Large Diaphragm Condenser

Designed for critical home/project/professional studio applications and live performance, this side-address cardioid studio condenser delivers exceptional detail and low noise. Equipped with a switchable 80 Hz high-pass filter and 10 dB pad, the AT2035 handles high sound pressure levels with ease. Along with its rugged construction and high-performance specifications, the AT2035 provides an exceptional level of consistency from model to model. It comes equipped with a protective pouch and a custom shock mount.

The versatile AT2050 provides consistent, superior performance in switchable cardioid, omnidirectional and figure-of-eight polar pattern settings. Its dual large diaphragms are gold-vaporized and aged to achieve optimum characteristics over years of use. Equipped with a switchable 80 Hz high-pass filter and 10 dB pad, the microphone is ideal for studio and live sound use on vocals, piano, strings, drum overheads, guitar amps, and more. Specifications:Element: Externally-polarized (DC bias) condenserPolar Patterns: Cardioid, Omnidirectional, Figure-of-EightFrequency Response: 20-20,000 HzLow Frequency Roll-Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: –42 dB (7.9 mV) re 1V at 1 Pa.Impedance: 120 ohmsMaximum Input Sound Level: 149 dB SPL, 1 kHz at 1% T.H.D., 159 dB SPL, with 10 dB pad (nominal)Noise: 17 dB SPLDynamic Range (typical): 132 dB, 1 kHz at Max SPLSignal-To-Noise Ratio: 77 dB, 1 kHz at 1 PaPhantom Power Requirements: 11-52V DC, 4.7 mA typicalSwitches: Polar selection, Flat, roll-off, 10 dB pad (nominal)Weight: 412 g (14.5 oz)Dimensions: 170.0 mm (6.69") long, 52.0 mm (2.05") maximum body diameterOutput Connectors: Integral 3-pin XLRM-type

Exceptional low noise, wide dynamic range, and high SPL capability give the Audio-Technica AT4040 Large-Diaphragm Studio Condenser Mic studio versatility. Designed for professional recording, the AT4040 features an externally polarized true condenser designed with a technically advanced large diaphragm tensioned specifically to provide smooth, natural sonic characteristics. Transformerless circuitry virtually eliminates low-frequency distortion. Precision-machined, nickel-plated brass, acoustic element baffle provides enhanced element stability and optimal sensitivity. The open acoustical environment of the symmetrical housing minimizes unwanted internal reflections. Switchable 80Hz hi-pass filter and 10dB pad. Cardioid pattern. Includes shock mount and case. Requires phantom power.Features:Externally polarized true condenser designTechnically advanced large diaphragm tensioned specifically to provide smooth, natural sonic characteristicsExceptionally low noise, wide dynamic range, and high SPL capability give it studio versatilityTransformerless circuitry virtually eliminates low-frequency distortionSwitchable 80Hz hi-pass filter10dB padCardioid patternFrequency response: 20Hz-20kHzSpecifications:Element: Externally-polarized (DC bias) condenserPolar Pattern: CardioidFrequency Response: 20-20,000 HzLow Frequency Roll-Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: -32 dB (25.1 mV) re 1V at 1 PaImpedance: 100 ohmsMaximum Input Sound Level: 145 dB SPL, 1 kHz at 1% T.H.D.;155 dB SPL, with 10 dB pad (nominal)Noise: 12 dB SPLDynamic Range (typical): 133 dB, 1 kHz at Max SPLSignal-To-Noise Ratio: 82 dB, 1 kHz at 1 PaPhantom Power Requirements: 48V DC, 4.2 mA typicalSwitches: Flat, roll-off10 dB pad (nominal)Weight: 12.7 oz (360 g)Dimensions: 6.69" (170.0 mm) long,2.10" (53.4 mm) maximum body diameterOutput Connector: Integral 3-pin XLRM-type

The side-address AT4033aSM offers low-noise, symmetrical, transformerless circuitry that results in exceptional transient response and clean output signals. A strong up-front presence characterizes the sonic signature of this 40 Series pro-audio classic. The AT4033aSM's 80Hz high-pass filter easily switches between flat frequency response and a low-end roll-off that diminishes ambient noise and popping with closely-miked vocals.Features:A strong up-front presence characterizes the sonic signature of this versatile pro-audio classicTransformerless circuitry virtually eliminates low-frequency distortion and provides superior correlation of high-speed transientsPrecision-machined, nickel-plated brass, acoustic element baffle provides enhanced element stability and optimal sensitivityThe 2-micron-thick, vapor-deposited gold diaphragm undergoes a five-step aging process so that the optimum characteristics achieved remain constant over years of useFloating-construction capsule assembly provides isolation from noise and vibrationOpen acoustical environment of the symmetrical housing assembly minimizes unwanted internal reflectionsState-of-the-art surface-mount electronics ensure compliance with Audio-Technica's stringent consistency and reliability standardsCustom shock mount provides superior isolationSpecifications:Element: Fixed-charge back plate, permanently polarized condenserPolar Pattern: CardioidFrequency Response: 30-20,000 HzLow Frequency Roll Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: -32 dB (25.1 mV) re 1V at 1 PaImpedance: 100 ohmsMaximum Input Sound Level: 145 dB SPL, 1 kHz at 1% T.H.D.; 155 dB SPL, with 10 dB pad (nominal)Dynamic Range: 128 dB, 1 kHz at Max SPLSignal to Noise Ratio: 77 dB, 1 kHz at 1 PaPhantom Power Requirements: 48V DC, 3.2 mA typicalWeight: 13.4 oz (380 g)Dimensions: 6.69" (170.0 mm) long, 2.10" (53.4 mm) maximum body diameterOutput Connector: Integral 3-pin XLRM-typeAccessories: AT8449 shock mount for 5/8"-27 threaded stands; protective carrying case

The Artist Elite AE3000 delivers supreme performance at extreme SPLs. This high-SPL large diaphragm cardioid condenser instrument mic excels in applications such as guitar cabinets, toms, snare, timpani, horns and overheads. Its large-diaphragm capsule combines with the open architecture of the headcase to provide an extremely accurate and open sound. Its low-profile side-address design with tapered grille allows for optimal positioning. Specifications:Element: Fixed-charge back plate, permanently polarized condenserPolar Pattern: CardioidFrequency Response: 20-20,000 HzLow Frequency Roll-Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: -43 dB (7.0 mV) re 1V at 1 PaImpedance: 100 ohmsMaximum Input Sound Level: 148 dB SPL, 1 kHz at 1% T.H.D., 158 dB SPL, with 10 dB pad (nominal)Noise: 11 dB SPLDynamic Range (typical): 137 dB, 1 kHz at Max SPLSignal-To-Noise Ratio: 83 dB, 1 kHz at 1 PaPhantom Power Requirements: 11-52V DC, 3 mA typicalSwitches: High-pass filter, 10 dB pad (nominal)Weight: 6.0 oz (170 g)Dimensions: 4.55" (115.5 mm) long, 1.89" (48.0 mm) maximum diameterOutput Connector: Integral 3-pin XLRM-type

The Artist Elite AE5100 large diaphragm cardioid condenser instrument microphone provides uncompromising sound quality for overheads, percussion, acoustic guitar, strings and other acoustic instruments. With rich, warm, accurate sound, the AE5100 also incorporates the most essential ingredients for quality live sound in a choir microphone. Its large-diaphragm capsule delivers accurate, natural response, while its low-profile design permits innovative placement options. With a lower profile than the large studio microphones to which it compares sonically, the AE5100 offers an outstanding performance-to-size ratio. With its low noise and smooth response, the AE5100 is ideal for recording, too.Specifications:Element: Fixed-charge back plate, permanently polarized condenserPolar Pattern: CardioidFrequency Response: 20-20,000 HzLow Frequency Roll Off: 80 Hz, 12 dB/octaveOpen Circuit Sensitivity: -36 dB (15.8 mV) re 1V at 1 PaImpedance: 150 ohmsMaximum Input Sound Level: 148 dB SPL, 1 kHz at 1% T.H.D.; 158 dB SPL with 10 dB pad (nominal)Dynamic Range: 137 dB, 1 kHz at Max SPLSignal to Noise Ratio: 83 dB, 1 kHz at 1 PaPhantom Power Requiremens: 11-52V DC, 3.2 mA typicalWeight: 5.0 oz (143 g)Dimensions: 5.85" (148.5 mm) long, 1.02" (26.0 mm) maximum diameterOutput Connector: Integral 3-pin XLRM-type

The Audio Technica AT4050SC is a multi-pattern condenser studio microphone. It has dual 2-micron-thick large diaphragms which are gold-vaporized and aged for consistent, outstanding performance and a precision-machined, nickel-plated brass acoustic element baffle provides rock-solid element stability and exceptional sensitivity. It is able to withstand high sound pressure levels whilst delivering transparent and airy uppers/mids complemented by rich low-end qualities. Features include three switchable polar patterns (omnidirectional, cardioid and figure of eight), a switchable 80Hz hi-pass filter and 10dB pad, transformerless circuitry which virtually eliminates low-frequency distortion and provides superior correlation of high-speed transients, and a custom shock mount providing superior mechanical isolation. It has a black finish and comes supplied with a AT8430 isolation stand clamp.Specifications:transducer type condenserpolar pattern cardioidfrequency response 20Hz - 20kHzsensitivity -34dB (19.9mV) re 1V  1Panominal impedance 50Ωsignal to noise ratio 78dB 1kHz  1Pamax sound pressure level 145dBself noise 16dB SPLpower requirement 48V DC phantom powerconnector 3 pole male XLRdimensions 155mm L x 21mm Dweight 126g

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)

The multi-pattern Audio-Technica AT4047MP Condenser Microphone delivers vintage sound while offering selectable omnidirectional, cardioid, and figure-8 polar patterns. The AT4047MP microphone's transformer-coupled output and specially tuned element provide sonic characteristics reminiscent of early F.E.T. studio microphone designs. With a wide dynamic range, incredibly low self-noise and high SPL capability, the versatile Audio Technica AT4047MP microphone excels on vocals, strings, acoustic guitar, instrument ensembles, small vocal groups, and voiceovers.Features:Three switchable polar patterns: cardioid, omnidirectional, figure-of-eightEngineered to meet the critical acoustic requirements of professional recording, broadcast, and sound reinforcementTransformer-coupled output and specially tuned element provide sonic characteristics reminiscent of early F.E.T. studio microphone designsExceptionally low self-noise, wide dynamic range and high SPL capabilityDual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range of the microphonePrecision-machined, nickel-plated brass, acoustic element baffle provides enhanced element stability and optimal sensitivityVintage silver-matte finish on microphone and shock mountOpen acoustical environment of the symmetrical housing assembly minimizes unwanted internal reflectionsCustom shock mount provides superior isolationIntegral 80Hz high-pass filter switch and 10dB pad switchSpecifications:Element: Externally-polarized (DC bias) condenserPolar Pattern: Cardioid, Omnidirectional, Figure-of-eightFrequency Response: 20-18,000HzLow Frequency Roll-Off: 80Hz, 12dB/octaveOpen Circuit Sensitivity: -42dB (7.9 mV), re 1V at 1 PaImpedance: 100 ohmsMaximum Input Sound Level: 155dB SPL, 1 kHz at 1% THD; 165dB SPL, with 10dB pad (nominal)Noise: 14dBDynamic Range (Typical): 141dB, 1kHz at Max SPLSignal-To-Noise Ratio: 80dB, 1kHz at 1 PaPhantom Power Requirements: 48V DC, 3.4 mA typicalSwitches: Polar selection; Flat, roll-off, 10dB pad (nominal)Weight: 524g (18.5oz.)Dimensions: 188.0mm (7.40") long, 53.4mm (2.10") maximum body diameterOutput Connector: Integral 3-pin XLRM-typeAudi-Technica Case Style: R1

Condenser microphones are the ideal choice for capturing vocals and acoustic instruments. They're the primary type of microphone used in recording studios and radio stations. They are capable of capturing much more detail than dynamic microphones because of their wider, flatter frequency response. Another difference between condenser and dynamic mics is they contain active circuitry that requires phantom power (+48 V DC) for operation. You can power them from any phantom power equipped BEHRINGER XENYX mixer, plus enjoy the benefits of our state-of-the-art XENYX mic preamps. The C-3 is an affordable, high-quality way to put this essential studio tool to work for you. It has three selectable pickup patterns: omnidirectional for capturing sound equally on all sides; cardioid for picking up your source signal while rejecting off-axis sounds; and figure-eight for capturing sound both behind and in front of the mic, but not all the way around. With its excellent transducer and gold-plated XLR output, the C-3 is very neutral-sounding and truly delivers on the promise of noise-free transmission.  The C-3 is built to be your go-to condenser mic for years to come. Its tough, die-cast body can withstand all the rigors of bleary-eyed late-night recording marathons. And with its rugged foam-padded carrying case, it travels in safety and style. We also included a swivel stand mount so it can be affixed to your studio's mic stands.This condenser mic is an excellent choice for live and studio applications, and it's available at a price that will leave you with enough cash left over to secure other recording essentials. Check out the incredible C-3 at a BEHRINGER dealer near you.

The Sontronics STC-3X PACK is a NEW all-in-one mic and accessories package and the ideal solution for achieving professional-quality recordings at home or in the studio. In omni mode, STC-3X is fantastic for room and overhead miking, and also for ensemble recording (vocals, choral, instrumental, orchestral). In figure-of-eight mode, it is perfect for stringed instruments and for stereo miking applications.Our NEW, British-designed STC-3X multi-pattern condenser microphone features the three most commonly used polar patterns – cardioid, omnidirectional and figure-of-eight – selectable using a switch on the rear of the mic. It boasts a dual one-inch, gold-sputtered diaphragm housed in a large, open grille and its filter and pad controls make it a versatile, flexible workhorse in any recording situation.The STC-3X gives stunning results on everything from male and female vocals to acoustic guitar, piano, percussion and other acoustic instruments. It also works extremely well on spoken word, making it a great option for voiceover, broadcast and podcast.The Sontronics STC-3X is available in black or silver and is supplied in one box with the following FREE accessories...  a spider-style shockmount (with spare elastics)  a professional-quality, nylon-mesh popshield  a 5-metre female-to-male XLR cable  a vinyl, leather-look, zip-up microphone pouchLike all of Sontronics mics, the STC-3X mic is protected by our FREE LIFETIME WARRANTY  and also comes with a FREE download of Toontrack’s EZdrummer Lite.

New for 2012 is the Sontronics STC-20 PACK, an all-in-one microphone package that allows you to achieve the same quality recordings as you'd expect to hear in a professional studio, even for those musicians on the tightest of budgets!The Sontronics STC-20 PACK includes our best-selling STC-20 mic along with the following FREE accessories...  spider-style shockmount (with 2 spare elastics)  nylon-mesh popshield that attaches to shockmount  5-metre XLR cable  zip-up, vinyl, leather-look microphone pouchThe STC-20 PACK also comes with a free download of Toontrack's EZdrummer Lite and, like all our microphones, the STC-20 mic is covered by our LIFETIME WARRANTY.The STC-20 is a large-diaphragm condenser mic with a cardioid condenser pattern and it features a large open grille that houses the same one-inch, gold-sputtered capsule as found in our hugely popular STC-20.Despite its incredible affordablity, the Sontronics STC-20 delivers brilliant results on male and female vocals, acoustic guitars, piano and other acoustic instruments. It also gives impressive results on spoken word, making it an ideal mic for podcast, broadcast and voiceover.

Classic proportions combined with attractive styling and fresh ideas – the TLM 107 perfectly embodies the Neumann philosophy: Innovation based on tradition. Far from evoking vintage or retro nostalgia, the standard-setting TLM 107 represents an impressive, modern studio microphone. Its extensive performance spectrum and high-precision reproduction, very close to the original, make the TLM 107 universally applicable, opening up the widest freedom in mixing and post-production.

Classic proportions combined with attractive styling and fresh ideas – the TLM 107 perfectly embodies the Neumann philosophy: Innovation based on tradition. Far from evoking vintage or retro nostalgia, the standard-setting TLM 107 represents an impressive, modern studio microphone. Its extensive performance spectrum and high-precision reproduction, very close to the original, make the TLM 107 universally applicable, opening up the widest freedom in mixing and post-production.

With the TLM 102, the Berlin microphone manufacturer Neumann is defining a new generation of studio microphones. This applies not only to the design of the microphone but also to the price. The reduced overall size contributes to an exceptionally compact appearance, which unites all of the typical design components of a Neumann microphone. The harmonious proportions and gleaming grille ring ensure that even at first glance, the TLM 102 attracts attention.The TLM 102 is impressive in terms of sound: In the interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB which permits the recording of percussion, drums, amps and other very loud sound sources, for example. However the most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix.​

PERFECT TWINS for stereo recording of any acoustic instruments in studio and on stage.The C414 XLII reference multi-pattern condenser microphone offers a choice of nine polar patterns for the perfect sonic capture for every application. The C414 XLII’s slight presence boost and impressive spatial reproduction are both similar to the legendary AKG C12 microphone from 1953.The C414 XLII Matched Pair Stereo Set Package includes:2 x C414 XLII2 x Elastic spider suspensions2 x Windscreen1 x Stereo mounting barAluminum carrying caseMeasurement documents  

PERFECT TWINS for stereo recording of any acoustic instruments in studio and on stageThe C414 XLS reference multipattern condenser microphone offers a choice of nine polar patterns for the perfect sonic capture for every application. The C414 XLS maintains the sonic character of the legendary C414 B-ULS, the most popular AKG C414 version since 1971. Engineered for highest linearity and neutral sound, it has been the most versatile large-diaphragm microphone for decades.The C414 XLS Matched Pair Stereo Set Package includes:2 x C414 XLS2 x Elastic spider suspensions2 x Windscreen1 x Stereo mounting barAluminum carrying caseMeasurement documents 

Two back-to-back one-inch large diaphragms featuring True Condenser Technology. An ECC 83 dual-triode tube circuitry emphasizes even-order harmonics for rich, smooth and three-dimensional sound.The elegant remote control unit allows selection of 9 different pickup patterns from omnidirectional to cardioid to figure 8. The switchable bass cut filter (80 Hz, 12 dB/oct) reduces unwanted rumble or footfall noise - A 20 dB allenuation pad enables for high SPL applications up to 155 dB. Brush-finished, anodized Aluminium front plate and all-metal housing for maximum shielding. A ground lift switch prevents unwanted hum if necessary. Designed and engineered in Vienna, Austria.

One-inch large-diaphragm, true condenser cardioid transducer. Rugged all-metal body. Roadworthy construction. Switchable 20 dB preattenuation pad. Switchable bass cut filter. Legendary AKG sound quality. Designed and engineered by AKG in Vienna, Austria. Comes with spider-type shock mount and aluminium carrying case. The Perception 220 is a large-diaphragm true condenser microphone offering outstanding build quality and excellent value. Its many useful features and included accessories make this microphone uncommonly versatile.  It delivers a classic warm, clear sound and conforms to the stringent standards defined for AKG recording products. These standards are based on AKG/s six decades of experience in making microphones and on input from sound engineers around the world who use AKG products every day. Its 1-inch large-diaphragm true condenser transducer brings AKG studio quality to the project studio as well as all other areas of recording and live sound applications. A switchable bass cut filter and preattenuation pad make it perfectly suited even for use on loud sound sources producing sound pressure levels up to 155 dB SPL.  The rugged and roadworthy design makes it also a perfect choice for on-stage applications. The Perception 220 comes with a spider-type shock mount and a rugged metal case. 

The C12 VR is the reference multipattern tube studio condenser microphone with nine polar patterns selectable by a remote control. Among sound engineers, the AKG C12 is considered the holy grail of microphones. This legendary microphone, first built in the 1950s, is one of the most famous tube microphones in history, and its successor is today’s C12 VR.The C12 VR is an enhanced version of the original C12, from the capsule sound to the original 6072A vacuum tube carefully handcrafted in Vienna, Austria. 

Ribbon mics have had a fairly high profile in the SE Electronics portfolio over the past few years, not least the Neve RN1R and then SE's two Voodoo models. Ribbons are prized for their ability to deliver a smooth high end, and thanks to modern design innovations, the slightly dull sound of some vintage ribbon models isn't a characteristic shared by their modern counterparts, although their warmth, smoothness and musicality remains. This musical tonality is particularly useful for taming the shrill excesses of guitar cabinets, drum overheads, wind and strings, especially solo bowed strings. There are also broadcast and voice-over applications for this type of mic.The SE X1R ribbon microphone is a passive ribbon design that comes in at a significantly lower price point than the passive Voodoo model. Its ribbon element sits in a neodymium-magnet motor assembly, and the mic incorporates some spin-offs from the Voodoo HF extension technology — although its high end doesn't extend quite as far as those particular models. SE call it a hybrid of old and new ribbon technology, which is probably a fair description.Outwardly, the mic looks very much like its capacitor counterpart, the side-address SE X1 cardioid model, and, like all SE microphones, there's a lot of 'by hand' work involved in its manufacture. The housing is all metal and very rugged, featuring an attractive, non-slip, textured black finish.Like all conventional ribbon mics, the SE X1R has a figure-of-eight polar pattern, which inherently dictates a significant proximity bass boost that may need some EQ compensation when the mic is used very close up. The two-micron-thick aluminium ribbon can handle SPLs up to 135dB, so this is no fragile flower, while the frequency response is within ±1dB from 20Hz to 16kHz. As you'd expect from a passive ribbon, the output is fairly low, with a sensitivity in this case of -55.3dB (±1dB, 1V/Pa), so you either need a decent mic preamp that can offer high gain and low noise or, alternatively, an active in-line gain booster, such as the Cloud Lifter from Cloud Microphones, to get the best performance.Note that passive ribbon mics don't need phantom power, but will tolerate it, providing the mic is plugged in using a conventional balanced cable before the phantom power is applied. Hot plugging or unplugging can stress the ribbon, however. Unpacking the mic reveals that although the outer packaging is a simple cardboard box, the interior contains a high-density foam block with cut-outs for the mic and the included stand clip. This foam block could be left in the box or used as an insert in your mic drawer for storage.Once in front of a sound source, this mic reveals its true colours, and right away I found that what it delivered was actually rather more useful than what I've got out of many other ribbon mics I've tried. The frequency range is not too dissimilar from what you'd expect from a moving-coil dynamic mic, so there's a reasonable amount of high end, but because of the 'uncomplicated' nature of the ribbon diaphragm, there's none of that nasal coloration that so many moving-coil mics impart to the sound.Electric guitar sounded great right away — I got pretty much what I was hearing in the room from the amp even before thinking about adding EQ. The top end had presence and projection but with no trace of added fizz, and lows came across as solid and full of authority, so I award it full marks in this role. On speech, the mic again performed somewhat like a well-mannered moving-coil model, but more open and natural-sounding. It certainly offers a useful alternative to either moving-coil or capacitor models in this application. Even on acoustic guitar, the general tonality came across pretty much as I heard the instrument from my playing position.A big advantage of ribbon mics is that, because of the smooth nature of their sound, you can use quite a lot of HF EQ boost to add more air, as worthwhile output is still produced as as high as 20kHz. While the level may drop away above 15kHz or so, there's still enough there to boost if needed.As I suspected, the output level of the mic was a touch on the low side, so I used my Cloud Lifter plugged into my usual audio interface, as the mic amps in my interface tend to pick up some computer noise when turned up near full. I could get away with plugging directly into the interface for recording a guitar amp, but ideally not for spoken word or acoustic guitar. With the Cloud Lifter in circuit, there was plenty of level and no noise problem, even when adding top-boost EQ.

Studio microphone with Retro look. Warm sound, optimized for vocal recordings. Uses the capsule of the legendary M 49 and U 47. Cardioid polar pattern. Set includes elastic suspension. The TLM 49* is a large-diaphragm studio microphone with a cardioid directional characteristic and a warm sound which is especially optimized for vocal performance. It is supplied as a set, with an elastic suspension.The design is inspired by that of the legendary M 49 and M 50 microphones of the 1950s. Naturally the TLM 49 has the typical Neumann fine matte nickel finish. The “sound design” is also oriented toward that of the M 49 and the U 47. By combining its retro look with proven Neumann transformerless circuit technology, this microphone ensures low self-noise and the use of high gain levels.

With the TLM 102, the Berlin microphone manufacturer Neumann is defining a new generation of studio microphones. This applies not only to the design of the microphone but also to the price.The reduced overall size contributes to an exceptionally compact appearance, which unites all of the typical design components of a Neumann microphone. The harmonious proportions and gleaming grille ring ensure that even at first glance, the TLM 102 attracts attention.The TLM 102 is impressive in terms of sound: In the interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB which permits the recording of percussion, drums, amps and other very loud sound sources, for example. However the most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix.Specifications:Type: Condenser Pick Up Pattern: Cardioid Frequency response: 20 Hz-20 kHz Sensitivity: 11 mV/Pa Ιmpedance: 50 ohms Τotal harmonic distortion: 144 dB Dimensions: Diameter: 52 mm, Length:116 mm Weight: 210 gr

A contemporary development of the legendary U 67. K 67 capsule, new circuit design, which closely reproduces the U 67 sound characteristics, three directional pattern, pre-attenuation and high-pass filter. Novel Neumann dual-color design. In the world of studio microphones, the numbers “47”, “67” and “87” have associations that inspire enthusiasm among professionals in the field. It is of course no coincidence that the name of the new TLM 67* contains the number “67”. In many respects, the TLM 67 is based on the “workhorse” of the 1960s, the legendary U 67. Like the U 67, the TLM 67 incorporates the K 67 capsule. In addition, the special new circuit design closely reproduces the sound characteristics of the classic U 67, without the use of tubes. Similar Neumann circuit technology has already proved very successful in the TLM 49.The TLM 67 is extremely versatile. Its three switchable directional characteristics (omnidirectional, cardioid and figure-8), selectable 10 dB pre-attenuation and high-pass filter permit detailed adjustments to be made, depending upon the specific recording situation.

Avantone CV-12 is a Multi-Pattern Large Capsule Tube Condenser Microphone. The Avantone “Cabernet (C-series)” mics are designed to offer true professional performance. They will meet or surpass the performance and specifications of much higher priced mics. The CV-12 is truly a gorgeous looking and sounding microphone. The design, character and performance is comparable to some of the fine vintage tube mics of the 1950’s & 1960’s…but at a fraction of their cost!Our rugged CV-12 microphone body and capsule assembly are precision machined of brass. Aesthetically, it features an elegant Cabernet Wine-Red finish, accented with polished nickel trim and grill. The transformer coupled tube circuitry has its origins in famous European vintage designs. Any studio can proudly offer the CV-12 as a primary vocal mic…It exudes class visually as well as sonically. Manufactured using the finest materials yielding a very solid feel, superb structural integrity and rugged reliability.The versatile CV-12 mic is able to produce professional results with a warm, pleasing sonic character. The included Custom Retro Shockmount is superb in allowing a precise positioning of the mic while inhibiting the transfer of unwanted vibrations up into the mic. This isolation allows for superior professional results.

The Shure Beta 27 is a large diaphragm condenser microphone. Developed for discerning live sound professionals, the Beta 27 accurately targets sources like acoustic, wind and electric instruments for concise, accurate sound with a minimum of bleed.The Shure Beta 27’s super-cardioid polar pattern and smooth flat frequency response is designed to provide excellent off-axis rejection for natural sound reproduction and optimal control in professional live sound reinforcement applications. The tight polar pattern also ensures high gain-before-feedback and maximum isolation from other sound sources. The Beta 27 features a -15dB switchable attenuator that handles extremely high SPLs with ease and makes the Beta 27 the optimal choice for electric instruments, such as guitar and bass amplifiers, drum and percussion overheads, piano and horn applications.The Shure Beta 27 Features:Superior transient response from a low-mass, externally-biased, ultra-thin 24 karat gold-layered Mylar diaphragmReduction of unwanted low frequency noise and proximity effect for consistent, extended low-end through a 3-position switchable low-frequency filterReduction of wind and breath noise by an internal pop filter with three separate mesh layersPremium electronic components and gold-plated internal and external connectors

SE Electronics X1 Vocal Pack. Large diaphragm condenser microphone Bundle. Set includes: sE X1 microphoneShock44 shockmountPop Screen MetalSE mic cable 3m Specifications mic: 1" diaphragm membrane20Hz-20KHz-32dBv/Pa sensitivity (25.1mV/Pa)

Sontronics DM-1B, large-diaphragm condenser microphone, designed specifically to capture and reproduce the various characteristics of a kick drum: thomann the beater click, the heavy thump, the boomy decay and so on, switchable -15dB pad, response: 20 - 20000 Hz, polar pattern: Cardioid (end-fire), impedance:

The ADK Odin has been designed as a high-SPL, reliable and robust microphone with enough flexibility tone-wise to cover any application. The dynamic range was set to allow for relatively heavy sound pressure levels, and attenuation pads enable these microphones to be used with sources up to 150 dB SPL. Keeping digital recording in mind, the noise floor is also appreciably low. These new microphones are solid, reliable "High-SPL" studio microphones that can also be used "Live".Any moderate to high SPL source, whenever a fast, detailed recording desired: All “pop” and “Rock” vocals – with a pop filter (to protect the capsule from strong blasts of air)Brass – with a pop filter (to protect the capsule from strong blasts of air), Drum kit: Toms, Floor tom, overhead and spot mic’ing, including kick drum, Any amplified instruments – Guitar cabs, bass cabs, Any percussion instrument, Stereo/ambient recording, All stringed instrument, Solo/spot recording, Woodwinds.Specifications :Unique Three-Way High-Frequency Switch: Mellow, Neutral or Brilliant Tone.New Transformerless circuit with symmetrical, TRULY BALANCED output stage.Extra capsule QC and special assembly procedures.Two way Pad to Tailor Dynamic Response.Two way HP Filter to Tailor Bass Response.High headroom, even unpadded. A Total Swiss Army Mic.Clean audio path, low distortion for accurate sonic imaging. Polar pattern: CardioidSensitivity: 13mv/PaImpedance: 150OS/N Ratio: 79dB (A-weighted IEC 268-4)Equivalent Noise Level: 15dB (A-Weighted IEC 268-4)Max SPL @ 0.5%THD: 132dB/ 140dB/ 150dB (2-way PAD)Low Cut Filter (HPF): FLAT/ 100Hz / 150HzHigh Cut Filter (LPF): FLAT/ 12KHz / 15KHzPower Requirements: Phantom Power 48V±4V

Sennheiser MK 4 Studio Condenser Microphone - Large-diaphragm studio microphone with a 1" true condenser capsule, based on Sennheiser's e965 high-end vocal mic.Sennheiser MK4 is perfect for home and professional studios. Made in Germany the transducer is manufactured in the same clean room as all high-end Sennheiser and Neumann condenser capsules.Sennheiser MK4 Main Features:Large-diaphragm capsule (1”) in true condenser design24-carat gold-plated diaphragmFull metal housingCapsule shock-mounted internally to minimise structure-borne noiseDesigned for project studios and stage useLow inherent self-noise and high maximum SPLMade in GermanyTransducer principle: externally polarised condenser microphoneDiameter of diaphragm: 25.4 mm / 1”Pick-up pattern: cardioidFrequency response: 20 Hz – 20 kHzSensitivity: 25 mV/PaMax SPL: 140 dBEquivalent noise level: 10 dB (A) / 20 dB (CCIR)Dynamic range: 130 dBPower supply: 48 V phantom powering (P48)Current consumption: 3.1 mAMax. diameter of microphone body: 57 mmLength:160 mmWeight: 485 g

The Phantom Classic, like its predecessor the Phantom C (Cardioid), embodies reduction to the absolutely essential without compromise in performance. The design philosophy of this large diaphragm FET microphone - which works purely in cardioid characteristic, guarantees a sound quality otherwise found only in our tube microphones. Its capsule is based on the ideal of the VM1 giving the Phantom C a very natural and pristine sound character.The Phantom's success was most recently augmented through the release of the limited edition Phantom AE (anniversary edition). This edition was released to mark the occasion of the company's 10-year anniversary and was comprised of 1000 nickel colored as well as 1000 black microphones. After the paramount success of the limited Phantom anniversary series, we now deliver the legitimate successor of the Phantom C with the Phantom Classic.Specifications:Equivalent Noise: < 11 dB A (IEC651)Signal to Noise: > 83 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: 48 V phantom power

First class components, excellent dynamics and exceptionally low self noise exemplify Brauner microphones. This of course, holds true for the Valvet, a tube microphone based on the already legendary VM1, which provides a unique, finely balanced character.Our objective with the Valvet was to create a tube microphone that would be ideally suited to be used as a spot microphone through small construction and the use of a newly developed microphone suspension.The Valvet produces excellent recordings even under difficult acoustic conditions due to its directional characteristics, leaning slightly towards hyper-cardioid while maintaining a high level of back rejection. In omni though, it becomes the perfect choice for ambience recordings. In 1999, the Valvet received the SSAIR Award for best microphone in its category as the VM1 did the year before.The Valvet, boasting the same naturalness and openness as the VM1, produces recordings with wonderful spatial qualities and pleasing proximity and warmth. The Valvet uses the most common directional characteristics - omni and cardioid - and has a phase reverse switch for the use with non-standard pre-amplifiers.Specifications:Equivalent Noise: < 11 dB A (IEC651)Signal to Noise: > 83 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: Omni, CardioidFrequency Range: 20 Hz - 22 kHzMaximum SPL: 142 dB SPL  0,3 % THDPower Supply: 115 V or 230 V

The VM1 was the fulfillment of Dirk Brauner's dream to build his vision of the perfect sounding tube microphone. A microphone that captures the spirit of the classic vintage tube microphones and at the same time, meets the high technical standards of today's modern microphones. The VM1 was awarded the SSAIR Award in 1998, marking the beginning of a tradition of excellence in design philosophy, engineering and precision.In our humble opinion, no other microphone has played a greater role in the renaissance of the tube microphone. As the archetype of all Brauner microphones it continues to serve as the inspiration for all Brauner products. The VM1 has a completely natural, modern sound with the highest resolution of sonic detail. Its transparent open character is predestined for vocal and instrumental recordings and is the first choice microphone of top artists and sound engineers all over the world. The power supply of the VM1 allows infinite adjustments of the directional characteristics as well as a 10 dB reduction through a switchable attenuator.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: 18 Hz - 24 kHzMaximum SPL: 142 dB SPL  0,3 % THDPower Supply: 115 V or 230 V

Whereas the VM1 represents the natural sounding part of the VMA (which combines two microphones in one), the VMX offers the full character sound of the VMA in a single microphone and yields highest detailed resolution with a soft and silky top end. Slight accentuation of the low mid and bottom end as well as a soft upper mid range grant this reference quality tube microphone a unique and completely charming sonic character.The VMX excels in vocal and narration recordings through its well-balanced tonal appearance and pleasant proximity. It adds its own character without recognizably tainting the sound source. The VMX is also eminently suitable for instrumental recordings, through the reproduction of the finest details; giving string instruments for example the noticeable appearance of vicinity and warmth. Maximum flexibility in the fine-tuning of the respective recording is achieved through the possibility of infinitely adjustable directional characteristics.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

The AKG Perception 420 Multi-Pattern Condenser Microphone. Large-diaphragm, multi-Pattern, high SPL condenser microphone with shock mount and case.The AKG Perception 420 is a multi-pattern large-diaphragm condenser microphone for more demanding professional studio recording applications. Offering high sensitivity and 155 dB maximum SPL, the Perception 420 delivers a warm transparent sound quality ideally suited for ensemble recording, grand piano, woodwind and brass instruments as well as drums and percussion instruments. In addition, three selectable polar patterns – cardioid, omnidirectional or figure-eight – allow a wide range of stereo miking techniques and ambient recording. A switchable bass cut filter and preattenuation pad enable the Perception 420 to be used close to sound sources in sound fields as high as 155 dB. The microphone's chassis is made of precision-tooled zinc/aluminium alloy and boasts a dent resistant stainless-steel wire-mesh front grille. It is supplied with a spider-type shock mount in an aluminium carrying case.The main features of the AKG Perception 420 include:Back-to-back large-diaphragm multi-pattern transducerAn excellent choice for a variety of professional recording applications: A/B, X/Y, and M/S stereo recording, Ambience recording, Grand piano, woodwind and brass instruments, Percussions, Drums, Classical music recording, Studio applicationsTrue condenser technologyHigh sensitivity and 155 dB maximum SPL capabilitySwitchable 20 dB preattenuation padSwitchable bass cut filterLegendary, pristine AKG sound qualityType: Dual-capsule,1-inch large-diaphragm, true condenser pressure-gradient microphonePolar pattern: Cardioid, Omnidirectional, Figure-eightFrequency range: 20 to 20,000 HzSensitivity: 28 mV/Pa (-31 dBV)Max. SPL: 135 dB/155 dB (0/-20 dB) for 0.5% THDEquivalent noise level: 16 dB-A (IEC 60268-4)Signal/noise ratio (A-weighted): 78 dBPreattenuation pad: 0 dB, -20 dBBass filter: 12 dB/octave at 300 HzImpedance: =1000 ohmsCurrent consumption:

The Neumann TLM 102 Nickel is impressive in terms of sound. The interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB, which permits the recording of percussion, drums, amps and other very loud sound sources Instruments that are not especially loud also benefit from the very fast transient response of the Neumann TLM 102. However its most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording. the Neumann TLM 102 Nickel is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority. The Neumann TLM 102 Nickel Main Features Include: Large-diaphragm microphone with cardioid directional characteristic (pressure gradient transducer) Compact, characteristic but smaller-scale Neumann design Very high maximum sound pressure level Slight presence boost above 6 kHz Transformerless circuitry Acoustical operating principle: Pressure gradient transducer Directional pattern: Cardioid Frequency range: 20 Hz - 20 kHz Sensitivity at 1 kHz into 1 kohm: 11 mV/Pa Rated impedance: 50 ohms Rated load impedance: 1 kohms Maximum output voltage: 13 dBu Supply voltage: 48 V Matching connector: XLR3F Weight: approx. 260 g Diameter: 52 mm Length: 116 mm

"The Pearl" Series of professional electrostatic microphones are designed for studio vocal recording and now hand-held stage applications, where sound quality and musical character is of the utmost importance.The Pearl Standard uses a medium single-diaphragm transducer, which provides a modern, detailed vocal sound with airy highs, extended vocal presence and optimized low-end response.The Grand Pearl uses a large dual-diaphragm transducer, which provides the warm, classical vocal sound usually associated with vintage vocal studio microphones.The Pearl Vocal is specifically designed to be the ultimate condenser hand-held stage microphone. The newly developed medium-sized single diaphragm capsule provides high acoustic transparency and can handle sound pressure levels up to 144db without overload. These innovative microphones introduce a new physical design with a rear-ported spherical head and a special narrow tapered form reflector to reduce internal resonances and reflections and optimize the unidirectional cardiod polar pattern. A soft center band around the circumference of the head minimizes shock and handling noise. Rugged microphone construction and internal shockmounts effectively reduce stand rumble, outside infrasonic interference and mechanical shocks. The internal phantom powered preamplifier’s Class 'A' fully discrete transformerless circuit provides high output, flat audio response and ultra low distortion and noise.The output connectors are gold plated for best possible signal transfer. "The Pearl" is ready for noise-free handheld or stand use. A flexible stand holder is supplied with microphone. FRR is an optional unique reflection ring accessory which is used as a tool to slightly alter directional characteristics and frequency response by positioning at different points along the microphone body. Applications: The Pearl Standard and The Grand Pearl microphones are designed primarily for vocalists, but are also capable of capturing piano, guitars, drums, percussion, strings, wind and many other instruments.The larger diaphragm of The Grand Pearl is specially tuned to provide a deep warm vocal tone ideal for jazz or pop music. These are unidirectional cardioid microphones and should be mounted so that the rear openings behind the capsule are not obstructed. In vocal applications, best results are obtained when the microphone is 1" to 6" away.Microphone overload is not a problem, however, we recommend the use an optional pop filter in the studio for further protection from plosive sounds and breath, pop or wind noise.The Pearl Vocal has been tuned specifically for a modern, detailed vocal sound with extended vocal presence and optimized low-end response. The newly developed advanced suspension system effectively reduces handling noise to an absolute minimum and the unidirectional cardioid polar pattern has been optimized for maximum side and rear rejection while providing maximum gain before feedback.This is the ideal microphone for live jazz, pop and rock vocalists but also will provide superior sound for brass, woodwinds, percussionists, drummers and in capturing guitar amplifiers.

"The Black Knight" uses a large dual-diaphragm, side-terminated, condenser capsule. It possesses a natural musical sound with transparent highs, smooth midrange with a subtle vocal presence bump at 3kHz, flat low-frequency response and a unidirectional cardioid polar pattern. The acoustically open transducer head minimizes internal resonances and reflections so that even the most minute sound details are authentically captured. An integrated swivel-mount allows for fast and handy positioning of the transducer head. The internal phantom powered preamplifier's Class 'A' fully discrete transformerless circuit provides very high output, flat audio-response and ultra-low distortion and noise. Gold-plated contacts on the output connector provide a noise-free connection. "[The Black Knight] sounded great on anything I put it in front of. The swiveling head is the most convenient feature I've ever seen on a mic." Connor Smith The Studio Files "The Black Knight" microphone is also available in matched stereo or surround sets as a special order. Applications: "The Black Knight" microphone has a very detailed and uncolored sound. It is perfect for overheads, acoustic guitar and many other instruments as well as vocal applications. The swivel mount head allows for easy minor re-positioning, without adjusting the stand. It is an excellent solution for broadcast studios, film and video production, sound reinforcement and other professional applications. It has a very open, single layer head grill so use of a pop-filter or foam windscreen is recommended when working the microphone closely.

"The Wedge" condenser microphone from Violet Design is meticulously designed for the highest quality of studio recording. Re-engineered from Violet's original "Dolly" model, The Wedge produces deep, dimensional sound, and boasts a wider range of applications than its predecessor. Its multi-layered, wedge-shaped head effectively reduces plosive sounds and other noises such as wind or breath. The Wedge's capsule is made of high-quality, 6-micron Mylar film, and it's innovative freestanding design results in a more open and detailed sound. The critical first stage circuit is located close to the capsule to further improve sound quality. The large dual-diaphragm is precisely tensioned, adjusted on back plates, and sputtered with Violet's exclusive gold alloy mixture. This process allows The Wedge to give a faster impulse transient response without sound coloration or low-frequency reduction, and also makes it capable of handling high sound pressure levels. The internal solid-state preamplifier of The Wedge is a Class-A fully discrete transformer-less circuit, built using high quality, hand selected components. The circuit is designed to achieve the highest audio standards and provides flat frequency response, high dynamics, low self-noise, and very low audio distortion of all types. The Wedge should be used with high quality, regulated 48V phantom power. Gold-plated pins on the XLR output provide a clean and noise-free connection. The Wedge has a dark red body with black trim and comes in a fine hardwood box. Applications: The Wedge has a warmer tone with very high output and low noise. It is designed for a wide range of studio recording situations. The fast transient response, crystal clear highs and loud SPL handling make it excellent for recording drums, especially for snare drum, overhead and hi-hat. The recommended placement is 2" to 4" from the drum rim, but you will want to experiment with different positions and angles. It is also excellent for piano, electric and acoustic guitars, bowed strings and brass instruments. For the clarinet and soprano saxophone use the microphone 4" to 12" above the horn and lowest pads. For other saxophones place the microphone 2" to 6" in front of the lip of the bell. For the flute place the microphone above the middle of the instrument. Place within 20" from the bell of trumpets, trombones, French horns, tubas and other brass instruments. When used as a vocal microphone, position The Wedge 1/2" to 4" away to get the best results. There is no need to worry about overload but using a pop-filter in the studio or a foam windscreen in live applications can help reduce plosive sounds and breath, pop or wind noises.

"The Amethyst" Series of studio microphones utilize capsules with 6-micron gold sputtered Mylar diaphragms tensioned and adjusted on precisely made brass backplates. They possess very fast impulse transient response without sound coloration or low frequency reduction, as well as the ability to handle louder sound pressure levels. "The Amethyst Standard" has a dark amethyst red body and uses a single large-diaphragm center-terminated capsule to provide a modern, detailed sound with airy highs, medium vocal presence and accentuated low-end response. The internal phantom powered preamplifier is a fully discrete Class 'A' transformerless circuit which provides high output, flat audio response and ulta-low distortion and noise. "It's clear to me that Violet Design has a winner on its hands with the Amethyst Vintage." Randy Poole Pro Sound News "The Amethyst Vintage" has a grey/blue body and uses a dual large-diaphragm, center terminated dual back plate capsule which provides a classical, wide-spectrum, vintage microphone sound. Both models have a unidirectional cardioid polar pattern with minimal proximity effect and are linear over the wide frontal incidence angle. An acoustically transparent head construction reduces internal resonances and reflections. The internal capsule shockmount along with the massive body construction, reduces stand rumble, outside infrasonic interference and mechanical shocks. Both microphones can be mounted directly on a standard microphone stand or in the optional ASM elastic shockmount. Gold plated contacts on the output XLR connector provide a noise-free connection. Applications: The handy compact size and versatile mounting, combined with high SPL capability make these microphones ideal for close instrumental situations. "The Amethyst Standard" is particularly recommended for percussion and stringed instruments. For vocal applications "The Amethyst Standard" is more oriented for a male voice and "The Amethyst Vintage" for a female voice. Use them up close, within 2" to 4" to get best results. The internal amplifier and capsule are hard to overload and are well suited for close miking of vocals.

The B-2 is an affordable, high-quality way to put this essential studio tool to work for you. Thanks to its pressure gradient transducer and shock-mounted 1.0" gold-sputtered dual-diaphragm capsule, the B-2 delivers an open, transparent sound with excellent transient response. It boasts a frequency response from 20 Hz to 20 kHz with just a slight boost in the presence range. It has two selectable pickup patterns: omni for capturing sound in all directions; and cardioid for picking up your source signal while rejecting off-axis sound. With its excellent transducer and gold-plated XLR output, the B-2 is very neutral sounding and truly delivers on the promise of noise-free transmission.The B-2 also gives you a switchable -10dB attenuator to capture high-volume signal sources without distorting, as well as a low-cut filter to eliminate infrasonics caused by floor rumble and other turbulence. Condenser microphones are the ideal choice for capturing vocals and acoustic instruments. They're the primary type of microphone used in recording studios and radio stations. They are capable of capturing much more detail than dynamic microphones because of their wider, flatter frequency response. Another difference between condenser and dynamic mics is that they contain active circuitry that requires phantom power (+48 V DC) for operation. You can power them from any phantom power equipped BEHRINGER XENYX mixer, plus enjoy the benefits of our state-of-the-art XENYX mic preamps.* Professional 1" dual-diaphragm condenser microphone for unsurpassed audio qualityIdeal as main and support microphone for studio and live applications * Pressure-gradient transducer with shock-mounted gold-sputtered dual-diaphragm capsule >< Exceptionally flat frequency response and incredible musicalitySelectable cardioid, omnidirectional or figure eight pickup patternSwitchable low-frequency roll-offSwitchable input attenuation of -10 dB Ultra low-noise transformerless FET input circuitry* Gold-plated 3-pin XLR output connector * Rugged construction with satin nickel-plated brass bodyHeavy-duty suspension mount, windscreen and aluminum transport case included

The B-1 is an affordable, high-quality way to put this essential studio tool to work for you. Thanks to its 1.0" capsule, it captures sound with incredible realism and sensitivity. It boasts a wide frequency response from 20 Hz to 20 kHz, enhanced by a pronounced presence boost. With its excellent transducer and gold-plated XLR output, the B-1 truly delivers on the promise of noise-free transmission.  The B-1 also gives you a switchable -10dB attenuator to capture high-volume signal sources without distorting, as well as a low-cut filter to eliminate infrasonics caused by floor rumble and other turbulence.

The C-1 is a cardioid condenser microphone designed to capture your sounds with incredible realism, sensitivity and accuracy.

AKG’s Legendary 1” Edge-Terminated Large Diaphragm Sound΄Outstanding Dynamic Range (up to 156 dB SPL, Ultra-Low Noise)Roadworthy DesignIntegrated Suspension to reduce mechanical NoiseSwitchable 20 dB Attenuation Pad and Low Cut SwitchRugged double mesh Grill for high RF immunity but unaffected AcousticsAll-metal Die-cast body with shock- and scratch-resistant FinishSpider-type Shock Mount includedMetal Carrying Case includedDesigned, Engineered and Built in Vienna, AustriaAKG's industry-leading C 414 microphones are already a permanent fixture in the world's biggest recording studios and a highly respected work horse for independent artists, broadcasting,  and on-stage miking as well.The new C 214 is designed as a cost-effective alternative to the high-end, industry-leading C 414 family. It  captures sound combining one side of the legendary C 414 dual-capsule system and AKG’s patented Back-Plate Technology which results in an outstanding performance close to the famous C 414 B-XLS.

Highly affordable AKG large-diaphragm microphone technologyCardioid polar pattern for multiplicity of vocal and instrument applications The earlier model C 3000 has had a large fan club in the project studio and home recording worlds for years. For the new C 3000 B, AKG designed a special 1-inch large-diaphragm transducer that closely approximates the vibration performance of top-class studio microphones, but can be made at much lower cost.Due to its surface area and special capsule tuning, the C 3000 B large-diaphragm transducer produces an exceptionally pleasing, smooth sound. Unlike in the C 3000, the switchable 10-dB preattenuation pad immediately follows the transducer in the signal path, thus increasing the C 3000 B's SPL capability by a true 10 dB. Loud sound sources are therefore no problem.An acoustically optimized cardioid polar pattern makes the C 3000 B an excellent choice for both recording and live sound applications where high gain before feedback is paramount.