Small Diaphragm Condenser

DPA 2006C, compact modular Reference-Standardmicrophone, Twin-Diaphragm-Capsule technology, Kugel, 20 - 20.000 Hz, dynamic range 114 dB, 48 V thomann Phantom Power, Sensitivity, nominal, ± 2 dB at 1 kHz: 40 mV/Pa; -28 dB re. 1 V/Pa, Equivalent noise level, A-weighted: Typ. 16 dB(A) re. 20 µPa (max. 18 dB(A)), black housing, new model of the DPA 4006, dimensions 19 x thomann 58 mm, weight 60g

DPA 2011A, modular Reference-Standardmicrophone, Twin-Diaphragm-Capsule technology, cardioid, 20 - 20.000 Hz, dynamic range 117 dB, 48 V Phantom thomann Power, Sensitivity, nominal, 10 mV/Pa; -40 dB re. 1 V/Pa, Equivalent noise level, A-weighted: Typ. Typ. 20 dB(A) re. 20 µPa (max. 23 dB(A)), black housing, new model of the DPA 4011, dimensions 19 x 198 mm, weight 164 g

DPA 4006 A, Reference Standard Microphone containing capsule MMC4006 and power adapter MMP-A, condenser capsule, omni-directional, frequencyrange 10 thomann - 20.000 Hz, 147 dB SPL max, 48 Volt Phantom, switchable Lowcut and High-Boost, dimensions 170 mm length, 16-19 mm diameter, weight 163 g, handmade in Denmark

DPA 4017 B, condenser shotgun microphone, supercardioid, 70Hz - 20kHz +/- 2dB, Max. SPL: 132dB, 48 Volt Phantom, thomann switchable High Boost with +4dB bei 8 kHz, switchabke Bass Roll-Off 50 Hz, length 210 mm, weight 71 Gramm

Underscoring its continued effort to provide the professional audio industry with the most reliable and robust equipment, HARMAN's AKG releases its updated C1000 S multipurpose condenser microphone during Winter NAMM 2013.  The high-performance small-diaphragm microphone is ideally suited for recording and live sound applications for drum overheads, pianos and acoustic instruments.

Small diaphragm condenser microphone of the Reference Standard Series, Omni, 20 - 20.000 Hz, 48 Volt Phantom power, 200 Ohms, 152 db. SPL max., XLR-Connector, changeable capsule.

Matched pair of two 4011C cardioid condenser microphones. Hard carry case and boom holders included.

The P170 is a small diaphragm condenser microphone for recording overheads, percussion, acoustic guitars, and other strings. Its lightweight 1/2-inch true condenser transducer diaphragm delivers outstanding clarity and transient response. The P170 utilizes the experience of sound engineers from around the world and is considered an affordable alternative to the legendary AKG C451 B.

Rode M2, Live Performance Cardioid Condenser Microphone - heavy duty metal body, high RF rejection, mute switch, low handling noise, 35Hz-20kHz, 141dB max SPL, requires 24-48V phantom power.

Condenser microphone with cardioid polar pattern, frequency response: 40Hz-20kHz, 130dB SPL, 21dBA self noise, 200ohm impedance, status LED, high pass filter, includes windshield and stand mount. Suitable for recording strings, choirs and acoustic guitars. Requires 48V phantom power or 9V battery.

The e 914 is a high grade condenser microphone for very demanding applications. Its outstanding sound properties qualify the e 914 for highly sophisticated tasks.The e 914 is a perfect microphone for ambitious recordings and live performances.Its main areas of application are acoustic guitars, cymbals, percussion, overhead, orchestras, grand pianos etc Pick-up pattern : cardioid Frequency response : 20...20 000 Hz Sensitivity in free field, no load : (1kHz) 7 mV/Pa Equivalent noise level : 19 dB(A) Attenuation : 0, -10, -20 dB Max. Sound pressure level (aktiv) : 137, 147, 157 dB Nominal impedance : 100 Ohm Min. terminating impedance : 1000 Ohm Dimensions : 24 x 157 mm Weight : 198 g Polar Diagramm :   Frequency Response : 

Condenser microphone, cardioid, 20 - 20.000 Hz, 48 Volt phantom power, 200 Ohms, 158 db. SPL max., Pad-switch - 20 dB, XLR-plug, especially for acc-guitar and overhead.

Matched pair, includes wooden box. Earthworks cardioid microphones are unlike all the rest, as they have patented near-perfect cardioid patterns. The sound across the entire front hemisphere is remarkably uniform and is flatter at 90 degrees than most microphones are on-axis. This results in uncolored off-axis rejection for recording and greater gain before feedback for live sound. They effortlessly handle up to 145dB SPL while simultaneously revealing subtle details that other microphones mask. All SR models are a superb value and will provide excellent results for both live performance and recording applications. While the SR25 was engineered to be used in their DrumKit System, it can also provide stunning results on a wide variety of instruments and vocals.The SR25 has the same attributes as the SR30 except its high frequency response extends to 25kHz. It will handle up to 145 dB SPL, is smaller in size, weighs less and costs less than the SR30. The performance vs. price ratio of this microphone is excellent. Specifications  Frequency Response: 50Hz to 25kHz Polar pattern: Cardioid Sensitivity: 10mV/Pa (-40dBV/Pa) Power requirements: 48V Phantom, 10mA  Peak acoustic input: 145dB SPL  Output: XLR (pin 2+) Minimum output load: 600 ohm between pins 2 & 3 Noise: 22dB SPL equivalent (A weighted)  Dimensions: 6.5"L x 0.86"D  Weight: 5.64 oz.

The TC20 (same as SRO) is our least expensive general-purpose omni with high frequency response to 20kHz. Its sound and performance is similar to the TC30 or TC25 and covers the same range of applications. For live sound the TC20 can be used for close miking instrument amps, drums or brass. A TC20 under the strings of a standup bass or inside a kick drum will produce amazing sound. A pair of TC20s connected to a stereo recorder will provide great results for recording rehearsals and performances. The TC20 is great for general studio use and is an exceptional value.

The Quiet Time Coherent QTC30 has an excellent cost/performance ratio. With a frequency response to 30kHz and excellent impulse response, it will reproduce sounds with incredible details that are true and life-like, making it an ideal and affordable choice for recording applications. Its small stainless steel body is 6.5 inches long and has no handling noise. The QTC 30 is an extraordinarily accurate microphone. It provides that famous Earthworks Sound with lower self noise than was thought possible with such a small a diaphragm. The QTC30 delivers flat, extended Time Coherent response from below 6Hz to beyond 30kHz, typically within ±0.5dB from 20Hz-20kHz. More importantly, its impulse response is faster and cleaner than any other recording microphone we have measured except our own QTC1. Its clean impulse performance allows the QTC30 to transduce wave forms exactly giving you a true and accurate representation of sonic events as they happen in the air. What this means for you is stunning, lifelike realism. It offers you the experience of being there. The QTC30 is among the best possible choices for ambient room miking but it is also exquisite for close miking of quieter more delicate sources. This microphone is a very good choice for all applications where natural, uncolored pick up of sound is the desired result. The QTC30 effortlessly captures the full size and natural texture of many difficult and complex sources ranging from Location Recording of Classical, Jazz, Ethnic, Folk and Pop music to Percussion, Piano, Guitar, Upright Bass, Strings, Vocals, Brass, and Woodwinds.It is also useful for those applications when you want to capture natural sounds with the feeling of reality intact, like Sound Effect, Foley, ADR, Sampling, Birdsong and even the subsonic calls of elephants. If you prefer transparency over coloration, a matched pair of QTC30s is a 'must have'. Listen! You can hear all of the sound with the QTC30. It sounds like you are there. This is the microphone of your dreams! Specifications Frequency response on axis: 6 Hz to 30kHz Polar pattern: Omnidirectional Sensitivity: 30mV/Pa (-30.5dBV/Pa) Power requirements: 48V Phantom, 10mA Max acoustic input: 142db SPL Peak output voltage: 10V Output: XLR intended to drive a balanced input (Pin 2+) Min output load: 600 ohms between pins 2 and 3 Noise: 22dB SPL (A weighted); 24.5dB SPL (Unweighted) Dimensions (L x D): 160mm x 22mm (6.25 x .860 inches) Weight: 225g (.5lb)

The TC25 was engineered to be used in the Earthworks Drumkit System, but can also provide stunning results on a wide variety of instruments and vocals. The TC25 has the same attributes as the TC30 except its high frequency response goes to 25kHz. It will handle up to 145 dB SPL, is smaller in size, weighs less, and costs less than the TC30. The performance vs. price ratio of this microphone is excellent.   Specifications Frequency Response: 9Hz to 25kHz +1/-3dB Polar Pattern: Omnidirectional Sensitivity: 8mV/Pa Power Requirements: 48V Phantom, 10mA Peak Acoustic Input: 145 dB SPL Output: XLR (Pin 2+) Min Output Load: 600 between pins 2&3 Noise: 27dB SPL equivalent (A weighted) Dimensions (L x D): 6.5" x 0.860" Weight: 0.35 lbs

The SR25 is designed specifically for drums and percussion and is the model that comes in the Earthworks Drumkit™ System. The SR25 has a brilliance that is ideal for drum overheads, percussion, Leslie, guitar and bass. Alone or in combination with Earthworks KickPad™ it is perfect for kick drum. The SR25 is a versatile microphone for general studio and stage use. Its uniform pickup pattern results in remarkably open sound, while excellent off-axis rejection reduces feedback and maximizes available gain.A mounting clip is included with the microphone. This microphone has no removable parts.Earthworks SR25 is a directional prepolari-zed condenser microphone with a first-order cardioid pickup pattern directly coupled to a dedicated wideband, low output impedance transformerless preamplifier. The SR25 requires a standard 48V Phantom Power supply. It features a flat frequency response from 50Hz to 25kHz, fast impulse response, very low handling noise, uniform polar pattern, and high SPL handling capabilities. It provides excellent uncolored rejection of sounds arriving off-axis.Earthworks SR25 is easy to operate. Connect the microphone to a microphone preamplifier supplying 48V phantom power using a standard XLR microphone cable. Please allow up to one minute for the microphone to settle. Plugging in the microphone “hot” (phantom power already present at the input) will not damage the microphone, and is actually preferred for faster settling. It is normal for any phantom powered mic to “pop” when plugged in or powered up. Make sure to mute the signal to speakers or headphones when phantom power is first applied.

The SR30/HC (same as SR78) offers exceptional directional performance for guitar, sax, flute, drums, bass, and vocals. It is ideal for natural sound combined with more off-axis rejection, or to reduce unwanted room sound. It can pick an acoustic instrument, like a guitar, out of an ensemble while still sounding detailed and life-like. It is a powerful tool for broadcast and vocal production applications because its clarity and detail enhances verbal communication. For open, uncolored clarity combined with off-axis uncolored rejection, try an SR30/HC and listen to what it doesn’t pick up.

The SR30 (same as SR77) is a remarkable cardioid that maintains most of the characteristics of our omni microphones. At 6 inches away from the source it sounds as onmi-like as a cardioid can. The off-axis rejection is substantial yet uncolored. Its impulse response is very fast and smooth and the sound stays the same across the entire front hemisphere of pickup. In the studio or on the stage, the SR30 is an ideal choice for a variety of acoustic instruments including sax, flute, trumpet, guitar, piano and drums. It is superior for choir because it doesn't spotlight; rather it picks up an entire section or area with no hot spots. The SR30 is popular among concert tapers because of its open uncolored sound and among jazz enthusiasts for its ability to capture explosive performances while retaining the subtle nuances of artist.Specifications Frequency Response: 30Hz to 30kHz Polar pattern: Cardioid Sensitivity: 10mV/Pa (-40dBV/Pa) Power requirements: 48V Phantom, 10mA Peak acoustic input: 145dB SPL Output: XLR (pin 2+) Minimum output load: 600 ohm between pins 2 & 3 Noise: 22dB SPL equivalent (A weighted) Dimensions: 8.4"L x 0.86"D Weight: 7.94 oz.

Many have told us that there needed to be a better way to mike a piano for churches, performing arts centers and recording studios. The new Earthworks PianoMic System meets all of these needs: Incredible High Definition Audio that will outperform any microphones at any price. Cannot be seen from outside of the piano (needs no stands or mic booms) Superb sound with the piano lid either up or down Virtually no leakage from sounds outside the piano Incredible gain before feedback Recording studios can now record piano with other instruments in the same room Quick, Simple and Easy Setup It all started when sound contractors informed us that they had tried all types of microphones and microphone pickup systems for pianos in churches. They didnΆt like the sound they were getting, they didnΆt like the microphone stands in front of the piano, they couldnΆt get enough sound level before feedback and they were also getting leakage from nearby instruments into the piano microphones. In addition, engineers in recording studios told us how difficult it was to record an acoustic piano in the same room with other instruments. When we let churches and recording studios take the PianoMic prototype for a test drive they were amazed and said it was an absolute winner, hands down! If you have a piano in a church, performing arts center or in a recording studio you too will be amazed when you see and hear the new Earthworks PianoMic™ System featuring Random Incidence High Definition Microphones. For recording studios the PianoMic™ System is a dream. You will never again have to spend the time and effort to mike a piano with stands and booms. Just place the PianoMic™ System inside the piano, position the two microphone heads where you want them and you are done. Anytime you want to record the piano, just plug the PianoMic™ System into your mic inputs and you are ready. Never again will recording engineers have to go to great lengths to record an acoustic piano in the same room with other instruments. Historically, they have had to place microphone booms inside the piano, close the piano lid (leaving room for the mic stand booms) then cover the piano and the openings around the mic booms with heavy moving blankets. It is a nightmare. With the PianoMic™ System, you simply close the piano lid (which will now close all the way because there are no mic booms) and you are in business. Leakage is insignificant, and if thatΆs not good enough, you can now very easily cover the piano with a moving blanket (without having to work around microphone stands and mic booms). Recording studio engineers who have seen and used the PianoMic™ System say the PianoMic is incredible! We took the PianoMic™ System into a church that was having piano sound problems: (1) they couldnΆt use the piano along with the organ, because the piano microphone went into feedback; (2) they were having problems with leakage from instruments in the orchestra into the piano microphone; (3) they could not get the piano loud enough in the choir monitors without running into feedback; (4) they could not hear the full range of the piano (low, mid and high strings) evenly; and (5) they were not happy with the overall quality of the piano sound in the sound system. When they tried the PianoMic™ System they obtained an incredible piano sound and could hear the full range of the piano including the high and low strings. They could now make the piano louder than the organ (without feedback). The choir members were now telling them to turn down the piano in the choir monitors and orchestra instrument leakage into the piano microphones was no longer a problem. The Earthworks® PianoMic™ System overcame every problem they were encountering with their piano sound. The Earthworks® PianoMic™ High Definition Microphones™ do remarkable things with the sound of a piano. You will hear fidelity and detail like never before. Acoustic feedback is no longer a problem. You can have all of the sound level you want and even more, all you will hear is the pristine sound of the piano. Better yet, there are no visible microphone stands or mic booms in front of the piano. All you see is the piano just like it is in the adjacent photo of a performing arts center while you enjoy its magnificent sound. The PianoMic™ System is also ideal for use in touring sound systems as it is easy to transport, easy to position and it will provide the same pristine sound quality every time. The Earthworks PianoMic™ System is a long-awaited, incredible product for performing arts centers. The PianoMic™ System has it all!

Professional true condenser microphone for studio and live applications 2 interchangeable capsules with cardioid and omnidirectional pickup patterns Low-mass gold sputtered diaphragm for ultimate sound reproduction Perfect for acoustic instruments, voice and overhead etc. Ultra low-noise transformerless FET input eliminates low-frequency distortion Smooth, super-wide frequency response and incredible musicality Switchable low-frequency roll-off and -10 dB input attenuation Gold-plated 3-pin XLR output connector Rugged construction with satin nickel-plated brass body Custom microphone stand adapter, windscreen and transport case included The B-5 is a professional gold-sputtered diaphragm condenser microphone featuring two interchangeable capsules for different pickup patterns (cardioid and omnidirectional). It is perfect for acoustic instruments, vocals and overhead miking. Its ultra low-noise transformerless FET input eliminates low-frequency distortion. The -10 dB attenuator can be used with high volume signal sources, while the low-cut filter eliminates floor rumble. The microphone is delivered in a rugged hard case with stand adapter and windscreen.

The KSM137 is an end-address condenser microphone with a single cardioid polar pattern. Designed for studio use, yet rugged enough for live applications, the KSM137 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments. Versatile, durable, and precise, the KSM137 is an outstanding microphone for instruments ranging from percussion to wind, strings to brass, and piano to guitar. A highly consistent cardioid polar pattern Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar® diaphragm for superior transient response Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion Premium electronic components, including gold-plated internal and external connectors Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs) Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs) Three-position switchable low-frequency filter reduces background noise and counteracts proximity effect Performance Characteristics  Extended frequency response Low self noise Exceptional reproduction of low-frequency sounds Can withstand high sound pressure levels (SPL) High output level No crossover distortion Uniform polar response Superior common mode rejection and suppression of radio frequency interference Applications Some typical applications for the KSM137 are listed below. Microphone use is a matter of personal taste and the KSM137 may be used for a variety of applications other than those listed. 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 

The Shure SM81 is a high-quality, unidirectional condenser microphone designed for studio recording, broadcasting, and sound reinforcement. Its wide frequency response, low noise characteristics, and low RF susceptibility have made it a standard for applications involving acoustic instruments, especially guitar, piano, and cymbals. SM81-LC - With windscreen, no cable. Phantom power required. The SM81 is ruggedly constructed. It operates on phantom power and performs over a wide range of temperatures and humidity conditions. It is furnished with a swivel adapter, attenuator-switch lock, foam windscreen, and case for carrying and storage. Other accessories are available.  0 Hz to 20 kHz frequency response Flat response curve for accurate reproduction of sound sources Low noise and high output clipping level Low distortion over a wide range of load impedances Cardioid polar pattern, uniform with frequency and symmetric about axis, providing maximum rejection and minimum coloration of off-axis sounds Low RF susceptibility Selectable low-frequency response: flat, 6 or 18 dB/octave rolloff 0 dB/10 dB lockable attenuator switch Phantom powering (DIN 45 596 voltages of 12 to 48 Vdc) Rugged steel construction for durability Field-usable over wide range of temperature and humidity conditions

A mechanical polar pattern switch for highly consistent cardioid and true omnidirectional polar patterns. Provides flexibility in a wide variety of recording applications Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar® diaphragm for superior transient response Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion Premium electronic components, including gold-plated internal and external connectors Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs) Three-position switchable low-frequency filter to reduce background noise and counteract proximity effect Performance Characteristics Extended frequency response Low self-noise Exceptional reproduction of low-frequency sounds Can withstand high sound pressure levels (SPL) High output level No crossover distortion Uniform polar response Superior common mode rejection and suppression of radio frequency interference  Applications  Some typical applications for the KSM141 are listed below. Microphone use, however, is a matter of personal taste. The KSM141 may be used for a variety of applications other than those listed. 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 strongly affect the sound obtained from miking a source. You may need to experiment with microphone placement and room treatments to achieve the best overall sound for each application.

The STC-1S is a laboratory-matched pair of STC-1 cardioid microphones, ideally suited to stereophonic recording, whether  you’re capturing a four-piece band or a full symphony orchestra. The variable filter and pad switches further enhance their versatility, allowing you to record many instrument sources, either acoustic or amplified. The STC-1S comes in a luxury wooden case, with mounting clips, windshields and a stereo mounting bar. It is also compatible with the Sontronics Omni and Hyper capsules. The STC-1S pair comes in classic silver or satin black.

The NT5 matched pairs are a masterpiece of small-diaphragm cardioid-condenser microphone design.

Intended for recording acoustic instruments, drum overheads, cymbals and live performances, the compact externally polarized mic employs a .5” capsule, an active J-FET impedance converter with bipolar output buffer.

Finished in durable satin nickel, the NT5 is intended for either single or stereo X/Y mic set-ups. The NT5 matched pairs comesupplied in a custom carry case with windshields and mounts.     •    Acoustic principle: Externally polarised single diaphragm    •    Directional pattern: Cardioid    •    Frequency range: 20Hz - 20kHz    •    Output impedance: 100Ω    •    Signal noise ratio din iec 651: 78dB    •    Equvalent noise:

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

Responding to growing demand, AKG decided to make the C 451 B with the same acoustic performance as the popular original C 451 EB + CK 1, with dramatically improved specifications. Using an extremely light diaphragm, the new C 451 B is almost totally insensitive to handling noise.  Other features include an all-metal body for excellent protection from RF interference and high reliability for excellent results under almost all conditions. The C 451 B is an excellent tool for accurately capturing signals rich in transients such as drums, instruments with a percussive sound, acoustic guitar, or for overhead miking.         FEATURES Identical acoustics to legendary CK 1 Precise, nearly frequency independent cardioid Extremely accurate signal transfer and ruler-flat on-axis frequency response Also available as a matched stereo pair

High directivity and wide frequency response in a relatively short shotgun make this microphone a perfect tool for theater, sound reinforcement, and film/TV applications.  Due to its compact and lightweight design, the C 568 B is ideal for camera mount applications. Below 500 Hz it functions as a hypercardioid microphone; above 500 Hz the acoustic interference tube introduces increasing directivity.  A switchable 12 dB/octave 120 Hz bass cut filter effectively suppresses rumble and wind noise. The rugged, all-metal body contains the built-in preamp. Phantom powering (9–52 V) required; foam windscreen and stand adapter included.         FEATURES Compact, short shotgun microphone Integrated, switchable bass cut filter minimizes mechanical noise Operates on phantom power

The 'Series 180' consists of three compact miniature microphones with patterns that satisfy the demands of all common studio applications. Because of its optimized mechanical construction and conscious omission of modularity, which is unnecessary in many cases, the 'Series 180' is predestined for economy-minded production and home recording studios.  The KM 183 omnidirectional and KM 185 hypercardioid microphones are based on the tremendously successful KM 184 cardioid microphone, which has become a standard within the global studio community in just a very short time. All 'Series 180' microphones are available with either matte black or nickel finish. They come in a folding box with a windshield and two stand mounts that permit connection to the microphone body, or the XLR-connector.

The M30 is a very cost effective reference microphone for SMAART™, MLSSA™, Spectrafoo™, TEF™ & RTA and all “audio band” measurements. It has a flat frequency response, fast impulse response and exceptional polar characteristics. Requires 48V phantom power.

4080 Miniature Cardioid Microphone, Lavalier * excellent speech reproduction * discreet, compact design * fits both left and right buttoned shirts * works with most wireless systems Combining high audio quality and low visibility, the DPA 4080 is well suited for broadcast, conference, and other live performances in the studio or in the field. It is acoustically pre-equalized, offering a 4 dB presence boost, which makes the voice more distinguishable and improves speech intelligibility.Professionals will appreciate the light weight and the excellent speech reproduction. DPA 4080 is delivered with a pre-mounted pop filter in a holder with an integrated shock mount, fixed on a clip.Because of the flexible and practical mounting solution, the microphone can easily be turned in all directions and fits both left and right buttoned shirts. All parts of the microphone are manufactured in highly resistant materials and designed to perform under stress.

The SM94 is a unidirectional electret condenser microphone tailored to the instrument miking needs of professional musicians and sound engineers in both live performance and sound recording. Its smooth, flat frequency response is free of either a presence peak or a low-frequency rolloff, making it a perfect choice for all types of musical instruments. The SM94 is equally at home in sound reinforcement systems or in sound studios and motion picture/ TV scoring stages. When used with the optional wind-screen, the SM94 can be used by vocalists and speech-makers who desire a wide, flat response with minimum coloration.A sensitive mic with a wide, flat response ideal for live amplified and acoustic instruments.Extremely well-suited for reproduction of stringed instruments, woodwinds and cymbalsAA battery or phantom powerInternal shock mountWide dynamic rangeSmooth, flat frequency responseUniform Cardioid condenserFrequency response: 40 to 16,000 Hz

 The FC 4 ST is a matched (within 1 dB!) stereo pair of two FC 4 microphones. Specs below.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! 

DPA 3511A Stereo Kit. Contains:2 x 4011A Cardioid Microphone2 x UA0897 Shock Mount2 x UA0896 Foam Windscreen2 x UA0961 Microphone Holder1 x DUA0019 Spacer for Stereo Boom1 x UA0836 Stereo Boom with Holders

A new generation of condensor Professional Microphones for Studio and Live recording. Specially designed for all round use, this condensor microphone picks up sound equally as well live as in the studio.Its construction meets all the required technical criteria, giving it an undeniable musical quality - sound clarity, high accuracy and acoustic fidelity. This model is particularly recommended for stringed instruments such as violin, viola, cello, double bass and acoustic guitar.Specifications:Element: Pressure Gradient TransducerCapsule: Ø 22 mmPolar Pattern: Uni-directionalFrequency Response: 30Hz~18kHzSensitivity: -38dB±2dB(0dB=1V/Pa at 1kHz)Output Impedance: 100Ω±30% (at 1kHz)Load Impedance: ≥1000ΩSelf Noise: 20dB A (IEC 581-5)Max Input SPL: 134dB (at 1kHz≤1% T.H.D)S/N Ratio: 74dBLow Frequency Attenuation: 100Hz/oct 12dBPhantom Power Requirement: 48V DC Phantom (±5V)Net Weight: 120g