Large Diaphragm Condenser

High sensitivity and extremely low self noiseFive switchable polar patterns for placement and application flexibilityTwo-color LEDs provide quick visual indication of selected polar pattern and output overloadElastic capsule suspension greatly minimizes structurally-transmitted noise from chassis vibrationH 85 professional shock mount/stand adapter, PF 80 external pop filter and W 414 X external windscreen. A reference-quality microphone especially used for accurate, beautifully-detailed pickup of any acoustic instrument.With the introduction of the NeXt Generation C 414 B-XL models, AKG sets new benchmarks for useful features, improved technical specifications, ease of use and available accessories. All of these improvements are answers to requests from ever-demanding recording studios, broadcast stations and concert engineers, but with the basic sonic character of the legendary C 414 unaltered.Additional features:High sound pressure level capability and wide dynamic rangeCompletely immune to electrostatic and electromagnetic interference from digital gear, computer monitors, etc. thanks to solid metal housing and transformerless output stageThree switchable bass cut filters and three pre-attenuation pads with LEDs for quick visual indicationAll switchable components operate in low impedance circuits for ultra-high reliability even in extremely humid conditionsAlso available in stereo pair C 414 B-XLS/ST.

An embossed single-diaphragm, side-address, cardioid condenser microphone for highly critical studio recording and live sound productions. The Shure KSM32 offers an extended frequency response for an open, natural sounding reproduction of the original sound source.KSM32/CG - Charcoal Gray, with swivel mount and carrying case, phantom power requiredKSM32/SL - Champagne, with swivel mount, shock mount, aluminum case, phantom power requiredClass A, transformerless preamplifier circuitry eliminates cross-over distortion for improved linearity across the full frequency range.Embossed, high-compliance diaphragm provides extended low-frequency response.Ultra-thin, gold-layered, low-mass, Mylar® diaphragm for excellent transient response15 dB attenuation switch for handling extremely high sound pressure levels (SPL)Switchable low-frequency filter provides greater flexibility to reduce background noise or to counteract proximity effect.Integrated three-stage pop protection grille reduces "pop" and other breath noiseInternal shock mount reduces transmission of handling noiseReplacement cartridge:  RK374Performance CharacteristicsExtended frequency responseVery low self-noiseExceptional low-frequency reproductionHigh output levelHigh input SPL capabilityNo cross-over distortionExtremely uniform polar responseSuperior common mode rejection and suppression of radio frequency interferenceApplicationsSome typical applications for the KSM32 are listed below. Microphone use, however, is a matter of personal taste. The KSM32 may be used for a variety of applications other than those listed.Voice -- solo, background, voice-over, broadcastingAcoustic instruments -- such as piano, guitar, drums, percussion, stringsWind instruments -- brass and woodwindLow frequency instruments -- such as double bass, electric bass, kick drumOverhead miking -- drums or percussionEnsembles -- choral or orchestralRoom ambiance pick-up -- guitar amplifier or drumsBoth the acoustic environment and microphone placement have significant effects on the sound obtained when miking a source. You may need to experiment with these variables to achieve the best overall sound for each application.

An embossed single-diaphragm, side-address, cardioid condenser microphone for highly critical studio recording and live sound productions. The Shure KSM32 offers an extended frequency response for an open, natural sounding reproduction of the original sound source. KSM32/CG - Charcoal Gray, with swivel mount and carrying case, phantom power required KSM32/SL - Champagne, with swivel mount, shock mount, aluminum case, phantom power required Class A, transformerless preamplifier circuitry eliminates cross-over distortion for improved linearity across the full frequency range. Embossed, high-compliance diaphragm provides extended low-frequency response. Ultra-thin, gold-layered, low-mass, Mylar® diaphragm for excellent transient response 15 dB attenuation switch for handling extremely high sound pressure levels (SPL) Switchable low-frequency filter provides greater flexibility to reduce background noise or to counteract proximity effect. Integrated three-stage pop protection grille reduces "pop" and other breath noise Internal shock mount reduces transmission of handling noise Replacement cartridge:  RK374Performance Characteristics Extended frequency response Very low self-noise Exceptional low-frequency reproduction High output level High input SPL capability No cross-over distortion Extremely uniform polar response Superior common mode rejection and suppression of radio frequency interferenceApplicationsSome typical applications for the KSM32 are listed below. Microphone use, however, is a matter of personal taste. The KSM32 may be used for a variety of applications other than those listed. Voice -- solo, background, voice-over, broadcasting Acoustic instruments -- such as piano, guitar, drums, percussion, strings Wind instruments -- brass and woodwind Low frequency instruments -- such as double bass, electric bass, kick drum Overhead miking -- drums or percussion Ensembles -- choral or orchestral Room ambiance pick-up -- guitar amplifier or drums Both the acoustic environment and microphone placement have significant effects on the sound obtained when miking a source. You may need to experiment with these variables to achieve the best overall sound for each application.

Audio-Technica’s stringent quality and consistency standards set the AT2020 apart from other mics in its class. Its low-mass diaphragm is custom-engineered for extended frequency response and superior transient response. With rugged construction for durable performance, the microphone offers a wide dynamic range and handles high SPLs with ease. The AT2020: the new standard for affordable side-address studio condensers.   The price/performance standard in side-address studio condenser microphone technology   Ideal for project/home-studio applications  High SPL handling and wide dynamic range provide unmatched versatility  Custom-engineered low-mass diaphragm provides extended frequency response and superior transient responseCardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source  Pivoting, threaded stand mount attaches securely for easy and precise placement of the microphone

Meet the studio condenser that captures every nuance. With three switchable polar patterns, the large-diaphragm Audio-Technica AT4050SM exhibits a remarkable combination of qualities: high-SPL capability with transparent and airy uppers/mids complemented by rich low-end qualities. Its dual large diaphragms are gold-vaporized and aged for consistent, outstanding performance. A precision-machined, nickel-plated brass acoustic element baffle provides rock-solid element stability and exceptional sensitivity. Supplied with AT8449 shockmount. Also available as the AT4050SC with the AT8430 isolation stand clamp.Ideal for studio use and live sound productions with vocals, piano, strings, drum overheads, guitar amps, and more.  Transparent uppers/mids balanced by rich low-end qualities combine with advanced acoustic engineering for extensive performance capabilities and highest quality  Dual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range of the microphone  The 2-micron-thick, vapor-deposited gold diaphragms undergo a five-step aging process so that the optimum characteristics achieved remain constant over years of use  Three switchable polar patterns: omni, cardioid, figure-of-eight  Transformerless circuitry virtually eliminates low-frequency distortion and provides superior correlation of high-speed transients  State-of-the-art surface-mount electronics ensure compliance with A-T's stringent consistency and reliability standards  Switchable 80 Hz hi-pass filter and 10 dB pad  Custom shock mount provides superior isolation  Also available as the AT4050SC with the AT8430 isolation stand clamp

With omni, cardioid and figure-of-eight patterns, as well as a 10dB cut/boost function, the ORPHEUS is the perfect workhorse in practically any studio or live sound application. Its low self-noise and unmistakable presence allow you to record the subtlest of instruments or voices without the need to edit afterwards.The highly sensitive 1.07-inch dual-diaphragm capsule is suspended in its own special mount, almost floating in the large, sppherical basket. The body is cast from zinc alloy, which gives almost zero resonance and helps to keep the signal crystal-clear.The ORPHEUS comes supplied in a luxury wooden case, lined with black velvet, and really does sound as good as it looks.TECHNICAL DATAResponse: 20Hz - 20kHzSensitivity: 20mV/Pa -32dB ±2dB (0dB = 1V/Pa 1,000Hz)Polar pattern: Omni, cardioid, figure-of-eightImpedance: ≤200 OhmsEquivalent noise level: 16dB (A-weighted)Max SPL (for 0.5% THD @ 1,000Hz): 125dBPower source: Phantom power 48V ±4V

The Perception 120 is a 2/3-inch diaphragm true condenser microphone that offers solid build quality, outstanding performance, and excellent value. The low-mass diaphragm delivers a clear sound with accurate sonic detail. A switchable 20 dB preattenuation pad and bass cut filter make the Perception 120 an excellent choice for a wide range of recording and live sound applicationsSpecifications : Type 2/3" Diaphragm True Condenser Polar pattern cardioid Frequency range 20 to 20,000 Hz Sensitivity 22 mV/Pa (-33 dBV) Max. SPL 130/150 dB (0/-20 dB) for 0.5% THD Equivalent noise level 22 dB-A (IEC 60268-4) Signal/noise ratio (A-weighted) 72 dB Preattenuation pad 0 dB, -20 dB Bass filter 12 dB/octave at 300 Hz Impedance = 1,000 ohms Current consumption

The world's first large diaphragm condenser studio microphone with seamlessly variable Polar Patterns, Filter and Pad located conveniently on the microphone body.

The NT2000’s state of the art surface-mount electronics combined with the new Australian designed and manufactured HF1 Capsule, provide extremely low self-noise (7 dBA) and a maximum SPL of 147 dB (157 dB with pad fully engaged) ensuring exceptional results and the ultimate in recording creativity.

The NT2000 is supplied with the SM2 Shock Mount, together in a durable custom carry case.     •    Acoustic principle: Externally polarised 25 mm (1”) dual diaphragm condenser    •    Directional pattern: Multipattern    •    Frequency range: 20Hz - 20KHz    •    Output impedance: 200 ohms    •    Signal noise ratio din iec 651: 87 dB (1kHz rel 1Pa)    •    Equvalent noise: 7 dBA SPL (per IEC651, IEC268-15)    •    Maximum spl: 147 dB (@ 1% THD into 1K ohm) 157dB (@ 1% THD into 1K ohm) with pad set to maximum    •    Sensitivity: -36 db re 1 Volt/Pasca (16 mv @94db SPL) +/- 2 dB    •    Dynamic range din iec 651: 140 dB (per IEC651, IEC268-15)    •    Power supply voltage: Phantom P48    •    Weight without battery: 831 gm    •    Weight with battery: 2.6 kg

The RΨDE NTK is the multi award-winning Class-A tube microphone that has found a home with tens of thousands of professionals around the world. 

The heart of the NTK is the Australian designed and manufactured HF-2 capsule.The electronic circuitry complementing this very sensitive transducer includes a hand-selected twin-triode 6922 valve and audiophile grade components and lay-out. The result is an ultra-wide dynamic range, very low noise, and stunning tube warmth. The NTK‘s rich valve sound is ideal for vocals, acoustic instruments, drum overheads, guitar amps and pianos.

The NTK comes with a dedicated power supply, internal capsule shock mounting, stand mount, zip pouch and a 30’ cable.

The M 149 Tube is a variable dual-diaphragm microphone. The K 49 capsule — well-known from the legendary U 47 and M 49 microphones — is followed by a tube functioning as an impedance converter. In contrast to earlier concepts — utilizing a transformer — the tube is complemented with a transformerless output circuit design. The M 149 Tube can thus feed long microphone cables without any coloration. Two slide switches are located below the large, acoustically very open headgrille. The switch at the front allows selection one of nine directional patterns. The slide switch at the rear operates a seven-step high pass filter. It allows a very fine adjustment of the cut-off. 

The M 147 Tube is a vacuum tube condenser microphone with cardioid characteristic. At the heart of this microphone is the K 47 dual diaphragm capsule, inherited from this model's now legendary predecessors, the U 47 and the M 49. Following the capsule is a tube that functions as an impedance converter.  The next stage is an efficient, transformerless output circuit, that guarantees an extremely low self-noise level. Note: This innovative combination of current tube technology with the most advanced solid-state circuitry was decisive in awarding the 1997 TEC Award to the related M 149 Tube mic. The M 147 Tube can feed extremely long microphone cables without affecting the quality of the audio signal. Like all Neumann tube microphones, the M 147 Tube comes with an elegant satin nickel finish.  The microphone is delivered as a complete set in a high-quality aluminum case. Included with the microphone are a microphone cable, a metal swivel mount for a mic stand, and a compact universal power supply for standard mains sockets. Our modern manufacturing methods makes it possible to offer this complete set at a very attractive price.

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. FEATURESAcoustical operating principle : Pressure gradient transducerDirectional pattern : CardioidFrequency range : 20 Hz ... 20 kHzSensitivity at 1 kHz into 1 kohm : 23 mV/PaRated impedance : 50 ohmsRated load impedance : 1000 ohmsEquivalent SPL CCIR 468-3 : 17.5 dBEquivalent SPL DIN/IEC 651 : 7 dB-AS/N ratio CCIR 468-3 : 76.5 dBS/N ratio DIN/IEC 651 : 87 dBMaximum SPL for THD 0.5% : 138 dBMaximum output voltage : 13 dBuDyn. range of the mic. amplifier DIN/IEC 651 : 131 dBSupply voltage : 48 V ± 4 VCurrent consumption : 3 mAMatching connector : XLR 3FWeight approx : 500 gDiameter : 60 mmLength : 132 mm

The TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range.  Five directional characteristics are selectable by means of a rotary switch. In the sixth position, marked 'R', the directional patterns can be controlled remotely with the N 48 R-2 power supply.  There is no special cable necessary for this purpose. The microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise.

The TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range.  Five directional characteristics are selectable by means of a rotary switch. In the sixth position, marked 'R', the directional patterns can be controlled remotely with the N 48 R-2 power supply. There is no special cable necessary for this purpose.  The microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise.

Dual-membrane condenser microphone for authentic multi-pattern vintage mic emulation The ultimate microphone to complete your mic lockerТhis high-quality dual-capsule large-diaphragm condenser microphone captures vocals and instruments with pristine clarity, depth and detail, making it the perfect starting point for emulating a plethora of timeless studio microphones. A legendary libraryEdge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models already available and 7 more soon to be released. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. Find the full list of Edge Duo emulations below. Unique designHoused in a specially designed low-resonance body with a sleek matte black finish, Edge Duo features a 6-micron gold-sputtered dual-membrane capsule. It provides an incredibly smooth, rich and organic response that the powerful Antelope Audio modeling engine can shape into the true sound of some of the most expensive and sought-after microphones in the history of audio recording. Multi-dimensional mic modelingEdge Duo’s dual-membrane capsule design feeds two separate XLR output channels via the included Y-cable. The signal from each membrane is then individually processed and recombined, delivering the most precise mic modeling on the market. This approach not only means that users can vary the polar pattern from within the plug-in, even after recording. It also allows the Edge Duo to accurately emulate the characteristic on- and off-axis response of each mic for true multi-dimensional mic modeling. High compatibilityThe Edge emulations are designed to work hand-in-hand with Antelope’s own precision mic preamps and converters. For maximum accuracy, Edge Duo can be used with any of Antelope Audio’s mic preamp-equipped interfaces, whose built-in FPGA processing capabilities allow real-time vintage mic emulation.However, Edge Duo 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. Key features:- Powerful mic modeling engine- Duosonic / Stereosonic microphone- Output split into two independent audio channels for maximum control- Large double-membrane condenser capsule- Switchable polar patterns: cardioid, figure-8, omnidirectional and anything in between- Ultra-low resonance headbasket and body construction- Extensive library of vintage mic emulations- Shock mount with pop filter and special oxygen-free copper Y-cable included Mic emulations:Berlin 47 FTBerlin 49TBerlin 57Berlin 87Berlin 67Berlin M103Vienna 12Vienna 414Tokyo 800TOxford 4038Sacramento 121RBerlin K86 (coming soon)Berlin 47 TU (coming soon)Berlin V563 (coming soon)Berlin/Halske M25 (coming soon)Berlin M251 (coming soon)Minnesota 20 (coming soon)Illinois 7B (coming soon) Specifications:Microphone type: Stereo condenser microphoneDiaphragm: Large condenser – double-sided 6u gold-sputtered membranesDiaphragm diameter: 34mmPolar pattern: Multi-pattern (cardioid, figure-8, omnidirectional)Frequency response: 20HZ ~ 20kHZSensitivity: -35dB | 18mV/Pa (-1 to +3dB)THD+N: -116dBSelf-noise: 19dB(A)SNR: 75dB(A)Output impedance: 50 Ohms @ 1kHzPower requirements: 48V DC phantom powerOutput connector: 5-pin male XLRColor: Black matteWeight (mic body): 1.23 lbs (560 grams)Dimensions (mic body): 8.6" x 2.1" (219mm x 53mm) Package contents:Breakout cable: 16.4' (5 meters) 5-pin female XLR to dual 3-pin male XLR (high grade OFC Y-cable)Mount: Shock absorber typeCase: Standard mid-size road case with handle and custom-fit foam inserts ​

The Reference Cardioid Microphone shares the same electronic attributes as the Gold Reference Series, but has a center-fixed cardioid-only capsule with a thicker gauge (6 micron) gold sputtered diaphragm. With the similar film thickness and construction, similar high frequency resonance (a little edge), similar proximity effect and pretty good immunity from pops and sibilance problems, our Reference Cardioid more closely recalls how many of the vintage European tube mics such as the beloved U47 sounded like when they were new. Its rich tonal balance and liquid character is consistently admired for instruments such as guitars, drum overheads, saxophone, and especially vocals. With your present mic, if you find yourself leaning on your compressors and boosting 5 or 10K to score a bit more testosterone, then the Reference Cardioid just might be the mic you’re looking for to cure what ails ya. If you seem to be constantly boosting 12-18K and trying to get a clean, intimate sound, then probably the Reference Gold would be the safest bet. Specifications:All-Tube triode design 12AT7 (2011 build. Previous versions used 12AX7 and 6072.)-10 dB switchable padFrequency response: 10Hz-30KHzSensitivity: 17mV/PaNoise typically -120dB EINMax SPL: 150dBActual output impedance 200 OhmsWeight: 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 lbsSelected matched pairs availableOutboard 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~ 60HzMains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operationPower Consumption: 70mA @ 120V = 8.4 Watts 

Coveted & Rare. Until Now.The WA-CX12 is a faithful recreation of the most natural and balanced tube mic of all time, lauded for its organic tone and pleasing top end. The original AKG C12 was produced in Austria from 1953 - 1963 and is the definitive version of the 12-style mic. The WA-CX12 sound profile and circuit design is inspired by the original production run of only 2500 mics, which are highly coveted for their ability to capture the natural beauty of vocal performances, room sounds, and other far miking techniques. The list of famous recording artists who have never used a 12-style microphone is likely shorter than the list of those who have. Some of the most notable artists to create music with the original includeThe Beatles, Lupe Fiasco, Tom Petty, Michael Jackson, Alanis Morissette, and Taylor Swift, just to name a few. The WA-CX12 cuts no corners in achieving the highly coveted open, airy, and natural sound profile used over and over again by some of the world’s most recognized engineers and artists.No-Compromise ComponentsThe WA-CX12 is a professional large-diaphragm tube microphone with premium components, elite build quality, and is hand-inspected in Austin, Texas. The circuit design of the WA-CX12 is faithful to the original production run from 1953-1963, and serves as the basis for the historically accurate sound profile. Like the original, the WA-CX12 tone is mostly flat until a slight dip at 2kHz with a gradual boost between 5-10kHz. At the beginning of the chain, the CX12 has an edge-terminated, all-brass CK12-style capsule, that stays true to the frequency response of the original-run 12-style microphones.This capsule allows the WA-CX12 to have 9 polar patterns with the typical cardioid, omni, and figure-8, in addition to 6 intermediate patterns. . Moving down from the capsule, the WA-CX12 uses a premium 12AY7 vacuum tube for added warmth. At the end of the circuit, the WA-CX12 uses a custom TAB-Funkenwerk (AMI) USA Output Transformer, which gives the WA-CX12 a very full, wide, and open sound, getting the most out of the capsule and additional circuit components. The WA-CX12 has premium capacitors throughout, and a no-solder mask board for the lowest noise possible. As with all Warm Audio products, we focus heavily on quality components to ensure we release the best sounding product possible.True To Legacy, True To SoundThe WA-CX12 sound profile is known for capturing the real sound of a performance. Designed to provide clarity in the midrange and smooth out any high end harshness, the WA-CX12 delivers professional solo vocals, intricate piano performances, and epic, natural room sounds.VocalsThe gently tuned 5-10kHz boost of the WA-CX12 accentuates and smoothes out the upper register in many vocal performances.PianoOne of the more popular studio uses for the original 12-style microphone is as a stereo pair on grand piano. Because of the mic’s relatively flat frequency at 0dB until the top-end boost kicks in, the WA-CX12 adds just the right amount of pristine high end to a piano performance.Room SoundsWhether it’s room reflections, splashy cymbals, or guitar & bass cabinets - mixing in a distant WA-CX12 can bring a natural “live” sound to professional recordings.Premium Components - Elite Build Quality - Superior SoundWA-12-B-60V CEK12-Style CapsuleThe WA-12-B-60V CK12-style capsule accurately matches the frequency response of the original capsule found in vintage C12 mics. This capsule captures incredible detail across the 30Hz-20kHz frequency response. With a remarkably flat response until the top-end boost starts to hit around 3k, the capsule inside the WA-CX12 will help you capture natural sounds with some added top-end smoothness before the pleasant 19kHz rolloff.AMI USA-MADE Output TransformerThe history of TAB-Funkenwerk (AMI) transformers goes all the way back to the founding of the most sought-after German analog audio innovations. The TAB (AMI) transformer in the WA-CX12 is American-made with large-core German laminations and built to exacting standards as designed by Oliver Archut. The custom transformer drives the full natural sound captured by the capsule delivering that renowned Austrian sound.Premium Tubes, Capacitors, & BoardsThe WA-CX12 uses a premium 12AY7 vacuum tube that adds warmth and depth to the microphone’s signal. Like all Warm Audio products, we use premium capacitors in the circuit for ideal signal transfer. The PCB board in the WA-CX12 does not have solder masks which allows for the lowest noise floor possible, preventing crosstalk from added capacitance.Authentic Appearance, Elite Build Quality, Premium AccessoriesThe WA-CX12 is encased in an ultra-durable nickel-plated brass body. Every WA-CX12 comes with a custom tweed carrying case housing the mic, wood mic case, premium Gotham 7-pin cable, IEC cable, shockmount, and external power supply. Every WA-CX12 is meticulously hand-inspected at Warm HQ in Austin,TX by real musicians and engineers with a passion for superior sound.

Large-Diaphragm Condenser Microphone.A Secret Weapon Of Pro StudiosThe WA-47F is a faithful recreation of a high-SPL, low-noise classic celebrated as a 'secret weapon' across world-class studios. The original '47-style FET was released in 1969 and gained massive popularity inside recording studios for its ability to handle fast transients with exceptional detail. Compared to popular tube microphones, the WA-47F has a more pristine top end and a tighter, more controllable bass response. Famous artists such as Dave Grohl and Daft Punk used the original 47FET on kick drums, inspiring generations of drummers and engineers. For vocals, legends like David Lee Roth and Michael Stipe used the original to create some of the most beloved music of all time.The WA-47F shares the same sonic profile as that original microphone, making the WA-47F a studio workhorse that will quickly become a go-to mic in your locker.Full Volume. Powerful Detail. No CompromiseLike all Warm Audio microphones, the WA-47F is a no-nonsense studio tool with premium components and elite build quality. Like the originals, the WA-47F takes the sound of the WA-47 tube mic and swaps the valve for solid-state FETs, meaning there’s no compromise between capturing rich midrange, detailed bass, and handling very loud sources. At its core, the WA-47F uses a premium reproduction of the vintage K47-style capsule found in the original microphone for ultra-wide frequency response and detail. The WA-47F uses a single backplate, cardioid-only version of the same capsule used in our award-winning WA-47 tube microphone.The capsule is joined by a custom TAB-Funkenwerk USA Output Transformer that drives the punchy, powerful sound captured by this capsule. The WA-47F pairs premium Fairchild FETs with polystyrene & Wima capacitors and the AMI output transformer, giving the WA-47F the ideal frequency response to capture extra detail and depth. The -10dB pad gives you extra headroom for those loud sources that you need to keep loud. When you need to eliminate unwanted bass frequencies on sources like lead vocals or electric guitar cabs, engage the included 140 Hz low-cut filter to save yourself from unnecessary post-EQ. Our meticulous R&D process allowed us to dial in a true-to-original output level and frequency response that matches the performance expectations of world-class audio engineers and recording facilities.Studio WorkhorseLike the original, the WA-47F’s custom-tuned frequency response captures huge kick drum sounds, punchy guitar & bass cabs, and adds a pristine edge to solo vocals that need to stand out.Kick DrumIn addition to a dynamic mic on the inside of the kick, aimed right at the beater, many engineers choose to add a 47FET-style microphone to the outside of the kick drum on the front head. The dynamic mic on the beater tends to capture the “snap” of the kick, while the WA-47F on the outside will get the “thump” from the drum. The air pressure “boom” of the resonant kick drum head is a huge sound easily missed by the dynamic mic. Adding a WA-47F to your kick will have a huge spatial effect on the sound, making tracks feel more alive and less robotic.VocalsThe original mic was chosen to capture some very famous vocals including Bon Scott (AC/DC), David Lee Roth (Van Halen), and REM’s Michael Stipe. Like the original, the WA-47F delivers powerful, detailed vocals ranging from screaming hair metal all the way to soft falsettos over iconic indie rock.Guitar & Bass CabinetsThe original is also a favorite inside studios for tracking guitar and bass cabinets - especially for percussive, loud guitar parts like you might find on an AC/DC record. The openness of the condenser capsule and the ability for the circuit to handle higher-than-normal SPLs means that you can track guitars LOUD without compromising detail. For those about to rock - you'll notice a difference.WA-47-B-50v CapsuleThe WA-47-B-50v capsule is a true reproduction of the single-backplate K47-style capsule found in the original 47Fet mic. This capsule captures incredible detail across the 20Hz-19kHz frequency response. With a unique gradual climb in the mids and slight scoop in the high end, the capsule inside the WA-47F will quickly make this a favorite mic for any source that demands critical detail and pleasing high end at louder volumes.AMI USA-Made Output TransformerThe history of TAB-Funkenwerk (AMI) transformers goes all the way back to the founding of the most sought-after German analog audio innovations. The TAB (AMI) transformer in the WA-47F is American-made and built to exacting standards as designed by Oliver Archut. The sweet sonic character of the WA-47F would not be possible without the amazing, historically-correct transformer supplied by TAB-Funkenwerk.Fairchild Transistors & Premium CapacitorsThe WA-47F uses premium Fairchild FETs - the same component found in the most exacting and expensive reissues. The polystyrene and premium WIMA capacitors in the WA-47F provide the excellent signal conversion that this circuit demands.Authentic Appearance & Elite Build QualityThe WA-47F is encased in an ultra-durable nickel-plated brass body with an updated headbasket shape adding additional space around the capsule. Every single WA-47F is meticulously hand-inspected at Warm HQ in Austin,TX by real musicians and engineers with a passion for superior sound.

The WA-14 is a '414-style condenser microphone based on the early 1970's microphone used on countless hit records. The WA-14 utilizes a custom all-brass CK12-style capsule, CineMag USA transformer, and a fully discrete signal path.  The WA-14 can be used on an array of sources, such as; punchy/warm intimate lead vocals, acoustic/electric guitars, bass, drums/percussion, strings/orchestral material, and many other sources. The WA-14 provides a realism and thickness that is true to the vintage microphone, but now at an affordable price.All-brass CapsuleThe WA-12-B-60V is an all-brass, edge-terminated capsule that captures all the smoothness, rich top end, and warm vintage sonics of the original CK12 capsule.  The WA-12-B-60V uses a variant CEK-12 backplate as a basis, which overcomes manufacturing limitations of the original CK12 capsule.  The o-ring and housing of the WA-12-B-60V are all made from brass (no teflon parts), and the diaphragm is 24k gold sputtered 6 micron, NOS PET film (mylar).  The end result is a very consistent, reliable capsule which matches the frequency response and tonality of the classic 1970's classic capsule.Specifications:Large diaphragm condenser microphone with variable pad and three polar patternsFeatures custom WA-12-B-60V edge-terminated, dual-backplate, all-brass vintage CK12-style capsuleCustom CineMag USA transformerFrequency range: 20Hz to 20kHz Output pad: 0dB, -10dB, -20dBPolar Patterns: Cardioid, figure of eight and omnidirectionalOutput Impedance: 150 ohms3-pin gold plated XLRRequires +48V phantom powerIncludes shock mount and hard mountColor: black​​

The ST-1 MK2 Lanen, designed on the basis of the STC-3D MK2, is one of the only condenser microphones on the market, equipped with a real 34mm large diaphragm capsule, with a gold-plated one-inch diaphragm, in this price range. Almost all of the other brands speak of a large membrane, for capsules from 16 to 19mm and the difference is significant! Unlike "entry-level" products, which are often too cold and too bright, with less full sound in the bass and lower midrange, the ST-1 MK2 Lanen perfectly reproduces the definition and warmth of the recorded source.