon mic will show up the difference between a good and a poor mic pre-amp more than other types of microphone, particularly on drums and percussion. You will need more gain than a comparable condenser mic, and larger reserves of current to cope with deep notes and sudden thumps.

Perhaps the most noticeable difference to condensers is the almost universal absence of sibilance and other HF distortion problems. As one student in a work group put it, “I don’t get essing problems when I hear someone singing next to me, so why do we have to use a de-esser with some condenser mics?”

The answer is that they (or something in the signal chain following them) are distorting, and the better transient response of ribbons means that they are far less likely to cause this. There just is something about the way a ribbon reproduces sound that is just closer to the way the human ear behaves.

For a long time, the Coles 4038 and the Beyerdynamic M160 were drum overhead standards, along with a select few condensers that were not quite as harsh as most.

The Phantom Killer

A long time ago, a producer was making my life and the life of the musicians in the studio, as

diffi cult as possible. He didn’t like the desk, he didn’t like the acoustics of the room, he didn’t

like the way the musicians were playing and, to cut a long story short, we didn’t like him. He

certainly didn’t like the microphones, but he had a solution: he brought out his own ribbon

mic and plugged it in. Leaning over my shoulder, he started fi ddling around with the channel

settings, as in his view, I hadn’t got those right either! In doing so, he inadvertently switched

on phantom power to his ribbon. “Oh good,” I thought. “He’s broken the damn thing!”

Sadly, this was not the case.

And so I learned: if everything is correctly wired and phantom power is uniformly applied

to pins 2 and 3, then the ribbon has no reason to move at all.

However – if you plug your ribbon mic into the desk via a jack or TT socket and phantom

power is on, for a just a split second, 48 volts is applied fi rst to one pole of the ribbon and

then, as the wipers in the socket pass from the tip to the sleeve, to the other pole, making it

jump fi rst one way, then the other. The output transformer limits this effect, but these jumps

can stretch and therefore damage the ribbon.

The same thing happens if there is a momentary disconnect on either pins 2 or 3 caused,

for example, by a loose or dirty connection. So if you do inadvertently switch on phantom

power whilst using a ribbon, it is best to just switch it off again. Do not plug or unplug the mic

whilst phantom is on, as pins 2 and 3 are unlikely to make and break contact at exactly the

same time.

+ + + FACT OR FICTION? + + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + +

THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 5

Ribbon Mics:Fact Or Fiction?

4 FACT OR FICTION

But now, with the advent of modern full range ribbon mics that cover every part of the audio spectrum, we are able to use them for anything and everything, from lead vocals to being the main stereo pair for full orchestras. And we can do so, without having to use condensers to ‘pep-up’ the sound!

Body Language

It has been my experience that the more solidly built microphones (all other factors being equal!) sound better than their fl imsier counterparts. In particular, budget-priced ribbon mics built into larger housings made of thin metal can have a slight ‘honk’ or ‘ring’ to the sound. This is particularly true, if there is no, or insuffi cient, acoustic de-coupling between the ribbon assembly and the housing. Perhaps it is for this reason, that amongst my favourite ribbon mics are the Royer 122, the AT 4081, and the magnifi cent SE Electronics RNR1, all of which have beautifully machined bodies and a very solid construction.

These three are active, which has the advantage of permitting the use of a wider range of pre-amps, but, well-built passive ribbons are every bit as good, when used with good equipment. Obviously,

there are many other excellent ribbon mics on the market, but I just have not got round to trying them all – not yet, anyway!

Transformation

The tiny voltage that occurs at the ribbon is considerably less than a millivolt – even if you shout right at it at point-blank range. For this reason, a transformer is used to generate something more useful. Doing this also puts a load on the ribbon, which reduces its ability to respond to high frequencies. In other words, the addition of a transformer acts as a fi lter. The better the quality of the transformer, the less fi lter effect there is and the smoother it is. For this reason, better ribbon mics use very high quality transformers, typically, from Lundahl or Cinemag, with larger manufacturers using transformers specifi cally wound for each model, and of course sE has Rupert Neve on the case.

Unfortunately, the wholesale price for a good transformer is about the same as the wholesale price of a cheap ribbon mic, including the box, the wind-sock and a suspension mount! But the difference between a good transformer and an off-the-shelf cheapo is the difference between night and day!

Patently Better

A dig through patent applications and patents granted has told me that this rebirth of interest in ribbon mics is here to stay, and further technical advances are in the

pipe-line. This ranges from ultra-strong composite materials for the ribbon, to new methods of concentrating and focusing magnetic fi elds around the ribbon. There are applications for printing complex conductive patterns onto composite polymers to increase the generated voltage, to a large collection of mechanical means of protecting the ribbon and altering the frequency response. For example, Audio Technica has no fewer than 18 patents in the pipeline for ribbon microphone technology alone!

And Finally...

There is no one mic that is good for every application, so it pays to have as many good mics of various types to cover all the

many different recording situations that you are going to be confronted by. In the past, our serious mic-money went on good condensers. Now that there is no more need for a sharp top end to cut through tape hiss, woolly noise reduction, track bounces, and AM radio, the time has come to re-evaluate the balance of our mic lockers. A few pairs of good ribbon mics may make all the difference!

“Ribbons were designed when one mic had to sound good on everything.” Wes Dooley (President of AEA Microphones)

Ribbons Sound Dull and Have Very Low

Output

There was a time when many ribbon mics

did indeed sound dull, but today’s mics

range in tone from ‘warm and vintage’

(that’s dull by some standards) to being

almost as bright as any condenser. Indeed,

a very few users even complain about

a handful of models being too bright.

As for low output, the ribbon mic has a

transformer that brings the output up

to about the same level as most other

dynamic mics. They have, of course, a

much lower output than condensers, but

screaming into a ribbon gives you about

20mV, the same as for an SM58. The

difference is that ribbon mics are usually

used as an alternative to a condenser and

have a lower output in comparison.

Ribbons Break Easily

We were told that a small puff of wind

will tear the ribbon, and sudden jolts,

or even storing them on their sides

will cause the ribbons to sag. All of the

major manufacturers have been working

diligently on making their ribbons far more

robust than they once were. The old RCA

ribbon mics, such as the 77DX, were said

to have noticeably more bass when tipped

to make the ribbon sag and doing this was

sometimes known as the ‘warmth tilt.’

I do not know if this was ever true using

old ribbon material, and one suspects that

this effect had more to do with a change of

angle than with sagging ribbons!

Some ribbon mics using older designs

and materials may be still somewhat

fragile, but many of the technical advances

made in the past few years have been

in the ribbons themselves and several

models would seem to have ribbons that

are about as robust as you could wish

them to be. Even those models using

conventional two microns thick aluminium

ribbons are far more robust than their

older counterparts, as modern aluminium

foil is purer and the thickness far more

consistent. Impure aluminium foil will

oxidise and therefore become brittle

and break.

+ + + FACT OR FICTION? + + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + +

microphones 2010

Thanks To…

Audio Media would like to thank sE

Electronics, Audio-Technica, Royer, and

Shure for their help with this article.

www.seelectronics.com

www.audio-technica.com

www.royerlabs.com

www.shure.com

+ + + ORCHESTRA + + + + ORCHESTRA+ + + + ORCHESTRA+ + + + ORCHESTRA+ + + + ORCHESTRA+ + + + ORCHESTRA + + + + ORCHESTRA + + + + ORCHESTRA

An Engineer’s Guide To The Orchestra

Starting With Stereo“The most accepted stereo source is the standard Decca tree – two omni mics around two metres apart and a third omni 1.5 metres forward. The tree is above the conductor and gives a true impression of what he or she is hearing. I’ll often use the traditional Neumann M50s for that, which is what Decca trees were fi rst used with. But there are alternatives; I really like some of the DPA microphones – the DPA4006s because they have a very nice smooth sound. Neumann TLM50s and KM83s can work well too.”

The Fills“I’m sure if you ask other engineers, everyone has a different view on how to create side and rear fi lls and where they should go. A lot of people add in extreme side fi lls to add more width to the tree – typically TLM50s or KM83s

again, perhaps some other cardioids. If space is tight I may put the sides and rears in extreme places to add character. They’ll be there to capture refl ections off a wall or ceiling, anything to fi ll out the ambience. Sometimes I’ll even put them up on a balcony.

“A lot depends on the score – what you record always depends on what the score is trying to do, which is always up to the director and the composer. Directors generally know what they are trying to create, so you’re always working with that. In many cases a lot of activity in the rear can be detrimental. I’ve worked on projects where the director wanted nothing at the rear because he wanted to keep the dialogue clean. For other fi lms – e.g., action movies – there’s a need for a lot of activity. And it’s not just ambience – sometimes other elements, like piano, percussion and keyboards, are included in the rears.”

Strings“For more gentle material, I may just use the room – that always gives a smoother and more diffuse sound. But for action movies the strings may need more bite and defi nition, and that will mean close miking the whole section to add some bite to the sound. Typically I’ll put up one mic per desk. In a section of forty, that can mean twenty mics or more. I’ll fi nd out from the composer beforehand if there are any solo lines, which are usually played by the leaders in each section. Soloists get an extra mic of their own, to be used with discretion.”

The mics are on stands, between two and four feet away, depending on the space and the sound we’re after. For the high strings I might use Schoeps CMC5s or Neumann KM84s, for the lows U87s or U89s. For solo violin or cello I’ll often use a DPA 4011, which is another DPA mic with a very smooth sound, or a Neumann 149.

We present a short trip around the instruments of an orchestra with Angel Studios’ Senior Engineer Gary Thomas, who brings a lifetime’s experience to bear on his own approach to orchestral recording...

6 AN ENGINEER’S GUIDE TO THE ORCHESTRA

microphones 2010


+ + + ORCHESTRA + + + + ORCHESTRA+ + + + ORCHESTRA+ + + + ORCHESTRA+ + + + ORCHESTRA+ + + + ORCHESTRA + + + + ORCHESTRA + + + + ORCHESTRA

An Engineer’s Guide To The Orchestra

6 AN ENGINEER’S GUIDE TO THE ORCHESTRA

I don’t usually use contact mics except for very special effects – I think we have just the one in the cupboard at Angel now.

They can be very impressive though – there’s a DPA contact mic which is superb for double bass. It’s only about a centimetre wide but it sounds fantastic.”

Brass“Brass can be more of a challenge than some of the other sections. First – screens. You’ll sometimes fi nd that on the fi rst cue of the day the brass wipes out the strings and drowns out everything else. And once in a while dynamics don’t get written in, so the section can be playing more enthusiastically than it should. If there’s a brass onslaught like that, some extra work is needed. Then again, for something like a John Williams score you want to keep that powerful brass sound because it’s a key feature of the mix. So again it depends on the music. In a big orchestral room, you may not want screens because there’s enough space for everyone. But in smaller rooms screens are a good way to give yourself more control.”

“Mic placement for brass is similar to strings – a section mic like a stereo Schoeps or a Neumann SM69, and then individual mics in pairs or trios. Often I’ll record the horns from behind – they’re usually loud enough and far enough away from the percussion not to pick up too much spill. I would use any large capacity microphone like a Neumann U47 or U89, generally look for a mic that has an attenuator with high headroom.

On trumpets I’ll use a Coles ribbon 4038, which is a very smooth sounding microphone that can take some of the edge off the sound. Alternatively Neumann U87s or U89s can work well, again usually with a pad especially for louder playing.”

Woodwind“Musicians try to keep their instruments in top form, but that isn’t always possible. Sometimes with woodwind you’ll get clicks and clacks from the keys. To minimise that I’ll mic them from some distance away – to get the full value of the sound yet attempting to lose the key noises. That doesn’t always work. Bassoons sound best miked from the middle, not the top, which can make it impossible to eliminate the key noise. For woodwinds I’ll use brighter sounding mics because you’re only really dealing with mids and top – there’s not much needed at the bass end. So I’ll use AKG 414s on clarinets and bassoons, and Neumann 184s and 89s on the fl utes. The exception to that is bass clarinet, which composers write for when they want something comical or sinister. My fi rst choice for that is a Calrec 1050 cardioid, which is a warmer sounding mic, that brings out the body of the sound, but is still quite small. It’s also very handy to have a crossed pair of cardioid mics on the section to create some width and depth.

Percussion“With percussion I like to have distance and the option of extremely close mics, inches rather than feet, on things like bass drums, snare drums, sparkly sounds like Mark trees and piano pins. The close miking adds body to the sound. So for a bass drum hit, you may want heavy resonance. Also, military snares would be close miked to add more body and balance out some of the snare rattle with extra depth. Similarly triangles, vibes, and marimbas would all be close miked. Cymbals are the exception. I’ll place the mic maybe a couple of feet away on those to cut down on their natural harshness.

“Dynamic range is the issue for percussion, and there are some vintage Calrecs which have an amazing dynamic range – they’ll take almost anything – but still sound exceptional. I’ll also use a mix of AKG D12s, Neumann KM84s, and sometimes I’ll use a couple of dynamics like SM58s.

Piano“For piano. I’ll use Neumann KM143s for a fi rst choice, or perhaps DPA 4006s because they give a very open sound. If it’s a short lid set-up I’ll use a pencil mic like the Neumann KM184. The 143s and the 184s are both small cardioid condensers so they can work for close miking. Sometimes you want a darker sound, and the old Calrecs or a Neumann KM84 are good for that.”

Many thanks to Angel Studios for its help with

this article. Interview by Richard Wentk.

8 PROMOTIONAL FEATURE

From some of the most high-profi le live sound events to small town theatre installations, AKG’s equipment is used to satisfy a wide variety of audio requirements the world over. In just the last year, AKG’s microphones and wireless microphone systems were used live in concert by Kanye West, Missy Elliot, and Alejandro Sanz; they were installed for secure audio transmissions at the Swiss Exchange in Zurich’s Crystal Palace, and they were installed in a wide variety of theatres, cinemas, and recording studios. Here are just a few products that have contributed to AKG’s global dominance:

DMS 700The frequency-agile DMS 700 is AKG’s fi rst digital wireless microphone system. Offering users a state-of-the-art feature set that includes digital audio encryption, ultra wide tuning range, and a high channel count in a simple to use 19-inch chassis, the DMS 700 is ideal for live sound reinforcement, conference facilities, courtrooms, and houses of worship. It operates with two frequency bands that each feature a tuning range of up to 155MHz, and it has the ability to operate up to 100 channels simultaneously.

With all these features, the DMS 700 offers a clean digital audio transmission that

eliminates the distortion and signifi cant noise levels that are typically produced with analogue systems. For confi dential audio transmission, each channel can be secured with its own encryption, allowing the user to broadcast sensitive audio transmissions with confi dence. What’s more, the infrared link between receiver and transmitter

offers a quick system setup for easy and user-friendly operation.

Included in the DMS 700 are the DHT 700 Digital Handheld Transmitter, the DPT 700 Digital Bodypack Transmitter, and the CU 700 Charging Unit. Each of the components can be purchased individually or grouped together to make up the DMS 700, and can be easily integrated to operate with Harman’s HiQnet protocol.

Perception 120 USBThe Perception 120 USB is AKG’s fi rst USB-equipped microphone and is a real plug-and-play device that allows users to do podcasts, voiceovers, and studio-quality rehearsal-recordings from their desktop without any installation or drivers. It’s one of AKG’s most user-friendly microphones to date, and is compatible with Windows XP, Windows Vista, MAC OS X, and Windows 7.

The desktop microphone includes a two-third-inch

AKG has been pioneering the development of cutting-edge audio technologies since 1947. Today, it is continuing its tradition of audio innovation in producing some of the most advanced microphones and wireless microphone systems in the world.

Professional Sound Solutions

Latin superstar Alejandro Sanz used

the frequency-agile DMS-700 for his

worldwide Paradise tour.

AKG’s frequency-agile DMS 700.

AKG’s

Perception 120

USB.

+ + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + +

microphones 2010

8 PROMOTIONAL FEATURE THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 9

CONTACT DETAILS

AKG Acoustics GmbH Lemböckgasse

21-25 A-1230, Vienna, Austria

e [email protected]

t +43 1 86654 0

f +43 1 86654 8800

US Distributor:

AKG Acoustics, U.S.

8400 Balboa Boulevard

Northridge, CA 91329

condenser capsule with a low-mass diaphragm that delivers accurate sonic details. It features an integrated pop fi lter that avoids plosives, a switchable bass cut fi lter, and an attenuation switch, and comes complete with a tripod table stand, a swivel mount, and a USB cable.

Architectural Microphone SeriesWith over 6,840 customisable settings that can be adjusted by the customer on a new interactive website, AKG’s Architectural Microphone Series is one of the most versatile lines of microphones available on the market.

Just by logging on to the website, users can customise their microphones based on seven different variables: capsule design, polar pattern, gooseneck length, connector style, printing, colour, and accessories. With the click of a button, users can select from fi ve different capsule designs, including a signal, tech, current, fl ow, or cross design. There is an option for hypercardioid, cardioid, and omnidirectional polar patterns, and an option for connection preference, based on the most common use of the microphone.

In addition to the functional settings, there are also a number of pages on the website where users can adjust the microphone’s aesthetic qualities. There is an option to adjust the neck length from 15cm, to 30cm, to 50cm, change the colour or fi nish, and even decide what’s printed as a logo. Finally, after the functions and appearance of the microphones are set, users can choose to add a number of different accessories including different types of mounting clips, a stand adapter, a screw set, and a windscreen for greater capsule protection.

iPhone ApplicationWith its new iPhone application, AKG has given users a new tool to browse, monitor, and control

their wireless microphone and IEM systems from the palms of their hands.

The new application links Harman’s HiQnet® protocol to the iPhone and iPod® Touch app via Wi-Fi® network, and has the power to monitor wireless system parameters and radio frequency connections from anywhere for some of AKG’s most popular wireless microphone systems, including the DMS 700, the WMS 4000/4500, and the IVM 4 in-ear monitoring system. With the new app, the iPhone can now also be used to browse through the entire wireless system within the device list, monitor each device and its parameters separately within the stripe view, or use the RF monitor to check the radio frequency connection of each wireless device.

The new iPhone application is available online at the iTunes store.

UK Distributor

Sound Technology Plc.Letchworth Point, Letchworth Garden CityHertfordshire SG6 1NDe [email protected] +44 (0) 1462 480000f +44 (0) 1462 480800w www.soundtech.co.uk

India Distributor

Hi-Tech Audio Systems PVT. Ltd.3406, Desh Bandhu Gupta Road, Karol Bagh, 110005 New Delhit +91 11 4317 4317 (30 Lines) f + 91 11 2872 0461

China Distributor

Acton Audio Musical Instruments Ltd.3 Hong Ye Road , Wang Gang Town Pudong District, ShanghaiMarketing and Sales:e [email protected] +852 2737 7688f +852 2730 3573w www.tomleemusic.com

Check www.akg.com/distributors for the complete list of AKG Distributors

AKG’s revolutionary iPhone application brings

freedom and fl exibility to audio engineers

everywhere.

+ + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + +

+ + +AUDIO-TECHNICA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNI-

The youngest of the world’s ‘big four’ microphone brands, Audio-Technica has employed design innovation and advanced manufacturing to consistently break the price/performance barrier with leading products for studio, broadcast and live production applications. As a world leader in the design and manufacture of high performance microphones and wireless microphone systems, Audio-Technica has developed market leading product ranges for music recording, broadcast production, and live production. In each of these areas Audio-Technica delivers products that have raised the performance bar and established a reputation for design, engineering, and build manufacturing excellence that is second to none.

It’s an engineering and business philosophy that originates with the company’s inception in 1962 when founder Mr. Hideo Matsushita introduced a moving-magnet-type stereo phonograph cartridge. The company went on to design and produce phono cartridges and tone arms, both under its own brand and for others, including the legendary NHK broadcast organisation. The same high precision design and engineering techniques that made the company’s various cartridge designs so successful were also applied to the manufacture of microphone and headphone products throughout the 1970s and 1980s, earning the brand prestigious status among audio professionals.

In The StudioIt was with the introduction of the AT4033 in 1992 that the company established a leading position in the studio recording market. The AT4033 was the fi rst ever high performance large studio condenser microphone priced at under US$1,000; exploiting the very latest design, engineering, and production techniques, the AT4033 provided performance from a back electret design that rivalled famous studio condenser models several times more expensive. Special accelerated diaphragm aging methods ensured performance remained consistent over time, which provided for a more linear response over a wide frequency range, even at high SPLs.

Modern production methods enabled a level of consistency that ensured the identical performance of every microphone; with no necessity to produce the microphones in ‘matched pairs’ for stereo recording. Selling in thousands, the success of the AT4033 established the company’s reputation as a high-end studio microphone manufacturer and spawned the 40 Series large diaphragm condenser range. All models in the 40 series adhere to the same paradigm of high performance and value for money, and as testimony to their quality also come with the company’s Lifetime Warranty.

Recently added to the 40 Series are two exciting new models, the AT4080 and AT4081 – the company’s fi rst ever ribbon microphones. The pair feature groundbreaking Audio-Technica design, with no less than 18 patents pending on the new models. Created from the ground up, the AT4080 and AT4081 convincingly solve the problems of fragility and low output that

have traditionally plagued ribbon mics, in part through the use of a proprietary MicroLinear ribbon imprint for excellent durability.

A signifi cant degree of hand production, including ribbon corrugation, imprint, and assembly, is involved in the construction of the new mics, which maintain the sought-after ‘vintage-style’ ribbon mic tone.

Also designed to bring classic tone to the studio are the AT4050ST and 4047MP. The AT4050ST is a stereo version of the widely-used AT4050, featuring a pair of elements positioned at 90° to each other in a Mid-Side set-up, with one element in cardioid mode and the other confi gured as fi gure-of-eight. This innovative design allows users to opt for either a left-right stereo output, or for discreet mid-side signal for later manipulation for remarkable fl exibility.

The AT4047MP is a multi-pattern condenser microphone, created to deliver beautiful vintage tone that is perfectly suited to vocals, strings, acoustic guitar, and instrument ensembles. The pattern choices comprise omnidirectional, cardioid, and fi gure-of-eight pickup, while the transformer-coupled output and specially tuned element provide the sonic character of early FET mic designs.

Modern day classics of the recording world, the 40 Series microphones are lauded by internationally renowned

engineers and producers like Phil Ramone, Joe Chiccarelli, Frank Filipetti, Nathaniel Kunkel, and David Reitzas. These are among the world’s most successful and best selling studio microphones today.

The Drive for Innovation, Quality, and Consistency


AT 4081

AT 4080

microphones 2010


For BroadcastIn the broadcast industry Audio-Technica is a brand that has become synonymous with high performance location recording microphones employed in the transmission of major outside broadcast events. In particular the company has been associated with the broadcast of international sporting competitions. For many years, the offi cial broadcast productions of the Summer and Winter Games – from Atlanta City to Beijing and Vancouver – have featured literally thousands of Audio-Technica microphones. In particular the company’s innovative shotgun designs have enabled greater capture of close up audio in games and competitions.

Introduced in 2009, the BP4071 and BP4073 microphones are tailored to the needs of critical broadcast applications with excellent signal-to-noise ratios and RFI-immunity. Innovative acoustic design also ensures that the new models offer levels of directivity comparable to mics up to 50% longer, and as such deliver unequalled performance in a compact package.

At the other end of the spectrum, the new BP892 (headworn) and BP896 (lavalier) are subminiature omnidirectional condenser microphones, designed to provide high SPL handling and accurate sound in tiny packages for broadcasters, presenters and actors.

On StageIn recent years Audio-Technica has won devotees among artists and sound engineers alike for its Artist Elite Series performance stage microphones, in both wired and wireless form. With users and endorsees as musically diverse as Alesha Dixon, Rush, Metallica, and Katherine Jenkins, AE Series handheld models – both condenser and dynamic – are famed for their sound quality. When partnered with Audio-Technica’s recently updated 5000a and 4000a Series wireless technology, transmission quality is such that engineers as seasoned as Dick Rabel are on record as saying that there is “remarkably little difference” between wired and wireless models with the same capsule.

On backline too, Audio-Technica is a de facto standard for many world-class sound engineers including ‘Big’ Mick Hughes (Metallica, Def Leppard, Slipknot), Dave Bracey (Robbie Williams), and Andy Hawkins (Pigeon Detectives). For these and many others, models like the AE2500 dual element design, the AE3000, the AT4050 and AT4041, and the ATM350 are essential tools of the trade. These live production series are now joined by re-engineered Artist Series, offering unrivalled performance at competitive price points: they are already making an impression in the market, with singers including Jodie Jones using the ATM710 condenser exclusively on stage, and other models earning a place on backline rosters.

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In addition to the unique Lifetime Warranty offered on its 40 Series, Artist and Artist Elite series microphones, Audio-Technica introduced its First Impressions trial scheme in 2009. Covering the above-mentioned ranges, First Impressions allows consumers to try microphones in their own particular working environment, free of charge, for a two-week period. Trial mics are shipped with a discount voucher, redeemable in-store only against Audio-Technica microphones from these ranges at a participating First Impressions dealer. Further details are available at www.audio-technica.com/fi rstimpressions

Audio-Technica Ltd (UK)Technica House

Royal London Industrial Estate

Old Lane

Leeds

UK

LS11 8AG

t +44 (0) 113 277 1441

w www.audio-technica.com

Harvey Roberts

Senior UK Marketing Manager

t 0113 277 1441

e [email protected]


BP 892

+ + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYER

Optimal Sound As the Measurement of all ThingsSince the Eugen Beyer electrical engineering factory was founded in 1924, beyerdynamic has been synonymous with German-made applied high technology in the professional audio electronics sector.

Until this very day, Eugen Beyer’s heirs feel bound by the company’s tradition and by its visionary, pioneering founder’s values. Technological advance, constant innovation, and maximum quality standards ensure the company leads the fi eld in sound technology

worldwide. Eighty-six years after its foundation, beyerdynamic still develops headphones and microphones in Germany, which are carefully handcrafted in the southern city of Heilbronn. Each of our products contains true passion and know-how for an excellent sound experience.

Currently the beyerdynamic product range comprises, in addition to microphones, wireless systems and professional headphones, headsets for TV commentators and pilots, as well as conference

systems and interpreting facilities. The latest inventions of our engineers therefore include products for 5.1 surround sound integrated in high-tech headphones, the worldwide unique wireless conferencing system Revoluto, high-end headsets with digital noise cancelling, individually manufactured headphones for iPod fans, and premium headphones with novel Tesla Technology.

beyerdynamic is proud to number among its products many ‘industry standards’, such as the DT 100 monitoring headphone and the M 88 TG dynamic microphone.

Microphone PortfolioLive Performance Microphones

The Difference Between Microphones Deciding on a beyerdynamic microphone is fi rst and foremost an individual process. The selection of a microphone is based on a great number of factors: personal preferences, the voice or instrument itself, and how and what is being sung or played. All beyerdynamic microphones have their own special characteristics. They differ in their design, sound, and timbre. Sometimes the differences are great, and sometimes they are only nuances. One thing beyerdynamic microphones have in common is the unbelievably natural sound they deliver on stage or in studio, and the maximal feedback suppression – and hence optimal live experience for artists and their audience – they guarantee.

Opus Series: When Sound Meets Function As different as the Opus models may be, they are all united by their ability to meet all demands on stage or in the rehearsal room. Their robust construction can stand up to the rigours of touring, they can handle high sound pressure levels, and provide an extremely high gain-before feedback. The models in the Opus series stand for a lot – but especially for their outstanding sound characteristics.

TG-X Series: A Synonym for Excellent Live PerformancesThe higher the demands, the better. Striving to be better is by all means positive – also when it comes to your music equipment. This applies in particular to the microphone; after all, what good is the greatest talent when the wrong technology makes it sound only average in the end? The reverse is also obviously true: only with an optimal microphone can you get the best out of yourself. The microphones in the TG-X series are synonymous with perfect live performances.

beyerdynamic GmbH & Co. KG

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beyerdynamic GmbH & Co. KGbeyerdynamic microphones, wireless systems, headphones, and headsets are chosen by professionals all over world for their sonic excellence and reliability.


microphones 2010


M Series: Legends of Music You can’t create a legend; it arises from fame. The M series models have earned their

reputation as classics. Hardly any other microphone is linked to the history of rock and roll in quite the way that our ribbon microphones M 130 and M

160, or the dynamic models M 88 TG, M 69 TG, and M 201

TG are.

Studio and Recording MicrophonesMC and MCE Series: Reliable Partners for your Daily Work MC and MCE microphones accompany recording engineers, broadcast professionals, and fi lm crews at work reliably. Through professional competence

and high quality awareness our microphones made their mark in the

audio industry. One of many beyerdynamic inventions in the microphone technology was in 1996, when the company presented the MCD 100, the world’s fi rst digital studio microphone, at the 100th AES convention in Copenhagen.

MC 840The MC 840 is an extremely compact large diaphragm studio microphone with a gold vaporised double diaphragm, and fi ve selectable polar patterns (omnidirectional, wide cardioid, cardioid, hypercardioid, fi gure-of-eight). On the basis of the MC 740 microphone capsule this model has been equipped with an improved low-noise pre-amplifi er and an impedance transformer without transducer. Due to a two-stage roll-off fi lter (80 and 160 Hz) compensating the close miking effect and a two-stage pre-attenuation (-10 and -20dB), the MC 840 is a superior microphone for any recording application. It has been designed without compromise to capture every sound detail with absolute clarity and purity. Applications for the MC 840 include recording orchestras resulting in a superb transparent sound.

MC 900 SeriesThe MC 900 small-diaphragm condenser microphone series features a tremendous diversity due to the sound neutrality and painstaking construction of its models. Designed as fi rst-class tools for stage and studio, the models MC 910 (omnidirectional), MC 930 (cardioid), and MC 950 (supercardioid) are the fi rst choice for all applications where high-quality pickup or transmission of acoustic signals is crucial. The MC 900 microphones are particularly suitable for natural pickup of choirs, orchestras, solo instruments (e.g., guitar, wind instruments, drums), or even stage plays. The special characteristics of this series include a high open-circuit voltage and a wide balanced transmission range without a narrow-band resonance rise. Through the switchable pre-attenuation of 15dB, the models are also perfectly suited to use with very high sound levels. In the MC 930 and MC 950 models, the switchable bass roll-off fi lter compensates for the proximity effect; the MC 930 and MC 950 with their largely frequency-independent directional characteristics offer outstanding directivity in combination with high elimination of noise from the rear. All models operate from a phantom power supply of 11-52V, and can hence be used with nearly any microphone amplifi er for studio and live applications.

+ + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYER

beyerdynamic GmbH & Co. KGTheresienstraße 8

74072 Heilbronn – Germany

t +49 (0) 7131/617 440

f + 49 (0) 7131/617 299

e [email protected]

w www.beyerdynamic.com

fame. The M series models have earned their reputation as classics. Hardly any

other microphone is linked to the history of rock and roll in quite the way that our ribbon microphones M 130 and M

160, or the dynamic models M 88 TG, M 69 TG, and M 201

TG are.

Studio and Recording MicrophonesMC and MCE Series: Reliable Partners for your Daily Work MC and MCE microphones accompany recording engineers, broadcast professionals, and fi lm crews at work reliably. Through professional competence

and high quality awareness our microphones made their mark in the



+ + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + +

The Blue StoryFounded in 1995 by Skipper Wise, a professional musician and producer with over 100 albums to his credit, and Martins Saulespurens, a renowned audio and electronics engineer, Blue has grown from a company that refurbished vintage microphones into a unique, multi-faceted audio company with a prestigious line of award-winning microphones and accessories. Blue’s mission statement was expressly to improve the front-end of audio recording by utilising the

increased bandwidth benefi ts enabled by the advances in digital processing (e.g., extended frequency response, dynamic range, and project recording capability). These microphones would harness this new era of digital technology, eliminating the need to suppress the most colourful aspects of the audible spectrum (thundering lows and piercing highs) that were previously constrained by the analogue process of recording onto tape. Basing many of their concepts, designs, and technology on

knowledge gleaned from years of repairing and improving classic mics from a wide variety of manufacturers, while simultaneously integrating new technologies, materials, and a fi rst-hand knowledge of today’s recording processes, Blue is a pioneer in developing the modern analogue input devices for the digital age.

Capture Every NuanceBlue’s philosophy is that all great sound begins with the capsule. Hand assembled and tuned, our proprietary capsule designs capture specifi c sonic signatures in specifi c ways, creating completely different tonal characteristics for each mic in the Blue lineup. In addition, Blue studio mics employ state-of-the-art technology that ensures the purest possible signal path and Class-A fully discrete circuitry with no ICs, pads, or fi lters; each microphone is designed to fi ll a specifi c role in a recordist’s repertoire. The result is a portfolio of professional studio microphones that create a palette of sounds, enabling artists to truly realise the sonic landscape of their vision.

Sound For Everyone, EverywhereWith the advent of increasingly powerful and affordable personal recording software, Blue realised that project studio recording presented the next revolution in the music industry. Believing that the lack of a high-quality USB microphone to protect the signal source would be an impediment, Blue developed the Snowball, now the number one-selling professional wired condenser microphone in the world. Throughout its development process the Snowball was designed with musicians in mind, however people quickly began to adopt the product for consumer applications such as podcasting, chatting, and narration. These new and constantly expanding applications have allowed Blue to tap into its pro audio DNA to launch a line of products catering to life outside the studio. These include high-quality USB products for both Mac and PC, iPod accessories, and an XLR-to-USB converter that allows everyone to take advantage of the quality and performance inherent in every Blue microphone, right on their own computer.

Blue Microphones is commonly referenced as ‘the microphone company of today’ melding the heritage of the past with current cutting-edge technology, leading to continuous innovation in the fi eld of studio recording, live performance and consumer audio.

Serious Tools For Serious Recording

The Flagship Bottle SeriesDesigned for the most discerning recordists, the Bottle Series (consisting of the Bottle, the Bottle Rocket Stage One, and Bottle Rocket Stage Two) feature microphones capable of providing a wide palette of tonal characteristics and pickup patterns to satisfy even the most discriminating tastes. The Bottle Series integrates the best of Blue’s discrete class-A circuitry with a unique and revolutionary system of interchangeable capsules, like Blue’s Bottle Caps, that provide the engineer with a wide range of potential tonal characteristics.

The Bottle

The Bottle is our highest achievement in quality and innovation. Meticulously hand assembled, the Class-A discrete Bottle utilises a single EF86 pentode vacuum tube in triode mode. The Bottle combines low noise and superb transient response, and when combined with Blue’s nine interchangeable Bottle Caps capsules, provides the recordist with an entire mic cabinet all in one mic.

Bottle Rocket Stage Two

The Stage Two’s transformerless, Class-A discrete tube amplifi er circuit delivers low noise and superb transient response. Like the Bottle, the Stage Two has the ability to hot swap up to nine

different capsules for amazing versatility.

Bottle Rocket Stage One

The Stage One is Blue’s most accessible mic with a foundation of interchangeable capsules. The Class A discrete solid state Stage One has a very low self-noise specifi cation (<7.5dB) and a very high output level (+12dBV), making it the perfect choice for today’s high sample rate/deep word length digital platforms.

microphones 2010


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Blue’s latest innovative USB mic is the multi-pattern Yeti. Yeti’s triple-array capsules boast latency-free monitoring (with dedicated volume control), digital muting, and just like all Blue mics, amazing sound quality. With four different pattern settings and THX-certifi cation for exceptional sound and performance, the Yeti can capture anything with a clarity and ease unheard of in a USB microphone.

Application Specifi c SeriesEvery Blue microphone in the Application Specifi c Series contains its own proprietary capsule that is hand-tested to capture a specifi c sonic signature. Blue’s philosophy is to create microphones that are unparalleled for their intended application.

Cactus: Nine-pattern tube condenser – vintage vocalsKiwi: Solid state multi-pattern – Blue’s signature contemporary vocalsMouse: Bottom end boom – bass, drums, and broadcasting Woodpecker: Only ribbon mic with true top end – classic warm sound and an ultra-smooth top end Dragonfl y: Thickens thin sound sources – high vocals, acoustic guitar, drum overheads Blueberry: Commanding, intimate presence – vocals moved to the front of the mixBaby Bottle: Midrange focused – rock vocals, guitars

Innovative Consumer Recording Tools

The Best Studio Mics in the World. Live.With our new en•CORE line of studio-grade handheld microphones, all of the knowledge, craftsmanship, and innovative technology we’ve poured into our high-end studio microphones has now been transferred to the stage. Designed to deliver exceptional all-round performance and capture your unique, individual sound, the en•CORE mics combine beauty and ruggedness into one perfect family of instruments. Gorgeous styling and craftsmanship, including elegant grille/ring assemblies, precision-machined barrels and grips, along with rugged durable plating fi nishes, make the en•CORE line a standout on any stage.

en•CORE 100

Studio-grade dynamic that delivers natural vocals, balanced highs, and amazing detail and clarity.

en•CORE 200

Blue’s proprietary Active Dynamic Circuit delivers those same natural vocals with amazing detail and clarity, along with electronically transformed output to provide remarkably high gain.

en•CORE 300

Features a hand-selected cardioid condenser capsule, tuned for an open, detailed, and present sound. Its custom-designed phantom power circuit provides a rapid and powerful sound, while the unique reinforced chassis design mounts the capsule for optimal performance and isolation from handling noise.

en•CORE 100i

Utilises a new dynamic capsule with a custom-tuned diaphragm designed specifi cally to provide a tighter polar pattern perfect for miking instruments and

other sources requiring high isolation.

Baby Bottle: Midrange focused – rock vocals, guitars

Eyeball

Icicle

Mikey

Snowfl ake

YetiSnowball

Blue Microphones (North America)

t + 1 818 879 5200

f + 1 818 879 7258

e [email protected]

w www.bluemic.com

Europe: TC Group International

Sindalsvej 34, 8240 Riskkov

Denmark

t +45 8742 7000

e [email protected]

w tcelectronic.com

L-R - Cactus, Kiwi, Mouse, Woodpecker, Dragonfl y, Blueberry, Baby Bottle

+ + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + +

DPA prides itself on producing the best, most accurate microphones available, guaranteeing stunningly natural sound quality and zero colouration. Each microphone is handcrafted in Denmark and whatever the application, venue or instrument, DPA can provide the optimum microphone.

DPA 4099 Clip MicrophonesDPA’s ever-growing 4099 range of clip microphones has solutions for different instruments at an affordable price, and is proving a hit with musicians who love freedom when playing live. Each 4099 comes with an

ingenious, gentle mounting accessory, which stays put on the instrument while

the mic captures the best possible sound. The 4099 range is invaluable for gigging musicians who want to guarantee

unbeatable, reliable quality each time they play.

To hear who’s been won

over by the DPA 4099, go to the DPA Video

Gallery at www.dpamicrophones.

com/video, where musicians including Randy Brecker, Chris Minh Doky and Curtis Stigers, and Sting’s engineer Donal Hodgson, share their experience of the range.

DPA 4099 Key Features

High gain-before-feedbackNatural soundEasy, gentle mounting Suitable for ever-growing range of instruments including guitar, violin, trumpet, sax, cello, bass, drums and piano

DPA MiniaturesSince the 4060 miniature microphone series launched in 1996, the result of intensive work with leading theatre sound designers to fi ne-tune adapters and mounting cables, DPA miniature condenser mics have proved indispensable. Much loved in the theatre, where they are widely used on West End, Broadway, and touring productions the world over, DPA miniatures have also found favour in broadcast and for close-miking. With a capsule smaller than a pencil eraser, DPA miniatures have a neutral character, combining great detail and resolution with a rounded sound and natural response. A range of adapters make them suitable for use with most professional wireless systems.

DPA miniatures are available in different sensitivities and a range of skin colours for effi cient concealment, as well as cardioid and omnidirectional versions. Many accessories are available, as are miniature miking kits in a neat carrying case, combining mics and accessories for specifi c applications such as stereo recording, instrument miking, electronic news gathering, and fi lm. DPA’s miniature mic technology is also deployed in the BLM4060 Boundary Layer Microphone for boardrooms, conferences, courtrooms, and anywhere that excellent vocal pickup is essential.

DPA Miniatures Key Features

Natural, highly detailed soundWide dynamic rangeRugged designCompatible with most wireless transmitters

DPA HeadbandsDPA sets the standard for headband mics, being at the forefront of this miking technique. The acclaimed DPA headbands complete the miniature range and are famous for staying put under the most diffi cult conditions as well as their clear, natural sound. Comfortable and easy to wear, DPA headbands come in omindirectional and cardioid versions, in a choice of colours, and for the left and right sides of the face. Much R&D has gone into ensuring that humidity and moisture won’t be a problem. This is demonstrated night after night in theatres and broadcast studios across the world, as DPA headbands are put through their paces on the most rigorous performances and productions.

DPA Headband Key Features

Headband of choice for theatres and broadcastersEasy to adjustExtremely stable once in placeNatural, highly detailed soundResistant to wear and tear, sweat and humidity

Professional Microphone Solutions For Any Need

when playing live. Each 4099 comes with an ingenious, gentle mounting accessory, which stays put on the instrument while

the mic captures the best possible sound. The 4099 range is invaluable for gigging musicians who want to guarantee

unbeatable, reliable quality each time they play.

To hear who’s been won

over by the DPA 4099, go to the DPA Video

Gallery at www.dpamicrophones.

com/video, where musicians including Randy Brecker, Chris Minh Doky and Curtis Stigers, and Sting’s engineer Donal Hodgson, share their experience of the range.


microphones 2010


DPA Surround

Articles on Surround Sound

Visit the DPA Microphones University at www.dpamicrophones.com/micuni where there are numerous tutorials and articles on the art of miking in surround.

DPA 5100 Mobile Surround MicrophoneDPA offers various versatile solutions for surround miking. The DPA 5100 mobile surround microphone features fi ve miniature pressure transducers that exhibit extremely low sensitivity to wind and mechanical noise, low distortion, highly consistent low frequency, and enormous dynamic range. This self-contained plug-and-play solution is compact, easy to use, and features DPA’s stunning sound quality. Its innovative design delivers a rich, smooth, and totally enveloping ambience to HDTV production, sports broadcasts, fi lm projects, etc.

DPA 5100 Key Features

Plug-and-play solutionLightweight and portableRich, smooth, fully enveloping soundDiscrete 5.1 analogue output, no processing needed

DPA D3 & S5 Surround MountsThe DPA Decca Tree (D3) and Surround Mount (S5) are stylish mounts for two, three, or fi ve microphones. The adjustable, modular design, with centre fi xation point for perfect balance, allows numerous classic confi gurations for fi xed install and mobile setups.

DPA D3/S5 Key Features

Flexible and lightweightIntegrated cable optionMatched surround mic kitsReproduces any arrayCompatible with all mic holders

DPA StandardsDPA also excels in crafting high quality studio microphones, guaranteed to deliver a stunningly faithful version of the original. Components are carefully selected to provide optimum neutrality, accuracy, and low distortion. No wonder that mics such as the classic 4006 omni and 4011 cardioid – which have both been upgraded in transformerless versions – have found a home in the greatest studios across the world. These are joined by a fi rm favourite with the broadcast market: the 4017mk2-R shotgun mic with sophisticated Rycote weatherproof systems.

DPA CompactsThe smaller cousins of the DPA Standards, these handy little mics also come in a great selection of omni, cardioid, and wide cardioid versions, offering ingenious mounting solutions and, of course, DPA’s proven sonic excellence. Invaluable for close-miking instruments,

live sound reinforcement, and podium speaking, the versatility of the DPA compact range means

there is a mic for every application. DPA compacts and standards are also

available in carefully-matched Stereo Kits for a wide variety of uses.

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About DPA Microphones

Drawing on more than fi ve decades of world-class condenser microphone design, DPA has manufactured ground-breaking products in its own name since 1998. The company employs around 100 people and is represented by professional audio distributors and dealers in more than 40 countries worldwide. All DPA microphones and components are manufactured at the company’s purpose-built factory in the north of Denmark.

Head Offi ce:

DPA Microphones A/S

Gydevang 42-44

DK-3450 Alleroed

Denmark

t +45 4814 2828

f +45 4814 2700

e [email protected]

w www.dpamicrophones.com

US Sales Offi ce:DPA Microphones, Inc.

2432 N. Main St., Suite 200

Longmont, CO 80501

USA

t +1 303 485 1025

f +1 303 485 6470

e [email protected]

w www.dpamicrophones.com

DPA Surround

Articles on Surround Sound

Visit the DPA Microphones University at www.

DPA D3/S5 Key Features

Flexible and lightweightIntegrated cable optionMatched surround mic kits



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Company Profi leMicW is the professional recording microphone brand manufactured by BWSA Technology Ltd. The company, founded in Beijing in 1998, fi rst became known for its precision industrial test and measurement microphones and equipment, before creating a complete range of microphones for recording and live applications. The company’s extensive experience of measurement microphone manufacture assisted its entrance into the professional recording microphone market: for example, MicW’s quarter-inch and half-inch omnidirectional capsules are direct descendants of BWSA’s precision designs for test and measurement microphones, and MicW makes use of BWSA’s design team and wholly owned manufacturing facilities.

The Capsules High-quality microphones require high-quality capsules. MicW has invested heavily in the

development of a range of capsules from 7-37mm in diameter. The tension of the capsule diaphragm and the backplate gap are carefully adjusted to produce the right acoustic performance during manufacture.

The choice of material used to construct a microphone’s capsule diaphragm is a decisive element in the quality of the overall microphone design. A single type of material may not meet all the requirements made of MicW’s different microphone designs, so MicW uses titanium, nickel, stainless steel, and synthetic polymers to make its diaphragms. It is essential that the diaphragm, which has a thickness of just a few micrometres, is completely airtight.

N-Series – Precision Recording MicrophonesThe N-series precision recording microphones are based on the nickel diaphragm technology in all metal structures. The microphones transport spectacularly pure and uncoloured sound. The new models in the N series family include:

HN101 A one inch diaphragm with selectable 80Hz low frequency cut-off and -10 dB attenuation. It provides precision recording with no colour added.

CN201The compact version of the N201. The omnidirectional CN201 is perfect for drum, guitar, and bass miking, percussion and speech or vocals.

MicW Audio is a precision microphone manufacturer of the metal-type professional microphones for recording, broadcasting, and live music. Its N-series high quality condenser microphones are based on nickel diaphragm technology. In 2010, MicW launched 11 new products, ranging from high-quality handheld vocal mics to compact, desktop, shotgun, and boundary models.

Precision Solutions

The HN101.

The CN201.

microphones 2010


MicW Audio Unit 1003, North Ring Center

No.18 Yumin Road, Xicheng District

Beijing 100029, China

t +86 10 5128 5118

f +86 10 8225 1626

e [email protected]

w www.mic-w.com

E-Series – Performance The MicW E-series microphones are developed for general recording purpose with high ratio of performance vs. cost. The E-series microphones have the similar mechanical structures as N-series microphones but different material. The diaphragms of the E-Series are made from polymer and coated with gold or nickel. Their innovative design means E-series microphones have similar accuracy and performance as N-series microphones. The E-series microphones are a good choice for customers looking for high value microphones with high performance. The new models in the E series family include the E436 and BE426.

E436 A professional miniature clip-on mic with an omnidirectional pattern. It is the ideal choice for miking up musical instruments, and spot miking in live recording.

BE426 A boundary layer microphone. It is ideal for use in the boardroom, or in conference facilities and courtrooms where excellent vocal pickup is required. The BE426 has very high sensitivity.

G-Series – Golden Diaphragm MicrophoneThe MicW G-Series Golden Diaphragm Microphone is an omnidirectional microphone that uses a 26mm diameter large diaphragm capsule. It uses a gold-plated polymer diaphragm, whose tension is carefully adjusted during the manufacturing process to ensure the frequency response from 10Hz to 20kHz with a 4-6dB soft boost around 8kHz. The HG106 is the new model of the G series.

Microphone PairMicW also provides microphone pairs that are state-of-the-art stereo kits featuring two matched microphones. Each pair is guaranteed to a sensitivity match within 0.5dB, and phase match within 5º up to 5000Hz.

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Precision Solutions

International Distributors

USA: FDW w www.fdw-w.com

UK: eMerging w www.merginguk.com

France: Areitec w www.areitec.fr

Norway: Procom w www.procom.no

Japan: ONZU w www.onzu.co.jp

The E436.

The BE426.

+ + + PRISM SOUND+ + + + PRISM SOUND+ + + + PRISM SOUND+ + + + PRISM SOUND+ + + + PRISM SOUND+ + + + PRISM SOUND+ + + + PRISM

Prism Sound has been supplying successful studio products for over twenty years and is renowned for designing specialised performance products built for the most discerning in the industry, where sophisticated and innovative technologies set them apart from the masses.

Famous for producing uncompromised audio hardware, Prism Sound and Maselec are no strangers to the most demanding and revered recording, mixing and mastering studios, and engineers around the world. The key feature and main attraction to all of their equipment is the transparent signal path.

Throughout their product range Prism Sound’s converters and Maselec analogue processors are designed to capture, process, and reproduce analogue and digital audio with clinical accuracy and faithfulness to the original signal. The MMA-4XR microphone preamp is no exception; the MMA-4XR is a four-channel minimalist microphone preamplifi er that has been designed to provide integrity and transparency.

Consistent with this, each channel has controls for gain (69dB in 3dB steps), phase invert, cut (mute), and 48V phantom power. The phantom power circuit provides a higher-than usual level of current output – often a problem with inferior designs that can result in compromised microphone performance. Its output headroom extends to +28dBu, whilst the frequency response extends to more than 200kHz – well beyond the basic 20kHz audio band.

The TheoryWhen a microphone is chosen for a job, it seems logical to do it justice by providing adequate gain via the preamp without colouring the sound.

This was the philosophy when Leif Mases set about designing his microphone preamplifi er. Leif’s rich audio history behind the console, including work with Black Sabbath, Led Zeppelin, and Jeff Beck, gave him the practical frontline experience needed to identify what he required when he decided to design the original MMA-4 mic preamp

nearly ten years ago. It was a huge success and was favoured by engineers needing a combination of great dynamic range and low noise performance, as well as a preamp that would capture the sound of the microphone – a preamp that remained transparent and colour-less at all gain values, something that was not always available due to poorer transistor designs in some of the other available tube-less mic pres.

The MMA-4XR design was a continuation from the MMA-4’s success and also allowed room for some improvements due to the availability and better performance provided

by newer components and creative feedback about the original design and applications, such as the popularity of ribbon microphones. This meant a complete input stage redesign, including a ten discrete transistor input, increased input impedance, and new amplifi er design so that the 60dB gain range of the MMA-4 was altered in the XR model to start at 9dB (instead of 0dB) and increase in 3dB increments to 69dB (instead of 60dB).

All of this resulted in an improved sounding and performing microphone preamplifi er staying faithful to the design philosophy of the original Maselec MMA-4 pre.

MMA-4XR Case StudiesYouki Yamamoto and Matt HoweComposer and Arranger Youki Yamamoto has resided in the UK for the last 22 years partnering with Grammy award-winning Engineer Matt Howe. Based primarily at their studio in

Maselec MMA-4XR Microphone Preamplifi er


Youki Yamamoto and Matt Howe in their studio at Pinewood with their MMA-4XR mic pres and Prism Sound ADA-8XR converter.

microphones 2010


Pinewood Studios, both Youki and Matt have worked on several international fi lm and TV scores at various locations around the world.

“We took MMA-4XR mic pres with us everywhere last year – Teldex Studios in Berlin, National Radio Hall in Sofi a, Abbey Road Studios in London, and Sony Music Studios in Tokyo.

In the orchestra sessions we used two MMA-4XR pres on all of what we considered the important mics. This included the conductor’s tree microphones, certain section microphones, and solo spots. During the mixdown, we used fewer microphones than we really recorded because the MMA-4XR revealed the best characteristics of our principle microphones we had taken. These included some vintage valve microphones and other modern day condenser mics.

Matt has used the MMA-4XR for other music sessions, including Latin Percussion on a recent Jazz album. The controls are very simple to use and easy to read.”

Steve LevineMulti-award winning Producer and Composer Steve Levine has worked with many of the

renowned pop and punk acts over the past three decades, as well as composing a number of fi lm scores. Still a very-much active producer and contributor to the audio and music industry, Levine can be credited with helping to defi ne modern digital audio production.

“Over the many years I’ve been a record producer I have used some of the world’s greatest studios and have regularly used Prism AD/DAs, but it’s only recently that I discovered the MMA-4XR mic pre, and what a revelation!

I have built up a nice collection of mics over the years – every single one sounded better through this mic pre, especially the more esoteric ones. I have just got the new Audio Technica ribbons and they sound so amazing

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Prism Sound and Maselec products can be found in many studios around the world, often complementing one another within a single system. This natural marriage is the inherent result of a passion from both companies to produce the highest quality audio devices without compromise. This synergy became offi cial in the late 90s when Prism Sound and Maselec teamed up to produce a range of analogue processors, MEA-2 equalizer, MLA-2 compressor/limiter, and MMA-4XR mic pre, to complement the already-popular Prism Sound converters.

Prism Media Products Ltd.The Old School, High Street

Stretham, Cambridgeshire

CB6 3LD, England

w www.prismsound.com

t +44 (0) 1353 648 888

f +44 (0) 1353 648 867

e [email protected]


Steve Levine: Producer, and Maselec MMA-4XR and Prism Sound Orpheus user.PHOTOGRAPH: ROSIE LEVINE

Mike Hedges with the Three Priests.

through this mic pre (ribbons are one of the hardest tests for a mic pre). I am also a fan of detented pots, great for repeatable settings.”

Mike HedgesAlready a renowned and successful Producer Mike Hedges has been praised for his recent work on the hugely successful classical album The Priests, a project that took Mike and his team from Northern Ireland to Vatican City to produce the fastest selling UK debut album for a classical act.

“Very rarely have I come across a piece of equipment that is truly indispensable and I am so happy to have found these. Prism Sound and Maselec have certainly delivered on their promises with the MMA-4XR; it is only when recording through mic amps of this quality that you can really appreciate the massive benefi ts and true beauty of audio transparency.”

+ + + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + +

For more than sixty years, the name Sennheiser has been synonymous with state-of-the-art microphones. Bands, artists, live sound engineers, recording engineers and amateurs, broadcast professionals and fi lm crews worldwide rely on Sennheiser microphones.

Sennheiser – The Audio Specialists

00 SENNHEISER MICROPHONES

HistoryLab WSennheiser was founded in the summer of 1945 as ‘Laboratorium Wennebostel’ or ‘Labor W’ (Lab W) for short, named after the tiny village of Wennebostel. Founder Prof. Dr. Fritz Sennheiser, at the time Deputy Head of the Institute for Radio Frequency Engineering and Electroacoustics at Hanover Technical University, turned the relocated university lab into a small company and started manufacturing measuring devices. Two years later, he and his engineers unveiled their very fi rst microphone design, the MD 2 – and were soon to become experts in many fi elds of audio recording and reproduction. Early product highlights included amplifi ers, microphone transformers, magnetic miniature headphone capsules, and microphones such as the MD 3 ‘invisible’ mic (1949), the MD 82 shotgun microphone (1956), and Sennheiser’s fi rst wireless microphone (1957), which opened up a fi eld in which the company was to excel in the future. In 1958, Lab W was renamed ‘Sennheiser electronic’, as the company had long since ceased being just a small laboratory.

SennheiserInnovations continued under the Sennheiser brand name. The company developed condenser microphones that operated according to the RF principle, and the fi rst professional condenser clip-on microphone, the MK 12. The world’s fi rst open headphones were developed at Sennheiser (1968), and the company led the innovation for infrared sound transmission in the seventies. The launch of the radio microphone classic SKM 4031-TV in 1982 laid the foundation for the success of Sennheiser wireless systems in the following years, and was followed by the development of ever-smaller clip-on microphones. 1993 saw the launch of another radio microphone classic, the SKM 5000. In 1987, Sennheiser was awarded the Scientifi c and Engineering Award for the MKH 816 shotgun microphone, and an Emmy Award for pioneering developments in RF wireless technology in 1996. In 1998, the evolution microphone series was launched, followed by evolution wireless in 1999, Sennheiser’s most successful RF wireless series to date. In 2000, Sennheiser introduced the fi rst studio microphone to fully utilise the wider frequency range of the new

digital audio formats, the MKH 800. 2002 saw the glamorous combination of the SKM 5000 N with a Neumann capsule. In 2007, Sennheiser launched its new MKH 8000 Series. 2009 saw the launch of the wireless 2000 Series and of the third generation of evolution wireless systems.

From 1988, the company had begun founding its own sales subsidiaries to further increase proximity to its customers. Today, the Sennheiser network is comprised of subsidiaries in France, Great Britain, Belgium, the Netherlands, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Canada, Mexico, and the USA, as well as long-term trading partners in many other countries. The Sennheiser Group has manufacturing plants in Germany, Ireland, and the USA.


utilise the wider frequency range of the new

The late company founder Prof. Dr. Fritz Sennheiser and his son Prof. Dr. Jörg Sennheiser, Chairman of the Supervisory Board. (PHOTO: PETRA SCHRAMBÖHMER)


microphones 2010


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evolution Microphones

The evolution series of microphones provides a complete microphone set-up for vocals and the entire backline. It comprises 600 Series instrument microphones, 800 Series vocal microphones, and the top-of-the-range 900 Series of vocal and instrument mics, with such acclaimed models as the e 935 dynamic vocal mic and the e 965 large-diaphragm, true condenser vocal microphone.

The MD Range of Dynamic Microphones

Sennheiser’s rugged, easy-to-use dynamic microphones include all-time classics as the MD 21, MD 421, and MD 441, but also reporters’ microphones like the MD 42 and MD 46.

Permanently Polarised Condenser Microphones

Everything from professional subminiature clip-on microphones for use with Sennheiser’s wireless technology to headset microphones and small camcorder microphones. Among the classics are the legendary MKE 2 clip-on, and the K6 Series, where the user can tailor the microphone to the recording situation by adding microphone heads of varying directivity to the basic power module. The portfolio also comprises the award-winning HSP 2 and HSP 4 headset microphones, the MKE 400 camcorder microphone, and Sennheiser’s smallest clip-on, the MKE 1. The latest additions are the single-sided Earset 1 and Earset 4 mics for stage and broadcast use.

MKH Microphones

The choice for recording, broadcast, and fi lming

specialists, Sennheiser’s MKH microphones are a sophisticated class of condenser microphones. They operate according to the RF principle and use a unique symmetrical push-pull transducer. The result of this balanced design is

an unchanging acoustic impedance, extremely low distortion fi gures, a higher capsule output with much lower noise, and thus a very clear signal. These microphones

are uniquely insensitive to unfavourable climatic conditions, have a wide dynamic range and an excellent low frequency response even with small capsules.

Although their capsule is grounded, they possess a genuine fully fl oating, balanced output without the need to use a transformer. The latest models in this line are the MKH 8020 (omni), MKH 8040 (cardioid), MKH 8050 (super-cardioid), and the MKH 800 Twin, a double-capsule microphone whose audio signals are available separately at the output. This allows the pick-up pattern to be remotely controlled and modifi ed during post-production.

Wireless Microphone Systems

Thanks to the outstanding RF properties of Sennheiser’s wireless technology, sound engineers were able to create systems with more than 140 microphone channels operating

simultaneously. The top-of-the-range 3000 and 5000 Series include such industry standards as the SKM 5200 handheld and SK 5212 bodypack transmitters, as well as the EM 3732 twin receiver. As the entry line to the professional segment, the 2000 Series offers Sennheiser’s renowned audio and RF quality at a very attractive price point.

For more than one

million users worldwide, evolution wireless is their no.1 choice for stage and live use. Whether wireless instrument transmitters or acclaimed vocal mics – this series contains wireless solutions for almost every application. Great sound, quality workmanship, and exciting extras for up-and-coming bands, established performers, presenters, musicians, reporting teams, and PA companies.

Digital Microphones…

…are the youngest members in the Sennheiser microphone family, and a sound investment in the future of audio. Simply by adding a digital module, the renowned MKH 8000 series can be turned into digital microphones. Perfectly matched to the MKH microphone heads, the MZD 8000 digital module directly ‘translates’ the clear, warm, and responsive sound of the microphones into the digital world, avoiding the losses or signal disruptions to which cables are prone. The microphones can be remotely controlled, allowing parameter settings such as the low-cut fi lter and attenuation to be adjusted via an AES 42 interface and a PC.

headset microphones, the MKE 400 camcorder microphone, and Sennheiser’s

The choice for recording,

simultaneously. The top-of-the-range 3000 and 5000 Series include such industry standards as the SKM 5200 handheld and SK 5212 bodypack transmitters, as well as the EM 3732 twin receiver. As the entry line to the professional segment, the 2000 Series offers Sennheiser’s renowned audio and RF quality at a very attractive price point.

The Microphone Portfolio

complete microphone set-up for vocals and the entire

specialists, Sennheiser’s MKH microphones are a sophisticated class of condenser microphones. They operate according to the RF principle and use a unique symmetrical push-pull transducer. The result of this balanced design is

an unchanging acoustic impedance, extremely low distortion fi gures, a higher capsule output with much lower noise, and thus a very clear signal. These microphones

are uniquely insensitive to unfavourable climatic conditions, have a wide dynamic range

evolution wireless is Sennheiser’s most successful RF

wireless series.

SENNHEISER

Sennheiser electronic GmbH & Co. KG

Am Labor 1

30900 Wedemark

Germany

t +49 (0) 5130 6000

f +49 (0) 5130 600 300

e [email protected]

w www.sennheiser.com

A complete list of Sennheiser subsidiaries and partners around the globe can be found at www.sennheiser.com.

The MKH 8000 Series can be used in analogue and digital environments, simply

by exchanging a mic module.



+ + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + +

Superior sound and solid reliability have made our microphones the industry standard for decades. Shure microphones deliver consistent vocal and instrument reproduction in any performance or recording setting.

Shure microphones for performance and recording are designed for artists and engineers at all levels. Whether you’re at the top of the charts or on your way there, choosing from any of these Shure product lines puts you in good company.

KSMShure KSM Series microphones balance exceptional performance and fl exibility with a level of reliability and consistency not typically found in ultra-premium microphones. Finely tuned condenser cartridges give voice to each of these six elegant models, with high sensitivity to accurately capture the widest variety of sound sources. Their very low self-noise makes them ideal for use with digital mixing and recording equipment. Some models feature switchable polar patterns for increased versatility and to suit the characteristics of a particular voice, instrument,

or microphone technique.The KSM9 unites the best of studio and

stage. With its dual diaphragm design and switchable polar patterns, the KSM9 reveals nuance and subtlety normally heard only in a studio microphone. Yet, its solid build quality delivers traditional Shure dependability allowing it to be used in the most demanding live environments. A wireless version is also

available for performances where complete mobility is required.

The latest introductions to the KSM range include the KSM313 and KSM353 ribbon microphones (formerly known as Crowley and Tripp’s Naked Eye and El Diablo respectively).

BetaShure Beta Series microphones are designed specifi cally for use in live performance applications. They feature carefully tailored supercardioid polar patterns with a remarkable absence of off-axis colouration, for use when high sound levels onstage require maximum isolation without sacrifi cing sound quality. Handheld vocal, miniature instrument-mount, and low profi le head worn models are available, as well as dynamic and condenser kick drum models. The latest addition to the range is the large diaphragm Beta 27 microphone, which is unique in the industry as the only side-address, supercardioid condenser designed for professional sound reinforcement.

SMLegendary SM Series microphones have come to defi ne the sound of live performance. Recognisable by name and reputation, SM microphones are virtually indestructible professional gear, built to take the punishment of night-after-night touring. Durable and reliable, SM microphones deliver consistent vocal and instrument reproduction in any performance setting. The SM58 and SM57 – the #1 and #2 bestselling microphones worldwide for decades – possess a consistency and familiarity that takes some of the guesswork out of setting up an unfamiliar sound system in an unfamiliar venue.

Performance GearPerformance Gear Series microphones are designed to give access to Shure professional quality for artists and musicians on a more modest budget. Models include a complete set of vocal, instrument, and drum microphones. Ideal for everyday use and practice, they share many of the performance and construction details of other legendary Shure microphones. Performance Gear microphones come complete with cables and accessories, so they easily fi t into the beginner’s budget. New models in this range include the PG27 multi-purpose microphone, and the PG42 vocal microphone (both available in USB and XLR versions).

Shure Performance Gear wireless microphone systems deliver the freedom and convenience

of wireless, while matching the legendary sound quality of our wired microphones.

X2UThe X2U is Shure’s new XLR to USB signal adapter allowing users to connect their favourite microphone directly into a computer. Features include zero latency monitoring and monitor mix control, making it ideal for a whole host of applications at home, in the studio, or on location.

UHF-RShure UHF-R Wireless Microphone Systems deliver uncompromising Shure sound, and are the premium choice for the most demanding music, theatre, and broadcast applications. The latest frequency band (K4E) covers Channel 38 in line with the latest developments in UK

spectrum regulation. The entire system can be networked together via USB or Ethernet connections with Wireless Workbench software providing full monitoring and set-up features

Superior sound and solid reliability have made our microphones the industry standard for decades. Shure microphones deliver consistent vocal and instrument reproduction in any performance or recording setting, which is why they are legendary.

Legendary Performance

X2U

The KSM313 bi-directional ribbon

microphone.

microphones 2010


for all parameters. The all-metal handheld and bodypack transmitters have switchable RF output power and a backlit LCD display. Shure’s breakthrough Audio Reference Companding delivers crystal-clear sound that matches a hard-wired microphone.

ULXShure ULX wireless systems deliver outstanding performance for working musicians and professional sound system installers. ULX is an excellent choice for larger performing groups, meeting facilities, and houses of worship. Shure Predictive Diversity constantly monitors RF signal strength and silently switches antennas when it appears likely that a dropout will occur. Automatic Frequency Selection makes it easy to fi nd an open frequency, lockable frequency and volume adjustments prevent tampering once the system has been set; ½-wave antennas that can be remote-mounted are standard equipment; and the receiver provides in-line power for antenna amplifi ers.

SLXShure SLX Series wireless systems are designed for working bands and sound system installers. Useful features like Automatic Frequency Selection and Infrared Auto Transmitter Setup make setup quick and easy, and Shure’s patented Audio Reference Companding delivers sound that matches a wired microphone.

PGXShure PGX wireless systems offer Automatic Frequency Selection and Infrared Auto Transmitter Setup ensure quick and easy setup, while microprocessor-controlled diversity and Audio Reference Companding deliver great sound and reliable performance. PGX systems are available with the most popular Shure handheld, lavalier, headworn, and instrument microphones, providing a stage-ready option for almost any application. The popular Beta 87 is now available on PGX for the fi rst time.

All Shure wireless systems are available in both handheld and bodypack styles, with a wide choice of handheld, lavalier, and headworn microphones. Receivers range from simple to elaborate, and a full selection of accessories and other tools are available to complete any installation.

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Shure History

Founded in 1925, Shure has consistently produced innovative products that have become industry benchmarks. Here are just a few of the many Shure milestones:

The fi rst directional microphone: The model 55 Unidyne, introduced in 1939, was the fi rst directional microphone, meaning that it was able to reject sounds from the sides and rear. The Unidyne greatly improved the sound quality of public address systems. The unique styling of the 55 series – also known as “the Elvis mic” – has been featured in countless videos, movies, and ads.

The fi rst wireless microphone: The Vagabond 88, introduced in 1953, was the fi rst wireless microphone system for performers. The radio signal from the microphone was picked up by an antenna wire along the perimeter of the stage, which connected to a receiver.

The fi rst stereo phonograph cartridge: Introduced in 1958, the M3D brought high-fi delity into the home, at a time when millions of people were discovering stereophonic sound.

The fi rst portable P.A. system: The Vocal Master, introduced in 1958, was the fi rst product to combine a mixer, equaliser, and amplifi er, in one portable unit, greatly simplifying P.A. system setup and operation.

Shure Incorporated corporate headquarters is located in Niles, Illinois, in the United States. The Company has additional manufacturing facilities and regional sales offi ces in China, Germany, Hong Kong, Japan, Mexico, The United Kingdom, and The United States.

United Kingdom

Shure Distribution UK

Unit 2,The I.O Centre

Lea Road, Waltham Abbey

EN9 1AS, UK

t 01992 703058

f 01992 703057

e [email protected]

USA, Canada, Latin America, Caribbean

Shure Incorporated

5800 West Touhy Avenue

Niles, IL 60714-4608 USA

t +1(847) 600-2000

t (U.S. only) +1(800) 25-SHURE

f +1(847) 600-1212

e (US): [email protected]

e (Canada/Latin America/Caribbean):

[email protected]

Europe, Middle East, and Africa

Shure Europe GmbH

Wannenacker Str. 28 74078

Heilbronn Germany

t 49-7131-72140

f 49-7131-721414

e [email protected]

AsiaShure Asia Limited

301, Citicorp Centre

18, Whitfi eld Road,

Causeway Bay, Hong Kong

t (+852) 2893-4290

f (+852) 2893-4055

e [email protected]

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Since its fi rst foray into microphones in 1960, TELEFUNKEN has produced its microphones in the earnest tradition of excellence and innovation.

TELEFUNKEN Elektroakustik of South Windsor, Connecticut, has been following the tradition of excellence and innovation set by the original German TELEFUNKEN Elektroakustik, GmbH which began over 100 years ago.

While TELEFUNKEN Elektroakustik was widely regarded as Europe’s fi nest tube and audio equipment manufacturer, its foray into microphones began in earnest in 1947, with the distribution of the world renowned U-47, and the release of arguably the world’s most sought after microphone, the ELA M 251 in 1960.

Production of the original ELA M 251 ceased in 1963, but was reborn in 2000 when owner Toni Fishman needed to recreate the switch assembly for the 251s in his extensive vintage microphone collection. Having made the moulds for the revival of these historic microphones, the next logical step was to faithfully recreate the entire microphone in its original, historically accurate glory.

As the years passed, historic blueprints for capsules, circuits, and systems were obtained. Transformers were recreated; often by their original manufacturer from 50 years ago. This meticulous historic research has led to the creation of TELEFUNKEN Elektroakustik’s Diamond Series, which includes historically accurate reproductions of the U-47, U-48, C-12, and four different versions of the ELA M 25x, which all embody precise historic detail.

In 2009, not satisfi ed to rest on the

laurels of historically accurate recreations, the CK-13 capsule was released. This capsule features a diaphragm membrane material made from Alloy 2213™, a Titanium and Aluminium alloy that was originally developed for the aerospace industry. The material has better rigidity than the gold that is traditionally employed for microphone diaphragms, with a lighter mass in order to achieve a greater level of detail and nuance captured by the microphone system.

The R-F-T SeriesSimultaneous to the continued development and refi nement of TELEFUNKEN Elektroakustik’s Diamond Series has been the development and refi nement of the affordably priced R-F-T Series.

The R-F-T brand name is a nod to TELEFUNKEN’s former East German rival R-F-T; a company that was also producing fi ne microphones during the 50s and 60s,

but were more affordably priced than their TELEFUNKEN counterparts.

The modern R-F-T Series takes only its name from the historic R-F-T Company. The microphones within this series feature newly developed

amplifi ers; which take advantage of modern manufacturing processes while

keeping the eye for quality and depth of tone fi rmly entrenched in the TELEFUNKEN

tradition of excellence.The R-F-T AR-51 microphone employs

the same output transformer as the historic C-12 and ELA M 251 E (made by the original manufacturer), and a very similar amplifi er design which is built on a printed circuit board instead of the very costly implementation of ‘point to point wiring’ found in the historic Diamond Series, and feature six selectable polar pickup pattern options.

The TELEFUNKEN Elektroakustik R-F-T AK-47 received a bit of an internal face-lift this year, and the AK-47 MkII was born. The AK-47 features a New Old Stock (NOS)

TELEFUNKEN EF-732 tube, which is very similar in size and function to the TELEFUNKEN AC-701 tube found in historic M-49/50/269c, KM-54/56, SM-2, and M-221b microphones, as well as

many others that were built by various manufacturers during the 50s and

60s. The properties of this tube exemplify the air, clarity, and sexy depth of tone associated

with these historic classics.

2010 UpdatesIn 2010, it was found that

with a couple of amplifi er modifi cations, the noise fl oor

could be lowered, and increase the microphone’s internal current handling capability for better transient and bass

response. These modifi cations made it possible to add the historic BV8 transformer found in the ubiquitous U-47/U-48 microphones of yesteryear for what has become the AK-47 MkII. The BV8 assists the transfer of low frequency detail that the newly designed amplifi er affords, leading to a higher degree of reality and detail necessary for the recording of music, voice, and ambient sources.

Also included in the R-F-T Series is the ELA M 260 small diaphragm pencil mic, which provides nearly unparalleled fl exibility in its design. Three interchangeable capsules are provided with the system permitting the user to decide if Cardioid, Omni-directional, or Hyper-Cardioid will best suit their recordings. The ELA M 260 also features the NOS TELEFUNKEN EF-732 tube, and a proprietary output transformer that permits the detail of the audio to be translated for the best possible result and highest quality recording.

In order to round out TELEFUNKEN Elektroakustik’s product offerings, a dynamic microphone called the M80 was developed. In the TELEFUNKEN tradition of innovation, a low mass/high output diaphragm system was developed, along with a proprietary head grille assembly and output transformer. The head grille assembly helps the M80 achieve a greatly reduced proximity effect, which assists with the mitigation of the ‘mud’ found in the industry standard hand-held vocal microphone.

A Tradition Of Innovation

Transformers were recreated; often by their original manufacturer from 50 years ago. This meticulous historic research has led to the creation of TELEFUNKEN Elektroakustik’s Diamond Series, which includes historically accurate reproductions of the U-47, U-48, C-12, and four different versions of the ELA M 25x, which all embody precise historic detail.

In 2009, not satisfi ed to rest on the

fi ne microphones during the 50s and 60s, but were more affordably priced than their

TELEFUNKEN counterparts.The modern R-F-T Series takes

only its name from the historic R-F-T Company. The microphones within this series feature newly developed

amplifi ers; which take advantage of modern manufacturing processes while

keeping the eye for quality and depth of tone fi rmly entrenched in the TELEFUNKEN

tradition of excellence.The R-F-T AR-51 microphone employs

the same output transformer as the historic C-12 and ELA M 251 E (made by the original manufacturer), and a very similar amplifi er design which is built on a printed circuit board instead of the very costly implementation of ‘point to point wiring’ found in the historic Diamond Series, and feature six selectable polar pickup pattern options.

The TELEFUNKEN Elektroakustik R-F-T AK-47 received a bit of an internal face-lift this year, and the AK-47 MkII was born. The AK-47 features a New Old Stock (NOS)

CK 13

M 80

Aluminium alloy that was originally developed for the aerospace industry.

many others that were built by various manufacturers during the 50s and

60s. The properties of this tube exemplify the air, clarity, and sexy depth of tone associated

2010 UpdatesIn 2010, it was found that

with a couple of amplifi er modifi cations, the noise fl oor

could be lowered, and increase the


microphones 2010


Like the industry standard, the M80 has found its way onto countless tours. The M80 has many more applications than just vocal duties: it is being used by countless artists and recordists for snare, guitars, percussion, and a myriad of other applications. It has found a home on the road with users as varied as Phish and Cee-Lo; The Dixie Chix, and Green Day, not to mention applications in recording studios the world over.

TELEFUNKEN On TourIn 2009 TELEFUNKEN Elektroakustik was presented with a very interesting situation. The production crew for Green Day’s current world tour; in support of their multi-platinum album 21st Century Breakdown (which employed many TELEFUNKEN microphones in recording) liked the M80 so much during rehearsals they wanted to use it on the tour.

However, Green Day plays stadiums and arenas where a wireless vocal microphone is pretty much mandatory.

The engineering staff at TELEFUNKEN was able to modify the band’s current wireless microphone systems to work with the M80 capsule and output transformer. The band and crew liked the system so much that over 40 microphones have been modifi ed to date. Other artists have liked the clarity of the vocals on the Green Day tour so much that they too have requested their wireless microphone systems also be modifi ed, so this modifi cation is now a standard product, which is available ‘factory direct’.

+ + + TELEFUNKEN+ + + + TELEFUNKEN+ + + + TELEFUNKEN+ + + + TELEFUNKEN+ + + + TELEFUNKEN+ + + + TELEFUNKEN+ + + + TELEFUNKEN+ + + +

TELEFUNKEN Elektroakustik300 Pleasant Valley Rd. Unit E,

South Windsor, CT 06074, USA

w www.t-funk.com

e [email protected]

AK 47 ELA M 251 E U 48 AR 51


The Benefi ts of Violet Design Microphones Are:

• High SPL level• Very low self-noise• Low distortions• Wide dynamic range• High output level• Solid state or tube Class A

discrete preamplifi er• An attractive design• Hand craftsmanship with a 5-year

warranty

+ + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET

A Unique Look, Superior Sound Quality, and Innovative Solutions

Violet Design’s main philosophy is to offer handcrafted microphones with a unique look and a superior sound quality, using innovative solutions in manufacturing techniques without losing details of that vintage microphone sound. We believe that in the process of music recording, the most important things are passion and inspiration, and nothing should get in the way of these two. So with our ideology we trust in three simple points: excellent performance, easy to use, and good design.

The applications for Violet Design microphones are wide and diverse – you can use them in a recording studio or sound reinforcement, in broadcast or a TV studio, in the fi lm or video industry, in a project studio or home recording.

UsersOur microphones are successfully used by dozens of famous producers, recording engineers, and musicians, starting from Bruce Sugar (Ringo Starr, Elton John, Paul McCartney, Ozzy Osbourne), David Kahne (Paul McCartney, Sublime, Fishbone, The Bangles), Joe Barresi (Tool, Kyuss, Melvins, The Jesus Lizard), John Paterno (Bonnie Raitt, Joan Osborne, Los Lobos) to B2 – a famous Russian band.

ProductsThe Flamingo METhe Flamingo ME is the top-of-the-line vacuum-tube studio microphone designed for high-end quality audio recording. The irregular shape of diaphragm and sputtering technology of the membrane coating result in a resonance and harmonic free, warm, and very natural sounding transducer that provides 130dB and higher SPL. The larger diaphragm

surface provides higher output and low

frequency response beginning at 16Hz.

The Flamingo ME

has unidirectional cardioid polar patterns, and introduces a new physical design to the industry. The combination of a massive body, an internal

capsule shockmount, the integrated head shockmount, and the included compact

external shockmount work together to reduce

rumble and outside infrasonic interference as

well as mechanical shocks.The internal vacuum

tube pre-amplifi er is based on class-A fully discrete electronics,

built using the best quality components and carefully selected and tested 6267 vacuum tube.

Global Pre + VIN Mk.2 HeadsThe Global Pre preamplifi er body is designed for use with our VIN-series changeable capsule heads. It is also compatible with Neumann’s vintage M7, M8, and M9 series. The Global Pre is an alternative to expensive and noisy vintage vacuum tube preamplifi er bodies and is affordable enough for small or home studios, but produces a sonic performance way above its price point.

Phantom powered, linear, class-A discrete solid state transformerless preamplifi er electronics provide extremely ultra-low self noise, and hard to measure all kind of distortion.

The Mk.2 heads, whilst still featuring the original capsules, have been redesigned to be more compact with a sleeker look.

Simply changing the VIN head to achieve the desired sound is an excellent design concept that allows users to add to their microphone collection without the hassle of purchasing separate models.

Violet Design – Microphones Made in Latvia


The Benefi ts of Violet Design

• Wide dynamic range

• Solid state or tube Class A discrete preamplifi er

• An attractive design• Hand craftsmanship with a 5-year

use them in a recording studio or sound reinforcement, in broadcast or a TV studio, in the fi lm or video industry, in a project studio or home

successfully used by dozens of famous producers, recording engineers, and musicians, starting from Bruce Sugar (Ringo Starr, Elton John, Paul McCartney, Ozzy Osbourne), David Kahne (Paul McCartney, Sublime, Fishbone, The Bangles), Joe Barresi (Tool, Kyuss, Melvins, The Jesus Lizard), John Paterno (Bonnie Raitt, Joan Osborne, Los Lobos) to B2 – a famous

surface provides higher output and low

frequency response beginning at 16Hz.

The Flamingo ME

has unidirectional cardioid polar patterns, and introduces a new physical design to the industry. The combination of a massive body, an internal

capsule shockmount, the integrated head shockmount, and the included compact

external shockmount work together to reduce

rumble and outside infrasonic interference as

well as mechanical shocks.The internal vacuum

tube pre-amplifi er is based on class-A fully discrete electronics,

built using the best quality components and carefully selected and tested 6267 vacuum tube.

microphones 2010


The Flamingo JuniorThe Flamingo Junior Series of studio microphones are side-addressed

unidirectional microphones designed for professional

audio recording where sound quality and musical character is of the utmost importance. The Junior uses a single-diaphragm cardioid electrostatic transducer, providing vintage tone with transparent highs, optimized vocal presence, and fundamental low-frequency register with minimal proximity effect.

The Junior microphone is designed for the recording

studio all-round needs, capable

of capturing vocals, piano, guitars, drums, percussion, strings,

wind, and other musical instruments and sound sources.

The Amethyst VintageThe Amethyst Series of studio microphones utilise capsules with 6-micron gold sputtered Mylar diaphragms tensioned and adjusted on precisely made brass backplates. They possess very fast impulse transient response without sound colouration or low frequency reduction, as well as the ability to handle louder sound pressure levels. The Amethyst Vintage has a grey/blue body and uses a dual large-diaphragm, centre terminated dual back plate capsule that provides a classical, wide-spectrum, vintage microphone sound. It has a unidirectional cardioid polar pattern with minimal proximity effect and a wide frontal incidence angle.

The Black KnightThe Black Knight uses a large dual-diaphragm, side-terminated, condenser capsule. It possesses a detailed and natural musical sound with transparent highs and a smooth midrange,

with a subtle vocal presence bump at 3kHz, fl at low-frequency response, and a unidirectional cardioid polar pattern. The acoustically open transducer head minimises internal resonances and refl ections so that even the most

minute sound details are authentically captured. An integrated swivel-mount allows for fast and handy positioning of the transducer head. The internal phantom powered preamplifi er’s Class A fully discrete transformerless circuit

provides very high output, fl at audio-response, and ultra-low distortion and noise. Gold-plated contacts on the output connector provide a noise-free connection. The Black Knight is a very accomplished and

well-balanced design, offering real value for money, and would make an excellent fi rst mic for anyone setting up a home studio on a

reasonable budget, easily delivering quality results from any source.

+ + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET

The FingerThe Finger uses a single medium diaphragm transducer to provide detailed sound with smooth transparent highs, optimal presence, and natural low-end response with a unidirectional polar pattern. The Finger has a unique body design with an integrated tapered refl ector which reduces resonances, removes refl ections, and optimises the microphone’s cardioid polar pattern. Integrated damping of the transducer reduces stand rumble, outside infrasonic interference, and mechanical shocks. The Finger microphones are designed for very wide applications, including ambient, musical instrument, and vocal needs. Musical instruments include drums, piano, guitars, percussion, bowed strings, and many other instruments. Vocals include choir and distanced lead vocal applications.

Violet Design LTD.P.O.Box 3393, Tallinn,

10506, Estonia

t (+372) 6455007

f (+372) 6466054

e [email protected]

w www.violet-design.com


The Flamingo JuniorThe Flamingo Junior Series of studio microphones are side-addressed

unidirectional microphones designed for professional

audio recording where sound quality and musical character is of the utmost importance. The Junior uses a single-diaphragm cardioid electrostatic transducer, providing vintage tone with transparent highs, optimized vocal presence, and fundamental low-frequency register with minimal proximity effect.

needs, capable of capturing vocals, piano, guitars, drums, percussion, strings,

wind, and other musical

The Amethyst VintageThe Amethyst Series of studio microphones utilise capsules with 6-micron gold sputtered Mylar diaphragms tensioned and adjusted on precisely made brass backplates. They possess very fast impulse transient response without sound colouration or low frequency reduction, as well as the ability to handle louder sound pressure levels. The Amethyst Vintage has a grey/blue body and uses a dual large-diaphragm, centre terminated dual back plate capsule that provides a classical, wide-spectrum, vintage microphone sound. It has a unidirectional cardioid polar pattern with minimal

with transparent highs and a smooth midrange, with a subtle vocal presence bump at

3kHz, fl at low-frequency response, and a unidirectional cardioid polar pattern. The acoustically open transducer head minimises internal resonances and refl ections so that even the most

minute sound details are authentically captured. An integrated swivel-mount allows for fast and handy positioning of the transducer head. The internal phantom powered preamplifi er’s Class A fully discrete transformerless circuit

provides very high output, fl at audio-response, and ultra-low distortion and noise. Gold-plated contacts on the output connector provide a noise-free connection. The Black Knight is a very accomplished and

well-balanced design, offering real value for money, and would make an excellent fi rst mic for anyone setting up a home studio on a

reasonable budget, easily

30 MICROPHONE MANUFACTURERS DIRECTORY

ADK MICROPHONESADK Microphones was established in 1997 by recording engineer and vintage microphone collector, Larry Villella, to replicate the sonic attributes of vintage European microphones through spectrum analysis and computer modelling of the response curves of his favourite microphones.A wide range of FET, transformerless and tube microphones make up the ADK range, which has just added the Vienna MKII and Hamburg MKII.www.adkmicrophones.com

AEA MICROPHONESAudio Engineering Associates’ (AEA) Wes Dooley drew upon his 40 years of experience and passion for ribbon microphones when he reintroduced the AEA R44 (based on the RCA 44) back in 1998. Since then AEA has introduced mic preamps specifi cally for ribbon use alongside other ribbon microphones, including the well-regarded R84.www.wesdooley.com

AEVOX AUDIOHandmade in Belgium, Aevox Audio produces a range of micro/lavalier microphones and accessories for use with portable recorders, video cameras, wireless packs and computers. The range includes the IE (In Ear) stereo MKII microphones for discreet or binaural recording, power adapter, wind shield, and the Omni Classic M MKII which boasts extended frequency response and reduced handling noise.www.aevox.be

AKG

2007 marked the 60th anniversary for AKG. Founded in Vienna in 1947 AKG has grown a great deal from fi ve workers hand

building microphones, to become one of the principal microphone manufacturers with a product range that spans all areas of professional audio, many becoming established classics. AKG microphones include the Blue Line range of modular mics; lavalier; instrument; live, recording… the list is endless.www.akg.com

AMBIENT RECORDINGAmbient Recording was founded in 1989, and was originally a company dealing with sound equipment rentals and transfers. It now manufactures a number of products for location recording based on the founders’ considerable experience.

Ambient has a couple of microphones, the Tinymike, a mini camera mounted shotgun microphone and the Emesser bi-directional mini microphone.www.ambientaudio.com

AMG ELECTRONICSSitting on the Surrey/Hampshire borders, AMG Electronics produces a number of different confi gurations of its C-ducer (Capacitive-Trans-Ducer) microphone.

Available in various lengths, 1mm thick, fl exible and light weight, the C-ducer can be formed to all shapes of instrument surface. www.c-ducer.com

AMTApplied Microphone Technology has been manufacturing microphones for seventeen years, and takes the approach of producing microphones for specifi c instruments without compromise. www.appliedmic.com

AUDIO LTDBased in High Wycombe, Audio Ltd produces a number of wireless solutions for theatrical and broadcast applications. The Envoy range is designed for ENG news crews who are looking for high quality and reliability. The RMS2040 range of wireless products received a recent edition with the miniTX wireless transmitter.www.audioltd.com

AUDIO TECHNICAAudio Technica began back in 1962 in Tokyo’s Shinjuku-Ko district

manufacturing state of the art stereo phono cartridges. Now a global group, Audio Technica is involved in the manufacture of audio equipment across the whole spectrum of the industry.

Its range of microphones illustrates this diversity with cost effective solutions for semi-pro use through to high end models for applications in live, broadcast, studio, commercial and industrial.www.audio-technica.com

AUDIXStarting life back in 1984 in Redwood California, Audix moved to Oregon in 1991 where it established a state of the art manufacturing facility, where the quality of its microphones could be controlled from start to fi nish.

Audix focuses on simple, elegant designs with microphones covering applications in corporate, live, broadcast, and studio. Amongst them is the respected D-series of drum microphones.www.audixusa.com

AVLEXIn Kansas City, USA, Avlex is about rugged cost effective solutions principally for presentation and theatre applications. Other audio applications are covered with microphone ranges with different brand names. Mipro microphones are a line of wireless systems for location and broadcast use, and Superlux microphones are for more studio specifi c uses.www.avlex.com

AZDEN CORPORATIONEast coast USA Azden Corporation has some 40 years of experience utilising CAD and SMT technology to create a number of standard and wireless transduction solutions. Originally an OEM manufacturer for many of the world’s best known brands, the last 15 years has seen Azden raise its own brand identity, providing low cost microphone systems for event and wedding videography use.www.azdencorp.com

BEHRINGERUli Behringer founded the company that takes his name back in 1989 in Germany. Since then Behringer has grown to have offi ces in 10 countries distributing a wide range of audio products. Behringer has a range of general purpose dynamic and condenser microphones including the B-2 Pro and stereo pair C-2.www.behringer.com

BEIJING 797 AUDIOFounded in 1952, Beijing 797 Audio is now a very large concern with development, manufacturing and testing facilities. It has the largest anechoic chamber in Asia and its microphone range encompasses condensers, dynamics and a wide variety of wireless and electret microphones for broadcast and presentation use.www.797audio.com

BERLINER AUDIOUSA-based Berliner Audio introduced its fi rst microphone, the CM33 hand-matched stereo pair in 2007 and has since followed this with four further models. The range fi t a variety of recording

applications.www.berlineraudio.com

BEYERDYNAMICbeyerdynamic has evolved into one of the better known manufacturers since its beginnings back in 1924. Developments in a number of audio areas continue, and

beyerdynamic condenser, ribbon and general dynamic microphones, still form the backbone of many studios’ mic collections.www.beyerdynamic.com

BLUE MICROPHONES Headquartered in Westlake

Village in California, and with engineering and manufacturing facilities in Latvia, Blue Microphones has come a long way since 1995 when founders Skipper Wise and Martin

Saulespurens put together a few hand built microphones for fellow musician friends.Blue has some of the most distinctive looking mics for recording purposes, and through their Vintage Mic Store has further examples as well as vintage mic restoration services.www.bluemic.com

BOCK AUDIO DESIGNSFrom 1996 to 2006, former studio tech (Hit Factory, Oceanway) David Bock ran Soundelux Microphones. Concerned with producing high-end microphones for recording applications, David continues to develop his designs through southern California-based Bock Audio.www.bockaudiodesigns.com

Microphone Manufacturers Directory microphones 2010

30 MICROPHONE MANUFACTURERS DIRECTORY THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 31

BRAUNER MICROPHONESDirk Brauner was developing ideas with tube microphone circuits back in 1993 looking to create the world’s best tube microphone. Initially creating a limited number of handcrafted microphones based on his VM1 design, demand led to the start of Brauner Microphones in 1995 which now boasts an impressive collection of microphones still headed up by the VM1.www.brauner-microphones.com

CAD MICROPHONESCAD Microphones manufactures a variety of visually distinct condenser, tube, ribbon, and instrument-specifi c microphones.www.cadmics.com

CASCADE MICROPHONESUS-based Cascade microphones produces a wide variety of types, but is probably best know for it’s range of ribbon microphones and the retro styling of many of its designs, including the Fat Head II.www.cascademicrophones.com

CHAMELEON LABSChameleon is a relatively new company with the strap line “Value Conscious Audio.” It makes a selection of audio products, including the TS-1 Tube Pencil condenser microphone, and the TS-2 large diaphragm tube condenser microphone.www.chameleonlabs.com

CHARTEROAK ACOUSTICSFounded by producer/engineer Michael Deming in Connecticut in 2002, CharterOak is all about creating the classic microphones of tomorrow.All tube and solid state microphones are assembled and inspected by hand, with each being studio tested before shipping to the customer.www.charteroakacoustics.com

COLES ELECTROACOUSTICSColes in Hertfordshire continues to manufacture the BBC-designed ribbon microphones that include the ever-popular 4038.www.coleselectroacoustics.com

COUNTRYMAN ASSOCIATESWith more than 30 years of experience, Countryman Associates manufactures microphones for a variety of live applications including theatre, presentation and live music. The range consists of a number of mini and micro microphones for these situations.www.countryman.com

DPA MICROPHONES

In 1992, Danish company Bruel and Kjaier took the decision to spin off its pro audio division and outsource sales and service of its 4000 series microphones to the former employees that designed them. It formed Danish Pro Audio and since 1994 has introduced new products into its line. These include mini, compact, large diaphragm and reference test microphones, and also the only phantom powered underwater microphone, the P48 Hydrophone.www.dpamicrophones.com

EARTHWORKS AUDIOFormed in New Hampshire by David Blackmer, the inventor and founder of dbx, Earthworks Audio looks to develop the next generation of audio products, including microphones with its High Defi nition Microphone range. Both general use and instrument specifi c microphones are designed to pick up sound with much higher fi delity than conventional designs.www.earthworksaudio.com

ELATION Many decades of research and development have led Russian company Elation to manufacture its own microphones. Limited to a single large and single small diaphragm condenser microphone, and bass drum mic.www.elation-mics.com

ELECTROVOICEElectrovoice has been developing pro audio products principally in the area of sound reinforcement for over 80 years. Its microphone range illustrates this orientation in both its standard and wireless microphone products. www.electrovoice.com

FOSTEXFounded by the Foster Electronic Company in Tokyo back in 1973, initially to deliver high quality speaker components to customers for Foster, which was well established in the development of transducer technologies. Fostex has come to establish itself in location recording and broadcast audio applications, with a number of mics for these areas.www.fostex.com

GROOVE TUBESFormed in California in the late 1970s by Aspen Pittman, who gathered together some technicians to explore why it was that tubes performed and sounded so different. From a garage workshop to a global company, Groove Tubes now produces a range of tube, FET and ribbon microphones that still includes the MD1.www.groovetubes.com

HHB COMMUNICATIONSHHB entered the mic market with an innovative range of recording mics aimed at audio journalists and fi eld recordists. In collaboration with Sennheiser, HHB now has a range of devices with various options, including the increasingly popular FlashMic.www.hhb.co.uk

HEBDEN SOUNDSince 2003, Sheffi eld-based Hebden Sound Ltd has supplied the HS3000 series of interchangeable capsule microphones, which are still only available directly from Hebden Sound. www.hebdensound.com

HEIL SOUNDThe origins of Heil Sound date back to the 1950s when organist Bob Heil, began to mentally dissect the sounds around him. Heil began to experiment with design and manufacture of organs. He then transferred his experience to other musical forms with great success. The 90s saw Heil move into the microphone market with the HC series, and now Heil has a range that leans towards live applications.www.heilsound.com

HOLOPHONEMusician and sound designer Michael Godfrey founded Holophone in Toronto, Canada, in 1994 looking to deliver the most realistic listening experience from recorded audio. Holophone has a number of microphone products that can accommodate surround applications.www.holophone.com

HORCH AUDIOGerman company Horch Audio manufactures three retro styled tube microphones, the RM3, RM4 and RM2J for high-end recording work.www.horchaudio.de

ISK MICROPHONESISK is a Surrey-based mic manufacturer, and produces top-quality microphones for broadcast and home stuios.www.iskmic.com

JJLABSStarted in Stockolm by Johan and Jerker Antoni in 2000, JJLabs has a comprehensive range of tube, ribbon, and conventional condenser and dynamic microphones. It also has the unique Ehrlund triangle membrane condenser microphone designed to deliver the desirable traits from both small and large diaphragm condensers.www.jjlabs.se

JOEMEEKReferencing many of the experiments made by Joe Meek in the early to mid 1960s, Joemeek continues to provide cost effective solutions for project and pro audio, with a range of general purpose small and large diaphragm condenser and dynamic microphones.www.joemeek.com

JOSEPHSON ENGINEERINGSince 1998 Josephson Engineering, as well as producing and supplying capsules to other microphone manufacturers, has produced its own range of microphones for studio, location, live and instrument specifi c applications.www.josephson.com

JZ MICROPHONESOver the past decade, Latvian manufacturing company Scruples ventured into the pro audio market with products including mics under the Violet brand. Scruples created a spin off company, JZ Microphones, that has now been established to concentrate on microphone development.www.jzmic.com

Microphone Manufacturers Directory microphones 2010

32 MICROPHONE MANUFACTURERS DIRECTORY

KATAMOUNT ENTERPRISESKatamount Enterprises was established in Canada in 1999 as a distribution company for post and broadcast, but now manufactures its own products including its KAT66 Lavalier mics.www.katamount.com

LAUTEN AUDIOLauten Audio is committed to producing high-end microphones with an ‘original sound’. Loudenslager worked with some of the biggest microphone brands in the world before forming the company whose ethic now is to design mics that present an accurate rendition of the source while adding an artistic character of its own. Its line-up comprises the Oceanus, Clarion, Torch, and Horizon. www.lautenaudio.com

LAWSON MICROPHONESFounded by Gene Lawson in 1979, and now hand crafted in Nashville, Lawson Microphones’ range of award winning high end tube and FET microphones, with their distinctive look, are desired the world over.www.lawsonmicrophones.com

MANLEY LABORATORIESSince 1989 Manley Laboratories has focused on the development of a number of products based on tube designs. Amongst these are the range of Manley tube microphones, which include the Manley stereo tube reference microphone.www.manleylabs.com

M-AUDIOFormed in 1988, and now part of Avid, M-Audio is focused on computer based products and those aimed to provide solutions to mobile musicians. The M-Audio microphone selection includes a number of general-purpose units including the lollipop large diaphragm condenser, Luna.www.m-audio.com

MBHOEstablished in Obrighelm in 1962 by Herbert Haun, MBHO has been producing high quality microphones ever since. Ninety fi ve percent of the MBHO range is still handmade and includes both modular and fi xed capsule condenser and dynamic microphones.www.mbho.de

MERCENARY AUDIOThe straight-talking team at Mercenary Audio are all engineers who sell an impressive array of high-end audio equipment. They also manufacture the KM-69, born out of a need for a KM-84i for hi-hats. The sound of the mic was created over time solely by listening and using, and was designed to a particular aesthetic end rather than a set of numeric

specifi cations.www.mercenary.com

MICROTECH GEFELLThe origins of Microtech Gefell can be traced to 1928 when Georg Neumann and Erich Rickmann formed Georg Neumann and Co. In 1943, production moved to Gefell, where many years of developing and producing some classic products took place. The range of Microtech Gefell microphones is extensive.www.microtechgefell.de

MICW

Designed, developed, and manufactured by BSWA Technology, the MicW brand delivers professional mics for recording, broadcasting, and live music applications. MicW was established in 1998 and claims to be the fi rst company to introduce the electro-static transit response technique for microphone evaluation, as well as instigators in the use of polymer diaphragms for measuring microphone

structures. www.mic-w.com

MILAB MICROPHONESThe Milab story begins in 1941 with Rune Rosander producing crystals, and then subsequently carbon and dynamic mics. In the late 1960s, the rectangular capsule and double-sided rectangular capsule were developed and are still produced today. The name Milab came into being in 1970 and now Milab manufactures a full range of microphones including the brand new BDM-01 bass drum microphone.www.milabmic.com

MOJAVE AUDIODavid Royer established Mojave Audio in his garage in Fullerton California in 1985. Known for his ribbon microphone designs with Royer Labs, Mojave Audio is the outlet for David Royer’s tube microphone designs.www.mojaveaudio.com

MXL MICROPHONESMXL Microphones are designed and manufactured by US-based manufacturers Marshall Electronics. The brand has a variety of standard microphone types aimed at the expanding ‘cost-effective’ market for good quality products.www.mxlmics.com

NADY SYSTEMS INCFounded by John Nady in 1976, Nady Systems Inc was, and remains, at the forefront of wireless mic design. Nady was amongst the fi rst to address the issues of noise reduction in wireless systems and, by 1985, eighty percent of the world’s top artists were using Nady systems.Nady has branched out and now includes a comprehensive range of studio condenser, ribbon, instrument specifi c, and USB mics.www.nady.com

NEUMANNWith roots going back to Berlin in 1928, Neumann has been involved in the design and manufacture of a wide range of audio products, but it is with microphones that the name is most associated. Neumann became part of the

Sennheiser group in 1991, and this branch of Neumann is focused on continuing its long tradition of high quality industry wide microphones.www.neumann.com

OKTAVAFor many years, being the largest manufacturer of electro-acoustic transducers in Russia has given Octava a great background for producing their own microphone range. This is now a large collection of tube, ribbon, electret, and conventional microphones for all manner of studio applications.www.oktava-online.com

PEARL MICROPHONESPearl shares the same origins as Milab and owes much to the designs of Rune Rosander. Based in Sweden, Pearl produces a number of conventional and tube mics.www.pearl.se

PEAVEYAfter graduating college in 1965, Hartley Peavey started his company using the logo he came up with while doodling in his notebook. Peavey’s products are known the world over and have mic units for use in the studio, speciality, and sound reinforcement market.www.peavey.com

PELUSO MICROPHONE LABAll Peluso mics are custom designed, handcrafted, and individually tested in Virginia. The range features tube, ribbon, and solid state versions that benefi t from the company’s 26 years of experience in repairing and restoring all brands of vintage and modern microphones. Furthermore, all mics are protected by a three year warranty for peace of mind. www.pelusomicrophonelab.com

PRISM SOUND

Prism Sound has been supplying successful high quality analogue and digital studio products for 23 years. Originally set up as an R&D consultancy, Prism Sound now manufactures its own high-end recording and mastering productswww.prismsound.com

RICSONIXBased in Australia, Ricsonix manufactures several pin/button microphones designed to be hidden behind a button or badge. The MITS-2 features a built in windshield.www.ricsonix.com

RODE MICROPHONESRode came into existence after Henry and Astrid Freeman emigrated from Sweden to Australia in 1967. Their background in audio product development within their own Freeman Group of companies led to the development and release of the fi rst Rode Microphone in 1990.

The Rode range has grown in number and reputation since then, with quality, affordable tube and conventional microphones for broadcast and studio use.www.rodemic.com

ROXDONLondon-based RoXdon produces high-end mics and pop fi lters for recording and broadcast studios, which are distributed worldwide through Wild Distribution. www.wilddistribution.com

ROYER LABSFormed in 1998 to bring David Royer’s ribbon designs to the world, Royer produces a wide and respective range of ribbons that include unique tube and phantom powered ribbon microphones.www.royerlabs.com

microphones 2010

32 MICROPHONE MANUFACTURERS DIRECTORY THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 33

SAGE ELECTRONICSSage Electronics was founded in 2002, and is operated by long-time record producer Phillip Victor Bova, his wife Janet Kirby and their son Philip Shaw Bova. It produces a number of pro audio products that includes the SE-BB1 Bova Ball Spherically mounted condenser microphone.www.sageelectronics.com

SAMSONSamson began 26 years ago designing and producing wireless mic systems. Since then Samson has diversifi ed into a number of areas of audio equipment production that includes a large number of conventional, ribbon, and USB microphones.www.samsontech.com

SANKEN MICROPHONESSanken Microphones is based in Tokyo and has focused on producing simple original condenser and dynamic microphone designs for studio, broadcast, and live use since 1926.www.sanken-mic.com

SCHERTLERSchertler started life in the early 1980s in Switzerland with a mission to produce mics for faithful capturing of acoustic string instruments. Schertler now has a well-established and comprehensive range of contact microphones for a cross section of acoustic string instruments.www.schertler.com

SCHOEPSFounded in 1948 by Dr Schoeps, the company has specialised in the design and manufacture of high quality condenser microphones for over half a century. The Schoeps range is now an extensive one with condenser solutions for all manner of studio, broadcast, live, and location scenarios, as well as surround applications.www.schoeps.de

SD SYSTEMSA group of sax players banded together to create a mic able to capture their instrument while facilitating stage freedom. In 1981 SD Systems was born with the bell-mounted solution that they developed, the LCM85. The SD Systems microphone range now encompasses mini and contact mics for a wide range of instruments.www.sdsystems.com

SE ELECTRONICSThe origins of sE Electronics are with Mr Siwei Zou, a classical musician from Shanghai who developed products in Shanghai before entering the European market in 2003. The mic product line includes tube, ribbon, modular and conventional microphones. The company's newest addition, the RNR1 active ribbon microphone, is the fruit of a joint collaboration with Rupert Neve.www.seelectronics.com

SENNHEISERSennheiser has been delivering top of the line pro audio for more than 50

years, providing the backbone of many studios’ microphone cabinets, whether it be music, broadcast, post, live, or location. Sennheiser has a microphone range that is truly diverse covering every nook and cranny of the industry.www.sennheiser.co.uk

SHURE

Founded in Chicago in 1925 selling radio parts, Shure produced its fi rst microphone in 1932 and has not looked back. It now has a collection of wired and wireless mics including the ubiquitous SM58. More recently Shure Inc. has acquired Crowley and Tripp Ribbon Microphones from Soundwave Research Laboratories.www.shure.com

SONTRONICSDesigned and developed in the UK and hand crafted in Shanghai, Sontronics produces uncompromising high performance mics at affordable prices. The range includes distinctive condenser, tube, and ribbon designs.www.sontronics.com

SONYSony has a long history when it comes to microphones and has produced a few classics in its time both old and new. The current range refl ects Sony’s continued involvement in all pro audio arenas.www.sonybiz.net

SOUNDFIELDBased in the UK and formed in 1993, Soundfi eld Limited manufactures and continues to develop its unique multi capsule tetrahedral design for both enhanced stereo and multi-channel applications.www.soundfi eld.com

SOUNDKINGThe Soundking Group Ltd of China specialises in the research and development of a variety of products in pro audio. In the microphone category, it has a wide range of mic types and kits.www.soundking.com

SOUNDMANHeadquartered in Berlin and founded in 2001, Soundman have developed the OKM dummy head microphone. An electret condenser microphone for use in live, voice, and other environmental recording applications. The company also produces the OKM II Rock Studio version.www.soundman.de

STUDIO PROJECTSIn conjunction with partner company 797 Audio, US-based Studio Projects looks to provide a quality general purpose microphone product with German type build standards at a fraction of the cost. The company has recently released the CS series of studio microphones.www.studioprojectsusa.com

SYMPHOTECGerman company Symphotec set about designing a microphone specifi cally for the purpose of producing a better, more faithful, reproduction of orchestral and concert hall presentations. This resulted in the Symphotec Orchestral Management System.www.symphotec.de

TELEFUNKENTelefunken started life early in the 20th C in wireless telegraphy, with the German Army and Imperial Navy its fi rst customers. Today, its products are sold in 130+

countries worldwide and is symbolic of the quality of sound craft.www.telefunken.com

T.H.EBased in Connecticut, Taylor Hohendahl Engineering produces beautifully crafted microphones designed by Andy Hohendahl. The range includes reference condensers, modular mics, and a binaural sphere.www.theaudio.com

TRAM LAVALIERSTRAM manufacturers the famous TR-50 lavalier omni-directional mic, which comes with a huge range of accessories for many different confi gurations and mountings.www.tram-usa.com

TRANTECBased in London and running now for over a decade, Trantec was formed by Steve Baker, Dave Binks and Terry Maybe, who developed and subsequently specialised in wireless mic solutions. Trantec now supply to broadcast and theatre clients. The Trantec range includes the SD7000 digital wireless.www.trantec.co.uk

TRINNOV AUDIOTrinnov Audio specialises in the digital processing of acoustic fi elds. Trinnov has produced the SRP Surround array of microphones, based on a breakthrough special high resolution technology.www.trinnov.com

VIOLET DESIGNViolet has been developing and manufacturing in Latvia since 2003, where it produces a range of distinctive and colourful microphones

– a combination of tube, solid-state, large and small diaphragm condensers.www.violet-design.com

VOICE TECHNOLOGIESVoice Technologies is focused on mics for use in broadcast, theatre, fi lm, video, and conference applications. A range of miniature lavaliers and headset mics are available.www.voicetechnologies.net

WUNDER AUDIOWunder Audio has come from refurbishing vintage equipment to producing products that give a big nod to past classics. Wunder produces handmade transformers for all of its products including a range of high-end tube mics.www.wunderaudio.com

XXL INSIDEXXL supplied technical services to some of the top names in the audio sector before venturing into production. XXL’s mic collection includes studio condenser and dynamic, miniature lavalier, and headset microphones.www.xxlinside.com

ZAXCOM Known primarily for its Deva location recorders and digital wireless systems, Zaxcom produces the ZFR800 handheld digital recording mic for fi eld recording and broadcast journalism applications.www.zaxcom.com

microphones 2010

Microphone BasicsThe foundation of good microphone practice is technical knowledge. Blažo Guzina provides a run-down of the basics for anybody just getting to grips with the wibbly bits...

34 MICROPHONE BASICS

Microphones have different overall physical and electrical characteristics and are classifi able into three main groups, based on the physical principle of converting sound into an electrical signal: electrodynamic coil, electrodynamic ribbon, and electrostatic (or condenser) microphones.

Dynamic MicrophoneThe electrodynamic moving-coil microphone has a coil of fi nely wrapped wire precisely suspended between the poles of a magnet and attached to a diaphragm. Soundwaves drive the diaphragm, which vibrates in a high-level magnetic fi eld. In the coil, this movement induces a voltage, which corresponds to the sound pressure.

Dynamic microphones are very rugged and handle high sound pressures without overloading. They are reliable and virtually never distort the sound signal. They are insensitive to extreme heat, cold, and high air humidity. Dynamic microphones can usually withstand extreme environmental conditions such as temperatures from -25°C to +70°C.

Ribbon MicrophoneThe electrodynamic ribbon mic has a thin metal foil in the form of a corrugated ribbon suspended in a magnetic fi eld. Sound pressure variations displace the diaphragm, in which an electrical current is induced depending on the amplitude and frequency of sound. Due to the short length of the ribbon compared to the moving coil, its output electrical impedance is less than 1 Ω. This resistance is too low to directly connect to the microphone input of a mixing desk or recorder, so a step-up transformer is needed to increase the impedance up to the 150Ω to 600Ω range.

Due to constructional improvements, modern ribbon mics are suitable for outdoor and handheld use. They are prized for their warm, smooth, yet delicate sound quality.

Condenser MicrophoneThe electrostatic (condenser) microphone uses a transducer element consisting of a vibrating

diaphragm (very thin foil) and a fi xed metal plate (back electrode).

These two electrodes make up a condenser (capacitor) charged by an externally applied voltage (polarization voltage) or carrying its own permanent electrical charge, as with an electret microphone.

When soundwaves vibrate the diaphragm, the capacitance of the condenser changes simultaneously, thus producing an output voltage that varies with the intensity and frequency of the sound.

Condenser microphones usually have a fl at frequency response, high sensitivity and good ability to follow sudden, percussive sound events immediately. This is described as good transient response.

Condenser microphones require an impedance converter in the form of a preamplifi er to match the very high output impedance to low impedance microphone inputs. This amplifi er fi ts within the body of the microphone in order to prevent hum, noise pickup and the losses of the signal level due to the length of the circuit from the diaphragm to the amplifi er.

Phantom PowerCondenser microphones need a DC supply voltage. Except for battery operated microphones, the voltage usually comes through the microphone cable. The positive (+) side of a DC voltage connects to both signal wires of a balanced line and the negative (ñ) side to the cable screen.

An exception is the electret condenser microphone. This type of microphone has the polarizing charge stored permanently within the diaphragm or on the backplate. No external power is required to charge the diaphragm.

Polar PatternsApart from the basic differences in the physical principle of operation, the main factor that infl uences the choice of a microphone is its polar pattern.

Polar pattern, also known also as polar response, is a chart that graphically represents

microphone sensitivity with respect to the direction of soundwaves arriving at its membrane.

A chart is usually plotted in the form of a 360° polar diagram, with the on-axis 0° direction clearly marked. It is possible to classify microphones into two main groups, based on their directional characteristics: non-directional and directional microphones.

In principle, a non-directional microphone is a pressure-operated electroacoustic transducer. Its response to acoustic sound pressure is omnidirectional, meaning that the diaphragm reacts equally to all soundwaves arriving at its surface, regardless of their direction.

A typical example of a directional microphone is a pressure-gradient transducer. This type has a bidirectional (or fi gure-of-eight) polar diagram. This means the microphone reacts to differences in pressure between the two sides of a diaphragm.

Ribbon microphones are the most common type with a bidirectional polar response. A metal ribbon diaphragm is equally sensitive to soundwaves arriving from front and rear axes.

All other known directional patterns are obtainable as a result of a combination of the aforementioned two main polar pattern types. The number of variations is practically unlimited.

When the outputs of an omnidirectional (pressure) and bidirectional (pressure-gradient) pickup pattern are combined, the best known resulting polar responses that are obtainable are cardioid, supercardioid, and hypercardioid. Their common name is unidirectional microphones.

A unidirectional microphone is most sensitive to soundwaves arriving from one direction, in front of the microphone, but softens sounds from the sides or rear.

The cardioid microphone is sensitive to sounds from a broad angle in front of the microphone. Generally, it is about 6dB less sensitive at the sides, at 90° and 270°, and 15 to 25dB less sensitive to the rear.

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AudioMedia Microphone Guide 2010

Technology

Transcript of AudioMedia Microphone Guide 2010