A Special Promotional Publication From Intent Media
Guide 2014
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A Special Promotional Publication From Intent Media
Guide 2014
© aarstudio - Fotolia.com
Studio Microphone
Produced By:
In association with:
Live Mic Guide
Blue Microphones
Funky Junk
Sony Professional
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
What about the ever-changing world of studio microphones?
Marco Pasquariello, engineer and studio manager at the awardwinning 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 & Plugins, 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
Welcome to the International Guide to
Microphones, updated and expanded for 2014.
> Commercial Director
Darrell Carter
Manufacturer Directory
> Editor
Jory MacKay
Blue Microphones
Funky Junk
> Managing Editor
Jo Ruddock
> Production Executive
Jason Dowie
> Designer
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July 2014 3
Microphone Mecca
Marco Pasquariello, engineer and studio manager at the award-winning Snap Studios in London,
runs us through his top picks for studio microphones.
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 droolworthy selection of classic outboard including
a Fairchild 670, two Pultec EQP1A-3s, a
Teletronix LA2A, and two blackface Urei
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
Here, studio manager and engineer Marco
Pasquariello runs us through his top picks for a
number of common studio mic’ing situations…
My 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
4 July 2014
Snap Studios engineer Marco Pasquariello
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.
I’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.
This 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.
For a modern/clean pop drum sound, I
generally like to use a pair of condensers
– something not too hard/bright, like
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
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.
A vintage Neumann
(Telefunken) U47
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.
The International Guide To Microphones 2014
I’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
Pretty 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.
I 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
6 July 2014
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
A classic RCA 44BX
For 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.
Unless 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
My 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.
I 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.
When 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.
When 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!
A typical drum mic set-up
The International Guide To Microphones 2014
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A FOH Engineer’s
Guide to Microphones
Ben Hammond, FOH engineer for Saxon, Deaf Havana, and Fozzy, runs us
through the best options of mics for any live situation.
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
8 July 2014
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 fullsounding 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 [VeckGilodi’s] vocal.
Are there any different ones you would
reach for when working with a female
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.
The International Guide To Microphones 2014
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.
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
10 July 2014
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.
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!
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
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.
The International Guide To Microphones 2014
The International
Audio Guide series
from 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 Carter
Tel:+44 (0) 20 7226 7246
e-mail: darrell.carter@intentmedia.co.uk
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 worldclass 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
12 July 2014
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.
The International Guide To Microphones 2014
Sign up for your digital AM at www.audiomedia.com
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The 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 VR
[ ]
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.
AKG Acoustics GmbH
Laxenburger Straße 254
A-1230 Vienna, Austria
T: +43 1 86654-0
W: www.akg.com
July 2014 13
The Drive For Innovation,
Quality and Consistency
Driven 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
As a world leader in the design and
manufacture of high performance microphones
and wireless microphone systems, AudioTechnica 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.
It 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
14 July 2014
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
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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
In 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
Audio-Technica Ltd (UK)
Unit 5 Millennium Way
LS11 5AL
T: +44 (0) 113 277 1441
W: www.audio-technica.com
Tom Harrold
Pro audio marketing manager
T: +44 (0) 113 277 1441
E: tharrold@audio-technica.co.uk
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.
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, vapourdeposited 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 AudioTechnica’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.
July 2014 15
Audix –Performance, Innovation and Excellence
Year 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™.
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.
16 July 2014
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 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 wellrounded 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.
Being the first to introduce the concept
of professional microphone assortments,
Audix simplified the approach to selecting
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Representing 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
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.
Audix Corporation
9400 SW Barber Street,
Wilsonville, OR 97090,
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
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
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
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.
July 2014 17
Your Microphone, Your Sound
In 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.
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.
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.
Flagship tube mic with custom
transformer and interchangeable
capsule system
Class A discrete tube mic with
interchangeable capsule system
Class A discrete solid state mic with
interchangeable capsule system
18 July 2014
The International Guide To Microphones 2014
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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.
./-5R Large diaphragm Class A discrete multi-pattern (9) tube mic
#1#5R Large diaphragm transformerless solid state Class A discrete multi-pattern (9) condenser mic
Every 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.
)/-5R Large diaphragm Class A discrete cardioid condenser mic with rotating head
&/,,35R Large diaphragm Class A discrete cardioid condenser mic
,!)( &35R5Large diaphragm Class A discrete cardioid condenser mic with rotating head
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.
35)..&5R Large diaphragm Class A discrete cardioid condenser mic
&/#,5R5Versatile large diaphragm Class A discrete cardioid condenser mic
*,%5R Solid state cardioid condenser mic with Focus Control
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
*./,53)/,5/(#+/65#(#0#/&5-)/(65."5(R5 '#&35)'#(-5-.3&65
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,
0,35(R5'#5(5.%55.#(!5(5-.#&&5&#0,5."5*, ),'(5) 55
lifetime, for a lifetime of performances.
Blue Microphones
(North America)
W: www.bluemic.com
T: + 1 818 879 5200
F: + 1 818 879 7259
E: service@bluemic.com
Blue Microphones
Music Psych Limited
33 Ripplevale Grove,
London, N1 1HS
T:+ 44 (0) 207 607 6005
E: support@musicpsych.com
W: www.musicpsych.com
In 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.
July 2014 19
solutions born
from a single
idea – sonic
Whether 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.
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The 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.
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Drawing 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 nocompromise 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.
DPA’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.
The 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.
Head Office
DPA Microphones A/S, Gydevang 42-44,
DK-3450 Alleroed, Denmark
T: +45 4814 2828
F: +45 4814 2700
E: info@dpamicrophones.com
W: www.dpamicrophones.com
US Sales Office
DPA Microphones, Inc.
1500 Kansas Avenue, Unit 3A,
Longmont, CO 80501, USA
T: +1 303 485 1025
F: +1 303 485 6470
E: info-usa@dpamicrophones.com
APAC Sales Office
DPA Microphones Ltd.
Unit 801-2, 8/F, Asia Orient Tower,
33 Lockhart Road, Wanchai, Hong Kong
T: +852 2617 9990
F: +852 2617 9887
E: info-apac@dpamicrophones.com
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July 2014 21
Forgotten Heroes
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.
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.
22 July 2014
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.
The International Guide To Microphones 2014
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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.
Funky Junk Ltd
Unit 10,
407-409 Hornsey Road
N19 4DX
T: +44 (0) )207 281 4478
W: www.proaudioeurope.com
E: sales@funky-junk.com
July 2014 23
Danmarks Radio used Digital 9000 for the
Eurovision Song Contest 2014
(Photo credit: ralph@larmann.com)
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.
The 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
24 July 2014
Digital 9000: Designed for the highest channel counts, Digital 9000 is
able to transmit full, uncompressed audio in the UHF range
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.
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An evolution wireless handheld. To date,
evolution wireless is Sennheiser’s most
successful radio microphone series
With 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.
The 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
Sennheiser’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.
The MKH 8000
Series can be used in
analogue and digital
environments, simply by
exchanging a module
Sennheiser electronic GmbH & Co. KG
Am Labor 1, 30900 Wedemark, Germany
t +49 (0) 5130 6000
e info@sennheiser.com
w www.sennheiser.com
Sennheiser UK Ltd
The MK 4 excels both as a
recording and a live microphone
t +44 (0) 1628 402 200
w www.sennheiser.co.uk
Everything 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
…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.
Designed 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, largediaphragm 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.
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.
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.
July 2014 25
Sony – The Power to Move
The 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.
Offering 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
26 July 2014
Sony DWM-02 handheld microphone
and Sony capsules
efficient use of available bandwidth, using
up to 16 transmissions in 8MHz (one TVchannel) 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 DWRS02D 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 beltpack 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.
The newest addition to the Sony audio line
up is the UWP-D wireless microphone
series which is a perfect system to be used in
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Sony UWP-D series
Building 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-andwide 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.
URX-P03 portable receiver mounted on the
Alpha7 using the SMAD-P3 MI shoe adapter
With the Sony DWZ series you get highquality digital sound with reliable RF
transmission, using unique transmission
technology using 2.4GHz ISM band. Available
All Sony Professional Audio dealers can be
found on www.pro.sony.eu/spss
Sony DWZ-B50GB digital
wireless guitar set
[ ]
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), microUSB 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 (UTXP03), 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.
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 ZTXB02RC 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-anduse design.
Sony Professional Europe
Jays Close
RG22 4SB
United Kingdom
T: +44 1256 355011
July 2014 27
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
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.
That’s The RØDE Difference
A handful of grey-haired, highly-trained
engineers in pristine lab coats, tirelessly handcrafting 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.
28 July 2014
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.
Here 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.
The RØDE family consists of over 10,000
online artists (and counting!) performing over
The International Guide To Microphones 2014
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RØDE’s headquarters and manufacturing plant
is based just outside of Sydney, Australia
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.
That’s the RØDE Difference.
We’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.
That’s the RØDE Difference.
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.
That’s the RØDE Difference.
The iXY is
the world’s
first iPhone
capable of
recording at
We 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
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 recessionproof, 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.”
RØDE Headquarters
Sydney, Australia
T: +61 2 9648 5855
RØDE Microphones LLC
Signal Hill, CA
T: +1 562 364 7400
July 2014 29
ADK Microphones
Groove Tubes
Blue Microphones
Hebden Sound
Aevox Audio
Bock Audio
Heil Sound
Brauner Microphones
CAD Audio
AMG Electronics
Cascade Microphones
iSK Microphones
Applied Microphone Technology
Chameleon Labs
JJ Audio
ART Pro Audio
CharterOak Acoustics
Audio Ltd
Cloud Microphones
Josephson Engineering
Coles Electroacoustics
Countryman Associates
JZ Microphones
Avantone Pro
DPA Microphones
Karma Mics
Katamount Enterprises
Lauten Audio
Beesneez Microphones
Lawson Microphones
LeWilson Microphones
Berliner Microphones
Golden Age Music
30 July 2014
The International Guide To Microphones 2014
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Que Audio
Mercenary Audio
Microtech Gefell
Milab Microphones
Mojave Audio
MXL Microphones
RØDE Microphones
Royer Labs
Sage Electronics
Samson Technologies
Sanken Microphone
Sterling Audio
Studio Projects
Superlux Microphones
T.H.E. Audio
Trinnov Audio
TSL Products
Nevaton Microphones
sE Electronics
Violet Design
Voice Technologies
Pearl Microphones
Wunder Audio
Peluso Microphone Lab
July 2014 31
Hand-built in California.
“You gotta hear this microphone!”
—Pro Audio Review
“…its performance is
definitely high-end.”
—Mix Magazine
Detailed highs with
mid presence to sit
up front in mix
“…it was never
less than sublime.”
—Sound On Sound
“…the best mic
I’ve heard for recording
a guitar amp. Ever.”
—Recording Magazine
Silky, extended top
end with a low bump
mic with superior
Stunning classic tube with
interchangeable capsules
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