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Limited edition OC818 Studio set with multiple polar diagrams (Omni, Figure8, Cardioid, HyperCardioid, etc), based on the new CKR12 Double Cockpit design with world patent for double-handed ceramic rings. Multiple polar charts can be checked in addition to the traditional manual way and through the free POLARPILOT application (Android and iOS) by placing the OCR8 Bluetooth adapter on the back of the microphone, giving the user the ability to adjust 255 steps from Figure8 to Omni , controlling the pad settings. All settings through the application are done in a digital environment, but the sound of the microphone does not change, it does not change and remains proportional. A further breakthrough is the dual output with a single front-rear cap allowing you to record on two separate channels that can be further processed and change the microphone pattern after recording via the dedicated cable / the adapter included in the package for the second outlet. 

992 €
36 Instalments 34,25€ / month
Upon Order

The Telefunken ELA M 250/251 was made for Telefunken by AKG after Neumann discontinued its OEM production of the Telefunken U-47. The Golden Age Premier GA-251 is inspired by this truly classic mic model. The GA-251 shares the same design goal that was set for the GA-47: to offer the classic qualities and advantages that a vintage unit in perfect condition would provide and doing so at a very low price point. Having gone through a number of prototypes that was compared to great sounding vintage units in different recording settings, everyone involved agreed that the goal was reached. The coupling capacitor is made by Solen from France. It is a high balanced film capacitor made from MKP material with pure oxygen-free copper connections. It has a very delicate and balanced sound.The capsule capacitor uses NOS Siemensantique grade polystyrene capacitor to reduce loss.The tube cathode bypass capacitor uses an ELNA OFC Cerafine high end hifi capacitor from Japan with oxygen free copper connections exhibiting a very sweet and delicate character, not the least for vocals.The other capacitors are of the low loss polystyrene type.The resistor used for setting the capsule voltage is a high quality DALE 1% metal film resistor. The result is a very stable and consistent operating level leading to better consistency between different GA-251 units. The plate resistor uses a non-inductive resistor of the United States IRC audio with pure copper connections. The sound level is rich and full bodied. The GA-251 uses a 34 mm K251 style capsule. Being a dual-sided one, it provides both cardioid and omni polar patterns.In order to get a good consistency between units, for each production run of 50 pcs GA-251 units, approximately 200 capsules is evaluatedin order to find 50 capsules with specifications that lie within the tight tolerances. The sensitivity of the front and back side of the capsule do not differ more than 0,3 dB. The sensitivity between different capsules do not differ more than 0,5 dB.The tight manufacturing tolerance will lead to a very good consistency between different GA-251 units.The capsule is specially designed to complement the electronic circuit of the GA-251 to achieve a frequency response curve with a nice balance between the high, middle and low frequencies. The result is a very smooth sound with a warm bottom and airy top end just like ELA M251. The vintage style power supply PSU uses a high power R-style transformer with a low noise level and minimum stray field.A simple but effective circuit uses dual-stage filtering for the filament voltage. The High voltage is also precisely filtered and stabilized using an ON semiconductor zener diode. The polar pattern switch is placed on the power supply so that the recording engineer can change the polar pattern between Cardioid and Omni remotely. A ground lift switch will help to solve mains power related noise issues that can appear in some cases.

2.154 €
12 Interest Free Instalments 179,50€ / month
Upon Order

The classic C800G is the only tube microphone in the world equipped with a semiconductor active cooling system that results in a higher signal-to-noise ratio compared to most other tube microphones. It has a very high-quality modern sound performance.The Golden Age Premier GA-800G is currently the only microphone to fully reproduce the C800G. It´s appearance and structure, as well as accessories and circuit principles, including its sound character, strictly follows the original design. All of the parts including the power plug and the pin definition of the power supply are the same as in the original C800G. Even though its based on the original, the circuit board has been upgraded to a ROGERS ceramic circuit board that has superior insulation parameters and offers a more stable performance. The coupling and bypass capacitors has also been upgraded, resulting in a deeper and more exact low frequency performance and a more delicate and transparent high frequency reproduction.The classic semiconductor active cooling and external cooling system from the C800G is also used in the GA-800G. This is to ensure that the GA-800G has the highest possible signal-to-noise ratio. The tube (a 6AU6) is mounted in an aluminum casing, with the semiconductor cooling chip being attached to the bottom of the case. The temperature of the tube in the GA-800G is the effectively kept down when the GA-800G is in it´s working state, the heat generated by the tube is actively dissipated. The heat that the tube generates is transferred to the reverse side of the semiconductor and transferred to the effective outer aluminum alloy heat sink at the rear of the microphone. This heat sink will then dissipate the heat from semiconductor cooling chip to the air surrounding the GA-800G.PCB board: A ROGERS ceramic gold-plated circuit board is used. This type of circuit board is usually used in high-end aerospace communication products, the cost is about twenty (20!) times higher than an ordinary PCB board.Capsule: By disassembling a C800G and handing it´s capsule to a manufacturer with more than twenty years of microphone capsule production experience, they were able to produce a capsule that matched the characteristics of the original one. The capsule used in the GA-800G can handle a higher sound pressure level than the original one and it has almost the same sound character.Tube: In order to ensure the tube will have a long life, we are using a NOS CIFTE 6AU6 tube from France, it has a maximum anode voltage rating of about 300V. The tube in this circuit has an anode voltage of 90V and will generate more heat than tubes in many other tube microphones that typically uses voltages between 35-50V. The higher voltage used in the GA-800G increases the heat dissipation so the semiconductor active cooling system is an important element in the design.Power supply: The classic 800G uses two 6AU6 tubes as rectifiers for the high voltage rail, they work as pseudo diodes by connecting all grids to the anode that outputs about 290V.After a lot of listening tests comparing a tube rectifying circuit with a solid state one, we found that we did prefer the sound of the latter so this is what we decided to use. The additional advantage is that there is no need to worry about replacing tubes in the power supply.Capacitors, resistors and solder: The metal resistors and electrolytic capacitor from Japan are of special audiophile audio types. The coupling capacitors are Siemens EPCOS from Germany. The connecting wires inside the GA-800G are oxygen-free copper wires from Japan. The solder is FELDER silver/copper-containing solder from Germany.Shockmount:  Rycote USM-VB

4.462 €
12 Interest Free Instalments 371,83€ / month
Upon Order

The Neumann U-47 was produced between 1949 and 1965 meaning that the vintage original units are now very old and their performance do differ a lot depending on their condition. The different clones all have their specific sound character too. So, it´s not easy to say which sound is “the right one”. As always, not the least as far as microphones goes, it will ultimately be a matter of taste. Does the world need one more U-47 clone? The GA-47 microphone as the first product in Golden Age Projects new high end line, changing “Project” to “Premier” for this product range, the answer is “Yes!”.The Golden Age Premier GA-47 has been born from a lot of hard work and real world testing. The end result is a microphone with a very sweet character that should appeal to a great number of users and a microphone that can be used for the most demanding recording tasks. It has proved itself to be a great allrounder, this is not a “vocal-only” microphone. The GA-47 is not a product that will be built in huge quantities on a big assembly line. It´s a product that is built by hand, fifty units at a time in a small workshop by a skilled and dedicated staff. It uses very high quality components all the way to achieve the desired goal, allowing me to answer “yes!” to the rephrased question mentioned above. The capsule for the GA-47 is designed to provide the requirements of modern day recordings by mixing the character between a vintage K47 capsule and the one from a K67-style capsule with a wide frequency response and high sensitivity. The result is a truly great sound.

2.106 €
12 Interest Free Instalments 175,50€ / month
Upon Order

The Royer R-10 is a passive mono ribbon microphone designed for use in the studio and on live stages. Hand-built in our Burbank California factory, the R-10’s sound and performance are all-Royer and it handles SPLs of up to 160 dB @ 1 kHz. The R-10’s compact size and mounting system allows for flexible, unobtrusive positioning.  The R-10’s 2.5-micron aluminum ribbon element is formed with our our patented direct-corrugation process and is protected by a 3-layer windscreen system and internally shock-mounted ribbon transducer. The ribbon transducer is wired for humbucking to reject electromagnetically induced noise.  The R-10’s built-in windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability.The R-10 utilizes a David Royer custom designed transformer for high overload threshold, minimizing saturation at even extremely high sound pressure levels. You’ll never overload an R-10! The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats.The Sound Royer ribbon mics are legendary on electric guitar and the R-10 shows some of its best stuff on studio and live electrics, capturing all the low end, midrange warmth and punch guitarists and engineers have come to expect from a Royer. If you want more bite in the highs but don’t want to multi-mic (particularly on live stages where blending microphones can create phase-related problems), the R-10 takes EQ beautifully and we suggest experimenting with your favorite EQ unit or plugin.  The R-10 is excellent on brass and can handle close-miked trumpets, trombones and other brass instruments. Brass records naturally on an R-10, as bright as the musician plays but without the added sizzle or harshness commonly experienced when condenser mics are used on brass instruments. Close up of mountDrums are full bodied with realistic (not over-hyped) transients response, and the R-10’s figure-8 pattern conveys superb ambience and depth when used for room miking applications. A compressed R-10 in front of the kit sounds huge and punchy. R-10 recordings of violins, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos and other stringed instruments are warmth and natural and fit into mixes easily. “Airing out” the recorded track by opening up a bit of 12K with an EQ often gives surprisingly good results.  Vocals record record warm and naturally on an R-10, and the EQ-friendliness of the R-10 allows for dialing in completely different sounds with liberal use of EQ. Try experimenting with cutting bass at 100 Hz and opening up 12K by 3 to 6 dB (or more!). Some great vocal performances were recorded on highly EQ’d ribbon mics (Sixpence None the Richer “There She Goes Again” and “Kiss Me” for example). For audio examples of EQ’d vocals, visit our Audio/Video Library. Royer’s Patented Offset Ribbon TechnologyThe R-10’s patented offset-ribbon design positions the ribbon element toward the front of the transducer, which allows for high SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources like acoustic guitar, ukulele and vocals on the back side (3 feet or closer; phase reversed position). For more information on the R-series transducer design, see https://www.youtube.com/watch?v=B-KaSiYYcDU The R-10 is available in matched pairs.  Features:High SPL capabilities for electric guitar, brass and other close miking applicationsMulti-layered wind screen provides superior protection to ribbon elementInternally shock-mounted ribbon transducer gives increased durabilityPassive design and custom transformer minimize high SPL overloadHum-bucking transducer design delivers extremely low residual noiseRibbon element not affected by heat or humidityAbsence of high-frequency peaks, “ringing” and phase shiftsEqual sensitivity from front or back of the element  

759 €
12 Interest Free Instalments 63,25€ / month
Upon Order

The R-121 is our flagship microphone and the worlds first radically redesigned ribbon microphone. We did away with the large, heavy, fragile, classic approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warm, natural tonal response that top engineers have always loved ribbon mics for, but in a compact, light-weight, higher output, tough-as-nails package that was unheard of in a ribbon mic before the R-121.Like many of the best loved classic ribbon mics, the R-121 has a figure-8 pattern, sensitivity in the dynamic mic range, and a warm, realistic tone and flat frequency response. But thats where the similarities end. By using advanced materials and a blend of cutting edge and old-school hand-build construction techniques, the R-121 is a far more versatile and user-friendly ribbon mic that can stand up to the most demanding tasks, including live stage use. Its built solid enough for us to give it a lifetime warranty. The R-121 redefined ribbon microphones so thoroughly that Recording Magazine wrote "the Royer R-121 is destined to become one of the classic microphones of the 21st century".       FEATURESHigh SPL Capabilities               No internal active electronics to overload or produce distortion up to maximum SPL rating              Extremely low residual noise              Ribbon element is not affected by heat or humidity              Absence of high frequency phase distortion              Equal sensitivity from front or back of element              Consistent frequency response regardless of distance               

5.140 €
12 Interest Free Instalments 428,33€ / month
Upon Order

The R-122V was originally developed in 2001 as a benchmark to test our R-122 designs against. Over four years of additional development, the unique R-122V has evolved into a world class ribbon microphone with unparalleled richness, depth and detail, especially in the midrange frequencies. R-122V recorded tracks reveal a lush-ness that must be heard to be truly appreciated. The R-122V vacuum tube ribbon microphone offers the ultimate in ribbon microphone performance for those who insist on the very best. The R-122V takes the Royer-pioneered concept of active ribbon microphone technology to an unprecedented level by incorporating vacuum tube electronics into the same proven transducer system used in the venerable R-121 and R-122 ribbon microphones. The high operating voltage of the vacuum tube provides a headroom capability far beyond that capable from a standard phantom power supply. In real-world use, this translates into unmatched clarity, detail and airiness.        FEATURES Vacuum tube electronics provide high output capability, optimal impedance to the ribbon element and low output impedance Extremely low self-noise Operates from a dedicated power supply High SPL capabilities for electric guitar and percussion instruments Absence of high-frequency peaks, "ringing" and phase shifts Ribbon element unaffected by impedance/load, heat or humidity Very low magnetic leakage Equal sensitivity from front or back of element Consistent frequency response regardless of distance Rear side of mic records slightly brighter when three feet or closer to sound source

3.770 €
12 Interest Free Instalments 314,17€ / month
Upon Order

The AT5040 Studio Vocal Microphone by Audio-Technica marks the debut of their flagship 50 Series of microphones. In addition to vocals, its fast transient response make it ideal for acoustic instruments. Each AT5040 is hand-assembled and individually inspected to ensure the finest quality audio capture.The AT5040 employs a four-part rectangular element to provide purity of sound. Each of the four parts function together and get proprietarily summed to output. This provides a surface area twice the size of a standard one-inch circular diaphragm. Additionally, the AT5040 features an advanced internal shockmounting system, effectively decoupling the capsule from the housing for vibration-free performance.The Audio-Technica AT5040's frequency response chart reflects the company's claim of an "extremely smooth top end with controlled sibilance." A dip of approximately 3dB occurs between 4.5kHz and 8.5kHz, a prime "s" location. The microphone's reactivity slowly tapers after the 10kHz mark. An approximate 2 to 3dB boost in response below 80Hz could create a pleasant promiximity effect on a male vocalist, then rolled off to taste in mixing.Specifications:Element Type: Fixed-charge back plate, permanently polarized condenser Polar Pattern: Cardioid Frequency Response: 20 to 20,000 Hz Open Circuit Sensitivity: -25 dB (56.2 mV) re 1V at 1 Pa Impedance: 50Ω Maximum Input Level: 142 dB SPL, 1 kHz at 1% T.H.D. Noise: 5 dB SPL (typical, A-weighted) Dynamic Range (Typical): 137 dB, 1 kHz at max SPL Signal-to-Noise Ratio: 89 dB, 1 kHz at 1 Pa Phantom Power Requirements: 48V DC, 3.8 mA typical Output Connector: Integral 3-pin XLRM-type Case Form Factor: Audio-Technica R10 Dimensions (Ø x L): 2.24 x 6.51" (57 x 165.3 mm) Weight: 20.5 oz (582 g)

3.045 €
36 Instalments 105,12€ / month
Upon Order
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