Small Diaphragm Condenser

Let Every Detail of Your Performance Shine.The Austrian Audio CC8 is a small-diaphragm condenser microphone that adapts a classic sound for modern artists and producers. Our OCC7 capsule brings the legendary CK1 capsule into the future.The CC8 sounds natural and open without becoming harsh or spiky, even at extreme volumes. The mids and highs are silky smooth, never exaggerated. This makes the CC8 the ideal microphone for the detailed recording of various acoustic instruments, such as stringed instruments, woodwinds and brass, and orchestral percussion, in addition, instruments like acoustic guitar, piano, snares, hi-hat, and entire drum sets.The heart of the CC8At the heart of the Austrian Audio CC8 microphone beats the newly-developed OCC7 small-diaphragm condenser capsule. Inspired by the legendary CK1, the OCC7 delivers all the benefits of that classic design updated to meet the demands of today. Shaped by the past; built for the future.The OCC7 capsule and transformerless output gives the CC8 a remarkably linear frequency response, handling extremely high sound pressure levels (SPL) of up to 156 dB, without distorting.Before leaving the factory, each microphone is measured to a tolerance of max. +/- 0.5 dB sensitivity at 1 kHz. This means that any CC8 can be match-paired with any other, regardless of production dates.Made in Vienna. Again.

The 2012 Compact Cardioid Mic is the best all-around, generalist mic that you can find to cover a wide range of close-miking needs on the live stage. It is a robust and reliable condenser mic, best for single instrument pickup. Its specifically powerful characteristics make it an extremely flexible mic that will shine on many instruments, particularly those in the high-frequency range. Durable, reinforced constructionThe 2012 is constructed to withstand rough handling on a hectic live stage. It has a thicker, more robust body construction of brass that is very durable and known for its corrosion resistance and tolerance against metal fatigue. In addition to the heavy-duty materials used, the surfaces of the mic handle and grille are treated with a protective black chrome finish, which ensures more graceful ageing.Unmatched transient responseThe 2012, is a professional condenser mic, making it the best choice for those instruments that produce high frequencies. It has a far better transient response than any dynamic microphone, which allows it to pick up the most delicate sound with tremendous accuracy. Uniform cardioid directionalityThe 2012 has a cardioid capsule with DPA’s famously flat off-axis response. Besides a high gain-before-feedback, this characteristic makes it easier for sound engineers to handle bleed from other instruments at close proximity. The 2012 picks up off-axis sounds in a very natural and attenuated way.  Outstanding SPL handlingThe 2012 can cope with both extremely high SPLs as well as capture very delicate sounds. With a max SPL, peak before clipping of 156 dB, the 2012, works well on many different instruments and can handle the loudest drums, guitars, horns and more.Natural and precise sound reproductionLike all other DPA microphones, the 2012 delivers pure, transparent sound quality.  

Small in structure, huge in soundFit for any challenges in the studio or on stage, the SE8 is a brand new high-performance handcrafted small-diaphragm condenser, fresh from the labs at SE.Recommended useAcoustic guitar, choir, orchestral + strings, piano, woodwinds, drums, percussion, cymbals / OH.Highlights: Hand-made capsule & all-metal buildBalanced sound & sophisticated backplate designPerfect for sources like high-hats and drum overheadsOne of the quietest small-capsule mics on the planetHighest dynamic range and SPL handling in its classIntegrated attenuation pads and low-cut filters

A compact & classy condenserThe SE7 is a high-quality back-electret small-diaphragm condenser microphone intended for a wide range of studio and live sound applications, from acoustic guitars to pianos to drums and beyond.Recommended useAcoustic guitar, choir, orchestral + strings, piano, woodwinds, drums, percussion, cymbals / OH.Highlights:Optimized acoustic design, discrete class-A circuitry and a transformerless outputClear, natural sound quality at all frequenciesSwitchable -20dB attenuation padHigh sound pressure level (SPL) handling capabilitySwitchable low-cut 80 Hz filterExtremely low-noise components

Small in structure, huge in soundFit for any challenges in the studio or on stage, the SE8 is a brand new high-performance handcrafted small-diaphragm condenser, fresh from the labs at SE.Recommended useAcoustic guitar, choir, orchestral + strings, piano, woodwinds, drums, percussion, cymbals / OH.Highlights: Hand-made capsule & all-metal buildBalanced sound & sophisticated backplate designPerfect for sources like high-hats and drum overheadsOne of the quietest small-capsule mics on the planetHighest dynamic range and SPL handling in its classIntegrated attenuation pads and low-cut filters

A compact & classy condenserThe SE7 is a high-quality back-electret small-diaphragm condenser microphone intended for a wide range of studio and live sound applications, from acoustic guitars to pianos to drums and beyond.Recommended useAcoustic guitar, choir, orchestral + strings, piano, woodwinds, drums, percussion, cymbals / OH.Highlights:Optimized acoustic design, discrete class-A circuitry and a transformerless outputClear, natural sound quality at all frequenciesSwitchable -20dB attenuation padHigh sound pressure level (SPL) handling capabilitySwitchable low-cut 80 Hz filterExtremely low-noise components

ONE MIC. 13 EMULATIONS. YOU CHOOSE. Capture the full picture as loud as you canDon’t let its small size fool you: The Edge Note modeling microphone is the perfect studio solution for capturing a wide range of musical instruments at incredible volumes. With 13 classic mic emulations, it’s one of the most flexible mic modeling options for instrumentalists, recording engineers, and studio owners alike.SOUND QUALITYLoudness is no obstacleWith an astonishing SPL of 146 dB, the Edge Note has been engineered to provide clear recordings for even the loudest sources. From drum solos to trumpet trills, this small diaphragm condenser mic goes hard without clipping the converter.Sensitivity: -42dB I 8MV/PA (+/-3dB)Frequency response: 20HZ – 20 kHZMICROPHONE EMULATIONS13 iconic studio microphones in one bodyThis is more than a small condenser mic: it’s a 13 digital recreations of classic vintage microphones. We’ve assembled a diverse collection of revered models that were hand-selected as the top picks for many award-winning engineers and producers. The accuracy of our mic emulations keeps the frequency response and color of the originals.High-pass filter: This pencil mic comes with a high-pass filter with two steps at 75Hz and 115Hz. The result? Reduced lower frequencies and a cleaner, tighter low-end recording.Pad Attenuator: The Edge Note’s pad allows you to reduce the input signal with -10dB or -20dB. You’ll keep the detail and realism – without clipping or distortion.Edge Note is the best small condenser microphone for accurately recording loud sources like piercing snares and hi-hats, sharp brass instruments, gentle guitars, and sweeping strings.

UA SP-1 ζεύγος μικροφώνωνΤο ζεύγος πυκνωτικών μικροφώνων μικρού διαφράγματος SP-1 της Universal Audio διαθέτει καρδιοειδές πολικό διάγραμμα, προεπιλογές (preset) Apollo Channel για όσους έχουν Apollo κάρτα ήχου για άμεσο επαγγελματικό ήχο καθώς και περιλαμβανόμενα αξεσουάρ.Αποκτήστε εύκολα στερεοφωνικό ήχο έτοιμο για άλμπουμ.Με το ζεύγος πυκνωτικών μικροφώνων μικρού διαφράγματος SP-1, μπορείτε να ηχογραφήσετε ακουστικά όργανα, ντραμς και κρουστά, καθώς και ζωντανές παραστάσεις στερεοφωνικά, με εξαιρετική πιστότητα για άμεσο ήχο ποιότητας άλμπουμ.Βασικά Οφέλη• Ηχογραφήστε έγχορδα όργανα, τύμπανα και πολλά άλλα με ένα ταιριαστό ζεύγος (matched pair) πυκνωτικών μικροφώνων• Απαλά και καθαρά ψηλά για καθαρές, επαγγελματικές στερεοφωνικές εγγραφές σε οποιοδήποτε περιβάλλον• Προσθέστε ένα ρετρό, κατάλληλο για το δρόμο μικρό πακέτο πυκνωτικών μικρού διαφράγματος στη συλλογή των μικροφώνων σας• Αποκτήστε εύκολα επαγγελματικό ήχο με τις προεπιλογές (preset) του Apollo SP-1 που περιλαμβάνονταιΤο τέλειο ζευγάρι για στερεοφωνική ηχογράφησηΩς matched stereo ζεύγος στερεοφωνικών μικροφώνων, το SP-1 προσθέτει ευκρίνεια, πλάτος και διάσταση στις εγγραφές σας. Είτε πρόκειται για στενά μοτίβα X/Y είτε για ζευγάρια σε απόσταση μεταξύ τους, συνδυάστε τα όπως θέλετε και ακούστε τη λεπτομέρεια στο όργανό σας όπως ποτέ άλλοτε.Ηχογραφήστε τους καλύτερους ήχους σας, οπουδήποτεΟ κλασικός καρδιοειδές σχεδιασμός του SP-1, η υψηλή ανοχή SPL και το ομαλό, καθαρό επάνω μέρος συχνοτήτων προσφέρουν σταθερά καθαρή ηχογράφηση ακουστικών κιθάρων, ντραμς overheads, κρουστών, κόρνων και πολλών άλλων οργάνων — σε οποιαδήποτε ένταση, σε οποιοδήποτε περιβάλλον.Περισσότερο από το μέσο μικρόφωνο πουράκιΚατασκευάσαμε το ζεύγος SP-1 για να είναι η καθημερινή σας επιλογή για στερεοφωνική εγγραφή. Με ρετρό φινίρισμα και κατασκευή που ταιριάζει στο δρόμο, αυτοί τα κομψά μικρόφωνα είναι μια σοβαρή αναβάθμιση του στούντιο, με vintage κομψότητα.Ακούγεται σαν τους επαγγελματίες με τις προεπιλογές (preset) για ApolloΑπομακρύνετε τα ρίσκα στη λήψη επαγγελματικών ήχων με τις προσαρμοσμένες προεπιλογές Apollo SP-1. Αποκτήστε τις τέλειες ρυθμίσεις EQ για να προσθέσετε λάμψη σε κύμβαλα ή να ενισχύσετε τα κόρνα και τις εγγραφές έγχορδων οργάνων με πλούσιο στερεοφωνικό ήχο.Το ζεύγος μικροφώνων UA SP-1 περιλαμβάνει όλα όσα χρειάζεστε για άμεσο επαγγελματικό ήχο, όπως:Δύο βάσεις στήριξης μικροφώνουΣτερεοφωνικό T-barΔύο αφρώδη pop filtersΔύο προσαρμογείς σπειρώματος ⅝” έως ⅜”Τεχνικά ΧαρακτηριστικάΤύπος ΜικροφώνωνΜικρου διαφράγματος πυκωντικάPolar PatternκαρδιοειδέςΑπόκριση συχνοτήτων20 Hz – 20 kHzΕυαισθησία-38.0 (12.6 mV) ref 1V at 1 Pa, 1 kHzΑντίσταση Εξόδου200 OhmsΣυνιστόμενο φορτίοΜεγαλύτερο των 2K OhmsΣύνδεση3-Pin XLRMΜέγιστο SPL142 dB SPL, 1% THDPhantom Power48 VDCΠεριλαμβανόμενα ΑξεσουάεΔύο βάσεις στήριξης μικροφώνουΣτερεοφωνικό T-barΔύο αφρώδη pop filtersΔύο προσαρμογείς σπειρώματος ⅝” έως ⅜”.Διαστάσεις5" (128 mm) μήκος0.93" (23.5 mm) διάμετροςΒάρος.28 lbs (125 g)

RODE Rewards  - Mη ξεχάσετε το δώρο σας !! Μέγιστη ποσότητα ανά παραγγελία 3 προϊόντα + 3 δώρα . Εάν επιθυμείτε να επωφεληθείτε από περισσότερα από 3 τεμάχια + δώρο θα πρέπει να καταχωρήσετε νέα παραγγελία .   Για να δείτε τα δώρα της κατηγορίας πατήστε εδώ .  Ζεύγος πυκνωτικών μικροφώνων ιδανικά για ηχογραφήσεις studio και live. Μικρόφωνα χαμηλού θορύβου που μπορούν να χρησιμοποιηθούν σε ηχογραφήσεις ακουστικών οργάνων αλλά και φωνής, σε μονοφωνική αλλά και στέρεο εγγραφή. Το σετ περιλαμβάνει δύο πυκνωτικά καρδιοειδή μικρόφωνα με κάψα 0.50'', Απόκριση συχνότητας 20Hz - 20kHz   Maximum SPL 140dB SPL (@ 1kHz 1% THD into 1KΩ load) Ευαισθησία -34.0dB re 1 Volt/Pascal (20.00mV @ 94 dB SPL) +/- 2 dB @ 1kHz Equivalent Noise Level ( A-weighted) 19db-A Βάρος 80 γρ.  100 (Y) x 20 (Π) x 20 (B) Περιεχόμενα : 1 x M5 2 x WS5 2 x RM5  

AT5045P Cardioid Condenser Instrument Microphone Pair. Studio Instrument Microphones The AT5045P is two of Audio-Technica’s premier condenser instrument microphones in a stereo pair pack. Offering the performance of a large-diaphragm, side-address condenser in a convenient, stick-type body, the AT5045, despite the space limitations imposed by its housing,boasts Audio-Technica’s largest single diaphragm. The instrument microphone’s circuitry has been honed to the essentials, allowing the AT5045 to achieve an unprecedented dynamic range that’s one of the widest of any microphone on the market. 100% quality control Every AT5045 is hand assembled and individually inspected for 100% quality control. Each microphone is enclosed in an elegant housing of aluminum and brass with a high-quality gray finish for durability and low reflectivity. Discrete components have been selected for optimized performance. The circuitry and capsule assembly are mounted as a single block within a floating internal shock mount, effectively decoupling the capsule from the microphone body for excellent vibration isolation. In fact, every aspect of the microphone has been carefully considered to minimize any negative effects on the audio signal. The AT5045P stereo pair pack comes with two AT5045 instrument mics, two of Audio-Technica’s innovative AT8481 isolation clamps, two AT8165 windscreens and a protective carrying case that holds a both AT5045 microphones. Available as a single microphone (AT5045) or as a stereo pair (AT5045P).

Line + gradient condenser microphone, 395 mm BP4071 Line + gradient condenser microphone, 395 mm. Designed for use in broadcasting, film/TV production, and theater with Direct-coupled, balanced output ensures a clean signal. Innovative acoustic design, same directivity as mics up to 50% longer. BP4071 for extremely focussed sound capture At a length of 39.5 cm, the directional BP4071 shotgun microphone has been specially designed to meet the needs of broadcast, film, television, recording outdoors and theater applications. Particularly suitable for long-distance sound recording in filmmaking or in theatre, the BP4071 ensures a low noise level and a balanced Direct-coupled output resulting in a clear and clean signal, even in high-output conditions. 395 mm shotgun microphone designed to deliver quality sound in reporting, producing TV / Film and Theatre Excels in long distance quality sound recording Highly directional, it captures perfectly all frequency ranges (20Hz to 20kHz) Perfect intelligibility even in noisy environments, thanks to excellent off-axis noise rejection "Double Wave Diaphragm" proprietary technology offers high sensitivity with low self noise Direct-coupled output with active balancing which ensures a signal without distortion at high output levels 80Hz low-cut filter, with a slope of 18dB / octave and -10dB switchable attenuator Effective protection against nearby mobile phone interference and other unwanted radio frequency Comes equipped with a foam windscreen “low-cut filter” The low-cut position reduces sensitivity to ambient low frequency noise such as traffic noise, ventilation, reverberation of the room or mechanical vibrations transmitted through the recording device. “CLEAR AND PRECISE CAPTURE OF DISTANT AUDIO” Particularly suitable for long-distance sound recording for cinema or in the theatre, the BP4071 ensures low self noise and a balanced Direct-coupled output resulting in an accurate and clean signal even in high-output conditions. “High intelligibility” The microphone's very narrow directivity provides the narrow acceptance angle needed to catch remote sound while maintaining excellent off-axis noise rejection. The BP4071 guarantees you very specific audio capture with high intelligibility. Robust body Robust microphone design made of lightweight aluminum alloy, which allows it to be positioned it on a boom, a camera or on a tripod. low-cut filter Switchable low-cut filter for better insulation of unwanted noise. Line + gradient The BP4071 combines a directional capsule (gradient) and an interference tube to remove the sound from the rear. Accessories Comes with a clip, a foam windscreen, two O-rings and a protective carry case.

Handheld/Stand Cardioid Condenser Microphone. A price/performance leader, the MB4k cardioid condenser microphone is the Midnight Blues Series' introductory studio-quality microphone. With a condenser design for studio vocal and instrument applications, the microphone features: battery/phantom operation; rugged all-metal construction; soft-touch finish; extended response for smooth, natural sonic characteristics; corrosion-resistant contacts from gold-plated XLRM-type connector; on/off switch. Introductory studio-quality microphone - the clear price/performance leader Condenser design for studio-quality vocal and instrument applications Extended response for smooth, natural sonic characteristics Rugged all-metal construction and on/off switch Soft-touch finish for a secure, comfortable grip and reduced mechanical noise Battery/phantom operation for maximum versatility Corrosion-resistant gold-plated XLRM-type connector

Based on models originally developed for use in the broadcast of the Sydney Games in 2000, the BP4027 (14.96" long) and BP4029 (9.29" long) Stereo Shotgun models are engineered for high-end broadcast and production use. Both microphones feature independent line-cardioid and figure-of-eight elements configured in an MS (Mid-Side) arrangement with switch-selectable internal matrixing. These innovative microphones allow sound recordists the choice of selecting a left-right stereo output (wide or narrow) via the microphone’s internal matrixing system or choosing discrete Mid-Side signals for later manipulation, a flexibility not available from any other manufacturer. A switchable low frequency roll-off filter helps minimize the pickup of unwanted low frequency noise. These phantom-powered models feature a rugged lightweight design and sleek black color scheme, perfect for on-camera use. Designed for broadcasters, videographers and sound recordists Compact, lightweight design is perfect for camera-mount use Independent Line-cardioid and Figure-of-eight condenser elements Switchable low-frequency roll-off Switch selection of non-matrixed M-S mode and two internally-matrixed left/right stereo modes Includes a 0.61 m (24") cable (5-pin XLRF to two standard 3-pin XLRM connectors) RoHS compliant—free from all substances specified in the EU directive on hazardous substances

Wired table boundary microphone with half-cardioid pickup pattern. Thanks to its sturdy housing and high-quality microphone capsule, the MEB 114 guarantees optimum speech intelligibility. The MEB 114 has won the iF Produkt Design Award for its modern design. The model is available in black and white color.

Audio-Technica combines exceptionally low-noise large-diaphragm condenser elements with a shotgun design for extremely tight polar patterns, perfect for long-range sound recordings. With a length of 56.8 cm, the directional BP28L shotgun microphones have been specially designed to meet the needs of broadcast, film, television, recording outdoors and theater applications. Particularly suitable for long-distance sound recording in filmmaking or in theatre, the BP28L have a very low noise level (3 dB), and a transformer-coupled output results in a smooth sonic character. The microphone provide extremely high sensitivity (-23 dBV), wide dynamic range (135 dB) and high-SPL capability (138 dB). The patented acoustic port design maintains directionality across the entire frequency range. Large-diaphragm condenser element and optimized circuitry deliver exceptional low-noise performance – ideal for film/TV production and broadcasting applications Overall length of 567.9 mm with an extremely narrow, highly directional pickup pattern Transformer-coupled output provides smooth sonic character Extremely high sensitivity (-23 dBV), wide dynamic range (135 dB), and high-SPL capability (138 dB) Flat frequency response for accurate sound reproduction Rugged housing made of lightweight, structural-grade aluminum alloy Switchable 80 Hz high-pass filter and 10 dB pad Patented acoustic port design maintains directionality across the entire frequency range

Audio-Technica combines exceptionally low-noise large-diaphragm condenser elements with a shotgun design for extremely tight polar patterns, perfect for long-range sound recordings. With a length of 35.5 cm, the directional BP28 shotgun microphones have been specially designed to meet the needs of broadcast, film, television, recording outdoors and theater applications. Particularly suitable for long-distance sound recording in filmmaking or in theatre, the BP28 have a very low noise level (8 dB), and a transformer-coupled output results in a smooth sonic character. The microphone provide extremely high sensitivity (-28 dBV), wide dynamic range (135 dB) and high-SPL capability (143 dB). The patented acoustic port design maintains directionality across the entire frequency range. Large-diaphragm condenser element and optimized circuitry deliver exceptional low-noise performance – ideal for film/TV production and broadcasting applications Overall length of 354.9 mm with a highly directional pickup pattern Transformer-coupled output provides smooth sonic character Extremely high sensitivity (-28 dBV), wide dynamic range (135 dB), and high-SPL capability (143 dB) Flat frequency response for accurate sound reproduction Rugged housing made of lightweight, structural-grade aluminum alloy Switchable 80 Hz high-pass filter and 10 dB pad Patented acoustic port design maintains directionality across the entire frequency range

Neumann KM184 MT stereo set - 2 KM184 condenser microphones (black), cardioid pattern, 2 x WNS 100 wind shields, 2x SG 21/17 stand adapters.

The MK-012 is a compact, high quality capacitor microphone with interchangeable capsules to provide a choice of cardioid, hypercardioid or omni-directional polar patterns. The wide, flat response ensures that all sounds are captured with a high degree of accuracy. A -10 dB pad is included for use in high SPL environments, a low-cut pad is optionally available. The capsules, which screw onto the microphone body, utilise a precision, integral connection system to ensure reliable electrical contact. The MK-012 is suitable for use in any situation where an accurate sound is required, the small size of the system makes it ideal for use in broadcast, sound for picture, installation, sound reinforcement and theatre situations as well as the recording studio. In pairs, the MK-012s are perfectly suited for coincident and spaced stereo miking techniques, and also overhead useage in live and studio situations. Specifications: Mic type: Small diaphragm condenser Polar Pattern: Cardioid, Hypercardioid, Omnidirectional Freq. Response: 20-20000Hz Phantom voltage required: 48 +- 2V Full impedance, module: less than 300 ohms Weighted SPL (ref. DIN 45412): 18 dBA Maximum SPL in 250-8000Hz range, (less than 0.5% THD): 130 db Free field sensitivity at 1KHz:

The MK-012 is a compact, high quality capacitor microphone with interchangeable capsules to provide a choice of cardioid, hypercardioid or omni-directional polar patterns. The wide, flat response ensures that all sounds are captured with a high degree of accuracy. A -10 dB pad is included for use in high SPL environments, a low-cut pad is optionally available. The capsules, which screw onto the microphone body, utilise a precision, integral connection system to ensure reliable electrical contact. The MK-012 is suitable for use in any situation where an accurate sound is required, the small size of the system makes it ideal for use in broadcast, sound for picture, installation, sound reinforcement and theatre situations as well as the recording studio. In pairs, the MK-012s are perfectly suited for coincident and spaced stereo miking techniques, and also overhead useage in live and studio situations. Specifications: Mic type: Small diaphragm condenser Polar Pattern: Cardioid, Hypercardioid, Omnidirectional Freq. Response: 20-20000Hz Phantom voltage required: 48 +- 2V Full impedance, module: less than 300 ohms Weighted SPL (ref. DIN 45412): 18 dBA Maximum SPL in 250-8000Hz range, (less than 0.5% THD): 130 db Free field sensitivity at 1KHz:

The MK-012 is a compact, high quality capacitor microphone with interchangeable capsules to provide a choice of cardioid, hypercardioid or omni-directional polar patterns. The wide, flat response ensures that all sounds are captured with a high degree of accuracy. A -10 dB pad is included for use in high SPL environments, a low-cut pad is optionally available. The capsules, which screw onto the microphone body, utilise a precision, integral connection system to ensure reliable electrical contact. The MK-012 is suitable for use in any situation where an accurate sound is required, the small size of the system makes it ideal for use in broadcast, sound for picture, installation, sound reinforcement and theatre situations as well as the recording studio. In pairs, the MK-012s are perfectly suited for coincident and spaced stereo miking techniques, and also overhead useage in live and studio situations. Specifications: Mic type: Small diaphragm condenser Polar Pattern: Cardioid, Hypercardioid, Omnidirectional Freq. Response: 20-20000Hz Phantom voltage required: 48 +- 2V Full impedance, module: less than 300 ohms Weighted SPL (ref. DIN 45412): 18 dBA Maximum SPL in 250-8000Hz range, (less than 0.5% THD): 130 db Free field sensitivity at 1KHz:

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

The MK-012 is a compact, high quality capacitor microphone with interchangeable capsules to provide a choice of cardioid, hypercardioid or omni-directional polar patterns. The wide, flat response ensures that all sounds are captured with a high degree of accuracy. A -10 dB pad is included for use in high SPL environments, a low-cut pad is optionally available. The capsules, which screw onto the microphone body, utilise a precision, integral connection system to ensure reliable electrical contact. The MK-012 is suitable for use in any situation where an accurate sound is required, the small size of the system makes it ideal for use in broadcast, sound for picture, installation, sound reinforcement and theatre situations as well as the recording studio. In pairs, the MK-012s are perfectly suited for coincident and spaced stereo miking techniques, and also overhead useage in live and studio situations. Specifications: Mic type Small: diaphragm condenser Polar Pattern: Cardioid, Hypercardioid, Omnidirectional Freq. Response:  20-20000Hz Phantom voltage required:  48 +- 2V Full impedance, module:  less than 300 ohms Weighted SPL (ref. DIN 45412):  18 dBA Maximum SPL in 250-8000Hz range, (less than 0.5% THD):  130 db Free field sensitivity at 1KHz:  2 x microphon bodys (preamps) 2 x matched cardioid capsules 2 x matched hypercardioid capsules 2 x matched omni-directional capsules 2 x -10dB pad 2 x mic holder 1 x wooden box

The MK-012 is a compact, high quality capacitor microphone with interchangeable capsules to provide a choice of cardioid, hypercardioid or omni-directional polar patterns. The wide, flat response ensures that all sounds are captured with a high degree of accuracy. A -10 dB pad is included for use in high SPL environments, a low-cut pad is optionally available. The capsules, which screw onto the microphone body, utilise a precision, integral connection system to ensure reliable electrical contact. The MK-012 is suitable for use in any situation where an accurate sound is required, the small size of the system makes it ideal for use in broadcast, sound for picture, installation, sound reinforcement and theatre situations as well as the recording studio. In pairs, the MK-012s are perfectly suited for coincident and spaced stereo miking techniques, and also overhead useage in live and studio situations. Specifications: Mic type: Small diaphragm condenser Polar Pattern: Cardioid, Hypercardioid, Omnidirectional Freq. Response: 20-20000Hz Phantom voltage required: 48 +- 2V Full impedance, module: less than 300 ohms Weighted SPL (ref. DIN 45412): 18 dBA Maximum SPL in 250-8000Hz range, (less than 0.5% THD): 130 db Free field sensitivity at 1KHz:

ML-2 MODELING MICROPHONE The ML-2 microphone is the second model in our award-winning Virtual Microphone System. This small diaphragm microphone is capable of recreating the tone of an entire mic locker of instrument mics – including dynamics like the 57 and 421, cardioid models of classic ribbons like the 121, other famous small diaphragm mics like the 451 and 222, and even large diaphragm mics like the famous 414 and tube 67. Like its big brother the ML-1, the ML-2 was designed to have an ultra linear response with no distortion, so that it can serve as a blank canvas for our modeling software. We tested a large number of mics during the development of the ML-2, and we found that even the most expensive small-diaphragm microphone designs saturate when micing very loud and transient-rich sources like close mic’d drums. Therefore, we added a proprietary switch on the ML-2 called “Dynamic” which attenuates the mic’s output and repolarizes the capsule, allowing the ML-2 to be used in extremely high SPL situations without overloading or saturating. As a result, it can be used just like a dynamic mic on drums, guitar cabs, and more. To get the most out of the ML-2 you can pair it with our VRS8 interface, which includes eight VMS Ultra Linear mic preamps. Additionally, the ML-2 is available a la carte and can work with any preamp, although we can’t guarantee that the software emulations will be accurate. LATENCY FREE PROCESSING The Virtual Microphone System software consists of the Classic Tubes microphone module, which contains eight classic tube microphone models. None of these processing blocks add any latency to the audio signal, so if you use a low latency interface with VMS you can track through the VMS software without any audible monitoring delay. To accomplish this, we recommend a Thunderbolt or fast USB interface, recording at 96khz with the lowest buffer size possible. The combination of the 96khz sampling rate and low buffer size ensures the lowest possible latency. THE VRS EXPERIENCE Now you can experience the Slate Virtual Recording Studio including our VMS ML-2 instrument mic models. Click below to go to the VRS Experience page where you can download all the Slate plugins including demos of our VMS microphone plugins, as well as a multitrack session recorded with VMS mics through our VRS8 interface. When you download the plugins and the session, you can load up a track, and experiment with different world-class virtual microphones from the mic locker. Hear the vintage FET47F, 414, ribbon 121, and more. System Requirements Minimum System Requirements Quad Core i5 Processor 4GB of RAM Mac OS X 10.7 or Later Windows 7 & Above iLok 2 or 3 Required Recommended System Requirements Quad Core i7 Processor 8GB of RAM Mac OS X 10.9 or Later Windows 7 & Above iLok 2 or 3 Required Supported Plugin Formats Intel Mac 32bit: VST2, VST3, AU, AAX Intel Mac 64bit: VST2, VST3, AU, AAX Windows 32bit: VST2, VST3, AAX Windows 64bit: VST2, VST3, AAX

Sonically Matched for Precise Stereo Imaging  Ideal for stereo recordings of acoustic instruments, drum overheads, ensembles and more, the PreSonus PM-2 stereo microphone set provides the tools you need to create professional results. Each PreSonus PM-2 small-diaphragm cardioid condenser microphone is equipped with a ¾” gold-sputtered capsule housed in an ultra-light chassis, making it easier to perfectly position your microphones without fighting gravity. Sold as a sonically matched pair, the PM-2 comes equipped with a stereo bar for XY mic placement. PM-2 microphones can be used together or individually, making them an excellent addition for any home or professional recording environment.     

Plug&Play Set the standard on concert stages the set includes the cardioid MK 4, the stand tube RC 1200 with swivel, the support rod STR 350, the floor stand BF 250, the microphone amplifier CMC 6 as well as the foam pop screen B 5 D The RC Set "Singer" is customized for the application as a spot or soloist microphone for a singer or speaker. This set is worldwide generally referred to as the "Pavarotti stand" and is a general standard in concert halls. The pure elegance of the setup offers highest sound quality and at the same time a look that is appreciated by the public and the producers. A variation of the length of RC and/or STR enables other applications. MK 4 MICROPHONE CAPSULE Cardioid pattern The best-selling Schoeps capsule Directivity is highly independent of frequency Universally applicable; preferred use as spot microphone, for acoustic instruments, and in conference recording Often used in the main microphone pair for XY, ORTF and MS stereo recordings CMC 6 MICROPHONE AMPLIFIER The CMC 6 is our most popular and modern amplifier. Its electrical properties have set new standards in terms of low distortion levels and common mode rejection (i.e. suppression of interference induced in the microphone cable). RC ACTIVE EXTENSION TUBE Hardly any other product stands for the name SCHOEPS like the active tube RC. The RC has been a true "original" in pro audio history since its introduction in the late 1970s. Its timeless elegance belongs to the standard on the concert stage more than ever. STR VERTICAL SUPPORT ROD Support rod for mounting of RC or RL microphone tubes is comfortably clamped in the collet of the base BF 250 available in lengths of 250, 350, 600, 1000 mm as well as special sizes Material: brass with Nextel gray coating, diameter: 12 mm BF 250 HEAVY FLOOR STAND heavy bottom base for holding of STR support rods or stands STV, STA comfortable collet with quick release holds reliable and stable, but is still easy to lock and release Weight: 5.5 kg B 5 D HOLLOW FOAM POPSCREEN FOR 20 MM classic hollow foam windscreen standard for many applications recommended for conference, against wind and against the moving noise on the boom

Consisting of 2 paired SCHOEPS CMC 6 microphone amplifiers and 2 MK 4 cardioid capsules Includes 2x SG20 microphone clamps and 2x B5D windscreen in elegant wooden case The MK 4 has been a reference microphone for years in a wide variety of recording situations. Due to its transparent sound character and excellent attenuation of rear-incident sound, it reproduces sound sources very naturally. This has given the MK 4 a reputation as a universal "problem solver" even in difficult recording situations. Its flat frequency response, and the constancy of its directional pattern for all frequencies, are the basis of the MK4’s sound quality. Even in the diffuse sound field its frequency response is flat, with a slight increase at 10 kHz compensating for high-frequency losses in the room. Thus the sound image is transparent for direct-arriving sound, for sound arriving from the side, and for diffuse sound in the room (reverberation). The MK 4 is a classic small-diaphragm microphone with all the advantages of this microphone type. Its frequency response and the consistency of its polar diagram from low to high frequencies are exemplary. Like all SCHOEPS capsules, the MK 4 achieves its flat frequency response solely by its mechanical architecture, without any electronic filtering. As a pressure gradient transducer, the MK 4 has a single diaphragm that is exposed to the sound from both the front and rear. The side sound inlets must therefore never be covered. The “reach” (distance factor) of a classic cardioid such as the MK 4 is about 1.7 times that of an omnidirectional microphone. Thus even at greater distances from the sound source, direct sound can be obtained. The advantages of the MK 4 are shown especially when mixing several microphone signals - pickup of sound from the side is reduced in level but not subject to coloration. At 90° the attenuation of the MK 4 is 6 dB, and at 180°, some 20 to 30 dB. Diffuse-incident sound is picked up 4.8 dB lower in level than front-arriving sound. flat frequency response very low harmonic distortion and noise works with 12V and 48V phantom power balanced, low-impedance output high suppression of interference on the microphone cable excellent protection against high-frequency radio interference with "RFI Shield" frequency-independent impedance signal transmission possible over very long cables reliable operation even with weak phantom power symmetrical, transformer- and capacitor-free output stage with a class-A amplifier above 20 kHz, the signal is attenuated for protection against interference in the ultrasonic range, e.g. through the ultrasonic autofocus of a film camera The capsules of condenser microphones can't be connected directly to microphone cables or inputs; a microphone amplifier is required in between. Thus a complete microphone of the Colette series comprises any of the twenty available types of capsules combined with an amplifier. The CMC 6 U is designed for standard 48- and 12-Volt phantom powering. Its circuitry recognizes the supply voltage and adjusts itself automatically. Its performance characteristics remain essentially the same either way; mainly, the difference is that the current drawn at 12 Volts is greater than at 48 Volts. However, the 12-Volt mode consumes less power and might be preferred for battery-powered recording. The microphone amplifier is responsible for providing the necessary electric charge to the capsule, without which it would be unable to generate a signal. Since the capsule's output signal is very weak (Hi-Z), it must be amplified. In order for the microphone's output to cleanly reach the next stage in the signal chain, it must undergo balancing and impedance matching before transmission. The CMC 6 incorporates a balanced, direct-coupled class-A amplifier, yielding a low output impedance, high RF shielding, and minimal distortion.

Inspired Re-creation of a Legendary Small-diaphragm CondenserTheir acclaimed compressors and preamps have famously upset the pro audio price/performance ratio. When Warm Audio turned its attention to the granddaddy of small-diaphragm FET condenser microphones, you know it had to be good. And it is. Flash back to any top recording studio in the 1970s. You'll see the venerable '84 everywhere. Engineers who have worked with different generations of this perennial studio favorite know that the vintage ones have a warmer, more forgiving sonic character. It's these circuit designs — dating back nearly half a century — that Warm Audio closely followed for the WA-84. Stellar performance, top-shelf parts, and amazing value: that's the Warm formula — and the WA-84 nails it.Quality components make the Warm differenceWarm Audio doesn't cut corners on components, but they do order parts and build in quantity, which keeps costs down and delivers amazing value. Featuring a meticulously crafted vintage reproduction capsule, WA-84 is built with premium all-discrete components that include Fairchild transistors, Wima capacitors, and a CineMag USA transformer. Designed for professional commercial and home studios, live sound reinforcement, and broadcast applications, the WA-84 has the uncanny ability to finesse a wide range of sources, such as acoustic guitars, double bass, drums and percussion, piano, strings, brass and woodwinds, and more.What can the WA-84 do for you?Every studio needs at least one pair of high-quality small-diaphragm condenser mics, and the Warm Audio WA-84 is designed after a legendary one. With its versatile cardioid polar pattern and 10dB pad, you can use the WA-84 on any instrument — with world-class results. It makes snares and tom toms sound huge. It's great for drum overheads, capturing cymbals with warmth and vibrancy. It's perfect for adding a bit of room to complement a close dynamic or ribbon mic on a guitar cabinet. Engage the pad, and move the mic right up on the speaker grille.Double your value with a pair of these excellent micsThe WA-84 is an ideal choice for piano, vibraphone, marimba, congas, strings, woodwinds, and so much more. The list goes on, but suffice to say: You haven't lived until you've heard a grand piano spring to life when miked with a pair of WA-84s. For drum room mics, use two of them and nuke the stereo signal with a fast limiter. Positively explosive! Considering its amazing price, it would be wise to double your value and get (at least) two for recording tracks in stereo.Warm Audio WA-84 Small-diaphragm Condenser Microphone Features: Cardioid polar pattern Fully discrete signal path Vintage reproduction capsule CineMag USA Transformer 48V phantom powered Frequency Range: 20Hz–20kHz Sensitivity: -39dB or 11mV/Pa @ 1kHz Output Impedance: 200Ω Rated Load Impedance: ≥1kΩ Switchable Pad: -10dB Maximum SPL: 123/133dB @ 1kHz, 0.5% THD, 0/-10dB S/N Ratio: 78dBA (IEC651) Equivalent noise: 16dBA (IEC651) Dynamic range: 107dBA (IEC651) Connector: 3-pin gold-plated XLR Includes microphone, cardioid capsule, shockmount, mic clip, windscreen, carrying case A look inside the WA-84 The Capsule The WA-84 utilizes a custom vintage-style capsule designed to emulate classic componentry and design techniques. The WA-84’s capsule is carefully manufactured by an Australian capsule supplier and is precisely reproduced to vintage specs. We are pleased to offer such a high quality capsule in this microphone which allows us to nail the sonics of the most important component of any microphone. The Circuit The WA-84 is a fully discrete Class A design that utilizes a CineMag USA transformer, polystyrene and Wima capacitors and a Fairchild FET. The Transformer The WA-84 utilizes an American made CineMag USA transformer that contributes to the legendary creamy smooth top-end and the BEEFY mid to bottom-end one would hope to get from an 84-style small diaphragm condenser microphone. The Capacitors The WA-84 proudly utilizes Wima, polystyrene and tantalum through-hole capacitors throughout.

Inspired Re-creation of a Legendary Small-diaphragm CondenserTheir acclaimed compressors and preamps have famously upset the pro audio price/performance ratio. When Warm Audio turned its attention to the granddaddy of small-diaphragm FET condenser microphones, you know it had to be good. And it is. Flash back to any top recording studio in the 1970s. You'll see the venerable '84 everywhere. Engineers who have worked with different generations of this perennial studio favorite know that the vintage ones have a warmer, more forgiving sonic character. It's these circuit designs — dating back nearly half a century — that Warm Audio closely followed for the WA-84. Stellar performance, top-shelf parts, and amazing value: that's the Warm formula — and the WA-84 nails it.Quality components make the Warm differenceWarm Audio doesn't cut corners on components, but they do order parts and build in quantity, which keeps costs down and delivers amazing value. Featuring a meticulously crafted vintage reproduction capsule, WA-84 is built with premium all-discrete components that include Fairchild transistors, Wima capacitors, and a CineMag USA transformer. Designed for professional commercial and home studios, live sound reinforcement, and broadcast applications, the WA-84 has the uncanny ability to finesse a wide range of sources, such as acoustic guitars, double bass, drums and percussion, piano, strings, brass and woodwinds, and more.What can the WA-84 do for you?Every studio needs at least one pair of high-quality small-diaphragm condenser mics, and the Warm Audio WA-84 is designed after a legendary one. With its versatile cardioid polar pattern and 10dB pad, you can use the WA-84 on any instrument — with world-class results. It makes snares and tom toms sound huge. It's great for drum overheads, capturing cymbals with warmth and vibrancy. It's perfect for adding a bit of room to complement a close dynamic or ribbon mic on a guitar cabinet. Engage the pad, and move the mic right up on the speaker grille.Double your value with a pair of these excellent micsThe WA-84 is an ideal choice for piano, vibraphone, marimba, congas, strings, woodwinds, and so much more. The list goes on, but suffice to say: You haven't lived until you've heard a grand piano spring to life when miked with a pair of WA-84s. For drum room mics, use two of them and nuke the stereo signal with a fast limiter. Positively explosive! Considering its amazing price, it would be wise to double your value and get (at least) two for recording tracks in stereo.Warm Audio WA-84 Small-diaphragm Condenser Microphone Features: Cardioid polar pattern Fully discrete signal path Vintage reproduction capsule CineMag USA Transformer 48V phantom powered Frequency Range: 20Hz–20kHz Sensitivity: -39dB or 11mV/Pa @ 1kHz Output Impedance: 200Ω Rated Load Impedance: ≥1kΩ Switchable Pad: -10dB Maximum SPL: 123/133dB @ 1kHz, 0.5% THD, 0/-10dB S/N Ratio: 78dBA (IEC651) Equivalent noise: 16dBA (IEC651) Dynamic range: 107dBA (IEC651) Connector: 3-pin gold-plated XLR Includes microphone, cardioid capsule, shockmount, mic clip, windscreen, carrying case A look inside the WA-84 The Capsule The WA-84 utilizes a custom vintage-style capsule designed to emulate classic componentry and design techniques. The WA-84’s capsule is carefully manufactured by an Australian capsule supplier and is precisely reproduced to vintage specs. We are pleased to offer such a high quality capsule in this microphone which allows us to nail the sonics of the most important component of any microphone. The Circuit The WA-84 is a fully discrete Class A design that utilizes a CineMag USA transformer, polystyrene and Wima capacitors and a Fairchild FET. The Transformer The WA-84 utilizes an American made CineMag USA transformer that contributes to the legendary creamy smooth top-end and the BEEFY mid to bottom-end one would hope to get from an 84-style small diaphragm condenser microphone. The Capacitors The WA-84 proudly utilizes Wima, polystyrene and tantalum through-hole capacitors throughout.

Inspired Re-creation of a Legendary Small-diaphragm CondenserTheir acclaimed compressors and preamps have famously upset the pro audio price/performance ratio. When Warm Audio turned its attention to the granddaddy of small-diaphragm FET condenser microphones, you know it had to be good. And it is. Flash back to any top recording studio in the 1970s. You'll see the venerable '84 everywhere. Engineers who have worked with different generations of this perennial studio favorite know that the vintage ones have a warmer, more forgiving sonic character. It's these circuit designs — dating back nearly half a century — that Warm Audio closely followed for the WA-84. Stellar performance, top-shelf parts, and amazing value: that's the Warm formula — and the WA-84 nails it.Quality components make the Warm differenceWarm Audio doesn't cut corners on components, but they do order parts and build in quantity, which keeps costs down and delivers amazing value. Featuring a meticulously crafted vintage reproduction capsule, WA-84 is built with premium all-discrete components that include Fairchild transistors, Wima capacitors, and a CineMag USA transformer. Designed for professional commercial and home studios, live sound reinforcement, and broadcast applications, the WA-84 has the uncanny ability to finesse a wide range of sources, such as acoustic guitars, double bass, drums and percussion, piano, strings, brass and woodwinds, and more.What can the WA-84 do for you?Every studio needs at least one pair of high-quality small-diaphragm condenser mics, and the Warm Audio WA-84 is designed after a legendary one. With its versatile cardioid polar pattern and 10dB pad, you can use the WA-84 on any instrument — with world-class results. It makes snares and tom toms sound huge. It's great for drum overheads, capturing cymbals with warmth and vibrancy. It's perfect for adding a bit of room to complement a close dynamic or ribbon mic on a guitar cabinet. Engage the pad, and move the mic right up on the speaker grille.Double your value with a pair of these excellent micsThe WA-84 is an ideal choice for piano, vibraphone, marimba, congas, strings, woodwinds, and so much more. The list goes on, but suffice to say: You haven't lived until you've heard a grand piano spring to life when miked with a pair of WA-84s. For drum room mics, use two of them and nuke the stereo signal with a fast limiter. Positively explosive! Considering its amazing price, it would be wise to double your value and get (at least) two for recording tracks in stereo.Warm Audio WA-84 Small-diaphragm Condenser Microphone Features: Cardioid polar pattern Fully discrete signal path Vintage reproduction capsule CineMag USA Transformer 48V phantom powered Frequency Range: 20Hz–20kHz Sensitivity: -39dB or 11mV/Pa @ 1kHz Output Impedance: 200Ω Rated Load Impedance: ≥1kΩ Switchable Pad: -10dB Maximum SPL: 123/133dB @ 1kHz, 0.5% THD, 0/-10dB S/N Ratio: 78dBA (IEC651) Equivalent noise: 16dBA (IEC651) Dynamic range: 107dBA (IEC651) Connector: 3-pin gold-plated XLR Includes microphone, cardioid capsule, shockmount, mic clip, windscreen, carrying case A look inside the WA-84 The Capsule The WA-84 utilizes a custom vintage-style capsule designed to emulate classic componentry and design techniques. The WA-84’s capsule is carefully manufactured by an Australian capsule supplier and is precisely reproduced to vintage specs. We are pleased to offer such a high quality capsule in this microphone which allows us to nail the sonics of the most important component of any microphone. The Circuit The WA-84 is a fully discrete Class A design that utilizes a CineMag USA transformer, polystyrene and Wima capacitors and a Fairchild FET. The Transformer The WA-84 utilizes an American made CineMag USA transformer that contributes to the legendary creamy smooth top-end and the BEEFY mid to bottom-end one would hope to get from an 84-style small diaphragm condenser microphone. The Capacitors The WA-84 proudly utilizes Wima, polystyrene and tantalum through-hole capacitors throughout.

Inspired Re-creation of a Legendary Small-diaphragm CondenserTheir acclaimed compressors and preamps have famously upset the pro audio price/performance ratio. When Warm Audio turned its attention to the granddaddy of small-diaphragm FET condenser microphones, you know it had to be good. And it is. Flash back to any top recording studio in the 1970s. You'll see the venerable '84 everywhere. Engineers who have worked with different generations of this perennial studio favorite know that the vintage ones have a warmer, more forgiving sonic character. It's these circuit designs — dating back nearly half a century — that Warm Audio closely followed for the WA-84. Stellar performance, top-shelf parts, and amazing value: that's the Warm formula — and the WA-84 nails it.Quality components make the Warm differenceWarm Audio doesn't cut corners on components, but they do order parts and build in quantity, which keeps costs down and delivers amazing value. Featuring a meticulously crafted vintage reproduction capsule, WA-84 is built with premium all-discrete components that include Fairchild transistors, Wima capacitors, and a CineMag USA transformer. Designed for professional commercial and home studios, live sound reinforcement, and broadcast applications, the WA-84 has the uncanny ability to finesse a wide range of sources, such as acoustic guitars, double bass, drums and percussion, piano, strings, brass and woodwinds, and more.What can the WA-84 do for you?Every studio needs at least one pair of high-quality small-diaphragm condenser mics, and the Warm Audio WA-84 is designed after a legendary one. With its versatile cardioid polar pattern and 10dB pad, you can use the WA-84 on any instrument — with world-class results. It makes snares and tom toms sound huge. It's great for drum overheads, capturing cymbals with warmth and vibrancy. It's perfect for adding a bit of room to complement a close dynamic or ribbon mic on a guitar cabinet. Engage the pad, and move the mic right up on the speaker grille.Double your value with a pair of these excellent micsThe WA-84 is an ideal choice for piano, vibraphone, marimba, congas, strings, woodwinds, and so much more. The list goes on, but suffice to say: You haven't lived until you've heard a grand piano spring to life when miked with a pair of WA-84s. For drum room mics, use two of them and nuke the stereo signal with a fast limiter. Positively explosive! Considering its amazing price, it would be wise to double your value and get (at least) two for recording tracks in stereo.Warm Audio WA-84 Small-diaphragm Condenser Microphone Features: Cardioid polar pattern Fully discrete signal path Vintage reproduction capsule CineMag USA Transformer 48V phantom powered Frequency Range: 20Hz–20kHz Sensitivity: -39dB or 11mV/Pa @ 1kHz Output Impedance: 200Ω Rated Load Impedance: ≥1kΩ Switchable Pad: -10dB Maximum SPL: 123/133dB @ 1kHz, 0.5% THD, 0/-10dB S/N Ratio: 78dBA (IEC651) Equivalent noise: 16dBA (IEC651) Dynamic range: 107dBA (IEC651) Connector: 3-pin gold-plated XLR Includes microphone, cardioid capsule, shockmount, mic clip, windscreen, carrying case A look inside the WA-84 The Capsule The WA-84 utilizes a custom vintage-style capsule designed to emulate classic componentry and design techniques. The WA-84’s capsule is carefully manufactured by an Australian capsule supplier and is precisely reproduced to vintage specs. We are pleased to offer such a high quality capsule in this microphone which allows us to nail the sonics of the most important component of any microphone. The Circuit The WA-84 is a fully discrete Class A design that utilizes a CineMag USA transformer, polystyrene and Wima capacitors and a Fairchild FET. The Transformer The WA-84 utilizes an American made CineMag USA transformer that contributes to the legendary creamy smooth top-end and the BEEFY mid to bottom-end one would hope to get from an 84-style small diaphragm condenser microphone. The Capacitors The WA-84 proudly utilizes Wima, polystyrene and tantalum through-hole capacitors throughout.

The FC 4 is a lowcost, small capsule, true condenser microphne with transformerless discrete low noise class-A electronics. The 20 mm, 3 um gold-sputtered diaphragm has a cardioid shaped polar pattern and a great sensitivety.  The characteristics of the FC 4 are ideal for many recording and live situations. It will catch the crisp of your favourite guitar, every detail of your acoustic piano, the complexity of a clean electric guitar, the raw power of distorted amps, etc. We have equipped the FC 4 with high-pass filter and pad switches. This also makes it suitable for loud sounds and even vocal recording.  Every musichan and studio have use for a couple of FC 4s. The small capsule cardioid condenser mic is one of the most basic mics for recording ever made. The FC 4 is truely a very versatile microphone at a very low price!

The Electro-Voice ND66 is a robust, high-performance small diaphragm condenser instrument microphone. The ND66 contains a self-biased small diaphragm condenser element which is vividly responsive to the complex dynamic nature of percussive and stringed instruments, delivering a clean, crisp and detailed sound.With the ND66 exclusive locking rotating head, achieve ideal mic placement in virtually any situation by merely pushing a button, rotating the head into position, then releasing the button to lock the head's position. ND66 contains selectable -10 and -20dB pads which provide the necessary gain reduction to prevent the mic element from overloading when micing very loud or high-transient sound sourcesFeatures: Premium small diaphragm condenser elementClean, crisp, and detailed condenser soundEasy mic placement with locking rotating headSelectable -10dB and -20dB padsSelectable 75Hz and 150Hz high pass filters​Specifications:Self Noise: 20 dB SPL “A” weighted (0dB=20micropascals)Dynamic Range: 126 dBSignal-to-Noise Ratio: 74 dB (@ 94 dB SPL)Polarity: Pin 2 positive, reference to pin 3 withpositive pressure on diaphragmPower Requirements: Phantom Supply Requirement: 48 VDCImpedance: 200 ohmsMicrophone Connector: 3-pin, XLR-typeFinish: Black polyurethane paintMaterial: Zinc die cast​​

The CCM 41 is strongly directional. Sound arriving from off axis is attenuated even more than with a cardioid. The pickup is “drier” and less susceptible to acoustic feedback than any other SCHOEPS microphone type (a loudspeaker should not be located directly along the rear axis of the microphone, however). Its directivity is highly independent of frequency, so that even sounds arriving off axis and reverberant sound are registered without coloration. Consequently, even distant placement of the capsule produces a very natural sound pickup.This is a real advantage over interference-tube “shotgun” microphones, whose directivity is very frequency-dependent – exceeding that of a supercardioid only at higher frequencies. Interference-tube microphones are notoriously sensitive to their position in a room, where the shifting patterns of reflections cause corresponding shifts in sound color.Features:Supercardioid with highly consistent directionality throughout its frequency rangeFor music and speechHigh directivity, comparable to that of a short “shotgun“ microphone up through midrange frequenciesOften preferred for use in film sound recording and as a spot microphone in orchestrasSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

Like the CCM 41, the CCM 41V is useful in all situations with music or speech, either as “spot“ microphones or as overall directional microphones. How ever, this type of microphone is addressed from the side. It excels particularly in the constancy of its polar response throughout the audio spectrum. As a result, sound within 90º on either side of the main axis is picked up with virtually no alteration of frequency response or tone color. This is strongly evident with sound sources that are in motion, but is also of great benefit in obtaining stable, precise stereo imaging for normal music recordingsFeatures:Supercardioid with especially consistent directionality throughout its frequency range“Vertical” (side-addressed) supercardioid capsuleFor a very wide range of recording applicationsHigh directivity, comparable to that of a short “shotgun“ microphone up through midrange frequenciesOften preferred for use in music and speech recording, as a spot microphone and also as a main microphone, especially when using the OCT recording methodSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This type of microphone has a low-frequency rolloff to compensate for the low-frequency boost which occurs when close-miking.Features:Cardioid patternFor pickup of speech or music at close range (under 20 cm)Moderate attenuation of low frequenciesSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

The MK 4V was created in answer to requests for a cardioid with its main axis along the side. In addition to its usefulness in the concert hall, this microphone type is of particular value in speech recording, since its slight emphasis around 10 kHz helps to improve intelligibility.The directional response is especially well maintained even at higher frequencies, due to the acoustically transparent housing. There is less high-frequency emphasis of off-axis sound than occurs with most small, axial-response cardioids. The MK 4V still sounds somewhat brigher than the MK 4, however, because of its overall frequency response.Features:“Vertical” (side-addressed) cardioid capsuleFor a very wide range of recording applicationsSlight high-frequency emphasisOften preferred for singing or speaking voices and most instrumentsSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This cardioid microphone, with its main axis along its side is designed for the very closest speech pickup, i.e. directly in front of the speaker’s mouth. Its low-frequency rolloff is compensated by proximity effect. Thus it has (up to the point of its high-frequency emphasis) a flat frequency response for the speaker’s voice, while showing a rolloff at low frequencies for all sound that originates from a greater distance. As a result, background sounds are picked up less strongly than the person speaking.Features:Cardioid pattern, side-adressedFor pickup of speech or music at close range (under 20 cm)Moderate low frequency attenuationSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This cardioid microphone, with its main axis along its side, improves speech intelligibility in very loud environments. It is designed for the very closest speech pickup, i.e. directly in front of the speaker’s mouth. Its low-frequency rolloff is compensated by proximity effect.Thus it has (up to the point of its high-frequency emphasis) a flat frequency response for the speaker’s voice, while showing a rolloff at low frequencies for all sound that originates from a greater distance. As a result, background sounds are picked up less strongly than the person speaking.Features:Cardioid for lateral pickupFor pickup of speech or music at close range (under 10 cm)Considerable attenuation of low frequenciesSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This type of microphone has a low-frequency rolloff to compensate for the low-frequency boost which occurs when close-miking.Features:Cardioid for lateral pickupFor pickup of speech or music at close range (under 10 cm)Considerable attenuation of low frequenciesSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray​

The CCM 5 offers two selectable directional patterns, but uses only one membrane – a no-compromise approach. The fact that full response is maintained to the highest audible frequencies is unusual for a switchable-pattern microphone.In its omnidirectional setting the CCM 5 is a true pressure transducer with smooth, extended low-frequency response, low sensitivity to most wind and breath noise, handling noise or mechanical vibration, and no proximity effect.Unlike conventional, dual-diaphragm multi-pattern microphones, its cardioid setting retains its full directionality even at very low frequencies. The benefits of this design in purity and clarity of sound are immediately audible. The CCM 5 has a slight high-frequency emphasis as compared with the corresponding single-pattern omni (CCM 2) and cardioid (CCM 4). Features:Omni and cardioid patterns, mechanically switchableSlight emphasis of the high frequenciesBroad range of applicationsPreferred uses similar to those of the MK 2 or MK 2S and the MK 4: In the cardioid setting: for use with singing or speaking voices or most instruments, as a spot microphone, and for stereo recording with coincident, ORTF or M/S microphone arrangementSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This capsule type is a true dipole (bidirectional) transducer, operating with a single diaphragm. Its main axis is at a right angle to the capsule, and is marked at 0° and 180° with a red and a black dot respectively. Features:Pure pressure-gradient transducerFigure-8 pattern with near-ideal consistency across the frequency rangeSide-addressed (pickup perpendicular to the microphone body)Optimal for use in M/S and Blumlein stereo recordingSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

The CCM 22 has been developed for use as a spot microphone. It unites the strengths of the CCM 4 and CCM 21 microphones. Its directionality is only slightly less than that of the CCM 4 cardioid, while its sonic character is reminiscent of the CCM 21 wide cardioid. Its directivity is essentially constant throughout the frequency range. Its inherent low-frequency response is somewhat more pronounced than that of the cardioid, while proximity effect is somewhat less. Features:New kind of directional pattern: “Open Cardioid”Optimal combination of classic cardioid directionality (MK 4) with the sonic character of the wide cardioid (MK 21)Directional pattern largely constant throughout the frequency rangeOften preferred for spot miking and as a soloist’s microphoneSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This type of microphone has a directional pattern between omni and cardioid. The basic idea in designing the CCM 21was to combine the advantages of the cardioid with those of the omni. This results in a pickup pattern which blends the two sets of characteristics in a useful manner. It has fuller and more extended low frequency response than a cardioid, with less proximity effect, while attenuating side- and rear-incident sound less than a cardioid.The polar diagram shows the directivity of the MK 21 to be only slightly dependent on frequency. This contrasts with omnidirectional capsules, whose directivity increases with rising frequency, and with cardioids (at least smaller ones), which tend to accentuate high frequencies that arrive at oblique angles. The MK 21’s orientation is less critical than with a cardioid, since direct sound arriving on axis and reverberant or other sounds off axis are both reproduced accurately. This lack of coloration in the off-axis pickup produces a “warm” and natural sonic impression. Features:Wide cardioid with especially consistent directionality throughout its frequency rangePleasant sound image, often described as “warm”Often preferred for use as a spot microphone, or as the main pair for overall stereo pickupSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray