Microphones Guide 2014 Digital

GUIDE TO

THE

A S p e c i a l P r o m o t i o n a l P u b l i c a t i o n F r o m I n t e n t M e d i a

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

I N T E R N A T I O N A L E D I T I O N

In association with:Produced By:

MicrophonesGuide 2014

© aarstudio - Fotolia.com

www.audiomedia.com July 2014 3

Sign up for your digital AM at www.audiomedia.com CONTENTS

> Commercial Director

Darrell Carter [email protected]

> Editor Jory MacKay [email protected]

> Managing Editor Jo Ruddock [email protected]

> Production Executive Jason Dowie [email protected]

> Designer Jat Garcha [email protected]

>>> CONTENTS

>>> MEET THE TEAM

> 4

Studio Microphone Mecca

> 8 Live Mic Guide

> 12 AKG

> 14

Audio-Technica

> 16

Audix

> 18

Blue Microphones

> 20

DPA

> 22

Funky Junk

> 24

Sennheiser

> 26

Sony Professional

> 28

RØDE

> 30

Manufacturer Directory

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.

© 2014 NewBay Media. All rights reserved.

Welcome to the International Guide to

Microphones, updated and expanded for 2014.

Within the pages of this Guide you’ll find promotional and

informative articles featuring a number of of the most well-respected

microphone brands worldwide, plus contact details for more than 90

other specialist microphone manufacturers.

Although technological advances have made it easier to ‘clean the

audio up in post’, those who spend their days and nights capturing

sounds know that the cleaner the original source material is captured,

the better the end result will be. With this in mind, it’s easy to

understand why microphone selection is a matter of pride for anyone

in the audio industry with producers, engineers, and musicians

maintaining fierce loyalty to their favourite microphones.

But where do you begin when looking to expand your microphone

arsenal? Do you follow trends and stick to the household names

or go for something more specialist and esoteric? Do you maintain

traditional values or look at new technologies that are changing the

way we capture sound? Are you a steadfast supporter of analogue or a

digital convert?

That’s where this guide comes in. Along with promotional articles

from manufacturers we’ve asked those in the know to help you with

your choice.

Are you looking for live mics? Ben Hammond, FOH engineer for

Deaf Havana, Saxon, and Fozzy, runs us through his top picks for

microphones that marry roadworthy ruggedness with superb sound

quality.

What about the ever-changing world of studio microphones?

Marco Pasquariello, engineer and studio manager at the award-

winning Snap Studios, gives us his take on the best mics for vocals,

drums, acoustic instruments, amps, and more.

Whatever your discipline and whatever your skill level, the

International Guide to Microphones 2014 will provide you with the

knowledge you need to start your search.

This Guide, along with the others in the series (DAWs & Plug-

ins, Theatre Sound, Monitors & Headphones, Broadcast Audio,

and Consoles) are Audio Media projects and are designed to help you

navigate your way through the swaths of pro-audio products available.

For more details visit www.audiomedia.com

Jory MacKay, Editor

AUDIO MEDIA (UK)

Audio Media is published by

Intent Media London,

1st Floor, Suncourt House,

18-26 Essex Road,

London N1 8LN, England.

www.audiomedia.com

Telephone: 0207 354 6001

www.nbmedia.com

>ADVERTISER INDEXAdvertiser Page

AKG 5

Audio-Technica 9

Blue Microphones 32

DPA 2

Funky Junk 7

RØDE 9

GUIDE TO

THE

A S p e c i a l P r o m o t i o n a l P u b l i c a t i o n F r o m I n t e n t M e d i a

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

I N T E R N A T I O N A L E D I T I O N

In association with:Produced By:

MicrophonesGuide 2014

© aarstudio - Fotolia.com

4 July 2014 The International Guide To Microphones 2014

STUDIO ENGINEER’S MIC GUIDE

Snap Studios in North London is a special

place for anyone looking to combine the sound

and warmth of vintage kit with a modern

workflow. The heart of the studio is a vintage,

discrete Neve 5316 analogue recording

console with 48 inputs and custom Flying

Fader automation complemented by a drool-

worthy selection of classic outboard including

a Fairchild 670, two Pultec EQP1A-3s, a

Teletronix LA2A, and two blackface Urei

1176s.

A studio with this pedigree of kit is sure to

have an impressive selection of microphones

and Snap does not disappoint. Open the mic

cupboard and you’ll be presented with vintage

Neumann, AKG, Telefunken, Royer, and

more.

Here, studio manager and engineer Marco

Pasquariello runs us through his top picks for a

number of common studio mic’ing situations…

MALE VOCALSMy choice would always depend on the type of

voice and the context of the vocal within the

track, but I do tend to favour large-diaphragm

condensers for vocals.

I often use dynamics too, particularly if

the vocal is being recorded in the same room

as the band or in the control room. I really

like Neumann U47s on male voices since they

tend to sound full, and have a soft-ish top end.

It’s a very flattering sounding mic, which can

sound really big on the right voice. They all

sound different though, and some are certainly

brighter than others.

We have a VF14 tube U47 at Snap, as well

as a Nu Vistor 47, which both sound very

different to each other. They are beautiful but

expensive mics!

I also really like U87s, with a preference

for the original version (although the newer

black version is still a really nice mic). 87s

never really seem to get all that much love

from people, but I find them to work great on

a variety of voices, and they’re really unfussy.

They’re not overly bright, have a good amount

of bottom end, and they take EQ really well.

Despite having a pretty pronounced midrange I

find that they rarely get too hard sounding.

My third choice would probably be the

Shure SM7. They are really useful for keeping

a natural sounding vocal when used really

close, which also helps to keep spill out of the

mic in loud tracking situations. They’re also a

good choice when recording loud singers. I like

this mic for more than just vocals, and they’re

relatively affordable too.

I rarely use ribbons for vocals as I find them

a little too …errrr, ribbony, but I’ve had decent

results with an RCA 44BX before, and have

enjoyed the AEA stuff on test. Sometimes a

single ribbon mic can be just the right thing

for group vocals, and being fig 8 they can work

great for duets.

FEMALE VOCALSI’d still go for the same mics as I would for a

male vocal, but there’s a couple that really shine

on female voices for me.

The AKG C12 is definitely one of

them. It’s such a beautiful and big sounding

microphone, with incredible detail – but

without sounding too bright. On the right

voice, this mic can kill every other. It’s a special

girl. Again, they all sound very different, but

they are real beauties.

The Neumann U67 is another favourite

for female vocals. It’s a very smooth mic

with a thick midrange that can sound really

sophisticated on the right voice. Even better

than the U67 is the M269c, which uses an

Ac701k tube. It is a very similar design to the

67, even looking the same, but has a much

sweeter top end.

DRUMSThis isn’t a very straightforward question to

answer! The way I mic a kit depends largely on

the type of music being recorded and the sound

we’re going for.

Generally speaking, however, I like to work

out from a good pair of overheads. I’ll spot mic

the essentials and also use a couple of rooms

alongside something crunchy to get the life out

of the drums.

OVERHEADSFor a modern/clean pop drum sound, I

generally like to use a pair of condensers

– something not too hard/bright, like

DPA4011s.

I’ll occasionally use C414s instead, or Milab

VIP50s if I need something brighter.

I quite like the Neumann KM56 too –

these are particularly good on a jazz setup

and despite being the most temperamental

microphone in the world, they sound really

sweet!

For a more natural or dry sort of sound, I’ll

often go for Coles 4038s, or a pair of U87s if I

want something a bit tougher. The Coles have

a lovely organic tone, and being a ribbon they

help to soften transients a little. They usually

benefit from a bit of top end being added, and

they take EQ really well.

Sometimes I like to use a big ribbon like an

RCA 44BX just as a mono overhead directly

above the drummer’s head, which works great

for a stripped back kit sound.

Microphone MeccaMarco Pasquariello, engineer and studio manager at the award-winning Snap Studios in London,

runs us through his top picks for studio microphones.

Snap Studios engineer Marco Pasquariello

A vintage Neumann

(Telefunken) U47


STUDIO ENGINEER’S MIC GUIDE

KICK DRUMI’ll usually run two mics on kick

drum – sometimes three if I’m

taking a sub too. The AKG D20,

and D12 are two of my favourite

mics for inside the kick. I also

really like the D112 sometimes,

and the Audix D6.

For outside, a Neumann Fet

47 can sound great. There’s a

good amount of attack and solid

low end from these mics.

Other condensers can sound

great on the outside of the kick

drum too, or angled down at the

top of the kick shell. An NS10

speaker (or any speaker for that

matter) also works if you want to

capture the extreme low end of a

kick drum. On a jazz kit, a single

AKG D36 would be my first

choice at the studio, but any good

quality dynamic mic should do

the trick just for adding that bit of

weight.

SNARE DRUMPretty boring here but you can’t

really go wrong with an SM57

on snare drum. I’ll usually run

another one underneath for

brightness too.

The AKG D224e, and

Sennheiser MD441s are other

favourites of mine for top of snare.

Sometimes I like to use

condenser mics on snare drum,

particularly for more detailed

playing – Neumann KM84s

are great for this, as are AKG

C414s, and Neumann KM86s.

Occasionally I’ll use a condenser

and dynamic together on the top

and scrap the bottom mic.

If the drummer isn’t playing

very hard (and there’s no risk of

the mic being struck!), a single

small diaphragm/tube condenser

four or so inches above the drum

can be wonderful.

TOMSI like Sennheiser 421s on toms

but other dynamics can work just

as well. I also quite like 414s on

toms in hypercardiod.

Floor toms can sound great

with a big condenser or a

dynamic. The SM7 works great

here.

ROOM/AMBIENT MICSFor room mics a good pair of

condensers usually does the trick,

but for darker tracks or music with

a lot of cymbals, a pair of ribbons

can work wonders.

A pair of omni-directional

condensers in a good sounding

part of the room can be nice, as

can a pair of ribbons in Blumlein

a couple of meters in front of the

kit. Both are good, but with very

different results.

Compression can be your

friend here, but not always. I find

that parallel compression can work

very well on room mics.

I usually try to run an

additional mic much further away,

or in another room to catch a

different ambience on the kit for

bigger sounding recordings.

You can have loads of fun with

this kind of ambient mic’ing, and

even the most bizarre places can

yield really cool results. Corners of

rooms, underneath/inside pianos,

etc can all sound really good.

TRASH/CHARACTER MICSUnless I’m going for a really

stripped back sound, I like to have

something extra to pick up some

life in the snare and the chunk of

the kick drum.

We have an RCA DX77 at

Snap, which works perfectly for

the snare crunch, and a good

LDC a few metres in front of the

kick drum usually works well for

the low end. I like to use a U67

for this when possible. These

mics tend to get heavily eq’d and

compressed and often really help

to shape the character of the drum

sound.

ACOUSTIC GUITARMy approach to recording acoustic

guitar always depends on the

type of playing, and how it will

sit in the track. If it’s loud-ish

strummed acoustic, I like a decent

large condenser a few feet away

from the body of the guitar, and

something like an SM7 or a 57

near the sound hole.

For detailed and picked stuff a

decent condenser to the side of the

sound hole, close to the fretboard

usually works nicely. C12s and

U67s are glamorous choices, but

most good condensers should

work. I’ve had good results using

the Pearl ELM mics, as well as

Milab, DPA, and Schoeps. It

all depends on the tone you’re

looking for.

I also like using a small

diaphragm condenser pointing

either towards the body or the

neck too, which allows a bit of

stereo in the mix. Beyer makes a

great affordable SDC called an

MC930, which I like very much

for this.

Occasionally I’ll use ribbons

on acoustic guitar, especially if the

player is singing at the same time.

The Royer R122/R121 can works

great for this.

PIANOI tend to mic acoustic pianos with

a pair inside around Middle C or a

little higher up the register. DPAs

in ORTF work great for this,

as do C414s as a close-ish pair

towards the front of the piano.

I’ll sometimes use a pair of

LDCs on the top and bottom of

the instrument, and occasionally

mic up directly over the hammers

if I want a more direct sound. The

Milab VIP-50s are great for this,

as they can have a wide cardioid

pattern. Coles 4038s are another

favourite, but further away from

the piano near to the lid.

For a more classical tone, I’ll

use a pair of omni mics looking

into the piano a few feet away.

You need a good sounding room

for this though.

STRINGSWhen recording strings, it’s

usually more about the overall

sound in the room as opposed

to the sound of the instrument

up close. A good pair of cardioid

SDCs work great as a main pair,

as do ribbons in Blumlein at about

head height. I tend to spot mic

individual sections too, and add

omni side fills to get a bit more

space and low end.

AMPLIFIERSWhen recording guitar amps

I’ll usually use two mics. I tend

to blend a mic alongside a very

close SM57. U67s and U87s are

great for this as are Royer 121s.

For smoother and cleaner tones

I really like Coles 4038s (with a

popshield!) a foot or so away. A

bit of compression helps to bring

up sustain, and room mics often

get taken too.

When recording bass, I pretty

much always take a DI and an

amp. I usually go for something

like an RE20, or occasionally a

large diaphragm condenser such as

a U47, C12, or 414.

We have some great DIs at the

studio that really shine on bass.

The Class A Radial is great, as

is the Reddi. My favourite DI is

a custom one which we picked

up from Lansdowne Studios. It

sounds incredible!

www.snapstudios.co.uk

A classic RCA 44BX

A typical drum mic set-up

www.facebook.com/FunkyJunkLtd

+44 (0) 207 281 4478 [email protected] www.proaudioeurope.com

If you thought you couldn’t afford a classic microphone, think again...

TUBE MICROPHONES

BETTER ADVICE + BETTER PRICES = BETTER RECORDING

Ribbon Royerlty

Not Just A Pretty Face

Outstanding Quality,Outstanding Price

Josephine

Edwina

Flea 12

Flea 47

SF-

2

SF-

24

R-1

22

R-1

01

R-1

21

MA

-301

fet

MA

-100

fet

MA

-100

MA

-300


LIVE ENGINEER’S MIC GUIDE

Ben Hammond has quickly risen through the

ranks to become one of the most sought after

FOH engineers in the UK. But his plan wasn’t

always to be on the road for most of the year

– far from it. From his start in a small studio

in York, Ben progressed to in-house engineer

at The Chairworks Studios just outside Leeds.

When the rise of the home studio slowed down

his workload he took to the road and years later

has just returned home.

Here he tells us about his top picks for live

microphones and how his studio background

has informed his sensibility on stage…

Is there a fundamental difference between microphones for in a studio and for on stage?The obvious difference is the need for function

as well as sound. In the studio its 100% about

the exact sound we need, so trying out many

different mics on one instrument is common.

In a live scenario, many more factors come into

play than just sound: handling noise, feedback

rejection, polar pattern, and with some bands

the ability to take a battering! Also size plays a

big key. Certainly with Saxon I rely on many

smaller mics for the drums as Nigel [Glockler]

has a huge kit with a lot going on. Then at

the other end of the scale with things like

strings, we need the mic to be as invisible and

unobtrusive to the player as possible.

It seems like more acts are trying to recreate their studio tracks in a live environment. Has this changed the way people use microphones, or the ways they are designed?Certainly more and more manufacturers known

mainly for studio mics are bringing out new

mics aimed at the stage, which is giving the

live engineer much more choice. With things

like in-ear monitoring being accessible to more

bands (with the advent of much lower priced

digital consoles etc...) the stage is becoming

quieter and thus gives the live engineer a little

room to find the right mic for the source.

Again with Saxon, the band are on in-ears,

and also use the Kemper amp modellers, so the

stage has become much quieter which gives me

scope to try different things, which in the past

may have caused more problems than not!

With Deaf Havana the guys went all out

on the last album which featured strings, brass,

choirs etc. They are against using backing

tracks as in a very admirable move, they want

everything the audience hears to be played

live, so all of a sudden we found ourselves in a

position where we had 14 people on stage. This

presents a whole new set of challenges in that

you can’t just throw a dynamic mic at a violin,

but having condensers all over a noisy stage

effectively just gives me a load more overheads!

So we used a collection of perspex screens,

contact pickups for the direct ‘individual feed’,

and then pairs of large-diaphragm condensers

for the more natural sound.

Give me a rundown of your top three microphones for male vocals. What are the individual characteristics of each that draws you to them? I’m an Audio-Technica guy when it comes

to mics, and my go-to vocal mic for almost

everyone is the Artist Elite 4100. It’s a really

great full-sounding mic with plenty of output.

It’s a cardioid pattern but is very controlled and

doesn’t give me much stage bleed even when

pushed hard. I prefer the sound of cardioid

mics to hypercardioid mics as I always find the

top end to be a little softer and more natural.

Having said that, hypercardioids can be

hugely useful in the right setting and my

number two go-to mic is the ATM610. This is

indeed a hypercardioid dynamic, which really

handles being thrown about well. The feedback

rejection is great, and again it’s a great full-

sounding mic that really works well for singers

who aren’t tied to a mic stand and spend all

night running around the stage.

Number three is the Artist Elite 5400.

This is a cardioid condenser mic and it sounds

stunning. It’s not really for noisy stages, or

guys who run around, but I use these on the

acoustic shows we do with Deaf Havana and

the detail and clarity is like nothing else. I

have them running into Avalon 737s and

that combination is perfect on James [Veck-

Gilodi’s] vocal.

Are there any different ones you would reach for when working with a female vocalist? I settled on the AE3300 as my go-to mic for

female vocals, mainly for its fuller sounding top

end. You obviously lose a lot of the lower mid

frequencies with female vocals as it tends not

to be in their range for the most part. These

frequencies are the ones that give the vocal

power and weight, so the most important thing

for me is that I get a full sounding upper mid

range which keeps the vocal thick even in the

higher registers. This keeps me from having to

apply additive EQ in that range, which almost

always will result in a harsher vocal sound and

only cause feedback issues.

A FOH Engineer’s

Guide to MicrophonesBen Hammond, FOH engineer for Saxon, Deaf Havana, and Fozzy, runs us

through the best options of mics for any live situation.

Lets run through some other common mic’ing scenarios and look at what your top picks would be:Guitars: AE2500s. Done. Two great sounding

elements perfectly in phase, dial your high and

low pass filters in, push the faders up and its

exactly what comes out of the amp, but through

the PA – no colouration, no phase problems, a

massive time saver, and a great sounding mic.

With Saxon we have some live cabs in

conjunction with the Kempers, which I use

4050s on as I’m just looking for the warmth to

thicken up the direct feed. Usually, I add 4-6ms

of channel delay to the Kemper feed to line

them up, and it works wonderfully.

I usually aim directly at the middle of the

cone for guitars to give me the widest range of

frequencies. I’m a big believer with guitars that

the guitarist’s sound is their voice and should

be left untouched (as long as they know what

they are doing!) FOH engineers should respect

the guitarist’s choice in tone and reproduce it as

accurately as possible through FOH, just using

filters to sit it in the mix.

Bass: Along with the usual DI, I use

ATM250s on the bass cab. They can handle

high SPLs, and have a wonderful warm and

thick character to them, again straight at the

middle of the cone.

Brass: I’m a big fan of the ATM350 – small

and lightweight, clips straight onto the bell

of the instrument. As much as I prefer to see

mics rather then a trumpet player’s face, they

don’t tend to agree! Bigger brass instruments,

and Trombones etc, things that are in lower

registers, is again a job for the ATM250.

Strings: As I have previously mentioned, after

trying various options, the monitor engineer

and I opted for Schertler contact pickups, which

gives us a clean direct signal. These are not too

complimentary in the top end and are very mid

heavy. This gives you great tone and cut in with

everything else, but isn’t too pleasing to the ear

on its own. We added a pair of AT4050s over

the string quartet and brought that in alongside

the pickups which really softened things up and

helped to give a much more natural sound.

Drums:Kick: This is the only exception to the AT rule

as its a Beta 91. I like to have two kick mics

that do different jobs. The combination of a

91 and an ATM250 in the sound hole works

perfect for me. I use the 91 to give the top end

an attack and leave the bottom end flat, then

the 250 gives me power in the bottom end.

Having two kick mics in different places and

treating them the same never makes sense to

me. Apply 1-2ms of channel delay on the 91

to really open up the bottom end and that’s the

magic formula!

Snare: I change snare mics a lot. At the

moment I’m using the ATM650, which is

essentially AT’s take on the 57. Obviously

a snare mic needs to be rugged (as it will

inevitably take a beating once in a while) and

also handle noise rejection. I clamp the mic to

the snare with an LP Claw so the mic needs to

be able to take the vibration from a rim shot,

and not thump. I don’t like to high pass snares

too high as I like it to kick you in the chest as

much as the kick so I want to dictate my HPF

frequency and not my snare mic.

Underneath I’m using an AT4047 as again

it gives me the bottom end from the resonant

head, and the snare wires don’t come across too

brash. It’s a very musical mic in this position.

Hats and ride: My main choice for these are

the AE5100 as it’s got great top end detail and

clarity but also still manages to sound very soft.

A lot of small-diaphragm condensers tend to

break up/overload and become a little harsh

sounding at close quarters. When I’m mic’ing

much bigger, busier kits, the ATM450 is a

great alternative due to its side address nature,

and high SPL handling.

Toms: I love the ATM250s on toms – loads

of power, and always very complimentary, even

to a not-so-tuned kit. They have bottom end

for days but are very controlled and usable.

The downside to these mics is with them being

designed for kick drum they are a little big so I

always have some ATM350s for the guys with

smaller drums, or a lot of drums!

Overheads: 4050s for the same reason I

love the 5100s – highly detailed but very soft

sounding. When panned hard left and hard

right they give me a really wide stereo image.

What about placement? Any tips and tricks for drum mic placements?I’m very particular about drum mic placement.

Nothing out of the ordinary, just 1in above the

rim looking at the centre of the drum. I find

this gives me the right balance of attack and

tone.

Snare bottom I always position the mic

so the diaphragm is parallel to the drumhead

looking at the centre of the drum. This means

you get more of the tone of the drum rather

then just useless snare wire noise.

As for overheads I always measure the same

distance from the snare drum mic so I have

a good guestimate of the phase relationship

between the close mics and overheads in

a quick changeover situation. Again with

overheads/hats/ride etc.. I always try to go over

the top so the mic is looking at the point where

the stick hits the cymbal. Putting the mic

underneath is great for separation but it always

sounds washy to me. The transient of the

stick hitting the cymbal is an important part of

the sound.

What about acoustic instruments like guitar, or piano? Mic’ing acoustic instruments is tricky live, as

they sound best with the mic at least a good

distance away from the instrument, this isn’t

really possible on a loud stage so the DI tends

to be the way forward. On much quieter stages

I prefer to mic acoustic guitars with a large

diaphragm condenser about 6-12in away from

where the neck meets the body, just above the

sound hole. This gives me the right amount of

string noise, and body from the instrument.

Lastly, what are your top pieces of advice for mic’ing a live group?Always go for sound first. Take time to

audition mics and find the one that sonically

is best suited to the source, then look at if that

particular mic will function on your stage. If

not, then look at similar mics in that range

with different patterns, or maybe look into

isolation boxes, reflection filters etc.

We have the technology now where sound

shouldn’t have to suffer for functionality.

Make sure that the players are comfortable

with the mics you are giving them. We are

there to capture what the artist does so nothing

we present them with should get in the way

of that.

www.facebook.com/thevegasrooms


LIVE ENGINEER’S MIC GUIDE

The International Audio Guide seriesfrom Audio Media

Each International Audio Guide focuses on an important pro-audio product line, giving independent articles followed

by in depth advertorials, covering the history and current range from the leading manufacturers in their field.

Available now:2014 International Console Guide

2014 International DAW & plugins Guide

2014 Live Sound & Theatre Guide

2014 International Monitors & Headphone Guide

2014 International Microphone Guide

Later in the year:2014 Broadcast Audio Guide

2015 International Console Guide

Contact me today to discuss

your requirements and to make

sure your company is represented.

Darrell CarterTel:+44 (0) 20 7226 7246

e-mail: [email protected]


AKG

AKG® PROJECT STUDIO SERIES Built from the stuff of legends

For over 65 years, leading musicians and engineers have used legendary AKG products to capture their sound so their audience hears every nuance.

The C414 family has been one of the world’s most widely-used and respected studio and stage microphones in audio history. AKG has continually

set new benchmarks for useful features, improved technical specifications and ease of use in order to be the professional solution for ever-demanding

recording studios, broadcast stations and audio engineers.

Building on the experience in developing world-

class microphone technology, the new models in

AKG’s Project Studio line of microphones are

designed for enthusiasts and professionals alike,

meeting the needs of makeshift project studios

as well as professional environments.

“As more and more manufacturers continue

to enter the marketplace, it’s becoming

increasingly difficult for end-users to identify

the best microphones for their needs,” said

Erich Gaertner, Product Line Manager, AKG.

“Therefore, we chose to update the Project

Studio line with professional-grade microphones

at accessible prices, thereby making it easier for

our customers to find the perfect microphone to

meet their demands. Thanks to AKG’s depth

of research and development resources, the new

Project Studio line of microphones are both

high-quality and affordable.”

The new additions to the Project Studio

line include: the P120 general purpose

recording microphone; the P170 general

purpose instrument microphone; the P220

large-diaphragm true condenser microphone;

the P420 large-diaphragm dual-capsule true

condenser microphone and the flagship of the

line, the P820 dual-capsule tube microphone.

OPHONE

Sign up for your digital AM at www.audiomedia.com AKG

INFORMATION

[]AKG Acoustics GmbH

Laxenburger Straße 254

A-1230 Vienna, Austria

T: +43 1 86654-0

W: www.akg.com

P820TUBE CONDENSER MICROPHONE

The D12 VR is a reference large-diaphragm dynamic

microphone with cardioid polar pattern. Designed

specifically for kick-drum recording applications, the

microphone has a thin diaphragm to enhance the low

frequency performance. Its warm sound is realized by the

original C414 transformer, especially impressive at high

signal levels.

The D12 VR features three active filter presets to

match its sound shape with the kick drum’s character.

When activated, the output level is automatically reduced

by 10 dB.

The filter settings can be controlled using a switch on

the microphone body. Without phantom power, the

microphone operates in passive mode and delivers the

instruments’ pure sound.

GREATER IN SPIRIT, LARGER THAN LIFEThe P820 Tube high-performance multipattern microphone is an excellent tool for highlighting lead vocals, brass instruments, electric guitars

and drums. With its dual one-inch diaphragm capsule and the advanced ECC83 dual-triode circuitry, the P820 Tube raises the bar in its class of

affordable tube microphones.

The remote control unit allows selection of nine different pickup patterns from omnidirectional to cardioid to figure-eight. It also offers controls for

the switchable bass-cut filter and the attenuation pad.


D12 VRREFERENCE LARGE-DIAPHRAGM DYNAMIC MICROPHONE


AUDIO-TECHNICA

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 a huge range of applications.

In each of these areas Audio-Technica delivers

products that have raised the performance bar

and established a reputation for engineering

and manufacturing excellence that is second

to none.

The focus on innovative design is a

philosophy that originates with the company’s

inception in 1962 when founder 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.

The same high precision design and

engineering techniques that made the

company’s various design 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 on the studio recording market.

The AT4033 was the first ever high

performance large studio condenser

microphones priced at under USD$1000,

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, providing 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

testament to their quality – also come with the

company’s Lifetime Warranty.

The most recent addition (or re-addition)

to the 40 Series range comes in the shape of

the AT4060a tube microphone, reintroduced

to the series for 2014 in response to customer

demand. The cardioid condenser mic

The Drive For Innovation,

Quality and ConsistencyDriven by innovation, Audio-Technica has consistently employed forward-thinking design and

advanced manufacturing to consistently break the price/performance barrier with leading products

for studio, broadcast, installation and live production applications.

Audio-Technica’s flagship AT5040 features

an unusual four diaphragm design for

exceptional purity and depth of tone


Sign up for your digital AM at www.audiomedia.com AUDIO-TECHNICA

combines warm, round vintage tone with

a dynamic range that far exceeds that of

other tube microphones. Coupled to its high

SPL capabilities, the AT4060a is capable of

capturing everything from the subtlest nuances

of vocal and instrumental performances to

high-powered guitar cabinets. The new

version of the microphone also benefits from a

newly designed power supply unit (AT8560),

engineered for improved performance and

lower noise.

Created to deliver outstanding tone,

the AT4060a’s two-micron-thick, vapour-

deposited gold diaphragms undergo a five-step

aging process to ensure constant, consistent

performance, while the dual-diaphragm

capsule design maintains precise polar pattern

definition across the full frequency range

of the mic.

Featuring a hand-selected, individually

tested and aged Sovtek 6922 tube, the

AT4060a achieves the coveted, classic sound

of tube design without compromising the

specification standards required for the most

demanding modern recording situations.

Building on the reputation of the 40 Series,

Audio-Technica’s AT5040 – introduced in

2013 – is the first model in Audio-Technica’s

flagship 50 Series of elite studio microphones.

The hand-built side-address condenser

offers remarkably musical high-fidelity

performance, with profound realism and

depth, presence and purity of sound. Featuring

a proprietary breakthrough element design,

the AT5040 employs four ultra-thin (2

micron) rectangular diaphragms that function

together to provide a combined surface area

unachievable in a standard round diaphragm.

By using four diaphragms as a single capsule,

the AT5040 achieves remarkably large

surface area without the increased weight

and decreased transient response that are the

expected limitations of expansive size.

Another key AT5040 design feature

is advanced internal shock mounting that

effectively decouples the capsule from the

microphone body. For additional isolation,

each AT5040 is also provided with Audio-

Technica’s new AT8480 shock mount.

Featuring a proprietary design, the AT8480

was engineered not only to isolate the

microphone, but to rid the apparatus itself

of any unwanted resonances and other audio

aberrations that could be transmitted to the

microphone. It also features a unique locking

mechanism that holds the microphone securely

in place.

Every AT5040 is hand-built and inspected

for 100% quality control and is housed in

an elegant case of aluminium and brass with

grey chrome plating for durability and low

reflectivity. Discreet components have been

selected for optimised capsule performance; in

fact, every aspect of the microphone has been

carefully considered to minimise any effects on

the audio signal.

Designed as a first-choice vocal microphone

with smooth top end and controlled sibilance,

the AT5040’s large-diaphragm characteristics

and fast transient response also make it ideal

for recording acoustic instruments such as

piano, guitar, strings, and saxophone.

ON STAGEIn recent years Audio-Technica has won

devotees among artists and sound engineers

alike for its Artist Elite series stage

microphones. With users and endorsees as

diverse as Metallica, Gwen Stefani, Katherine

Jenkins and Alicia Keys, AE Series handheld

models – both condenser and dynamic – are

famed for their sound quality. On backline

too, Audio-Technica is a de facto standard

for many world-class engineers including ‘Big’

Mick Hughes (Metallica, Slipknot), Dave

Bracey (Robbie Williams) and Ben Hammond

(Deaf Havana, Devin Townsend Project).

For these and many others, models like the

AE2500 dual element design, the AE3000,

AT4050 and ATM350 are essential tools of

the trade. These live production mics are now

joined by the re-engineered Artist Series,

offering unrivalled performance at competitive

price points. Among the highlights, the

high-performing AT510 cardioid and AT610

hypercardioid dynamic mics are rugged,

great-sounding workhorses built for smooth,

natural vocal reproduction and to handle life

on the road.

INFORMATION

[]

Audio-Technica Ltd (UK)Unit 5 Millennium Way

Leeds

LS11 5AL

T: +44 (0) 113 277 1441

W: www.audio-technica.com

Tom HarroldPro audio marketing manager

T: +44 (0) 113 277 1441

E: [email protected]

The dual-element dynamic/condenser

AE2500 model is one of the stars of the Artist

Elite range and popular with FOH engineers

around the world

The tube-powered

AT4060a condenser

microphone was

reintroduced to the

40 Series in 2014


AUDIX

OM SERIES – PIONEERING VLM™ CAPSULE TECHNOLOGY

The OM5, OM6, and OM7 are the vocal

microphones of choice amongst sound

engineers and top touring artists such as Alanis

Morissette, Pearl Jam, George Strait, Red Hot

Chili Peppers, Willie Nelson, Bonnie Raitt, The

Doobie Brothers, Blink 182, Jimmy Eat World

and Crosby, Stills & Nash; to name a few.

Audix designed a proprietary capsule for the

OM Series utilising VLM (Very Low Mass)

technology. VLM technology is based on a

very lightweight diaphragm, which allows for

extremely fast, accurate processing of incoming

signals. The result is clear and natural sound

reproduction, extended frequency response, and

high SPL (Sound Pressure Level) handling.

VLM technology, combined with a

very tight hypercardioid polar pattern and

aerodynamic body design has made the series a

legend in the industry.

VX5 AND VX10 – ACHIEVING NEW STANDARDS IN HANDHELD VOCAL CONDENSER PERFORMANCE

Audix has responded to

the demand and overcome

the challenges of providing

studio-quality sound on

stage with two outstanding

condenser microphones: the

VX10 and the VX5.

The VX10 features a

21mm capsule and requires

48-52 volts phantom power

for operation. Ideally suited

for stages with one featured

vocal artist, the VX10 will

provide unmatched studio quality sound for live

broadcasts and performances.

The VX5 features a 14mm capsule and

switches for -10 dB pad and bass roll-off. The

VX5 is an electret condenser vocal microphone

requiring phantom power of 18-52 volts.

Providing a very wide frequency response with

rich lows and detailed highs, the VX5 will meet

the most demanding requirements for a wide

variety of live sound applications.

THE D SERIES AND I5 DYNAMIC VLM™ INSTRUMENT MICROPHONES — COMPACT DESIGN, POWERFUL PERFORMANCEThe introduction of the D Series broadened the

category of dynamic instrument microphones

and created new possibilities for drum and

percussion applications. Audix combined VLM

capsule technology, transformerless design,

and precision machined aluminum housings to

achieve new performance standards in live sound

and recording.

With the D6, Audix shifted the paradigm

for kick drum microphones. The i5 is a well-

rounded general-purpose utility mic with

outstanding results on snare and guitar cabs.

Audix Dynamic VLM instrument microphones

are chosen for live performance due to their

ruggedness, utility, high SPL handling, and

pattern control.

LEADER OF THE PACK — PRE-PACKAGED MICROPHONE COLLECTIONS Being the first to introduce the concept

of professional microphone assortments,

Audix simplified the approach to selecting

Audix –Performance, Innovation and ExcellenceYear after year, Audix microphones are recognised for their innovative design, performance, quality,

durability, and value. Audix’s state-of-the-art manufacturing facility located at the firm’s Wilsonville,

Oregon USA headquarters focuses on R&D, automation, and CNC machining equipment. This not

only enables Audix to control the quality of the products from start to finish, but also allows for

continual improvements and enhancements as new materials and processes become available. This

is apparent from the design and performance of products such as the OM Series, VX5, VX10, D Series,

i5, SCX25A, and the Micros™.

LYTOS ANI DIFRANCO THE COMMANDER-IN-CHEIF


Sign up for your digital AM at www.audiomedia.com AUDIX

INFORMATION

[]

Audix Corporation9400 SW Barber Street,

Wilsonville, OR 97090,

USA

T: +1 503 682 6933

W: www.audixusa.com

UK Distribution:SCV Electronics Ltd.40 Chigwell Lane,

Oakwood Hill Ind. Estate,

Loughton, Essex, IG10 3NY

T: +44 (0) 208 418 1470

W: www.scvlondon.co.uk

microphones for drum kits, percussion

ensembles, piano and general studio sessions, by

offering an array of pre-packaged microphone

collections. These signature ‘mic packs’ contain

models designed to operate congruently

while capturing

and isolating each

individual sound

distinctively and

naturally.

All microphone

packs are equipped

with a variety of

clips and accessories,

which are packed

securely into a

handsome aluminum

carrying case. The

Audix microphone

collections provide

extraordinary value

and a lifetime

of performance.

SCX25A – DESTINED TO BECOME A CLASSIC In the world of studio condensers, a

microphone only becomes a classic when it

proves itself to be indispensable. The SCX25A

is just that. The mic has a large diaphragm

capsule housed within a unique, patented

internal shock mount that is isolated in an

intricate machined brass ring. This microphone

delivers its own signature, pure, open-air sound

with exceptional detail and realism.

The SCX25A has proven to be an

outstanding microphone on piano. Because

of its small footprint and acoustic behavior, it

can successfully be used on a short stick or in

a closed lid environment; one of the biggest

challenges facing any microphone. It is also

ideally suited for any acoustical application

including vocals, guitar, strings, brass,

overheads, woodwinds, ensembles, and room

miking.

THE MICROS™ — PUSHING THE LIMITS OF SIZE AND PERFORMANCERepresenting one the most intriguing

innovations in microphone technology, the

Micros™ are the world’s smallest condenser

microphones with integrated preamp and

detachable cable. The Micros™ also feature

studio-quality sound, very low self-noise, and

up to 129 dB of dynamic range. Additional

characteristics of these mics include complete

immunity from RF, tailored frequency response,

three application specific levels of sensitivity, and

a wide variety of optional clips and accessories.

Coupled with the MicroBoom™, a portable

lightweight carbon fibre boom arm available

in varying lengths of 24, 50, and 84 inches, the

Micros™ have raised the bar when it comes to

overhead choir miking applications.

The M1255B features an unprecedented

output sensitivity of 32 mV/Pa and operates

on a minimum phantom voltage of 18 volts.

It is ideally suited for distance learning and

conference systems. The most recent products

developed utilising this highly sensitive capsule

include the M3, M40, M55 and M70 ceiling

microphones, which are designed for permanent

installation.

While the process of capturing acoustic

sound waves and converting them to electronic

impulse is a very complex process, Audix always

strives for the most simple and elegant solution.

ALEX CLARE STEPHEN “DOC” KUPKA, TOWER OF POWER


BLUE MICROPHONES

Your Microphone, Your SoundIn an age of indistinguishable mics, Blue’s designs

are as unique as the artists who use them.

Each microphone is engineered with a unique

sonic signature for specific recording needs,

including new products unlike anything seen or

heard before.

ABOUT BLUE Blue Microphones was founded in 1995 with the belief that technical

innovation and cutting-edge design can combine to create a family of

audio tools that not only look inspiring, but sound like nothing else

on the planet. Blue has created a line of mics with custom-designed

sonic signatures that make each microphone truly unique and perfectly

situated to take advantage of today’s increased digital bandwidths. Or to

put it simply: the perfect analogue devices for the digital age.

Starting with state-of-the-art technology that ensures the purest

possible signal path, along with Class A fully discrete circuitry (no

ICs, pads, or filters), each microphone contains its own hand-tested

propriety capsule and is designed to capture specific sonic signatures

in precise ways. The result is a portfolio of professional microphones

that create a full palette of sounds, enabling artists to realise the sonic

landscape of their vision.

INTERCHANGEABLE CAPSULE SERIES Designed for the most discerning recordists,

the Interchangeable Capsule Series contains

microphones capable of providing a

wide palette of tonal characteristics and

pick-up patterns to satisfy even the most

discriminating tastes. The series integrates

the best of Blue’s discrete Class A circuitry

with a unique and revolutionary system of

interchangeable capsules that provide the

engineer with a wide range of potential tonal

characteristics. This series is employed in the world’s

most respected studios and is recognised by industry

insiders as the world’s premier microphone system.

BOTTLE •Flagship tube mic with custom

transformer and interchangeable

capsule system

BOTTLE ROCKET: STAGE TWO • Class A discrete tube mic with

interchangeable capsule system

BOTTLE ROCKET: STAGE ONE • Class A discrete solid state mic with

interchangeable capsule system


Sign up for your digital AM at www.audiomedia.com BLUE MICROPHONES

INFORMATION

[]

Blue Microphones (North America)

W: www.bluemic.com

T: + 1 818 879 5200

F: + 1 818 879 7259


Blue Microphones (Europe)Music Psych Limited

33 Ripplevale Grove,

London, N1 1HS

T:+ 44 (0) 207 607 6005


W: www.musicpsych.com

BLUE FOR YOUR DIGITAL LIFEIn 2005, Blue burst into the realm of consumer electronics with the Snowball, the world’s first professional USB mic. While

the Snowball was designed specifically for recording vocals, instruments, and bands directly to computer via USB, it was

quickly and readily adopted by those seeking high-quality audio for other applications like creating podcasts, recording

voice-overs, narrating videos, capturing sound effects, and even chatting online.

Blue’s audio DNA continues today with exciting innovative products like Tiki with its noise-cancelling technology

to improve the intelligibility of online communication, and Spark Digital, which is the world’s first studio condenser

microphone to offer both USB and iPad connectivity.

MULTI-PATTERN SERIES When your recording environment requires a bit of versatility, Blue’s Multi-Pattern Series microphones deliver. Designed

around Blue’s custom hand-tuned capsules, these uniquely designed mics offer a diverse sonic landscape whether it’s a

guitar in cardioid mode, background vocals in figure-of-eight, or an orchestra in omni. Plus, if your recording application

requires M/S, X/Y, or a simple stereo set-up, a pair of these multi-pattern mics opens up your recording space to even

more possibilities.

Large diaphragm Class A discrete multi-pattern (9) tube mic

Large diaphragm transformerless solid state Class A discrete multi-pattern (9) condenser mic

SIGNATURE SERIESEvery Blue microphone in the Signature Series contains its own propriety capsule that is hand-tested to capture a specific

sonic signature. Blue’s philosophy is to create microphones that are unparalleled for their intended application. For example,

the Mouse is a low-frequency focused microphone that specialises in capturing the bigger-than-life lows of kick drums, bass

amps, and deep vocals; whereas the Dragonfly is designed specifically to capture and thicken thin sounds from soprano vocals

and instruments like drum overheads.

Large diaphragm Class A discrete cardioid condenser mic with rotating head

Large diaphragm Class A discrete cardioid condenser mic

Large diaphragm Class A discrete cardioid condenser mic with rotating head

ESSENTIAL SERIES Designed to be the versatile microphone every musician craves, the Essential

Series is capable of capturing the essence of any audio source. From guitars,

basses, and drums to woodwinds, brass, and vocals, these microphones deliver

the full spectrum of audio for today’s demanding digital recording environment.

Whether you’re just starting out and need your first great mic or you’re looking

for the perfect ‘go-to’ mic in the studio, the Essential Series mics offer the best

range – and value – for your recording needs.

Large diaphragm Class A discrete cardioid condenser mic

Versatile large diaphragm Class A discrete cardioid condenser mic

Solid state cardioid condenser mic with Focus Control

EN•CORE PERFORMANCE SERIES 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-around performance and

craftsmanship, and gorgeous durable plating finishes with Blue’s proprietary

capsule technology. Each mic capsule is hand-tuned for the utmost in detail

and clarity, delivering minimal handling noise without pads or filters. From its

heavy-gauge grill and barrel to its reinforced ring and durable plated finishes,

lifetime, for a lifetime of performances.


DPA MICROPHONES

Professional

microphone

solutions born

from a single

idea – sonic

excellenceWhether doing live concerts, studio, theatre,

film, broadcast, or sports, microphones and

accessories from DPA Microphones can perfectly

capture the moment. DPA Microphones

produces the best, most accurate microphones

available, guaranteeing stunningly natural sound

quality and zero coloration.

d:screet™ MINIATURE MICROPHONES

d:fine™ HEADSET MICROPHONES

d:fine™ HEADSET MICROPHONES

d:screet™ MINIATURE MICROPHONES


Sign up for your digital AM at www.audiomedia.com DPA MICROPHONES

ABOUT DPA MICROPHONESDrawing on more than five decades of world-class condenser

microphone design, the Danish Professional Audio manufacturer

DPA Microphones has manufactured ground-breaking products

in its own name since 1992. The company is represented by

professional audio distributors and dealers in more than 50

countries worldwide. DPA’s design ethic embodies a no-

compromise attitude in the quest for quality. All products are made

on-site at our factory in Denmark, giving us complete control over

all aspects of manufacturing.

INFORMATION

[]

ContactHead OfficeDPA Microphones A/S, Gydevang 42-44, DK-3450 Alleroed, Denmark

T: +45 4814 2828F: +45 4814 2700E: [email protected]: www.dpamicrophones.com

US Sales OfficeDPA Microphones, Inc.1500 Kansas Avenue, Unit 3A, Longmont, CO 80501, USA

T: +1 303 485 1025F: +1 303 485 6470E: [email protected]

APAC Sales OfficeDPA Microphones Ltd.Unit 801-2, 8/F, Asia Orient Tower, 33 Lockhart Road, Wanchai, Hong Kong

T: +852 2617 9990 F: +852 2617 9887E: [email protected]

d:facto™ VOCAL MICROPHONESThe d:facto™ Vocal Microphones brings true studio sound to the live

stage. Where sound pressure levels are a challenge, the d:facto is up to

the task with its 160 dB SPL threshold, three-step pop-protection grid

and the best-in-class handling noise. The d:facto offers excellent sonic

reproduction with all the detail and balanced, linear phase and frequency

response, that users have grown to trust from DPA Microphones.

d:facto™ – WIRED OR WIRELESS?

d:dicate™ RECORDING MICROPHONESDPA’s legacy as a manufacturer of high-quality test and measurement

transducers is embodied in the versatile line of d:dicate™ Recording

Microphones. This specialised range of microphones feature technical

specs that are the envy of the industry, bringing low noise and pristine

accuracy to live, broadcast, and studio applications.

MODULAR FLEXIBILITY WITH d:dicate™

and booms

d:vote™ 4099 INSTRUMENT MICROPHONESThe d:vote™ 4099 line of instrument

microphones feature a low profile, rugged

design optimized for close placement in

broadcast and live applications. The d:vote

4099 comes in low or high sensitivity

versions for capturing the loudest drum kit

or the most subtle nuances of orchestral

instruments. Optional adapters are also

available for wired or wireless connections.

d:vote™ 4099 INSTRUMENT MICROPHONES


FUNKY JUNK

In an age where many users mistakenly believe that the quality of a

microphone is determined by price, we know that what really matters

is suitability for specific applications rather than cost. Recording

is a process where no one tool will ever suit all purposes, where

different technologies shine in different situations and where the best

recordings owe as much to microphone positioning, room acoustics,

cabling, engineering skills and, of course, great performances, as to the

technology employed.

As both users and suppliers, we strive to keep an open mind because

as in so many walks of life, opinion can easily be swayed by fashion.

Maybe we’re obstinate, but we try to be guided by results rather than

preconceptions. For example, we spent a decade promoting ribbon

microphones in an era where the mainstream industry dismissed the

technology as outdated but gradually, partly thanks to our distribution

partnership with Royer Laboratories, ribbon mics joined the mainstream

to the point where now, Royer are amongst the best respected

microphones in the world.

Now we devote time and energy to promoting the virtues of quality

dynamic microphones, another technology sadly overlooked in this

blinkered age.

As Europe’s leading supplier of professional studio equipment, Funky Junk has extensive knowledge

of all kinds of microphones. Unlike other dealers, we not only supply but also repair and, crucially,

test products in demanding sessions at our award-winning SNAP! recording studios. We therefore

understand the technology and appreciate the myths and realities first hand rather than relying on

dubious posts on websites and pro-audio forums or manufacturer’s inflated advertising claims.

A quality cable often

improves recording

quality to a greater

extent than a new

microphone or preamp.

The audible difference

can be remarkable.

Vovox are hand wound

in Switzerland to

minimise signal loss

and capture frequencies

too often lost with

conventional cables.

We rate them so highly,

we’re prepared to offer

30 days sale or return on

all Vovox products.

Forgotten Heroes


Sign up for your digital AM at www.audiomedia.com FUNKY JUNK

INFORMATION

[]Funky Junk Ltd

Unit 10,

407-409 Hornsey Road

London

N19 4DX

T: +44 (0) )207 281 4478

W: www.proaudioeurope.com


Pearl Microphones have been hand made in Sweden for over

seventy years.

The microphones are designed in-house and all parts made

locally. Pearl adopt a unique design philosophy, employing

rectangular capsules which offer reduced resonance and

therefore a flatter frequency response and lower noise level than

conventional circular diaphragms, making them exceptional

for instrumental recording, especially for pianos, strings and

orchestral sessions.

We’re huge fans as Pearl Microphones offer a level of

performance unmatched by any other mic in their price range.

Indeed, for certain applications they cannot be bettered…period.

We’re always pleased, although never surprised, at the positive feedback

from clients who try high-end dynamic mics in demanding sessions.

Many of the current crop of musicians and engineers are unaware that

dynamic microphones are capable of superb results, particularly for

sources with fast transients and high levels, such as drums, percussion,

electric guitars and Dave Groll’s voice (other vocalists are available…).

Indeed, we’re often called upon to justify why dynamic mics cost less

than equivalent condensers. Quite simply, the technologies are different.

Dynamics are generally less expensive to manufacture than condensers so

the fact they’re cheaper doesn’t mean they’re worse, they’re just different.

Indeed, for certain applications they deliver significantly better results.

Ultimately, a key skill for the sound engineer must be an ability to

select the right tool for the job.

Funky Junk has always sought to encourage smaller manufacturers,

believing these companies can offer outstanding value in relation to their

bigger brothers and that innovation is frequently driven by individual

designers rather than corporate teams. After all, the best professional

audio equipment is a combination of art and technology… what matters

is how a piece of equipment sounds, not how the output measures on

a scope. If at times we seem evangelical about promoting the virtues of

little-known equipment, it’s because everyone at Funky Junk and SNAP!

shares a love of music and in particular, a commitment to helping clients

capture performances as faithfully as possible.

We are frequently approached to represent new products but only

choose two or three a year after extensive tests in the studio, on location

and in our workshops because we believe that reliability and quality

of construction are as important as performance to professional users.

We therefore partner with only a selected few but when we do, our

commitment is total, long term and enthusiastic.

We stock and support the widest range of professional recording

mics in Europe and are always happy to discuss a client’s specific

requirements, application and budget. If we suggest you try models

you’re not familiar with, it’s purely because we believe these unsung

heroes deserve more attention. After all, most of today’s household

names were unknown when they first started.

Another Scandinavian

manufacturer that has impressed

us recently are Sandhill who

make beautiful mics, designed

and handmade in Finland by a

team with expertise in metallurgy,

acoustics and mainstream

manufacturing. Their objective was

to produce a ribbon microphone

combining sensitivity with robust

performance, and in our opinion,

they’ve succeeded. Trumpets sound

like trumpets, saxophones like

saxophones, pianos like… well,

you guessed it… but crucially, the

Sandhill doesn’t collapse when

faced with a kick drum or the

loudest bass guitar cab.


SENNHEISER

WIRELESS MICROPHONESThe name Sennheiser has become synonymous with

reliable RF wireless transmission, whether it’s a small

gig with just a few wireless mics on stage or a large

broadcast event involving multi-channel systems and

complex RF environments.

Sennheiser’s new top-of-the-range system is Digital

9000, a digital wireless system that can transmit

completely uncompressed audio in the UHF range,

artefact-free and with superb dynamics. The system

includes the EM 9046 receiver, SKM 9000 handheld

transmitter, SK 9000 bodypack transmitter and a

comprehensive suite of accessories.

Targeting broadcasting professionals, (musical)

theatres and high-profile live audio events, Digital 9000

sets a new benchmark in digital wireless transmission. It

offers unprecedented ease of use and sound quality, with

a wide range of capsules to choose from, including four dedicated 9000

Series heads.

With Digital 9000 users no longer have to calculate and

circumvent intermodulation frequencies but can conveniently place

their transmission frequencies in an equidistant grid. The system has

been meticulously designed for the highest channel counts in today’s

increasingly dense frequency environment.

On the analogue side, Sennheiser offers its renowned 5000, 3000

and 2000 Series. Large touring productions, TV shows, broadcasts, and

globally active bands rely on the SKM 5200-II and SKM 2000 handheld

transmitters, SK 5212-II and SK 2000 bodypack transmitters, and the

EM 3732-II and EM 2050 dual-channel receivers, which are setting

standards in multi-channel capability and reliability.

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.

Sennheiser – The Audio Specialists

For almost seventy 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 film crews worldwide rely on Sennheiser microphones.

Danmarks Radio used Digital 9000 for the

Eurovision Song Contest 2014

(Photo credit: [email protected])

Digital 9000: Designed for the highest channel counts, Digital 9000 is

able to transmit full, uncompressed audio in the UHF range


Sign up for your digital AM at www.audiomedia.com SENNHEISER

INFORMATION

[]

Sennheiser electronic GmbH & Co. KGAm Labor 1, 30900 Wedemark, Germany

t +49 (0) 5130 6000

e [email protected]

w www.sennheiser.com

Sennheiser UK Ltd

t +44 (0) 1628 402 200

w www.sennheiser.co.uk

WIRED MICROPHONES

EVOLUTION SERIES STAGE MICROPHONESDesigned with the aim of providing a

complete range of microphones for vocals

and backline, evolution microphones were

launched in 1998. Since then, they have

become a standard on stages around the world,

and are known as rugged, reliable tools for

the live sound engineer. The evolution 600

line offers instrument microphones for the

complete backline, while the 800 line are vocal

microphones that cater for any stage situation.

The award-winning evolution e 900 series is

the pinnacle of evolution live microphones,

including both vocal and instrument

microphones. The range encompasses

everything from dynamic drum mics (the

e 901, e 902, and e 904) to the e 906 guitar

amp mic and small-diaphragm condenser

models such as the e 914 and the clip-on

e 908. Vocal microphones are the cardioid

e 935, super-cardioid e 945 (both dynamic

mics), and the e 965, a true condenser, large-

diaphragm stage microphone with switchable

pick-up pattern (cardioid/super-cardioid).

The latest model in the evolution range is the

e 835 fx, which has a special effects button to

conveniently control the effects units of vocal

effects expert TC-Helicon.

THE MD RANGE OF DYNAMIC MICROPHONESSennheiser’s rugged, easy-to-use dynamic

microphones include all-time classics such as

the MD 21, MD 421, and MD 441, but also

reporters’ microphones like the MD 42 and

MD 46.

PERMANENTLY POLARISED CONDENSER MICROPHONESEverything from professional sub-miniature

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 single-sided Earset 1 and Earset 4 mics,

the MKE 400 and MKE 600 camcorder

microphones, and Sennheiser’s smallest

clip-on, the MKE 1.

TRUE CONDENSER MICROPHONESWith the MK 4, Sennheiser has launched

an extraordinary studio microphone whose

shock-mounted capsule is based on that of

the e 965. The affordable side-address mic

has a warm and direct sound, ideal for vocals

and speech but also for guitars, guitar amps,

string, and wind instruments, as well as

drums and percussion.

MKH MICROPHONESThe choice for recording, broadcast, and

filming specialists, Sennheiser’s MKH

microphones are a sophisticated class

of condenser microphones, operating

according to the RF principle and using a

unique symmetrical push-pull transducer.

They offer an unchanging acoustic

impedance, extremely low distortion figures,

a higher capsule output with much lower

noise, and thus a very clear signal. They 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

floating, balanced output without the need to use

a transformer. The line comprises such classics as

the MKH 416 and the MKH 20 to 70 models,

while the more recent MKH 8000 series includes

the MKH 8020 (omni), MKH 8040 (cardioid),

MKH 8050 (super-cardioid), MKH 8060 (short

gun), MKH 8070 (long gun) and the MKH 8090

(wide cardioid) as well as the MKH 800 Twin, a

double-capsule microphone whose pick-up pattern

can be remotely controlled at the mixing desk and

modified during post-production.

DIGITAL MICROPHONES……are 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 filter and attenuation to be

adjusted via a suitable mixing desk, a portable

AES 42 interface, or a standard AES 42 interface

and a PC.

An evolution wireless handheld. To date,

evolution wireless is Sennheiser’s most

successful radio microphone series

The MK 4 excels both as a

recording and a live microphone

The MKH 8000

Series can be used in

analogue and digital

environments, simply by

exchanging a module


SONY

SONY DIGITAL WIRELESSOffering superior digital sound quality and

multi-channel operation the Sony DWX

series offers world-leading digital microphone

expertise, including WiDIF-HP codec, which

captures the subtlety of analogue, but with the

advantages of an all-digital architecture.

The DWX series offers a new era in live

stage and broadcast audio equipment, not just

because it’s all digital, but because this system

with user-focused technology comes in the

smallest, lightest and most ergonomic packages

available without any compromise to the

sound quality. Using the WiDIF-HP codec

it achieves low system latency, great reliability

and first class digital 24-bit AES/EBU audio

with up to 72MHz bandwidth. Unlike other

systems the DWX series does not need a

compander unit which can adversely affect the

sound quality. Additionally full control of the

receiver and transmitters can be gained over

cross-remote function via Wireless Studio 3.0

software on a PC, which means the engineer

has full control of all parameters in the system.

The DWX series determines a highly

efficient use of available bandwidth, using

up to 16 transmissions in 8MHz (one TV-

channel) simultaneously and unlimited upscale

of sequential TV-channels is also available

(limited only by the available bandwidth).

DWX series uses QPSK modulation

(quadrature phase shiftkeying) – a digital

modulation which is extremely robust against

all types of interferences for peace of mind.

With the DWR-R02D 2 channel digital

wireless rackmount receiver or the DWR-

S02D 2 channel digital wireless slot-in receiver,

there is a range suitable for all applications.

Paired with the DWM-02 digital handheld

microphone, the DWT-B01/E digital belt-

pack transmitter or DWT-P01 48V phantom

power digital plug-on transmitter you can

achieve legendary performance in a digital

wireless microphone system. The beauty of the

DWX series means an unlimited number of

simultaneous channels can be used (500KHz

spacing). The belt-pack gives a lightweight

and rugged design you can really rely on with

a full body of magnesium, only weighing 125g

including batteries. This can be used with a

miniature or headset mics or a guitar cable for

wireless transmission, and the interchangeable

capsules on the DWM-02 handheld

microphone gives the choice of using over 50

different capsules from various manufacturers.

Sony also offers three interchangeable heads

for the DWM-02 microphone, the CU-C31

condenser cardioid, CU-F31 dynamic super

cardioid and CU-F32 dynamic wide cardioid.

SONY UWP-D SERIESThe newest addition to the Sony audio line

up is the UWP-D wireless microphone

series which is a perfect system to be used in

Sony – The Power to MoveThe history of the Sony microphone began in 1950, now over 60 years later Sony remains

synonymous with the innovative development, production and distribution of high-quality

professional audio products for news gathering, video production, live events and broadcast.

Sony DWM-02 handheld microphone

and Sony capsules


Sign up for your digital AM at www.audiomedia.com SONY

a wide number of applications, not only for

ENG (electronic news gathering) or EFP

(electronic field production), but also for live

concerts, sport events, documentaries and

weddings. Using Sony’s newly developed

Digital Audio Processing technology, which

uses DSP (digital signal processing) for digital

companding, it improves transient response

performance and realises high quality sound.

The clear channel scan function searches for

a channel that is not being used by another

transmission. This makes it very easy to

find a channel which can be used without

interference. The receiver can then transfer

the desired frequency to the transmitter via

IR connection which allows for a very quick

and simple user setup. With up to 72MHz

operating bandwidth the system also achieves

great mobility and by utilising a true diversity

reception system it achieves a highly stable

reception because of its two receiving antennas,

each with RF circuits.

With additional features such as a

headphone output for monitoring available

on the portable receiver (URX-P03), micro-

USB for power supply or recharging batteries

and interchangeable capsule design on the

handheld microphone (UTX-M03), plus

compatibility with previous Sony UWP

series, Freedom series and WL-800 series,

exceptional performance can be achieved

across a wide number of operating frequencies.

In three available packages, the UWP-D11,

UWP-D12 and UWP-D16 users can choose

between a handheld microphone (UTX-M03),

a belt-pack transmitter (UTX-B03) and a 48V

phantom power plug-on transmitter (UTX-

P03), alongside a portable receiver (URX-P03).

The wireless receiver of the UWP-D

series (URX-P03) can also be mounted to

camcorders or interchangeable-lens cameras

that have an MI (Multi-Interface) shoe using

the MI shoe adapter (SMAD-P3). This

eliminates the need for any connecting cables

between the receiver and the camera. By

using the MI shoe adapter, audio signals can

be transmitted from the wireless receiver to a

camera. In addition, the wireless receiver can

get power from the camera, also eliminating

the need for batteries, and the camera can

control power ON/OFF of the receiver,

unifying power management.

DIGITAL WIRELESS AUDIO USING 2.4GHZ ISM BANDWith the Sony DWZ series you get high-

quality digital sound with reliable RF

transmission, using unique transmission

technology using 2.4GHz ISM band. Available

in six different versions you will find one that

is ideal for solo guitar, bass players and musical

performances, including bands and live concerts

and packages for applications in schools,

universities, churches and hotels. Including

options for a rack mount kit to mount the half

rack receiver to a 19-inch EIA standard rack

and a contactless battery charger (for ZTX-

B02RC belt-pack and ZTX-M02RC handheld

microphone). The interchangeable microphone

capsules mechanism on the ZTX-M01 and

ZTX-M02RC handheld microphones are also

designed for use with third-party capsules.

The DWZ series offers high-quality

sound combined with Sony’s renowned digital

wireless reliability in a simple to set-up-and-

use design.

DEALER LOCATERAll Sony Professional Audio dealers can be

found on www.pro.sony.eu/spss

ELECTRET CONDENSER MICROPHONESBuilding on decades of experience in audio

acquisition, Sony offers a comprehensive choice

of wired shotgun and lavalier microphones that

offer musicians, broadcasters and producers

uncompromised audio for a dependable

performance. The ECM-VG1 electret

condenser microphone has excellent sensitivity

of -33db and a low inherent noise level of less

than 18db SPL, and the ECM-MS2 a compact

MS stereo back Electret condenser shotgun

microphone has a compact and lightweight

design, only 137mm length and offers both

stereo and mono operation increasing the

versatility of the microphone. The ECM-678,

ECM-674 and ECM-673 all have flat-and-

wide frequency response (40Hz to 20KHz)

with built-in low cut filter, and the ECM-678

also offers an extremely low inherent noise of

less than 16db SPL.

Sony UWP-D series

components

URX-P03 portable receiver mounted on the

Alpha7 using the SMAD-P3 MI shoe adapter

INFORMATION

[]Sony Professional Europe

Jays Close

Viables

Basingstoke

RG22 4SB

United Kingdom

T: +44 1256 355011

W:www.pro.sony.eu/proaudio

Sony DWZ-B50GB digital

wireless guitar set


RØDE MICROPHONES

That’s The RØDE DifferencePRECISION MAKES THERØDE DIFFERENCE

A handful of grey-haired, highly-trained

engineers in pristine lab coats, tirelessly hand-

crafting every microphone in between quiet

cups of tea. While some companies would

have you believe that this is how they ‘hand

make’ microphones, the reality isn’t nearly

as glamorous. Instead, ‘hand-made’ usually

means ‘assembled by poorly paid and generally

unskilled process workers’.

Now, consider The RØDE Difference.

First: one of our core principles is to always

be a technology leader, which means using

the most advanced machinery to build our

high- quality products. Our continual pursuit

of excellence through innovation results in

products that last a lifetime. These are concepts

that other manufacturers simply cannot achieve

using primitive manual processes.

There are very few premium manufacturers

in Europe and the USA who understand this,

and they generally outsource these components

of manufacturing, making their products even

more expensive.

Which leads to the second facet of RØDE’s

precision difference: having the technology

in-house dramatically lowers our cost without

sacrificing quality. Our state-of-the-art

manufacturing plant in Sydney, Australia, is a

unique combination of specially commissioned

machinery that may have otherwise found

a home in a leading German automotive

manufacturer or one of Switzerland’s finest

watchmakers. We’ve adapted this technology

to sculpt the best raw materials into the world’s

best microphones. That’s the RØDE Difference.

PASSION MAKES THE RØDE DIFFERENCEHere at RØDE we recognise that to make the

very best microphones you need to live and

breathe audio, and this shared creative vision

drives our team every day.

Peter Freedman, RØDE’s founder and

company President: “Growing up I was always

around sound and my earliest memories are

being surrounded by recording and audio

equipment as well as live performances in the

early 1960s. We have some very clever people

here at RØDE, but what we really look for

in our employees is passion. I’d rather have

someone working for us who sees a career in

audio as their dream, who comes to work every

day seeing it as an opportunity to do something

great, and empower millions of like-minded

creative people.”

The working environment at RØDE

is quite different to what you’d expect of

a company of our size and international

reputation. Rather than wearing uniforms

and sitting in generic cubicles while we work,

we maintain a casual, social atmosphere that

fosters the creativity that drives us.

Our Product Development team interacts

with world-renowned musicians, engineers,

producers, and filmmakers on a daily basis,

ensuring that the products we bring to market

are the very best they can be.

That’s the RØDE Difference.

COMMUNITY MAKES THE RØDE DIFFERENCEThe RØDE family consists of over 10,000

online artists (and counting!) performing over

ABOUT RØDE Founded at a time when the only

recording solutions available were

either incredibly expensive or poor

quality, RØDE set out to change the

status quo. Twenty years on and still

based in Sydney, RØDE continues to

manufacture some of the world’s very

best microphones, regardless of price.

The new NT1 embodies the spirit of RØDE’s

original microphone but leverages the

company’s advanced manufacturing technology

to provide unparalleled value for money


Sign up for your digital AM at www.audiomedia.com RØDE MICROPHONES

100,000 tracks that easily combine to over 100

million online views!

Many YouTube ‘superstars’ have used our

microphones since the start of their careers,

and their success has inspired countless others

to trust their vocal and instrumental talents to

our microphones.

Millions of creative experiences all joined

by a common thread – RØDE Microphones.


VALUE MAKES THE RØDE DIFFERENCEWe’re the good guys, leveraging our

investments in manufacturing and economies

of scale to bring you mics that perform better

than those at several times the price. We bring

our products to the market in both an ethical

and environmentally conscious way.

RØDE was conceived as a brand that

would make high-quality recording equipment

accessible to more than just ‘the chosen few’.

It doesn’t just make us feel good, it’s good

business sense. This kind of focus doesn’t just

happen though – it required a huge investment

and a lot of risk for the company in its

formative years – another reason why RØDE

isn’t just another cookie-cutter manufacturer.


SUPPORT MAKES THE RØDE DIFFERENCEWe realise that a company lives and dies by its

commitment to customers. That’s why we’re

proud to offer the industry’s very best customer

support and product warranties.

We are the only microphone manufacturer

to offer a five to 10 year warranty across

our entire range of microphones. This level

of confidence pleasantly surprises many

customers, but for us it’s simply a reflection of

the quality of our design and manufacturing.

We know we can offer a 10 year warranty

because we are confident that our microphones

will last a lifetime, thanks to the meticulous

manufacturing process that only RØDE

employs. You won’t find any bad solders

caused by an overworked, underpaid plant

worker on our products!

When you buy a RØDE microphone you

are also buying our product service guarantee

– our customer support teams are available

around the clock to provide insight on pre-sales

questions, technical support on product issues,

and even general recording advice.

Peace of mind that your investment is

protected by a skilled team of customer service

professionals for many years to come.


RØDE’s headquarters and manufacturing plant

is based just outside of Sydney, Australia

After a chance meeting at a NAMM show way back in

the 90s, London-based Source Distribution has been the

exclusive UK distributor of RØDE products almost from

day one, so has witnessed the meteoric rise of the brand

from its genesis through to its current position at the very

top of the microphone tree.

Source’s Marketing Co-ordinator Alex Theakston

explains: “Every year RØDE continues to be our biggest

selling brand, and has proved to be absolutely recession-

proof, primarily because it represents such extraordinary

value for money and offers something compelling for

every sector of the market – whether it’s music recording,

broadcast, live sound, or the growing consumer DSLR market. RØDE just has that happy

knack of identifying a product that customers genuinely need – and then building it at a price

that the competition doesn’t seem to be able to get anywhere near.”

Source sees ‘the RØDE Difference’ as embodying what makes RØDE special and feels it

goes a long way to explaining not only how the company hits the price points it does, but also

how it achieves such consistency in performance and such outstanding reliability.

Theakston comments: “The beauty of RØDE’s commitment to large-scale automation and

quality control in their manufacturing is that we know that a RØDE microphone landing in our

warehouse this month will perform absolutely identically to the same mic that arrived here last

month – or even last year. That consistency gives us – and the customer – total confidence in

RØDE products.”

INFORMATION

[]

RØDEwww.rodemic.com

@rodemics

RØDE Headquarters Sydney, Australia

T: +61 2 9648 5855

RØDE Microphones LLCSignal Hill, CA

T: +1 562 364 7400

The iXY is

the world’s

first iPhone

microphone

capable of

recording at

24-bit/96kHz


DIRECTORY

ADK Microphones

www.adkmic.com

AEA

www.ribbonmics.com

Aevox Audio

www.aevox.be

AKG

uk.akg.com

Ambient

www.ambient.de

AMG Electronics

www.amgelectronics.co.uk

Applied Microphone Technology

www.appliedmicrophone.com

ART Pro Audio

www.artproaudio.com

Audio Ltd

www.audioltd.com

Audio-Technica

www.audio-technica.com

Audix

www.audixusa.com

Avantone Pro

www.avantonepro.com

Avlex

www.avlex.com

Azden

www.azden.com

Beesneez Microphones

www.beesneezmicrophones.com.au

Behringer

www.behringer.com

Berliner Microphones

www.berlineraudio.com

beyerdynamic

www.beyerdynamic.com

Blue Microphones

www.bluemic.com

Bock Audio

www.bockaudiodesigns.com

Brauner Microphones

www.brauner-microphones.de

CAD Audio

www.cadaudio.com

Cascade Microphones

www.cascademicrophones.com

Chameleon Labs

www.chameleonlabs.com

CharterOak Acoustics

www.charteroakacoustics.com

Cloud Microphones

www.cloudmicrophones.com

Coles Electroacoustics

www.coleselectroacoustics.com

Countryman Associates

www.countryman.com

DPA Microphones

www.dpamicrophones.com

Earthworks

www.earthworksaudio.com

Elation

www.elationmiclab.com

Electro-Voice

www.electrovoice.com

Fostex

www.fostexinternational.com

Golden Age Music

www.goldenagemusic.se

Groove Tubes

www.groovetubes.com

Hebden Sound

www.hebdensound.co.uk

Heil Sound

www.heilsound.com

Holophone

www.holophone.com

Horch

www.horchaudio.de

iSK Microphones

www.iskmic.com

JJ Audio

www.jjaudiomic.com

Joemeek

www.joemeek.com

Josephson Engineering

www.josephson.com

JTS

www.jts.com.tw

JZ Microphones

www.jzmic.com

Karma Mics

www.karmamics.com

Katamount Enterprises

www.katamount.com

Lauten Audio

www.lautenaudio.com

Lawson Microphones

www.lawsonmicrophones.com

LeWilson Microphones

www.lewilsonmicrophones.com

Lewitt

www.lewitt-audio.com


Sign up for your digital AM at www.audiomedia.com DIRECTORY

Manley

www.manley.com

M-Audio

www.m-audio.com

MBHO

www.mbho.de

Mercenary Audio

www.mercenary.com

Microtech Gefell

www.microtechgefell.de

MicW

www.mic-w.com

Milab Microphones

www.milabmic.com

Mipro

www.mipro.com.tw

Mojave Audio

www.mojaveaudio.com

MXL Microphones

www.mxlmics.com

Nady

www.nady.com

Neumann

www.neumann.com

Nevaton Microphones

www.nevatonmics.com

Oktava

www.oktava-online.com

Pearl Microphones

www.pearlmicrophones.com

Peavey

www.peavey.com

Peluso Microphone Lab

www.pelusomicrophonelab.com

Prodipe

www.prodipe.com

Que Audio

www.queaudiousa.com

Ricsonix

www.ricsonix.com

RØDE Microphones

www.rodemic.com

RoXdon

www.roxdon.com

Royer Labs

www.royerlabs.com

Sabine

www.sabine.com

Sage Electronics

www.sageelectronics.com

Samson Technologies

www.samsontech.com

Sanken Microphone

www.sanken-mic.com

Schertler

www.schertler.com

Schoeps

www.schoeps.de

SDSystems

www.sdsystems.com

sE Electronics

www.seelectronics.com

Sennheiser

www.sennheiser.com

Shure

www.shure.co.uk

Sontronics

www.sontronics.com

Sony

www.sony.co.uk

Soundking

www.soundking.com

Soundman

www.soundman.de

Sterling Audio

www.sterlingaudio.net

Studio Projects

www.studioprojectsusa.com

Superlux Microphones

www.superlux.us

Symphotec

www.symphotec.de

Telefunken

www.telefunken-elektroakustik.com

T.H.E. Audio

www.theaudio.com

Tram

www.trammicrophones.com

Trantec

www.trantec.co.uk

Trinnov Audio

www.trinnov.com

TSL Products

www.tslproducts.com

Violet Design

www.violet-design.com

Voice Technologies

www.voicetechnologies.co.uk

Wunder Audio

www.wunderaudio.com

XXL

www.xxlinside.com

Zaxcom

www.zaxcom.com

DRAGONFLY Silky, extended topend with a low bump

“…the best mic I’ve heard for recording

a guitar amp. Ever.”

—Recording Magazine

BLUEBERRY Detailed highs with mid presence to sit up front in mix

“…its performance is definitely high-end.”

—Mix Magazine

BOTTLE Stunning classic tube with interchangeable capsules

“You gotta hear this microphone!”

—Pro Audio Review

KIWI Renowned multi-pattern mic with superior detail

“…it was never less than sublime.”

—Sound On Sound

Hand-built in California.

bluemic.com

Microphones Guide 2014 Digital

Documents

Transcript of Microphones Guide 2014 Digital