Large Diaphragm Condenser

The WA-47jr is an FET transformerless version of the highly renowned classic ‘47 microphone that has been used on countless hit records for the last 50+ years.  The WA-47jr is fully discrete, has 3 polar patterns and is designed for pro studio, home studio, live, and broadcast applications.  The WA-47jr sounds great on vocals, acoustic/electric guitars, acoustic/electric bass, drums, piano, strings, brass/woodwind instruments, and an array of other sources.​The WA-47jr proudly utilizes a custom k47 style capsule reproduction, designed with the same hole pattern and frequency response as the vintage design.  Our version of this capsule (model# WA-47-B-80v) is carefully manufactured by an Australian capsule manufacturer with careful precision and repeat-ability that allows the most important sonic piece of the classic mic to be heard and influence the tone and signature of the WA-47jr.  The WA47jr's low-noise and discrete signal path, when paired with this excellent true '47 style capsule, allows it to obtain a very similar tone to the classic ‘47 microphone, but at a much lower price tag.  The WA-47jr utilizes the same k47 style capsule found in our flagship WA-47 tube condenser microphone.  Quality components make a better mic.The WA-47jr proudly utilizes a custom k47 style capsule reproduction, designed with the same hole pattern and frequency response as the vintage part.  Our version of this capsule (model# WA-47-B-80v) is carefully manufactured by an Australian capsule manufacturer with careful precision and repeat-ability.  The WA47jr's low-noise and discrete signal path then paired with an excellent true '47 style capsule allows this mic to obtain a very similar tone to the classic ‘47 microphone at a much lower price tag.  Specifications:FET transformerless '47 style condenser microphone.Custom true '47 capsule reproduction (k47 style) - Model# WA-47-B-80v.  Capsule makeup: Gold sputtered, dual large diaphragm, single backplate, 6 microns NOS mylar (PET film).Fully discrete signal path, Toshiba FET’s, Wima film capacitors, Panasonic electrolytic capacitors.Polar Patterns: Cardioid, figure-of-eight, and omnidirectional.High-pass filter: 70HzPad: -10dbSelf-noise: 9dBADynamic range: 138dBAMaximum SPL: 147/157dB (@1kHz 1kOhms 0.5% THD, 0/-10dB)Frequency Range: 20 Hz~20 kHzSensitivity: 10mV/Pa or -40dBOutput Impedance: 100 ohms​

The original ’67 became one of the most sought-after and widely-used studio microphones of its time, recording a massive collection of some of the most memorable songs of the last 50 years - we’re talking about classic tracks from artists as varied as The Beatles, Led Zeppelin, The Temptations and Nirvana! The original mics are still sought after, but they can command upwards of $8000 for a pristine unit, putting them far out of reach for most recordists. Thankfully, Warm Audio has now changed that scenario with the release of the new WA-67! Based around an EF86 pentode tube and having the same smooth and creamy tone of the original, the WA-67 excels at recording just about anything that you put it in front of, and it may immediately become your go-to choice for vocals, guitars, drum toms and overheads, pianos, brass and strings.

INTRODUCING AN UPDATED AND UPGRADED '87 STYLE FET CONDENSER MICROPHONE WA-87 R2: Updated And Upgraded In 2016, we at Warm Audio introduced one of the most talked-about 87-style FET condenser microphones in the industry with the release of the WA-87, and at just $599 USD it made the looks and authentic vintage sonics of this style of mic affordable to customers for the very first time. Simply put, the release of the WA-87 changed the industry’s perception of what could be achieved at an affordable price.  Based on classic 60s circuitry, the WA-87’s rich sound became a favorite of countless producers, engineers, and home recordists everywhere.  It was our first microphone and a verifiable hit, and in recent years we’ve followed it with many other successful and ground-breaking designs. Since the release of the WA-87 in 2016 we’ve learned a bunch more about microphone manufacturing, and we’ve proven that we can shatter the industry’s quality expectations at affordable prices. That experience drove us to see if we could improve the WA-87 in tangible ways without having to raise the price, and the result is the new WA-87 R2 (Revision 2). We’ve used everything we’ve learned about recreating vintage microphones in the last five years to bring it even closer to the sound, vibe and performance of the original 60s classic we all know and love. We’re ecstatic to bring you the result – in short, the new WA-87 R2 is bigger, bolder and just plain better! A Faithful Reproduction With Top-Shelf Components The WA-87 is based on a classic 60s circuit that is widely considered to be one of the greatest studio microphones ever designed. We spent countless hours trying to get even closer to the sound of the vintage version than we had with the WA-87, so the new WA-87 R2 uses top-quality components like a NOS Fairchild transistor and high-bandwidth polystyrene and film capacitors from Wima. The WA-87 R2 uses a custom-wound Cinemag USA output transformer like the original WA-87 did, with the new version providing a slightly increased output level and improved frequency response. We also employed the same capsule the WA-87 uses, which was designed to the exact specifications of the ones found in the vintage mics. The result is an incredibly accurate sonic replica of arguably the widest-used studio microphone in popular recording history! The Most Versatile Mic In Your Locker Just like the vintage microphone, the WA-87 R2 excels at recording virtually anything. Three polar patterns (cardioid, omni, and figure 8) make sure you’re covered for a wide variety of applications, and an 80Hz high pass filter reduces low-frequency rumble if needed. The switchable -10dB pad comes in handy when you want to record extremely loud sources and not overload the internal electronics. The WA-87 R2 works brilliantly on vocals, drum overheads, guitars, piano, auxiliary percussion, brass, strings, and more. Not only that, it’s the same price as the original WA-87, so you can afford to have several in your mic locker! Stunning In Sound And Appearance The WA-87 R2 is now encased in a heavier, stronger and larger nickel-plated brass body, and the new rounded head basket shape adds additional space around the capsule for a more pleasing sonic signature. With authentic vintage warmth and a smooth detailed top end, we truly believe this mic performs on par with microphones costing five times as much or more. No matter what else you’ve got in your mic locker, the WA-87 R2 is sure to become one of your favorite go-to microphones! Technical Specifications: LARGE DIAPHRAGM STUDIO CONDENSER MICROPHONE, WITH A FAITHFUL REPRODUCTION OF THE ORIGINAL VINTAGE 87-STYLE CIRCUIT ALL DISCRETE PREMIUM COMPONENTS, INCLUDING A NOS FAIRCHILD TRANSISTOR AND WIMA/NICHICON CAPACITORS CUSTOM CINEMAG USA OUTPUT TRANSFORMER WA-87-B-50V CAPSULE—REPRODUCTION OF CLASSIC DUAL BACKPLATE (FOUR-WIRE TERMINATION) K87 CAPSULE NICKEL-PLATED BRASS BODY THREE POLAR PATTERNS: CARDIOID, FIGURE-OF-EIGHT, AND OMNIDIRECTIONAL  -10DB PAD AND 80HZ HIGH PASS FILTER FREQUENCY RESPONSE: 20HZ – 20KHZ SPL: .5% THD @ 125DB (WITHOUT PAD), 132DB DIAPHRAGM: 6-MICRON THICKNESS, GOLD-SPUTTERED MEMBRANE, NOS MYLAR (PET FILM) NOISE: -117DB INCLUDED ACCESSORIES: WOODEN STORAGE CASE, HARD MOUNT, AND SHOCK MOUNT (OPTIONAL FLIGHT CASE AVAILABLE) WEIGHT (FULLY BOXED): 6.5 LBS / 3 KG COLOR: AVAILABLE IN NICKEL OR BLACK FINISH

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.

High End, no compromise components and build quality• Built in many details according to the vintage U47 including the polar pattern switch below the grille and switchable capsule head• A -10 dB PAD switch on the power supply for high SPL instrument recordings like kick drum• Hand Made in small series• Capsules selected with very tight tolerances• Point-to point wiring with silver-plated copper wire, a printed circuit board is only used for the ground connections• All soldering points made with Mudorf Msolder Supreme SilverGold solder (Sn88, 6Cu, 1,8Ag, 9,5Au)• Solid wood microphone box, tweed style system flight case. Every mic, box and psu has a badge with the serial numberThe 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.

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

The TLM 103 is the ideal large diaphragm microphone for all professional and semi-professional applications requiring the utmost in sound quality on a limited budget. By utilizing the tried and true transformerless circuit found in numerous Neumann microphones, the TLM 103 features yet unattained low self-noise and the highest sound pressure level transmission. The capsule, derived from that used in the U 87, has a cardioid pattern, is acoustically well-balanced and provides extraordinary attenuation of signals from the rear. Specifications: Acoustical operating principle : Pressure gradient transducer Directional pattern : Cardioid Frequency range : 20 Hz ... 20 kHz Sensitivity at 1 kHz into 1 kohm : 23 mV/Pa Rated impedance : 50 ohms Rated load impedance : 1000 ohms Equivalent SPL CCIR 468-3 : 17.5 dB Equivalent SPL DIN/IEC 651 : 7 dB-A S/N ratio CCIR 468-3 : 76.5 dB S/N ratio DIN/IEC 651 : 87 dB Maximum SPL for THD 0.5% : 138 dB Maximum output voltage : 13 dBu Dyn. range of the mic. amplifier DIN/IEC 651 : 131 dB Supply voltage : 48 V ± 4 V Current consumption : 3 mA Matching connector : XLR 3F Weight approx : 500 g Diameter : 60 mm Length : 132 mm

Λαμπάτο πυκνωτικό μικρόφωνο με δύο μεγάλα επίχρυσα διαφράγματα ,σχεδιασμένο για επαγγελματικά στούντιο. Ηχογραφήσεις υψηλής ποιότητας για επαγγελματικά στούντιο Εξαρτήματα και σετς: Μεγάλου διαφράγματος κάψα 2 επίχρυσα διαφράγματα Η πολικότητα αλλάζει με ρυθμιστή στο τροφοδοτικό

Tube microphone.Flagship of the Oktava microphone family. Areas of application:  •    vocal microphone for recording studios   •    recording solo instruments    Options:  •    the microphones can be supplied as stereo pairs   The supply package contains: •    МКЛ-111 microphone with a power supply unit  •    АМ-65/27 shock mount  •    microphone cable (5 m)  •    mains cable to the power supply unit  •    aluminium case     Specifications: Polar patterns: Omnidirectional, cardioid, bidirectional and 8 switch-selectable intermediate patterns Frequency range, Hz: 20–20000 Sensitivity at 1000 Hz, mV/Pa: 18 Output impedance, Ohms: 300 Nominal load resistance, Ohms: 1000 Equivalent noise level, dBA: 22 Maximum SPL at nonlinear distortion coefficient of 0.5%, dBA: 124 Power supply: БП-103-01 , power supply unit Connector type: XLR-6 Dimensions, mm: 62х221 Weight, kg: 1,7

The MK-102 features a small physical profile and flat, extended frequency response – qualities not typically found together in large diaphragm mics. The Capsule The MK-102 features a large 27.5 mm condenser capsule using all-brass backplate construction, precision-drilled pattern control holes and optimal 5 micron diaphragm for classic LDC microphone presence on vocals or instruments. Capsule Housing & Body A close-fitting housing surrounds the capsule and allows the front diaphragm to function in free-air without internal headbasket reflections. In addition, the MK-102’s unique capsule and body orientation reduces reflections between the microphone and the sound source. The MK-102 body disappears completely behind the capsule head when the mic is aimed at the sound source. This leaves only the capsule diaphragm exposed to the sound source for minimal reflections and clear-sounding recordings. The Circuit The MK-102 uses the same transformerless circuit found in the renowned MK-012 (over 90,000 in use worldwide) to deliver the alluring sound of direct phantom power applied to a large diaphragm capsule. The Sound On-axis - The MK-102 offers a smooth and extended frequency response with clean and accurate top end free from the harsh, excessively bright sound found in many modern microphones. Off-axis - Frequency response from 90 through 180 degrees closely resembles the on-axis sound and the attenuation of sound over this angular range is exceptionally smooth. The MK-102 excels where the recordist desires a large diaphragm cardioid condenser mic with a flat frequency response that is maintained from 0 to 180 degrees to achieve a natural room sound spectral balance. Specifications: Freq. Response, Hz: 20-20000 Output sensitivity, mV/Pa: 16 Max SPL, dB for 0,5% THD: 120 Self Noise (DIN), dBa: 1 x microphon body (preamp) 1 x MK-102 capsule 1 x -10dB pad 1 x mic holder 1 x wooden box

The MK-105 retains the authorative lower midrange power Oktava is known for but adds some top end sparkle. The combination of the new capsule, headbasket and transformerless circuit produces a more transparent or hi-fi sound when compared to the classic transformer output coloration and soft top end of the MK-219/319. The Capsule The large 27.5 mm capsule with precision-drilled backplate holes in conjunction with the headbasket design produces a gentle +4dB rise from 4 kHz to 12 kHz to lend a touch of presence and air to vocal or instrument sources. The Headbasket Inside the headbasket, the capsule is mounted on a conical diffuser designed to reduce standing waves and smooth the capsule / headbasket system frequency response. The Circuit The MK-105 employs the highly regarded transformerless circuit found in one of the most widely used mics in existence – the MK-102 (over 90,000 in use worldwide) to deliver the alluring sound of direct phantom power applied to a large diaphragm capsule. The Sound On-axis - A carefully crafted “double peak” high frequency response provides subtle emphasis of both presence and “air” frequencies while suppressing the sibilance range. This results in a more modern or “Hi-Fi” sound when compared to the classic midrange-rich 219/319 sound but without the harsh sibilance found in many modern mics. Off-axis - Frequency response at 90 degrees resembles 0 degree response but attenuated a nominal l0dB. 180 degree rejection increases to 16dB below 2kHz but the top end over 4kHz stays just 8-10 dB or so below the on-axis response. This means the MK-105 has a very natural off-axis response out to 90 degrees with a pleasingly bright room ambience. The MK-105 excels where the recordist wants a large diaphragm cardioid mic with a musically useful proximity effect, a sparkling top end free from sibilance and a bright room ambience sound. Specifications: Freq. Response, Hz: 20-20000 Output sensitivity, mV/Pa: 16 Max SPL, dB for 0,5% THD: 120 Self Noise (DIN), dBa:

The MK-101 is large diaphragm condenser microphone with interchangable capsule. Introduced as a transition from earlier Oktava models, it retains some of the vintage character of the popular MK-219/319 capsule but offers transformerless output clarity. The Capsule The Oktava MK-101 uses the successful 26mm 219/319 capsule much loved for its classic midrange presence and sibilance-free top end. The Headbasket & Body The MK-101 headbasket features a large open area “forehead” for excellent off-axis response in the vertical as well as horizontal planes. Vertical asymmetry of the headbasket allows the recordist to explore different polar responses when using the mic upright or inverted. The small headbasket and body size make for easy placement and minimal reflection between sound source and microphone body. The Circuit Building on the marketplace success of the legendary MK-012, the MK-101 uses the same impedance converter / output circuit and body design made famous by the MK-012. The Sound On Axis – The MK-101 offers a powerful midrange presence and natural top end response with excellent rejection of sibilance. Off-Axis - The MK-101 has moderate attenuation at 90 degrees giving the mic a wide cardioid pick up pattern. 180 degree response has a warm spectral balance with strongest output below 200Hz, smooth amplitude reduction to 3 kHz followed by a moderate high frequency ambient sound presence peak. The MK-101 excels on vocals or guitar cabinets where the recordist wants classic midrange presence, sibilant-free top end and a warm room sound with just a touch of top end room presence. Specifications: Freq. Response, Hz: 20-20000 Output sensitivity, mV/Pa: 16 Max SPL, dB for 0,5% THD: 122 Self Noise (DIN), dBa: Included in delivery: 1 x microphon body (preamp) 1 x MK-101 capsule 1 x -10dB pad 1 x mic holder 1 x plastic box

The MK-519 features a large 27.5 mm condenser capsule with cardioid pattern using an all-brass backplate construction, precision-drilled pattern control holes and optimal 5 micron gold-plated diaphragm. An isolation mount / diffuser is installed at the base of the capsule mount to reduce “boink” and tame sound reflections that smear detail. The microphone features a new no-feedback amplifier capable to work properly on 600 Ohm load. The MK-519 provides a very high sensitivity and extremely low self-noise level, provided by a high polarizing voltage (about 100 V). The single layer headbasket is used to reduce internal sound reflections between the grille and the capsule that smear midrange and high frequency detail - the result is a clear and natural mid and high frequency response. However, it entrusts additional requirements to the careful handling: it is highly recommended to use a pop filter to protect the capsule from dust spittle. Specifications: Freq. Response, Hz: 20-20000 Output sensitivity, mV/Pa 21 Max SPL, dB for 0,5% THD: 124 Self Noise (DIN), dBa: 600 Ohm Phantom power required: 48V Weight, g: 350 Length /  Max diameter, mm: 150 / 56 Included in delivery: 1 x microphon 1 x mic holder (shock mount is not included) 1 x wood

A bottle style tube multi-pattern large diaphragm studio microphone MKL5000 is the hi-end addition to the range of high quality condenser mics from the Oktava factory. Utilising a 6Ж1П tube in the discreet preamplifier circuitry creates just the right amount of third harmonic distortion, adding a subtle warmth but maintaining the clarity of the newly designed 1 inch 5 micron thick gold sputtered dual diaphragms. The tube is powered by a british designed and built class 'A' power supply and the mic comes with a highly effective shockmount and durable flight case. On the body of the MKL5000 is a switch to select from the choice of Cardiod, Omni-directional and Figure-of-eight polar patterns making this a versatile single mic which is also useful in XY or AB stereo situations when bought in pairs.  Designed to work with numerous sound sources to maximum effect, the MKL5000 excels on vocals, grand pianos, guitars and percussion amongst many other sources, and gives presence and warmth to lead parts in the mix. The frequency response of the MKL5000 is expansive, ranging from 20 Hz to 20 kHz and smooth throughout all of its polar patterns. Despite its sensitivity it has a very high SPL handling capability and very low noise floor, allowing straight to digital recording and thus leaving the pure warm sound unadulterated.  For close miking vocals a pop shield is recommended.  Specifications: Polar Pattern:  Omni-directional / Cardoid / Figure-of-eight  Frequency Response:  20hz to 20kHz  Sensitivity:  12 mV/Pa Power:  Power supply unit supplied  Output Impedance: 350 Ohm nominal Minimum load impedance: 1 k Ohm Max SPL @ 1kHz:  > 125dB  Dimesions:  Ø64х255 mm  Weight:  1,1kg

The MK-105 retains the authorative lower midrange power Oktava is known for but adds some top end sparkle. The combination of the new capsule, headbasket and transformerless circuit produces a more transparent or hi-fi sound when compared to the classic transformer output coloration and soft top end of the MK-219/319. The Capsule The large 27.5 mm capsule with precision-drilled backplate holes in conjunction with the headbasket design produces a gentle +4dB rise from 4 kHz to 12 kHz to lend a touch of presence and air to vocal or instrument sources. The Headbasket Inside the headbasket, the capsule is mounted on a conical diffuser designed to reduce standing waves and smooth the capsule / headbasket system frequency response. The Circuit The MK-105 employs the highly regarded transformerless circuit found in one of the most widely used mics in existence – the MK-102 (over 90,000 in use worldwide) to deliver the alluring sound of direct phantom power applied to a large diaphragm capsule. The Sound On-axis - A carefully crafted “double peak” high frequency response provides subtle emphasis of both presence and “air” frequencies while suppressing the sibilance range. This results in a more modern or “Hi-Fi” sound when compared to the classic midrange-rich 219/319 sound but without the harsh sibilance found in many modern mics. Off-axis - Frequency response at 90 degrees resembles 0 degree response but attenuated a nominal l0dB. 180 degree rejection increases to 16dB below 2kHz but the top end over 4kHz stays just 8-10 dB or so below the on-axis response. This means the MK-105 has a very natural off-axis response out to 90 degrees with a pleasingly bright room ambience. The MK-105 excels where the recordist wants a large diaphragm cardioid mic with a musically useful proximity effect, a sparkling top end free from sibilance and a bright room ambience sound. Specifications: Freq. Response, Hz: 20-20000 Output sensitivity, mV/Pa: 16 Max SPL, dB for 0,5% THD: 120 Self Noise (DIN), dBa:

The MK-101 is large diaphragm condenser microphone with interchangable capsule. Introduced as a transition from earlier Oktava models, it retains some of the vintage character of the popular MK-219/319 capsule but offers transformerless output clarity. The Capsule The Oktava MK-101 uses the successful 26mm 219/319 capsule much loved for its classic midrange presence and sibilance-free top end. The Headbasket & Body The MK-101 headbasket features a large open area “forehead” for excellent off-axis response in the vertical as well as horizontal planes. Vertical asymmetry of the headbasket allows the recordist to explore different polar responses when using the mic upright or inverted. The small headbasket and body size make for easy placement and minimal reflection between sound source and microphone body. The Circuit Building on the marketplace success of the legendary MK-012, the MK-101 uses the same impedance converter / output circuit and body design made famous by the MK-012. The Sound On Axis – The MK-101 offers a powerful midrange presence and natural top end response with excellent rejection of sibilance. Off-Axis - The MK-101 has moderate attenuation at 90 degrees giving the mic a wide cardioid pick up pattern. 180 degree response has a warm spectral balance with strongest output below 200Hz, smooth amplitude reduction to 3 kHz followed by a moderate high frequency ambient sound presence peak. The MK-101 excels on vocals or guitar cabinets where the recordist wants classic midrange presence, sibilant-free top end and a warm room sound with just a touch of top end room presence. Specifications: Freq. Response, Hz: 20-20000 Output sensitivity, mV/Pa: 16 Max SPL, dB for 0,5% THD: 122 Self Noise (DIN), dBa: Included in delivery: 1 x microphon body (preamp) 1 x MK-101 capsule 1 x -10dB pad 1 x mic holder 1 x plastic box

The MK 319 is the successor to the MK219, providing the same relentless attention to detail and legendary performance in an improved form. The MK319 is housed in a new casing which has been acoustically designed to cut down the sound refractions inside the grill, allowing a smoother and more open sound, as well as being more rugged and shock resistant. The Switches are also improved and whilst still using magnetic reed switches the mechanism has been redesigned for extra durability and easier operation. A switch located at the left (High-Pass Filter) allows to change the microphone's cutoff frequency. This reduces low frequency interference directly at the input of the microphone amplifier. This setting also compensates for the unavoidable bass boost that occurs with all pressure gradient transducers when they are used at close distance (proximity effect).   The second switch attenuates the sensitivity by 10 dB. This option should be used in high SPL environments or by recording of loud instruments (for example saxophone).   The Mic is a fixed-pattern, cardioid, large diaphragm mic intended for studio and broadcast usage. featuring a classic design gold spattered teflon capsule teamed with low noise discreet preamplifier circuitry, resulting in a smooth frequency response from 40 hz to 16khz, with a gentle presence rise giving especial warmth and clarity to the human voice. This microphone is also ideally suited to guitars, overheads and any other application where a warm clear sound is required. The design of the mic is specifically tuned to bringing the sound that it is used with up front in a sympathetic and flattering manner. Specifications: Freq. Response, Hz: 20-18000 Output sensitivity, mV/Pa: 13 Max SPL, dB for 0,5% THD: 122 Self Noise (DIN), dBa: Included in delivery: 1 x microphon 1 x mic holder (shock mount is not included)

The ML-1 microphone is the centerpiece of the Virtual Microphone System. This large-diaphragm mic has a shock-mounted, gold sputtered, 6-micron capsule and a state of the art FET circuit path that ensures the most linear, flat, and clean ‘blank canvas’ response. Combined with the Slate Digital tube microphone modeling software, it can sound like some of the most classic microphones in recording history. Large Diaphragm Condenser Microphone Neutral condenser microphone tuned to the VMS hardware and software (VMS preamp optional - not included) VMS plug-in software can completely change the sound characteristics, even after recording Virtual selection of classic vintage microphones and preamp models as well as unique models for advanced recording techniques (download and purchase may be required on the manufacturer's site) Classic Tubes & Virtual Preamp Collection included Includes: ML-1 large diaphragm condenser microphone, microphone shock mount, case, software license code   Technical Data: Software Type: Virtual Modelling Platform: Mac, PC, Format: AAX, AU, RTAS, VST Hardware requirements Mac: Dual core Intel processor, 2 GB RAM Hardware requirements PC: Dual core Intel / AMD processor with SSE2 support, 2 GB RAM OS requirement Mac: OS X 10.7 or higher OS support PC: Windows 7 or higher

Versatile voice/instrument microphone for studio or for live situations, with a capsule large dual diaphragm (34 mm) with 1" diaphragm, a high pass filter and a 10 dB pad. With its smoothness and neutrality, it will let you achieve an extremely effective sound pickup.   The STC-3D MK2 by Ludovic Lanen - Sound Engineer "The reason I have become the sound engineer for all the top French singers is because I never compromise on the quality of my recordings and that is why PRODIPE wanted my expertise. I have chosen a new versatile voice/instrument microphone that you can use in the studio or in many live situations. I wanted it to be uni, omni and bi-directional, and to be equipped with a high pass filter and a 10 dB fade margin so that you have an immediate response in any situation. With its smoothness and neutrality, this new microphone will let you achieve an extremely effective sound pickup. It's one of the best microphones I have for every day use. But that's not all! I believe in PRODIPE because I know that this new brand has continually tried to cut out the middlemen and reduce manufacturing costs, without lowering the quality, so that previously unobtainable professional products could be made available to everyone. The Lanen model follows the same rule. A success. All my requirements are taken into account, this excellent product is available today thanks to PRODIPE. Yes to PRODIPE!"   Specifications: Microphone's range :Condenser microphones Studio / Live - Instrument microphones Kind of microphone : condenser Brand : Prodipe Alimentation : 48V DC Phantom Dimensions : Ø54 x 201mm Directivity : cardioid Impedance :  Load impedance :≥1000Ω Weight : 590g Sensitivity : -31dB/-34dB/-35dB±2dB(0dB=1V/Pa at 1kHz) Self noise : 14/15/16dB A Max. SPL input : 130dB (at 1kHz ≤1% T.H.D) - 140dB (with 10dB pad)  Low pass filter : 10 dB Width capsule : large dual diaphragm (34 mm) with 1" diaphragm Signal - noise : 80/79/78dB Frequency response : 20Hz-20kHz

Join us in welcoming the AKG C314 professional multi-pattern condenser microphone to the studio, stage, and wherever your sound takes you. Born from our commitment to total precision, and a team of the finest microphone engineers, the C314 makes use of the best materials and components found throughout the world. It has gone through an exacting design and highly detailed manufacturing process to bring you the end result: A microphone that captures every detail with the precision your creativity deserves.Specifications:Microphone typeCondensorPolar PatternsCardioid, Supercardioid, Omnidirectional, Figure of eightAudio frequency bandwidth20 - 20000 HzEquivalent noise level8 dB-ASensitivity20 mV/PaSignal to Noise86 dB-APreattenuation Pad-20 dBBass cut filter100 Hz, 12dB/octaveElectrical impedance200 OhmsRecommended load impedance1000 Ohms 

Join us in welcoming the AKG C314 professional multi-pattern condenser microphone to the studio, stage, and wherever your sound takes you. Born from our commitment to total precision, and a team of the finest microphone engineers, the C314 makes use of the best materials and components found throughout the world. It has gone through an exacting design and highly detailed manufacturing process to bring you the end result: A microphone that captures every detail with the precision your creativity deserves.Specifications:Microphone typeCondensorPolar PatternsCardioid, Supercardioid, Omnidirectional, Figure of eightAudio frequency bandwidth20 - 20000 HzEquivalent noise level8 dB-ASensitivity20 mV/PaSignal to Noise86 dB-APreattenuation Pad-20 dBBass cut filter100 Hz, 12dB/octaveElectrical impedance200 OhmsRecommended load impedance1000 Ohms 

Single capsule large-diaphragm condenser microphone for Antelope’s vintage mic emulationsOne microphone to complete your mic lockerEdge Solo is a high-quality single-capsule large-diaphragm condenser microphone by Antelope Audio. Combined with Antelope’s cutting-edge modeling technology, it allows users to emulate 18 of the world’s most iconic vintage microphones with uncanny accuracy. The Edge Solo features modeling that was performed in one of the most respected facilities in Germany using an exquisitely preserved collection of classic microphones. Find the full list of Edge Solo emulations below.High-performance custom designEdge Solo was specifically designed as the perfect source to model any vintage cardioid-pattern microphone. Antelope’s Edge microphones are in a class of their own thanks to extensive testing and a design philosophy that ensures an accurate yet natural sounding result.Designed and built in Europe, Edge Solo features a 6-micron gold-sputtered membrane, low-resonance body and low-reflection headbasket. Edge Solo also boasts custom electronics designed by Antelope’s award-winning engineers, and it delivers exceptional dynamic range and frequency response, resulting in an excellent microphone even before choosing your favorite vintage mic flavor.Plug’n’playUnlike the multi-capsule modeling microphones in the Edge series, Solo features a fixed cardioid pickup pattern and feeds a single mono XLR input channel on your interface. This makes it very easy to use. Simply take it out of its case, plug it in, pick one of the 18 available emulations and start tracking.Compatible with any systemThe Edge emulations are optimized to perform with Antelope’s precision mic preamps and converters for maximum accuracy. Antelope Audio’s mic preamp-equipped interfaces feature built-in FPGA processing capabilities that allow real-time vintage mic emulation.Edge Solo also includes Antelope’s native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope’s native AFX plug-ins* provide everything we’ve come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations.*iLok 2 or 3 required. Not included in the pack.About the new Edge FamilyBuilding on the success of the acclaimed Edge modeling mic, the new Edge Family from Antelope Audio features three new large-diaphragm condenser mics – the fixed cardioid Edge Solo, the multi-pattern Edge Duo and the dual-capsule, four-output Edge Quadro, capable of 360° stereo recording.Together with Antelope’s constantly expanding range of FPGA and native AFX mic emulation plug-ins, the Edge Family makes Antelope’s unrivalled mic modeling technology available to an even wider range of users and recording applications.Features:- Stunningly accurate and lifelike mic modeling- Straightforward and easy to use- Impressive dynamic range and frequency response- Monosonic large-diaphragm single capsule microphone- Fixed cardioid characteristics- Ultra-low resonance headbasket and body construction- Ever-expanding library of the world’s most renowned microphones (cardioid pattern only)Mic Emulations:Berlin 47 FTBerlin 49TBerlin 57Berlin 87Berlin 67Berlin M103Vienna 12Vienna 414Tokyo 800TBerlin V563 cardioid capsuleIllinois 57Illinois 7BMinnesota 20Vienna 112Berlin K86Berlin 47 TUBerlin M251Hamburg 441

The Manley Silver Tube Microphone is large condenser microphone inspired by the legendary Sony C-37A and built in collaboration with Josephson.The Manley Silver Tube Microphone uses a capsule designed by David Josephson who has provided a stunning recreation of the C-3 capsule originally used on the C-37 microphone in the ‘50s. This capsule is single-ended and boasts an adjustable acoustic chamber on the back allowing the user to change between omni and cardioid polar patterns. This capsule delivers a rich a creamy tone associated with the original Sony microphone.Inside the microphone, lies a unique circuit design which combines a FET and vacuum tube cathode used to amplify the signal before hitting Manley’s IRON transformer. This design provides a bit less output than other microphones and can, therefore, accommodate loud sources very well.The power supply has been specifically designed for audio fidelity with all regulated lines, super low impedance rails and no 50Hz/60Hz ripple component present in the chassis. It works at any voltages between 90V and 250V so all you need to do is plug it in.This microphone offers a rich and warm sound that will complement female vocals and saxophones particularly well without any boxiness or sibilance. It will also impart its sonic glory on drum overheard with a warm mid frequency response shaving off the harshness produced by cymbals when used with other microphones. Its dark tone means that it can often be used instead of a ribbon microphone.  Manley Silver Tube Microphone Main Features:Condenser Transducer based on vintage Sony C-37A Hand Made in USA by Josephson AudioSingle-Sided Large Diaphragm Capsule Edge Tensioned5 Micron Evaporated Gold Diaphragm 1" diameterDual Pattern Cardioid or Omni Directional adjustable via vent on the backplate5670 Internal Vacuum Tube Head AmplifierConstant Current Source for Tube Minimizes Noise and Tube SelectionHand Wound Nickel Core Manley Iron Output TransformerOutput Impedance: 30 OhmsHigh Pass Filter Switch -3dB @ 55Hz 6dB/8vaFREQUENCY RESPONSE: 10Hz-30kHz, AMP to 60kHzMAXIMUM INPUT SPL: 150 dB SPL at CapsuleSENSITIVITY: 7mV/PaAMPLIFIER TYPE: 2 Triode Gain Block Lo Z OutputOUTPUT POLARITY: Balanced XLR, Pin 2 Hot, Pin 3 LowAMPLIFIER DISTORTION: Less Than 0.05 % THD+N BW 22-22 kHz (1kOhm Load, 1kHz -40dBV Output)AMPLIFIER NOISE: Typically -108 dBV “A Weighted”BODY: Etched Silver Anodized AluminumWeight: 1.5 lbs (mic)Weight: 2 lbs (PSU)Size: 2" x 9.7" x 4.5" (mic including suspension)Size: 5" x 8.2" x 3.4" (PSU)Custom Designed Outboard Switched Mode PSU 90V ~ 250VAC Universal Voltage Operation 50Hz-60HzPower Consumption: 15 WattsPSU External Mains Fuse: 5mm X 20mm, 2A @ 250V, CERAMIC, Slo-Blo

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.

The MANLEY GOLD REFERENCE MULTI-PATTERN MICROPHONE are a statement, quite simply, of the finest microphones that money can buy in the pursuit of truly accurate musical recordings. The Gold Reference Series employ our own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery available today in California. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, "air", and superb ultra-high frequency response you have only dreamt about. The all-tube electronics in the MANLEY REFERENCE SERIES MICROPHONES are built around two triodes in cascade forming an entire gain-block. We have recently switched to a dual-triode 12AT7 tube, easily obtainable and replaceable, mounted in a ceramic socket. (We originally used 6072A until it became impossible to find quiet ones out of the NOS dreck left on the market, then we used 12AX7 for awhile.) The output is coupled through a MANLEY output transformer of unparalleled quality and substantial physical size employing nickel laminations with "hum bucking" bi-filar windings, encased in mu-metal. The polar pattern control is continuously variable between the OMNI, CARDIOID, and FIGURE 8 positions vastly increasing this mic’s versatility. The Gold Mics make it possible to exactly tailor the proximity effect to achieve the desired character. We have chosen a very open weave stainless-steel grille for the capsule window which allows all the highs to reach the capsule unimpaired letting the engineer choose if, when, and how much pop screen is appropriate. As a result, the Reference Gold reaches to the furthest extremes of highs and lows with gorgeous natural acoustic smoothness. Some engineers tell us it sometimes "hears" more than they do! A locking 6-pin XLR connector for the 30 foot power supply cable carries the stringently filtered B+ and regulated heater voltages from the separate dedicated power supply. The audio signal exits the PSU via a traditional 3-pin XLR jack. The microphone body is machined from brass providing excellent shielding properties, polished to a high lustre, then plated with 24 karat gold for an impressive finish, inspiring confidence in artists and producers. Our proprietary precision suspension system is provided with each REFERENCE MICROPHONE (the capsule itself is mounted onto a neoprene-rubber shock-mount.) Because the entire working "guts" of the microphone may be removed for service in one piece from the housing, it is envisioned that the microphone need not be removed from the suspension. We also provide a very useful swivel of our own design with every REFERENCE MICROPHONE; its T-bar handle and locking clutch action require no tools to adjust. And no MANLEY microphone would be complete without a genuine leather capsule protector which slips (and ties) onto the end of the microphone to protect the capsule when not in use. Specifications: All Tube design using 12AT7 dual triode. (Previous versions used 6072 or 12AX7.) -10dB switchable PAD Sensitivity: 17mV/Pa Noise: typically -120 dB EIN Max SPL: 150dB Actual output impedance 200 Ohms Weight: 2.25 lbs (mic) Weight: 2.5 lbs (PSU) Size: 4.5" x 9.7" x 4.5" (mic) Size: 5" x 8.2" x 3.4" (PSU) Shipping weight: 15 lbs Selected matched pairs available Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage. Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change. Mains Voltage Frequency: 50~ 60Hz Mains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operation Power Consumption: 70mA @ 120V = 8.4 Watts

The TC 1 is one of our top products. It is a warm-sounding, large capsule tube condenser for a very low cost. You get a classic tube mic with high-pass filter, pad and nine different polar patterns for less money than some spend on a pair of jeans.The TC 1 is a very versatile microphone with a wide frequency response and a large dynamic range. It will perform great in the studio or in live sound and broadcast applications. It΄s sound character is similair to vintage tube microphones and it will sound superb on most instruments and voices. Use it on vocals and choirs, acoustic and electric guitars and other fretted instruments, as a drum overhead or room mic and in any other application where you would use a vintage style tube condenser mic.

The FC 1 MKII was designed with classic large diaphragm condenser microphones in mind. We wanted to make an affordable mic with some of the characteristics of the good old German models.  The FC 1 has a center-terminated capsule just like in the old days, adding some harmonic distortion and a sweet top to the sound. This design also gives the mic an ability to handle louder sounds without harshness or other problems. The output transformer can handle bass really well and still give you that extra fat sound that only tubes and transformers can deliver.  The retro EQ in the FC 1 is set to deliver maximum sound quality with as many sound sources as possible at a price anyone can afford. It sounds great on vocals, acoustic guitar, percussion, amps, piano, leslie, drums, and more.

Reproduction of piano sound is extremely challenging, particularly during live performances when other instruments are present. Ambient sounds near the piano often bleed into the piano microphones. To circumvent sound leakage, the piano is often played in the short stick or closed lid positions. The SCX25A large diaphragm studio condenser microphone produces a highly transparent and remarkably accurate sound. This attribute combined with the SCX25A’s low profile and phase coherent reproduction, makes the SCX25A the optimum piano microphone for live sound or broadcast environments.To further enhance the ease of placement, two DFLEX mounting clips accompany the SCX25A and can be easily attached directly to the piano rail, enabling the SCX25A to be securely placed anywhere on the sound board.The SCX25A studio condenser microphone is undeniably the most compact, large diaphragm microphone on the market. It boasts an innovative design and patented capsule system. This pack includes two high quality, quad conductor microphone cables with braided shielding which helps reduce noise induction from external sources.Specifications:2 x SCX25A Piano Condenser Microphones2 x DFLEX Microphone Clips2 x 20 ft High Quality Microphone CablesAluminum Road Case

The ADX51 is a professional pre-polarized condenser microphone used for stage, studio and broadcast applications. The ADX51 is known for its clear, accurate response and flexibility to handle close or distance miking for a wide variety of acoustic instruments.Characterized with a uniformly controlled cardioid polar pattern, the ADX51 condenser microphone is designed to capture the acoustics of the instrument being miked while at the same time isolating it from the rest of the instruments on stage. With a wide frequency range of 40 Hz - 18 kHz, the ADX51 features a 14 mm gold vapor diaphragm and a -10 dB pad and bass roll-off filter at 150 Hz.The ADX51 cardioid studio condenser microphone is very easy to position, durable and manufactured to high standards and tight tolerances. The ADX51 has a precision machined brass body, durable black E-coat finish, steel mesh grill, and gold plated XLR connector.Applications:Drumoverheads, hi-hat, acoustic instrumentsCymbalsPercussion table Group vocal, spoken word Ambient room miking Audience mics for in-ear monitorSpecifications:Type: Pre-polarized CondenserPolar Pattern: CardioidFrequency Response: 40 Hz - 18 kHzImpedance: 100 OhmsSensitivity: 17 mV/Pa @ 1kHz

The AT5047 is a premier studio microphone that is equally at home with vocals and instruments. Boasting an exceptionally wide dynamic range – the greatest among all Audio-Technica microphones – the AT5047 captures the full, expressive character of a sound source, no matter how loud or how soft. And since it is equipped with a transformer-coupled output, the microphone maintains a constant load output impedance, even when capturing sources at extreme SPL, resulting in a stable relationship between the mic and a mic preamp or console input.In keeping with the 50 Series’ commitment to purity of sound, the AT5047 includes the four-part rectangular element originally developed for the AT5040. Four exquisitely matched ultra-thin diaphragms function together (with outputs proprietarily summed) as Audio-Technica’s largest-ever element, providing combined surface area twice that of a standard one-inch circular diaphragm.By using four diaphragms in a single capsule, the AT5047 delivers the benefits of an exceptionally large diaphragm – along with an extremely low noise floor – without increased weight, decreased transient response or other drawbacks that typically restrict diaphragm size. The AT5047 also incorporates the AT5040’s advanced internal shock mounting design, which effectively decouples the capsule from the microphone body, and comes with the innovative AT8480 shock mount, first introduced with the AT5040.Each AT5047 microphone is hand assembled and individually inspected for 100% quality control. The microphone is enclosed in an elegant housing of aluminum and brass with a high-quality silver finish. Discrete components have been selected for optimized performance. In fact, every aspect of the microphone has been carefully considered to minimize any effects on the audio signal.Features:Exceptionally wide dynamic range captures the full, expressive character of instruments and voices – from the caress of drum brushes to powerful vocal performancesFour rectangular diaphragms (2 micron) function together to provide a combined surface area twice that of a standard one-inch circular diaphragmDiscrete components carefully selected and optimized for maximum performance and compatibility with standalone microphone preamps and console inputsTransformer-coupled output provides smooth sonic characterHand assembled and inspected for 100% quality controlAdvanced internal shock mounting decouples the capsule from the microphone bodyElegant, durable housing of aluminum and brassIncluded advanced-design custom AT8480 shock mount provides superior isolationCustom hard-shell carrying case with die-cut foam compartments offers protection during storage and transportSpecifications:Element: Fixed-charge Back Plate, Permanently Polarized CondenserPolar Pattern: CardioidFrequency Response: 20 – 20,000 HzOpen Circuit Sensitivity: -29 Db (35.5 Mv) Re 1v At 1 PaImpedance: 150 OhmsMaximum Input Sound Level: 148 Db Spl, 1 Khz At 1% T.h.d.Noise: 6 Db SplDynamic Range (Typical): 142 Db, 1 Khz At Max SplSignal-to-noise Ratio: 88 Db, 1 Khz At 1 PaPhantom Power Requirements: 48v Dc, 2.7 Ma TypicalWeight: 592 G (20.9 Oz)Dimensions: 165.3 Mm (6.51'') Long, 57.0 Mm (2.24'') Maximum Body DiameterOutput Connector: Integral 3-pin Xlrm-typeAccessories Furnished: At8480 Shock Mount For 5/8"-27 Threaded Stands; 3/8" To 5/8" Stand Adapter; Protective Carrying CaseAudio-technica Case Style: R10

Marantz Professional is proud to present the MPM-1000 Studio Series microphone, a high-quality condenser mic that delivers studio-grade audio performance along with unexcelled value. The MPM-1000 Studio Series microphone exemplifies Marantz Professional's commitment to users who demand no-compromise components that fit within a realistic budget.Features:Side-address condenser microphoneCardioid polar patternHigh sensitivitySmooth frequency responseWith windscreen, shock mount, tripod stand and XLR cableSpecifications:Element: Pure-aluminum-plated, 18mm-diameter-diaphragm condenser capsulePolar Pattern: CardioidFrequency Response: 20–20,000HzOpen Circuit Sensitivity: -38 dB ±2dB (0 dB = 1 V/Pa @ 1 kHz)Output: 200 Ω ±30% (@ 1 kHz)Load: >1000 ΩSelf-Noise: 17 dBAMaximum SPL: 136dB (THD ~ 1%, 1 kHz)Signal-to-Noise Ratio: 77dBPhantom Power Requirements: 9-48 VDC, 3 mA typicalDimensions (length x diameter): 6.5" x 1.90" (165 x 48 mm)Weight: 10.5 oz (300g)

The Schoeps V4 USM Set contains the V4 U Studio Vocal Microphone, the USM-V4 Elastic Suspension and a wooden case. The blue V4 U Studio Vocal Microphone features a small-diaphragm capsule with a beveled collar for controlling the polar response. It has a warm, clear sonic character with a smoothly rolled-off diffuse-field response.Specifications:Polar Pattern: CardioidFrequency Range: 50 Hz to 22 kHzSignal to Noise Ratio: 79 dB A-WeightedEquivalent Noise Level: 15 dB A-Weighted25 dB CCIRMaximum SPL: 144 dB SPL 0.5%Impedance: 600 ohmsSensitivity: 16 mV/PAPower Requirements: 48 VOperating Current Consumption: 3.3 µA 

The V4 U is the studio vocal microphone by SCHOEPS. It unites the outstanding technical characteristics typical of SCHOEPS with a timeless, classic design. The “look” of the V4 U is based on the SCHOEPS CM 51/3 from 1951. But the V4 U is a thoroughly modern studio microphone. Its capsule, circuitry and mechanical construction are the result of extensive new development.Features:Studio Vocal MicrophoneNew small-diaphragm capsule architecture, with bevelled collar for controlling the polar response.Warm, clear sonic character with smoothly rolled-off diffuse-field response.Capsule head with adjustable tilt angle.Optimal on-axis frequency response featuring a mild high-frequency lift.Very smooth polar response; carefully-controlled narrowing of the pattern at high frequencies.Diffuse-field response parallel to the 0 ° response, with a gentle roll-off at high frequencies.Newly designed electronics offer a very high maximum sound pressure level.Specifications:Directional pattern: CardioidFrequency range: 50 Hz - 22 kHzSensitivity: 16 mV/PaEquivalent noise level (A-weighted): 15 dB-AEquivalent noise level (CCIR): 25 dBSignal-to-noise ratio (A-weighted): 79 dB-AMaximum sound pressure level at 0.5% THD: 144 dB-SPLMaximum output voltage: 4.8 VLow-cut frequency: 40 HzPowering voltage: 48 VCurrent consumption: 3.3 mALength: 194 mmWeight: 302 g  

The gray V4 SGV Set from Schoeps contains a V4 U Studio Vocal Microphone, a wooden case, and an SGV stand clamp. The base of the SGV stand clamp has a 5/8"-27 NS internal thread. A threaded adapter is supplied for 3/8" and 1/2" mounting. The angle can be varied continuously in the vertical plane.The V4 U Studio Vocal Microphone features a small-diaphragm capsule architecture with a beveled collar for controlling the polar response. It has a warm, clear sonic character with smoothly rolled-off diffuse-field response.Specifications:Polar Pattern: CardioidFrequency Range: 50 Hz to 22 kHzSignal to Noise Ratio: 79 dB A-WeightedEquivalent Noise Level: 15 dB A-Weighted25 dB CCIRMaximum SPL: 144 dB SPL 0.5%Impedance: 970 ohmsSensitivity: 16 mV/PAPower Requirements: 48 VOperating Current Consumption: 3.3 µAGeneralLength: 7.64" (194 mm)Diameter: 1.34" (34 mm)Weight: 0.66 lb (302 g)

The X1 A utilizes a newly-developed acoustic design with a carefully selected condenser capsule, low noise electronics, an integrated windscreen, and a gold-plated XLR connector. Just like the acclaimed X1 condenser, it also includes a switchable attenuation pad & low-cut filter and a robust all-metal chassis. With a newly-developed condenser capsule and an exterior based on the rugged metal chassis of the X1, the X1 A offers first-class sound & specifications at an even better "home studio" cost, featuring an extremely natural frequency response, massive SPL-handling capabilities (150dB!), switchable attenuation and low-cut filters, and a perfectly balanced sensitivity level - so it's at home on absolutely any source.From vocals to acoustic instruments to electric guitars or percussion, the X1 A is the perfect choice for any musician seeking a high-quality microphone with an entry-level price tag. The X1 A comes complete with a rock-solid, newly designed swivel mic clip and thread adapter to fit with any mic stand.If you need additional rumble control, the X1 A integrates perfectly with sE's Isolation Pack, as well as the Reflexion Filter X - recommended for an instant pro vocal recording setup for your home studio.Specifications:Capsule Type: 2/3" Permanently-Biased CondenserDirectional Pattern: CardioidFrequency range: 20 Hz - 20 kHzImpedance: 1K OhmsCurrent Consumption: 4.0 mADiameter: 58 mm (2.28 in.)  x  Length: 169 mm (6.65 in.)Weight: 390 g / 13.8 oz​​

The PGA181 is a professional quality instrument microphone with an updated industrial design that features a black metallic finish and grille offering an unobtrusive visual presence. Legendary Shure quality construction ensures exceptional performance in rigorous environments..Features:Side-address microphone for amplified and acoustic instrument and vocal recordingCondenser cartridge (requires phantom power) with cardioid polar patternDiscrete form factor for easy placement in a variety of applicationsAdditional features include a tailored microphone cartridge design for smooth and versatile reproduction of sound sourcesSpecifications:Frequency Response: 50–20,000 HzPhantom power require: YesPolar Pattern: CardioidType: Condenser 

TASCAM’s TM-80 is a condenser microphone designed and priced for home recording. The condenser mic features an 18mm aluminum diaphragm with a cardioid pickup pattern that sounds great on anything from vocals to acoustic instruments. Internal circuitry is optimized to reduce noise and distortion while retaining rich, full sound quality. Included with the TM-80 are a tabletop stand, six-foot XLR cable, and a elastic shockmount to reduce rumble and noise during recording. Priced less than many dynamic microphones, the TM-80 is a must-have for any size studio. Features:Microphone capsule assembly features an 18mm pure aluminum diaphragmCardioid polar patternFrequency response: 20Hz to 20kHzSensitivity : -38dB +/-2dB (0dB=1V/Pa at 1kHz)Phantom power requirement: 9 - 48V DCOutput impedance : 200ohm +/-30% (at 1kHz)Load impedance : >1k ohmMax SPL : 136dB (at 1kHz=1% THD)S/N ratio : 77dBHousing : Die cast zincDimensions (W×H×D): 48mm×165mm×48mm / 1.9 inch×6.5 inch×1.9 inchIncludes : shockmount, mini desk stand, mic cable (1.8m XLRM – XLRF)

The Phanthera is the impressive proof that a phantom powered non-tube microphone can sound amazingly close to a real tube microphone. With the Phanthera, Brauner expanded its product portfolio to include a reference quality microphone which could stand beside the sound characteristics of the coveted tube models VMA and VMX. The results speak for themselves.Experience vocal recordings with an intensity and liveliness never heard before. The particular sound of a sonic event is highlighted in a subtle manner. Totally unobtrusively, almost imperceptibly, it creates finely elaborate and highly nuanced sonic details. Narration recordings also have clear gains in proximity and plasticity. So you instantly have a result with convincing quality without time-consuming postproduction. Instrumental recordings with the Phanthera stand out due to the enormous detail resolution and first-class transient response.Specifications:Equivalent Noise: < 11 dB A (IEC651)Signal to Noise: > 83 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 33 mV / Pa-CardioidPattern: CardioidFrequency Range: 20 Hz - 22 kHzMaximum SPL: 142 dB SPL  0,3 % THDPower Supply: 48 V phantom power

The Phanthera V impresses with the same qualities as its cardioid only counterpart, bringing along a lively and intense sound quality and highlighting the sonic aspects of the source material in a subtle manner. In addition to the cardioid directivity, it also allows to record in omni or bidirectional mode with a simple switch and thus adapting it to different recording situations. Using the omnidirectional characteristics, ambience as well as soloists or even big orchestras are captured true-to-life because the sonic environment is also authentically reproduced. For simultaneous stereo recording with a second microphone in XY or MS configuration bidirectional characteristics are available. An additional switchable attenuator reduces the output level of the microphone by 10 dB, providing further valuable dynamic range where necessary. This makes the Phanthera V a versatile professional tool for almost every recording situation.Specifications:Equivalent Noise:  < 11 dB A (IEC651)Signal to Noise:  > 83 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 33 mV / Pa-CardioidPattern: Omni, Cardioid, Figure EightFrequency Range: 20 Hz - 22 kHzMaximum SPL: 142 dB SPL  0,3 % THDPower Supply: 48 V phantom power

The Phantom V (variable) as a phantom powered large diaphragm FET microphone was the next logical development step in keeping with our product philosophy. It was developed based on the circuit design of the VM1 and also utilizes its capsule as well. Small differences can mean a lot in a recording environment, whether it is the freedom to choose the most suitable directional characteristic (omnidirectional, cardioid or bi-directional), or to expand the dynamic range by 10 dB in case it becomes louder than expected.Stepping aside and leaving the limelight to others, allowing the necessary room for the sound event to fully unfold and become a sound experience. The Phantom V is a microphone in the best Brauner tradition. If you are looking for a unique microphone with its own unique character, look no further than the Phantom V. As the first of Brauner's phantom powered microphones, the Phantom V offers maximum application flexibility and is therefore useful in a variety of situations.Specifications:Equivalent Noise: < 11 dB A (IEC651)Signal to Noise: > 83 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: Omni, Cardioid, Figure EightFrequency Range: 20 Hz - 22 kHzMaximum SPL: 142 dB SPL  0,3 % THDPower Supply: 48 V phantom power

The "pure cardioid" series was started in late 2008 when we released the Valvet X pure cardioid which also completed the charming sounding microphones with a counterpart to the natural sounding Valvet. Just in time for the Musikmesse fair 2009 we are now going to release "pure cardioid" models of VM1 and VMX microphones.Continuing the "pure cardioid" series we distill the essence of our successful tube microphones VM1 and VMX into two new models with a cardioid pattern only. Keeping the well-known high-class look & feel, these two new microphones show their exceptional qualities in solo recordings and achieve an even better self noise due to their fixed pattern. Their attractive price appeals to home studio enthusiasts all the way to the most demanding audio purists who do not require the variable patterns offered in the classic VM1 or VMX, and simultaneously make no compromises in sound quality.All "pure cardioid" microphones are shipped in a sturdy aluminium case with power supply, VOVOX TubeLink cable and an elastic suspension. Specifications:Equivalent Noise: < 9 dB A (IEC651)Signal to Noise: > 85 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: CardioidFrequency Range: 20 Hz - 22 kHzMax. SPL: 142 dB SPL  0,3 % THDPower Supplay: 115 V or 230 V

The "pure cardioid" series was started in late 2008 when we released the Valvet X pure cardioid which also completed the charming sounding microphones with a counterpart to the natural sounding Valvet. Just in time for the Musikmesse fair 2009 we are now going to release "pure cardioid" models of VM1 and VMX microphones.Continuing the "pure cardioid" series we distill the essence of our successful tube microphones VM1 and VMX into two new models with a cardioid pattern only. Keeping the well-known high-class look & feel, these two new microphones show their exceptional qualities in solo recordings and achieve an even better self noise due to their fixed pattern. Their attractive price appeals to home studio enthusiasts all the way to the most demanding audio purists who do not require the variable patterns offered in the classic VM1 or VMX, and simultaneously make no compromises in sound quality.Specifications:Equivalent Noise: < 9 dB A (IEC651)Signal to Noise: > 85 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: CardioidFrequency Range: 20 Hz - 22 kHzMax. SPL: 142 dB SPL  0,3 % THDPower Supplay: 115 V or 230 V

More realism or rather more character in the reproduction? Normally a question such as this implies a choice between two completely different microphones. This question is no problem for the VMA, it unites these two basic sound characters in one. Through simple switching, you can select between the very natural transparent sound of the VM1 or the markedly full character sound of the VMX, thus you actually have two different Brauner microphones in one single body enabling in essence the sound of a VM1 or a VMX.In the development of the VMA, valuable feedback and input on the tonal qualities of the microphone from some of the world?s most highly regarded sound engineers was incorporated. The VMA thereby represents the essence of more than 10 years experience with our flagship model, the VM1. Paired with the possibility of switching to the VMX mode, the VMA is an outstanding achievement in tube microphone design. The adjustments of the directional characteristics, as in the VM1, are infinite and therefore enable superior flexibility. The VMA marks a milestone in modern microphone technology.Specifications:Equivalent Noise: < 11 dB A (IEC651)Signal to Noise: > 83 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: all, infinitely variableFrequency Range: 20 Hz - 20 kHzMaximum SPL: 142 dB SPL  0,3 % THDPower Supply: 115 V or 230 V

Have you ever experienced a real great tube microphones breathtaking intimacy? Have you ever noticed its charming detail and inspiring presence? If so, you will know that these attributes come at a price. Introducing the Valvet X, Brauner releases a dedicated cardioid only microphone which really unites these precious attributes within a microphone unparalleled in its class and pricepoint.The Valvet X offers all of the german craftsmenship and technical perfection that made Brauner Microphones world famous. Only finest materials make it into a Brauner. Our engineers sculptured the sonic character of the Valvet X in great detail, performing hours of extensive listening tests to yield a result that will definitely floor you. Its prestine and silky black finish also makes it a real eyecatcher. If you're looking for the real thing - here you go.Specifications:Equivalent Noise: < 9 dB A (IEC651)Signal to Noise: > 85 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: CardioidFrequency Range: 20 Hz - 22 kHzMaximum SPL: 142 dB SPL  0,3 % THDPower Supply: 115 V or 230 V

New for 2014 is our Sontronics ARIA valve/tube cardioid condenser microphone that has been developed and designed by Sontronics founder and designer Trevor Coley specifically for getting the best from your vocals. The Sontronics ARIA will give you stunning, beautiful results on every recording, thanks to its silky-smooth characteristics, its accurate response and our trademark Sontronics high-frequency roll-off.Housed inside the chromed grille is a large, 1.07-inch, edge-terminated capsule that captures all the detail and subtleties of any male or female vocal (sung or spoken) while the hand-selected European 12AX7/ECC83 tube lends a character that you'd expect to find in a classic vintage valve mic.  For that extra level of control, the accompanying SPS-2 power supply unit boasts pad (0, -10dB) and filter (linear, 75Hz) switches as well as a tube-ready LED, letting you know when the mic is warmed up and at its best to record. Inside the unit is a pro-quality, medical-grade electricity filter to ensure that the power supply is pure and interference-free.During the 12 months of ARIA's development, it has been beta-tested by top artists and musicians including producer/writer Paul Epworth (Adele, Florence & The Machine, Paul McCartney), singer/songwriter PJ Harvey, and also several engineers at Abbey Road Studios, all of whom now admit they can't live without their ARIAs! These and other users have all told us that ARIA's sound and quality is easily matched to mics (both modern and vintage) that cost ten times more.The result is a go-to microphone that's a must-have if you're serious about achieving the best results from vocals but that will also give beautiful results on piano, acoustic guitar, cello and other instruments as well as voiceover and broadcast. Sontronics ARIA really will take your breath away! The ARIA microphone is supplied in its own velvet-lined wooden box, which comes in an aluminium flightcase together with its elastic spider-style shockmount, a ring mount and the SPS-2 power supply, connecting cable and power lead. Like all our mics, Sontronics ARIA is covered by our no-nonsense.