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THE INTERNATIONAL
AUDIO
MEDIA
BUYERS GUIDE

THE WORLDS LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINE

A SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP

MICROPHONES
2010

PRODUCED BY

AUDIO MEDIA

The route to a
great recording
There was a time when a truly great microphone cost an unreal amount of
money. Then came Rde, and no-one could believe how a range of
microphones that performed so well could cost so little.
Today, discerning producers, engineers and recording musicians choose
Rde not just because theyre great mics for the money,
but because theyre great mics period.
Discover more about Rde microphones at
www.rodemic.com
Its your route to a great recording.

Exclusively distributed in the UK & Ireland by Source www.sourcedistribution.co.uk/rode T: 020 8962 5080

contents
4

Ribbon Mics: Fact or Fiction? . . . . . . . . . . . . . . . . .

An Engineers Guide to the Orchestra . . . . . . . .

AKG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10

Audio Technica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12

Beyerdynamic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

14

Blue (TC Electronic) . . . . . . . . . . . . . . . . . . . . . . . . . . .

16

DPA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18

Mic W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

20

Prism Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

22

Sennheiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24

Shure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

26

Telefunken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28

Violet

30

Manufacturers Directory . . . . . . . . . . . . . . . . . . . . . .

...........................................

Welcome to Microphones 2010, an International

Buyers Guide. Weve scoured the ever-widening
market of professional microphone products for
your convenience, and thrown in a few informative
and hopefully thought provoking articles from
experts in the field.
Now updated and refreshed, this guide is a collection of
promotional articles looking at some of the worlds leading
microphone manufacturers and their product ranges.
Inside youll find the stories behind the gear the ethos
and design ethics that go into producing one of the core
components in professional audio and details of the products
themselves. In addition, weve collated a massive directory of mic
manufacturers, and included three articles around the subject of
microphone technology and technique for the audio pro.
Whatever your field of work, the quality of your product
depends heavily on the quality and method of acquisition. This is
why microphones are so important, and why this genre of audio
gear probably generates more passion than any other. While the
range of basic principles in microphone technology is relatively
small, the variations on these themes are incredibly numerous
weve listed over 80 manufacturers in our directory, from all
over the world, most offering choice across several transducer or
electronic approaches.
You might be a film or drama location recordist, a music studio
engineer, a Foley editor, a radio journalist, a member of an ENG
crew, a live sound engineer any, in fact, of the hundreds of very
specialised roles that require not only a theoretical grounding in
microphone technology, but also intimate knowledge of the art
of microphone practise, placement, and choice.
You might even just be starting to build your microphone
stock and need a place to start. Are you aware of recent advances
in all areas of microphone technology? Are you familiar with a
handful of high-profile manufacturers, but would like a greater
breadth of awareness when it comes to the alternatives?
Whatever your needs, Microphones 2010 should be able to help.
It should be a place to begin your search.
Microphones 2010 is a project developed by Audio Media
Worldwide (www.audiomedia.com). Audio Media concerns itself
with the business of production and production technology
for professional creatives, operators, technicians, and engineers
everywhere.
Paul Mac, Editor

AUDIO MEDIA www.audiomedia.com

(UK) Tel: +44 (0)1480 461555 - Fax: +44 (0)1480 461550
Sales Manager
Graham Kirk

Editorial Manager (Europe)

Lanna Marshall

g.kirk@audiomedia.com

l.marshall@audiomedia.com

Editor In Chief
Paul Mac

Design & Production Manager

John-Paul Shirreffs

p.mac@audiomedia.com

jp.shirreffs@audiomedia.com

Mic
www.nbmedia.com

34

Microphone Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether
mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure
accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or
any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers
accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.
2010 NewBay Media. All rights reserved.

+ + FACT OR FICTION? + + + + FACT OR FICTION?+ + + + FACT OR FICTION

Ribbon Mics:
Fact Or Fiction?
ANDREW GRAEME explodes the bare truth behind common ribbon microphone myths...

t seems strange in todays digital world,

but just a few years ago, avoiding noise was
everything! And the one piece of equipment
that added more noise than most was the tape
recorder. Early tape was noisy and bouncing tracks
meant losing the top end.
So I suppose it was inevitable that we would
forget the poor old ribbon back in the 60s and
70s. After all, condensers sounded so much
brighter and sharper and we needed that to
overcome the effects of tape. The subtlety,
purity, and open sound of a good ribbon
microphone was often lost under all that tape
noise of earlier recordings. The condenser had
enough top-end for tape, and some of us even
preferred a bit of a presence peak.
But then along came digital and a new
beast raised its ugly head: digital harshness.
That presence peak was no longer as desirable
as it once was. Our initial pleasure of a life
without noise was somewhat diminished by
the new bugbear of a harsh top end caused by
distortion. Today, better digital lter designs
and fewer clocking problems gives us nearly

perfect recordings every time.

But we still have cupboards full
of condenser mics that were
ideal at overcoming the effects
of tape.

I think
ribbons
have
become
more
important
to me, since
I have been
recording in
digital.

recordings were made using tape

recorders and the ribbon mic was
all but forgotten and in 1976, RCA
stopped making ribbon mics.
The Difference

The idea may not be hightech, but the biggest physical

difference has to be the
Back in the 19th Century,
extremely low mass of the ribbon
Werner von Siemens discovered
when compared to other types
that vibrating a thin sheet of
of membrane. This low mass
conductive material suspended
means that transient response at
in a magnetic eld created a
all parts of the audio spectrum
very small current. At the time,
should be better. The ribbon can
this was of no practical use,
follow the smallest movement
but with the advent of sound
of the higher frequencies better
reproduction, Harry Olson, an
and, at the same time, cope
engineer working at RCA, was
better with the large movements
Bruce Swedien (legendary
able to use this principle to build
engineer)
of bass notes and the thump of
good quality microphones.
kick drums.
In the era of direct-to-disc
For this reason, it has been
recording, the ribbon did a good job, but by
my experience that a good passive ribbon mic
the end of the 60s, all popular commercial
will show up the difference between a good
and a poor mic pre-amp more than other
types of microphone, particularly on drums
The Phantom Killer
and percussion. You will need more gain than
A long time ago, a producer was making my life and the life of the musicians in the studio, as
a comparable condenser mic, and larger
difcult as possible. He didnt like the desk, he didnt like the acoustics of the room, he didnt
reserves of current to cope with deep notes
like the way the musicians were playing and, to cut a long story short, we didnt like him. He
and sudden thumps.
certainly didnt like the microphones, but he had a solution: he brought out his own ribbon
Perhaps the most noticeable difference to
mic and plugged it in. Leaning over my shoulder, he started ddling around with the channel
condensers is the almost universal absence of
settings, as in his view, I hadnt got those right either! In doing so, he inadvertently switched
sibilance and other HF distortion problems.
on phantom power to his ribbon. Oh good, I thought. Hes broken the damn thing!
As one student in a work group put it, I dont
Sadly, this was not the case.
get essing problems when I hear someone
And so I learned: if everything is correctly wired and phantom power is uniformly applied
singing next to me, so why do we have to use
a de-esser with some condenser mics?
to pins 2 and 3, then the ribbon has no reason to move at all.
The answer is that they (or something in
However if you plug your ribbon mic into the desk via a jack or TT socket and phantom
the
signal chain following them) are distorting,
power is on, for a just a split second, 48 volts is applied rst to one pole of the ribbon and
and
the better transient response of ribbons
then, as the wipers in the socket pass from the tip to the sleeve, to the other pole, making it
means that they are far less likely to cause this.
jump rst one way, then the other. The output transformer limits this effect, but these jumps
There just is something about the way a ribbon
can stretch and therefore damage the ribbon.
reproduces sound that is just closer to the way
The same thing happens if there is a momentary disconnect on either pins 2 or 3 caused,
the human ear behaves.
for example, by a loose or dirty connection. So if you do inadvertently switch on phantom
For a long time, the Coles 4038 and
power whilst using a ribbon, it is best to just switch it off again. Do not plug or unplug the mic
the Beyerdynamic M160 were drum overhead
whilst phantom is on, as pins 2 and 3 are unlikely to make and break contact at exactly the
standards, along with a select few condensers
same time.
that were not quite as harsh as most.

Time to Take a New Look at

Ribbons!

FACT OR FICTION

microphones 2010

N?+ + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + + FACT OR FI

Ribbons Sound Dull and Have Very Low
Output

There was a time when many ribbon mics

did indeed sound dull, but todays mics
range in tone from warm and vintage
(thats dull by some standards) to being
almost as bright as any condenser. Indeed,
a very few users even complain about
a handful of models being too bright.
As for low output, the ribbon mic has a
transformer that brings the output up
to about the same level as most other
dynamic mics. They have, of course, a
much lower output than condensers, but
screaming into a ribbon gives you about
20mV, the same as for an SM58. The
difference is that ribbon mics are usually
used as an alternative to a condenser and
have a lower output in comparison.

But now, with the advent of modern full range

ribbon mics that cover every part of the audio
spectrum, we are able to use them for anything
and everything, from lead vocals to being the
main stereo pair for full orchestras. And we
can do so, without having to use condensers
to pep-up the sound!
Body Language

there are many other excellent ribbon mics on

the market, but I just have not got round to
trying them all not yet, anyway!
Transformation

The tiny voltage that occurs at the ribbon

is considerably less than a millivolt even
if you shout right at it at point-blank range.
For this reason, a transformer is used to
generate something more useful.
Doing this also puts a load on the ribbon,
which reduces its ability to respond to high
frequencies. In other words, the addition
of a transformer acts as a lter. The better
the quality of the transformer, the less
lter effect there is and the smoother it
is. For this reason, better ribbon mics
use very high quality transformers,
typically, from Lundahl or Cinemag, with
larger manufacturers using transformers
specically wound for each model, and of
course sE has Rupert Neve on the case.
Unfortunately, the wholesale price for a
good transformer is about the same as the
wholesale price of a cheap ribbon mic, including
the box, the wind-sock and a suspension
mount! But the difference between a good
transformer and an off-the-shelf cheapo is
the difference between night and day!
Patently Better

A dig through patent applications and

It has been my experience that the more
patents granted has told me that this rebirth
solidly built microphones (all other factors
of interest in ribbon mics is here to stay,
being equal!) sound better than their
and further technical advances are in the
imsier counterparts. In particular, budgetpipe-line. This ranges from ultrapriced ribbon mics built into
strong composite materials for
larger housings made of
the ribbon, to new methods
thin metal can have a slight
of concentrating and focusing
honk or ring to the sound.
magnetic elds around the ribbon.
This is particularly true, if
There are applications for printing
there is no, or insufcient,
complex conductive patterns onto
acoustic de-coupling between
composite polymers to increase
the ribbon assembly and the
the generated voltage, to a large
housing. Perhaps it is for
collection of mechanical means
this reason, that amongst my
of protecting the ribbon and
favourite ribbon mics are the
altering the frequency response.
Royer 122, the AT 4081, and
For example, Audio Technica has
the magnicent SE Electronics
no fewer than 18 patents in the
RNR1, all of which have
pipeline for ribbon microphone
beautifully machined bodies
Wes Dooley (President of
technology alone!
AEA Microphones)
and a very solid construction.
These three are active, which
And Finally...
has the advantage of permitting
There is no one mic that is good
the use of a wider range of pre-amps, but,
for every application, so it pays to have as many
well-built passive ribbons are every bit as good,
good mics of various types to cover all the
when used with good equipment. Obviously,

Ribbons
were
designed
when one
mic had
to sound
good on
everything.

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

Ribbons Break Easily

We were told that a small puff of wind

will tear the ribbon, and sudden jolts,
or even storing them on their sides
will cause the ribbons to sag. All of the
major manufacturers have been working
diligently on making their ribbons far more
robust than they once were. The old RCA
ribbon mics, such as the 77DX, were said
to have noticeably more bass when tipped
to make the ribbon sag and doing this was
sometimes known as the warmth tilt.
I do not know if this was ever true using
old ribbon material, and one suspects that
this effect had more to do with a change of
angle than with sagging ribbons!
Some ribbon mics using older designs
and materials may be still somewhat
fragile, but many of the technical advances
made in the past few years have been
in the ribbons themselves and several
models would seem to have ribbons that
are about as robust as you could wish
them to be. Even those models using
conventional two microns thick aluminium
ribbons are far more robust than their
older counterparts, as modern aluminium
foil is purer and the thickness far more
consistent. Impure aluminium foil will
oxidise and therefore become brittle
and break.

many different recording situations that you

are going to be confronted by. In the past, our
serious mic-money went on good condensers.
Now that there is no more need for a sharp
top end to cut through tape hiss, woolly noise
reduction, track bounces, and AM radio, the
time has come to re-evaluate the balance of
our mic lockers. A few pairs of good ribbon mics
may make all the difference!
Thanks To

Audio Media would like to thank sE

Electronics, Audio-Technica, Royer, and
Shure for their help with this article.
www.seelectronics.com
www.audio-technica.com
www.royerlabs.com
www.shure.com

+ + ORCHESTRA + + + + ORCHESTRA+ + + + ORCHESTRA+ + + + ORCHESTR

An Engineers Guide
To The Orchestra
We present a short trip around the instruments of
an orchestra with Angel Studios Senior Engineer
Gary Thomas, who brings a lifetimes experience to
bear on his own approach to orchestral recording...
Starting With Stereo

Im sure if you ask other engineers, everyone

has a different view on how to create side and
rear lls and where they should go. A lot of
people add in extreme side lls to add more
width to the tree typically TLM50s or KM83s

again, perhaps some other cardioids. If space is

tight I may put the sides and rears in extreme
places to add character. Theyll be there to
capture reections off a wall or ceiling, anything
to ll out the ambience. Sometimes Ill even put
them up on a balcony.
A lot depends on the score what you
record always depends on what the score is
trying to do, which is always up to the director
and the composer. Directors generally know
what they are trying to create, so youre always
working with that. In many cases a lot of activity
in the rear can be detrimental. Ive worked on
projects where the director wanted nothing at
the rear because he wanted to keep the dialogue
clean. For other lms e.g., action movies
theres a need for a lot of activity. And its not
just ambience sometimes other elements,
like piano, percussion and keyboards, are
included in the rears.

AN ENGINEERS GUIDE TO THE ORCHESTRA

The most accepted stereo source is the

standard Decca tree two omni mics around
two metres apart and a third omni 1.5 metres
forward. The tree is above the conductor and
gives a true impression of what he or she is
hearing. Ill often use the traditional Neumann
M50s for that, which is what Decca trees were
rst used with. But there are alternatives;
I really like some of the DPA microphones
the DPA4006s because they have a very nice
smooth sound. Neumann TLM50s and KM83s
can work well too.
The Fills

Strings

For more gentle material, I may just use the

room that always gives a smoother and more
diffuse sound. But for action movies the strings
may need more bite and denition, and that
will mean close miking the whole section to
add some bite to the sound. Typically Ill put up
one mic per desk. In a section of forty, that can
mean twenty mics or more. Ill nd out from the
composer beforehand if there are any solo lines,
which are usually played by the leaders in each
section. Soloists get an extra mic of their own, to
be used with discretion.
The mics are on stands, between two and
four feet away, depending on the space and the
sound were after. For the high strings I might
use Schoeps CMC5s or Neumann KM84s, for
the lows U87s or U89s. For solo violin or cello Ill
often use a DPA 4011, which is another DPA mic
with a very smooth sound, or a Neumann 149.

microphones 2010

A+ + + + ORCHESTRA+ + + + ORCHESTRA + + + + ORCHESTRA + + + + ORCHE

I dont usually use contact mics except for very
special effects I think we have just the one in
the cupboard at Angel now.
They can be very impressive though
theres a DPA contact mic which is superb for
double bass. Its only about a centimetre wide
but it sounds fantastic.
Brass

Brass can be more of a challenge than some

of the other sections. First screens. Youll
sometimes nd that on the rst cue of the day
the brass wipes out the strings and drowns out
everything else. And once in a while dynamics
dont get written in, so the section can be
playing more enthusiastically than it should.
If theres a brass onslaught like that, some
extra work is needed. Then again, for
something like a John Williams score you want
to keep that powerful brass sound because its
a key feature of the mix. So again it depends
on the music. In a big orchestral room, you may
not want screens because theres enough space
for everyone. But in smaller rooms screens are a
good way to give yourself more control.
Mic placement for brass is similar to
strings a section mic like a stereo Schoeps
or a Neumann SM69, and then individual mics
in pairs or trios. Often Ill record the horns from
behind theyre usually loud enough and
far enough away from the percussion not to
pick up too much spill. I would use any large
capacity microphone like a Neumann U47
or U89, generally look for a mic that has an
attenuator with high headroom.
On trumpets Ill use a Coles ribbon 4038,
which is a very smooth sounding microphone
that can take some of the edge off the sound.
Alternatively Neumann U87s or U89s can work
well, again usually with a pad especially for
louder playing.

Woodwind

Musicians try to keep their instruments in top

form, but that isnt always possible. Sometimes
with woodwind youll get clicks and clacks from
the keys. To minimise that Ill mic them from
some distance away to get the full value of
the sound yet attempting to lose the key noises.
That doesnt always work. Bassoons sound best
miked from the middle, not the top, which can
make it impossible to eliminate the key noise.
For woodwinds Ill use brighter sounding mics
because youre only really dealing with mids
and top theres not much needed at the
bass end. So Ill use AKG 414s on clarinets and
bassoons, and Neumann 184s and 89s on the
utes. The exception to that is bass clarinet,
which composers write for when they want
something comical or sinister. My rst choice
for that is a Calrec 1050 cardioid, which is a
warmer sounding mic, that brings out the
body of the sound, but is still quite small.
Its also very handy to have a crossed pair
of cardioid mics on the section to create
some width and depth.

Dynamic range is the issue for percussion,

and there are some vintage Calrecs which
have an amazing dynamic range theyll take
almost anything but still sound exceptional.
Ill also use a mix of AKG D12s, Neumann
KM84s, and sometimes Ill use a couple of
dynamics like SM58s.
Piano

For piano. Ill use Neumann KM143s for a

rst choice, or perhaps DPA 4006s because
they give a very open sound. If its a short lid
set-up Ill use a pencil mic like the Neumann
KM184. The 143s and the 184s are both small
cardioid condensers so they can work for close
miking. Sometimes you want a darker sound,
and the old Calrecs or a Neumann KM84 are
good for that.
Many thanks to Angel Studios for its help with
this article. Interview by Richard Wentk.

Percussion

With percussion I like to have distance and

the option of extremely close mics, inches
rather than feet, on things like bass drums,
snare drums, sparkly sounds like Mark trees and
piano pins. The close miking adds body to the
sound. So for a bass drum hit, you may want
heavy resonance. Also, military snares would
be close miked to add more body and balance
out some of the snare rattle with extra depth.
Similarly triangles, vibes, and marimbas would
all be close miked. Cymbals are the exception.
Ill place the mic maybe a couple of feet
away on those to cut down on their
natural harshness.

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

+ + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + +

Latin superstar Alejandro Sanz used

the frequency-agile DMS-700 for his
worldwide Paradise tour.

Professional Sound Solutions

AKG has been pioneering the development of cutting-edge audio technologies since 1947.
Today, it is continuing its tradition of audio innovation in producing some of the most advanced
microphones and wireless microphone systems in the world.
From some of the most high-prole live sound
events to small town theatre installations, AKGs
equipment is used to satisfy a wide variety
of audio requirements the world over. In just
the last year, AKGs microphones and wireless
microphone systems were used live in concert
by Kanye West, Missy Elliot, and Alejandro
Sanz; they were installed for secure audio
transmissions at the Swiss Exchange in Zurichs
Crystal Palace, and they were installed in a wide
variety of theatres, cinemas, and recording
studios. Here are just a few products that have
contributed to AKGs global dominance:

AKGs frequency-agile DMS 700.

DMS 700

The frequency-agile DMS 700 is AKGs rst

digital wireless microphone system. Offering
users a state-of-the-art feature set that includes
digital audio encryption, ultra wide tuning range,
and a high channel count in a simple to use 19inch chassis, the DMS 700 is ideal for live sound
reinforcement, conference facilities, courtrooms,
and houses of worship. It operates with two
frequency bands that each feature a tuning
range of up to 155MHz, and it has the ability to
operate up to 100 channels simultaneously.
With all these features, the DMS 700
offers a clean digital audio transmission that
eliminates the distortion
and signicant noise levels
that are typically produced
with analogue systems.
For condential audio
transmission, each channel
can be secured with its own
encryption, allowing the
user to broadcast sensitive
audio transmissions with
condence. Whats more,
the infrared link between
receiver and transmitter
PROMOTIONAL FEATURE

offers a quick system setup for easy and userfriendly operation.

Included in the DMS 700 are the DHT 700
Digital Handheld Transmitter, the DPT 700
Digital Bodypack Transmitter, and the CU 700
Charging Unit. Each of the components can
be purchased individually or grouped together
to make up the DMS 700, and can be easily
integrated to operate with Harmans HiQnet
protocol.
Perception 120 USB

The Perception 120 USB is AKGs

rst USB-equipped microphone
and is a real plug-and-play
device that allows users to do
podcasts, voiceovers, and studioquality rehearsal-recordings
from their desktop without any
installation or drivers. Its one
of AKGs most user-friendly
microphones to date, and is
compatible with Windows XP,
Windows Vista, MAC OS X, and
Windows 7.
The desktop microphone
includes a two-third-inch

AKGs
Perception 120
USB.

microphones 2010

AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + +

condenser capsule with a low-mass diaphragm
that delivers accurate sonic details. It features
an integrated pop lter that avoids plosives, a
switchable bass cut lter, and an attenuation
switch, and comes complete with a tripod table
stand, a swivel mount, and a USB cable.
Architectural Microphone Series

With over 6,840 customisable settings that

can be adjusted by the customer on a new
interactive website, AKGs Architectural
Microphone Series is one of the most versatile
lines of microphones available on the market.
Just by logging on to the website, users
can customise their microphones based on
seven different variables: capsule design, polar
pattern, gooseneck length, connector style,
printing, colour, and accessories. With the click
of a button, users can select from ve different
capsule designs, including a signal, tech, current,
ow, or cross design. There is an option for
hypercardioid, cardioid, and omnidirectional
polar patterns, and an option for connection
preference, based on the most common use of
the microphone.
In addition to the functional settings, there
are also a number of pages on the website
where users can adjust the microphones
aesthetic qualities. There is an option to adjust
the neck length from 15cm, to 30cm, to 50cm,
change the colour or nish, and even decide
whats printed as a logo. Finally, after the
functions and appearance of the microphones
are set, users can choose to add a number of
different accessories including different types
of mounting clips, a stand adapter, a screw set,
and a windscreen for greater capsule protection.

UK Distributor

China Distributor

Sound Technology Plc.

Letchworth Point, Letchworth Garden City
Hertfordshire SG6 1ND
e info@soundtech.co.uk
t +44 (0) 1462 480000
f +44 (0) 1462 480800
w www.soundtech.co.uk

Acton Audio Musical Instruments Ltd.

3 Hong Ye Road , Wang Gang Town
Pudong District, Shanghai
Marketing and Sales:
e music@tomleemusic.com
t +852 2737 7688
f +852 2730 3573
w www.tomleemusic.com

India Distributor

Hi-Tech Audio Systems PVT. Ltd.

3406, Desh Bandhu Gupta Road,
Karol Bagh, 110005 New Delhi
t +91 11 4317 4317 (30 Lines)
f + 91 11 2872 0461

Check www.akg.com/distributors for the

complete list of AKG Distributors

their wireless microphone and IEM systems

from the palms of their hands.
The new application links Harmans
HiQnet protocol to the iPhone and iPod
Touch app via Wi-Fi network, and has the
power to monitor wireless system parameters
and radio frequency connections from
anywhere for some of AKGs most popular
wireless microphone systems, including the
DMS 700, the WMS 4000/4500, and the IVM
4 in-ear monitoring system. With the new app,
the iPhone can now also be used to browse
through the entire wireless system within
the device list, monitor each device and its
parameters separately within the stripe view, or
use the RF monitor to check the radio frequency
connection of each wireless device.
The new iPhone application is available
online at the iTunes store.
AKGs revolutionary iPhone application brings

iPhone Application

With its new iPhone application, AKG has given

users a new tool to browse, monitor, and control

freedom and exibility to audio engineers

everywhere.

CONTACT DETAILS

AKG Acoustics GmbH

Lembckgasse
21-25 A-1230, Vienna, Austria
e sales@akg.com
t +43 1 86654 0
f +43 1 86654 8800
US Distributor:
AKG Acoustics, U.S.
8400 Balboa Boulevard
Northridge, CA 91329

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

+ + AUDIO-TECHNICA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNIC

The Drive for Innovation, Quality,

and Consistency
The youngest of the worlds big four microphone brands, Audio-Technica has employed design
innovation and advanced manufacturing to consistently break the price/performance barrier with
leading products for studio, broadcast and live production applications.
In The Studio

Its an engineering and business philosophy

that originates with the companys inception
in 1962 when founder Mr. Hideo Matsushita
introduced a moving-magnet-type stereo
phonograph cartridge. The company went on
to design and produce phono cartridges and
tone arms, both under its own brand and for
others, including the legendary NHK broadcast
organisation. The same high precision design
and engineering techniques that made the
companys various cartridge designs so
successful were also applied to the manufacture
of microphone and headphone products
throughout the 1970s and 1980s, earning
the brand prestigious status among audio
professionals.

have traditionally plagued ribbon mics, in part

It was with the introduction of the AT4033 in
through the use of a proprietary MicroLinear
1992 that the company established a leading
ribbon imprint for excellent durability.
position in the studio recording market. The
A signicant degree of hand production,
AT4033 was the rst ever high performance
including ribbon corrugation, imprint, and
large studio condenser microphone priced at
assembly, is involved in the construction of the
under US$1,000; exploiting the very latest
new mics, which maintain the sought-after
design, engineering, and production techniques,
vintage-style ribbon mic tone.
the AT4033 provided performance
Also designed to bring
from a back electret design that
classic tone to the studio are the
rivalled famous studio condenser
AT4050ST and 4047MP. The
models several times more expensive.
AT4050ST is a stereo version of
Special accelerated diaphragm aging
the widely-used AT4050, featuring
methods ensured performance
a pair of elements positioned
remained consistent over time, which
at 90 to each other in a Midprovided for a more linear response
Side set-up, with one element
over a wide frequency range, even at
in cardioid mode and the other
high SPLs.
congured as gure-of-eight. This
Modern production methods
innovative design allows users to
enabled a level of consistency that
opt for either a left-right stereo
ensured the identical performance of
output, or for discreet mid-side
every microphone; with no necessity
signal for later manipulation for
to produce the microphones in
remarkable exibility.
matched pairs for stereo recording.
The AT4047MP is a multiSelling in thousands, the success
pattern condenser microphone,
of the AT4033 established the
created to deliver beautiful
companys reputation as a high-end
vintage tone that is perfectly
studio microphone manufacturer
suited to vocals, strings, acoustic
and spawned the 40 Series large
guitar, and instrument ensembles.
diaphragm condenser range. All
The pattern choices comprise
models in the 40 series adhere
omnidirectional, cardioid, and
to the same paradigm of high
gure-of-eight pickup, while the
performance and value for money,
transformer-coupled output and
and as testimony to their quality also
specially tuned element provide
come with the companys Lifetime
the sonic character of early FET
Warranty.
mic designs.
Recently added to the 40 Series
Modern day classics of
are two exciting new models, the
the recording world, the 40
AT4080 and AT4081 the companys
AT 4081
Series microphones are lauded
rst ever ribbon microphones. The
by internationally renowned
pair feature groundbreaking Audio-Technica
engineers and producers like Phil Ramone, Joe
design, with no less than 18 patents pending
Chiccarelli, Frank Filipetti, Nathaniel Kunkel,
on the new models. Created from the ground
and David Reitzas. These are among the
up, the AT4080 and AT4081 convincingly solve
worlds most successful and best selling studio
the problems of fragility and low output that
microphones today.

10

PROMOTIONAL FEATURE

As a world leader in the design and manufacture

of high performance microphones and wireless
microphone systems, Audio-Technica has
developed market leading product ranges for
music recording, broadcast production, and
live production. In each of these areas AudioTechnica delivers products that have raised the
performance bar and established a reputation
for design, engineering, and build manufacturing
excellence that is second to none.

AT 4080

microphones 2010

CA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TEC

BP 892

For Broadcast

On Stage

In the broadcast industry Audio-Technica is a

brand that has become synonymous with high
performance location recording microphones
employed in the transmission of major outside
broadcast events. In particular the company
has been associated with the broadcast of
international sporting competitions. For many
years, the ofcial broadcast productions
of the Summer and Winter Games from
Atlanta City to Beijing and Vancouver have
featured literally thousands of Audio-Technica
microphones. In particular the companys
innovative shotgun designs have enabled
greater capture of close up audio in games and
competitions.
Introduced in 2009, the BP4071 and
BP4073 microphones are tailored to the needs
of critical broadcast applications with excellent
signal-to-noise ratios and RFI-immunity.
Innovative acoustic design also ensures that
the new models offer levels of directivity
comparable to mics up to 50% longer, and
as such deliver unequalled performance in a
compact package.
At the other end of the spectrum, the
new BP892 (headworn) and BP896 (lavalier)
are subminiature omnidirectional condenser
microphones, designed to provide high SPL
handling and accurate sound in tiny packages
for broadcasters, presenters and actors.

In recent years Audio-Technica has won

devotees among artists and sound engineers
alike for its Artist Elite Series performance
stage microphones, in both wired and wireless
form. With users and endorsees as musically
diverse as Alesha Dixon, Rush, Metallica, and
Katherine Jenkins, AE Series handheld models
both condenser and dynamic are famed
for their sound quality. When partnered with
Audio-Technicas recently updated 5000a and
4000a Series wireless technology, transmission
quality is such that engineers as seasoned as
Dick Rabel are on record as saying that there is
remarkably little difference between wired and
wireless models with the same capsule.
On backline too, Audio-Technica is a de
facto standard for many world-class sound
engineers including Big Mick Hughes
(Metallica, Def Leppard, Slipknot), Dave Bracey
(Robbie Williams), and Andy Hawkins (Pigeon
Detectives). For these and many others,
models like the AE2500 dual element design,
the AE3000, the AT4050 and AT4041, and
the ATM350 are essential tools of the trade.
These live production series are now joined by
re-engineered Artist Series, offering unrivalled
performance at competitive price points:
they are already making an impression in the
market, with singers including Jodie Jones using
the ATM710 condenser exclusively on stage,
and other models earning a place on backline
rosters.

In addition to the unique Lifetime

Warranty offered on its 40 Series, Artist
and Artist Elite series microphones, AudioTechnica introduced its First Impressions
trial scheme in 2009. Covering the abovementioned ranges, First Impressions
allows consumers to try microphones in
their own particular working environment,
free of charge, for a two-week period. Trial
mics are shipped with a discount voucher,
redeemable in-store only against AudioTechnica microphones from these ranges
at a participating First Impressions dealer.
Further details are available at
www.audio-technica.com/rstimpressions

Audio-Technica Ltd (UK)

Technica House
Royal London Industrial Estate
Old Lane
Leeds
UK
LS11 8AG
t +44 (0) 113 277 1441
w www.audio-technica.com
Harvey Roberts
Senior UK Marketing Manager
t 0113 277 1441
e hroberts@audio-technica.co.uk

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

11

+ + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ +

beyerdynamic
GmbH & Co. KG
beyerdynamic microphones, wireless systems, headphones,
and headsets are chosen by professionals all over world for their
sonic excellence and reliability.

Optimal Sound
As the Measurement of all Things
Since the Eugen Beyer electrical engineering
factory was founded in 1924, beyerdynamic has
been synonymous with German-made applied
high technology in the professional audio
electronics sector.
Until this very day, Eugen Beyers heirs
feel bound by the companys tradition and
by its visionary, pioneering founders values.
Technological advance, constant innovation,
and maximum quality standards ensure the
company leads the eld in sound technology

worldwide. Eighty-six years after

its foundation, beyerdynamic
still develops headphones and
microphones in Germany, which
are carefully handcrafted in the
southern city of Heilbronn. Each of
our products contains true passion
and know-how for an excellent
sound experience.
Currently the beyerdynamic
product range comprises, in addition
to microphones, wireless systems
and professional headphones,
headsets for TV commentators
and pilots, as well as conference
systems and interpreting facilities. The latest
inventions of our engineers therefore include
products for 5.1 surround sound integrated in
high-tech headphones, the worldwide unique
wireless conferencing system Revoluto, highend headsets with digital noise cancelling,
individually manufactured headphones for iPod
fans, and premium headphones with novel Tesla
Technology.
beyerdynamic is proud to number among its
products many industry standards, such as the
DT 100 monitoring headphone and the M 88 TG
dynamic microphone.

Microphone Portfolio
Live Performance Microphones
The Difference Between Microphones

Deciding on a beyerdynamic microphone is

rst and foremost an individual process.
The selection of a microphone is based on a
great number of factors: personal preferences,
the voice or instrument itself, and how and
what is being sung or played. All beyerdynamic
microphones have their own special
characteristics. They differ in their design,
sound, and timbre. Sometimes the differences
are great, and sometimes they are only nuances.
One thing beyerdynamic microphones have in
common is the unbelievably natural sound they
deliver on stage or in studio, and the maximal
feedback suppression and hence optimal live
experience for artists and their audience
they guarantee.
Opus Series: When Sound Meets Function

As different as the Opus models may be,

they are all united by their ability to meet all
demands on stage or in the rehearsal room.
Their robust construction can stand up to the
rigours of touring, they can handle high sound
pressure levels, and provide an extremely high
gain-before feedback. The models in the Opus
series stand for a lot but especially for their
outstanding sound characteristics.
TG-X Series:
A Synonym for Excellent Live Performances

The higher the demands, the better. Striving to

be better is by all means positive also when
it comes to your music equipment. This applies
in particular to the microphone; after all, what
good is the greatest talent when the wrong
technology makes it sound only average in the
end? The reverse is also obviously true: only with
an optimal microphone can you get the best out
of yourself. The microphones in the TG-X series
are synonymous with perfect live performances.

12

PROMOTIONAL FEATURE

microphones 2010
+ + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ +
M Series: Legends of Music

You cant create a legend; it arises from

fame. The M series models have earned their
reputation as classics. Hardly any
other microphone is linked to
the history of rock and roll in
quite the way that our ribbon
microphones M 130 and M
160, or the dynamic models
M 88 TG, M 69 TG, and M 201
TG are.
Studio and Recording Microphones
MC and MCE Series:
Reliable Partners for your Daily Work

MC and MCE microphones

accompany recording engineers,
broadcast professionals, and
lm crews at work reliably.
Through professional competence
and high quality awareness our
microphones made their mark in the
audio industry.
One of many beyerdynamic inventions in the
microphone technology was in 1996, when the
company presented the MCD 100, the worlds
rst digital studio microphone, at the 100th AES
convention in Copenhagen.
MC 840

The MC 840 is an extremely compact large

diaphragm studio microphone with a gold
vaporised double diaphragm, and ve selectable
polar patterns (omnidirectional, wide cardioid,
cardioid, hypercardioid,
gure-of-eight). On the
basis of the MC 740
microphone capsule this
model has been equipped
with an improved lownoise pre-amplier and an
impedance transformer
without transducer.
Due to a two-stage rolloff lter (80 and 160 Hz)
compensating the close
miking effect and a twostage pre-attenuation (-10
and -20dB), the MC 840 is
a superior microphone for
any recording application.
It has been designed
without compromise to capture every
sound detail with absolute clarity and purity.
Applications for the MC 840 include
recording orchestras resulting in a superb
transparent sound.

MC 900 Series

The MC 900 small-diaphragm condenser

microphone series features a tremendous
diversity due to the sound neutrality and
painstaking construction of its models.
Designed as rst-class tools for stage and
studio, the models MC 910 (omnidirectional),
MC 930 (cardioid), and MC 950 (supercardioid)
are the rst choice for all applications where
high-quality pickup or transmission of acoustic
signals is crucial. The MC 900 microphones are
particularly suitable for natural pickup of choirs,
orchestras, solo instruments (e.g., guitar, wind
instruments, drums), or even stage plays.
The special characteristics of this series include
a high open-circuit voltage and a wide balanced
transmission range without a narrow-band
resonance rise. Through the switchable preattenuation of 15dB, the models are also
perfectly suited to use with very high sound
levels. In the MC 930 and MC 950 models,
the switchable bass roll-off lter compensates
for the proximity effect; the MC 930 and MC
950 with their largely frequency-independent
directional characteristics offer outstanding
directivity in combination with high elimination
of noise from the rear. All models operate from
a phantom power supply of
11-52V, and can hence be used with nearly any
microphone amplier for studio and
live applications.

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

beyerdynamic GmbH & Co. KG

Theresienstrae 8
74072 Heilbronn Germany
t +49 (0) 7131/617 440
f + 49 (0) 7131/617 299
e proaudio@beyerdynamic.com
w www.beyerdynamic.com

13

+ + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE

Serious Tools For Serious Recording

Blue Microphones is commonly referenced as the microphone company of today melding the
heritage of the past with current cutting-edge technology, leading to continuous innovation in the eld
of studio recording, live performance and consumer audio.
The Blue Story

Founded in 1995 by Skipper Wise, a professional

musician and producer with over 100 albums to
his credit, and Martins Saulespurens, a renowned
audio and electronics engineer, Blue has grown
from a company that refurbished vintage
microphones into a unique, multi-faceted audio
company with a prestigious line of awardwinning microphones and accessories. Blues
mission statement was expressly to improve
the front-end of audio recording by utilising the

increased bandwidth benets enabled by the

advances in digital processing (e.g., extended
frequency response, dynamic range, and project
recording capability). These microphones would
harness this new era of digital technology,
eliminating the need to suppress the most
colourful aspects of the audible spectrum
(thundering lows and piercing highs) that
were previously constrained by the analogue
process of recording onto tape. Basing many
of their concepts, designs, and technology on

The Flagship Bottle Series

Designed for the most discerning recordists, the Bottle Series (consisting of the Bottle, the Bottle
Rocket Stage One, and Bottle Rocket Stage Two) feature microphones capable of providing a
wide palette of tonal characteristics and pickup patterns to satisfy even the most discriminating
tastes. The Bottle Series integrates the best of Blues discrete class-A circuitry with a unique
and revolutionary system of interchangeable capsules, like Blues Bottle Caps, that provide the
engineer with a wide range of potential tonal characteristics.
The Bottle

The Bottle is our highest achievement in quality and innovation. Meticulously

hand assembled, the Class-A discrete Bottle utilises a single EF86 pentode
vacuum tube in triode mode. The Bottle combines low noise and
superb transient response, and when combined with Blues nine
interchangeable Bottle Caps capsules, provides the recordist with
an entire mic cabinet all in one mic.
Bottle Rocket Stage Two

The Stage Twos transformerless, Class-A discrete tube amplier

circuit delivers low noise and superb transient response. Like
the Bottle, the Stage Two has the ability to hot swap up to nine
different capsules for amazing versatility.
Bottle Rocket Stage One

The Stage One is Blues most accessible mic with a foundation of

interchangeable capsules. The Class A discrete solid state Stage
One has a very low self-noise specication (<7.5dB) and a very high
output level (+12dBV), making it the perfect choice for todays high sample rate/
deep word length digital platforms.

14

PROMOTIONAL FEATURE

knowledge gleaned from years of repairing and

improving classic mics from a wide variety of
manufacturers, while simultaneously integrating
new technologies, materials, and a rst-hand
knowledge of todays recording processes, Blue
is a pioneer in developing the modern analogue
input devices for the digital age.
Capture Every Nuance

Blues philosophy is that all great sound begins

with the capsule. Hand assembled and tuned,
our proprietary capsule designs capture specic
sonic signatures in specic ways, creating
completely different tonal characteristics for
each mic in the Blue lineup. In addition, Blue
studio mics employ state-of-the-art technology
that ensures the purest possible signal path and
Class-A fully discrete circuitry with no ICs, pads,
or lters; each microphone is designed to ll a
specic role in a recordists repertoire. The result
is a portfolio of professional studio microphones
that create a palette of sounds, enabling artists
to truly realise the sonic landscape of their vision.
Sound For Everyone, Everywhere

With the advent of increasingly powerful and

affordable personal recording software, Blue
realised that project studio recording presented
the next revolution in the music industry.
Believing that the lack of a high-quality USB
microphone to protect the signal source would
be an impediment, Blue developed the Snowball,
now the number one-selling professional wired
condenser microphone in the world. Throughout
its development process the Snowball was
designed with musicians in mind, however
people quickly began to adopt the product
for consumer applications such as podcasting,
chatting, and narration. These new and
constantly expanding applications have allowed
Blue to tap into its pro audio DNA to launch
a line of products catering to life outside the
studio. These include high-quality USB products
for both Mac and PC, iPod accessories, and an
XLR-to-USB converter that allows everyone to
take advantage of the quality and performance
inherent in every Blue microphone, right on their
own computer.

microphones 2010

E+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ +

Application Specic Series

Blues latest innovative USB mic is the multi-pattern Yeti. Yetis triplearray capsules boast latency-free monitoring (with dedicated volume
Every Blue microphone in the Application Specic Series contains its own proprietary capsule
control), digital muting, and just like all Blue mics, amazing sound quality.
that is hand-tested to capture a specic sonic signature. Blues philosophy is to create
With four different pattern settings and THX-certication for exceptional
microphones
that are unparalleled
for theiranything
intended
application.
sound
and performance,
the Yeti can capture
with
a clarity and
Cactus: Nine-pattern
tube condenser vintage vocals
ease unheard
of in a USB microphone.
Kiwi: Solid state multi-pattern Blues signature contemporary vocals
Mouse: Bottom end boom bass, drums, and broadcasting
Woodpecker: Only ribbon mic with true top end classic warm sound and an ultra-smooth
top end
Dragony: Thickens thin sound sources high vocals, acoustic guitar, drum overheads
Blueberry: Commanding, intimate presence vocals moved to the front of the mix
Baby Bottle: Midrange focused rock vocals, guitars

Innovative Consumer
Recording Tools

Mikey

L-R - Cactus, Kiwi, Mouse, Woodpecker, Dragony, Blueberry, Baby Bottle

The Best Studio Mics in the World. Live.

With our new enCORE line of studio-grade handheld microphones, all of the knowledge,
craftsmanship, and innovative technology weve poured into our high-end studio microphones
has now been transferred to the stage. Designed to deliver exceptional all-round performance
and capture your unique, individual sound, the enCORE mics combine beauty and ruggedness
into one perfect family of instruments. Gorgeous styling and craftsmanship, including elegant
grille/ring assemblies, precision-machined barrels and grips, along with rugged durable plating
nishes, make the enCORE line a standout on any stage.

Icicle
Eyeball

Snowake

enCORE 100

Studio-grade dynamic that delivers natural vocals, balanced highs,

and amazing detail and clarity.
enCORE 200

Blues proprietary Active Dynamic Circuit delivers those same natural

vocals with amazing detail and clarity, along with electronically
transformed output to provide remarkably high gain.

Snowball

Yeti

enCORE 300

Features a hand-selected cardioid condenser capsule, tuned for

an open, detailed, and present sound. Its custom-designed phantom power
circuit provides a rapid and powerful sound, while the unique
reinforced chassis design mounts the capsule for optimal performance
and isolation from handling noise.

Blue Microphones (North America)

t + 1 818 879 5200
f + 1 818 879 7258
e support@bluemic.com
w www.bluemic.com
Europe: TC Group International

enCORE 100i

Utilises a new dynamic capsule with a custom-tuned diaphragm designed

specically to provide a tighter polar pattern perfect for miking instruments and
other sources requiring high isolation.

Sindalsvej 34, 8240 Riskkov

Denmark
t +45 8742 7000
e info@tcelectronic.com
w tcelectronic.com

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

15

+ + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + D

Professional Microphone
Solutions For Any Need
DPA prides itself on producing the best, most accurate microphones available, guaranteeing stunningly
natural sound quality and zero colouration. Each microphone is handcrafted in Denmark and whatever
the application, venue or instrument, DPA can provide the optimum microphone.
DPA 4099 Clip Microphones

DPA Miniatures

DPA Headbands

DPAs ever-growing 4099 range of clip

microphones has solutions for different
instruments at an affordable price, and is
proving a hit with musicians who love freedom
when playing live. Each 4099 comes with an
ingenious, gentle mounting accessory,
which stays put on the instrument while
the mic captures the best possible sound.
The 4099 range is invaluable for gigging
musicians who want to guarantee
unbeatable, reliable quality each time
they play.
To hear
whos been won
over by the DPA
4099, go to
the DPA Video
Gallery at www.
dpamicrophones.
com/video, where musicians
including Randy Brecker,
Chris Minh Doky and Curtis
Stigers, and Stings engineer
Donal Hodgson, share their
experience of the range.

Since the 4060 miniature microphone series

launched in 1996, the result of intensive
work with leading theatre sound designers
to ne-tune adapters and mounting cables,
DPA miniature condenser mics have proved
indispensable. Much loved in the theatre, where
they are widely used on West End, Broadway,
and touring productions the world over, DPA
miniatures have also found favour in broadcast
and for close-miking. With a capsule smaller than
a pencil eraser, DPA miniatures have a neutral
character, combining great detail and resolution
with a rounded sound and natural response. A
range of adapters make them suitable for use
with most professional wireless systems.
DPA miniatures are available in different
sensitivities and a range of skin colours for
efcient concealment, as well as cardioid and
omnidirectional versions. Many accessories are
available, as are miniature miking kits in a neat
carrying case, combining mics and accessories
for specic applications such as stereo recording,
instrument miking, electronic news gathering,
and lm. DPAs miniature mic technology is
also deployed in the BLM4060 Boundary Layer
Microphone for boardrooms, conferences,
courtrooms, and anywhere that excellent vocal
pickup is essential.

DPA sets the standard for headband mics,

being at the forefront of this miking technique.
The acclaimed DPA headbands complete the
miniature range and are famous for staying
put under the most difcult conditions as well
as their clear, natural sound. Comfortable
and easy to wear, DPA headbands come in
omindirectional and cardioid versions, in a
choice of colours, and for the left and right
sides of the face. Much R&D has gone into
ensuring that humidity and moisture wont be a
problem. This is demonstrated night after night
in theatres and broadcast studios across the
world, as DPA headbands are put through their
paces on the most rigorous performances and
productions.

DPA 4099 Key Features

High gain-before-feedback
Natural sound
Easy, gentle mounting
Suitable for ever-growing range of instruments
including guitar, violin, trumpet, sax, cello, bass,
drums and piano

16

DPA Miniatures Key Features

Natural, highly detailed sound

Wide dynamic range
Rugged design
Compatible with most wireless transmitters

PROMOTIONAL FEATURE

DPA Headband Key Features

Headband of choice for theatres and

broadcasters
Easy to adjust
Extremely stable once in place
Natural, highly detailed sound
Resistant to wear and tear, sweat and humidity

microphones 2010

DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + +

About DPA Microphones

DPA D3/S5 Key Features

DPA Surround
Articles on Surround Sound

Visit the DPA Microphones University at www.

dpamicrophones.com/micuni where there are
numerous tutorials and articles on the art of
miking in surround.

Flexible and lightweight

Integrated cable option
Matched surround mic kits
Reproduces any array
Compatible with all mic holders

Drawing on more than ve decades

of world-class condenser microphone
design, DPA has manufactured groundbreaking products in its own name since
1998. The company employs around 100
people and is represented by professional
audio distributors and dealers in
more than 40 countries worldwide. All
DPA microphones and components
are manufactured at the companys
purpose-built factory in the north of
Denmark.

DPA Standards
DPA 5100 Mobile Surround Microphone

DPA offers various versatile solutions for

surround miking. The DPA 5100 mobile
surround microphone features ve miniature
pressure transducers that exhibit extremely low
sensitivity to wind and mechanical noise, low
distortion, highly consistent low frequency, and
enormous dynamic range. This self-contained
plug-and-play solution is compact, easy to use,
and features DPAs stunning sound quality.
Its innovative design delivers a rich, smooth,
and totally enveloping ambience to HDTV
production, sports broadcasts, lm projects, etc.

DPA also excels in crafting high quality studio

microphones, guaranteed to deliver a stunningly
faithful version of the original. Components
are carefully selected to provide optimum
neutrality, accuracy, and low distortion.
No wonder that mics such as the classic 4006
omni and 4011 cardioid which have both
been upgraded in transformerless versions
have found a home in the greatest studios
across the world. These are joined by a rm
favourite with the broadcast market: the
4017mk2-R shotgun mic with sophisticated
Rycote weatherproof systems.
DPA Compacts

DPA 5100 Key Features

Plug-and-play solution
Lightweight and portable
Rich, smooth, fully enveloping sound
Discrete 5.1 analogue output,
no processing needed
DPA D3 & S5 Surround Mounts

The DPA Decca Tree (D3) and Surround Mount

(S5) are stylish mounts for two, three, or ve
microphones. The adjustable, modular design,
with centre xation point for perfect balance,
allows numerous classic congurations for xed
install and mobile setups.

The smaller cousins of the DPA Standards,

these handy little mics also come in a great
selection of omni, cardioid, and wide cardioid
versions, offering ingenious mounting solutions
and, of course, DPAs proven sonic excellence.
Invaluable for close-miking instruments,
live sound
reinforcement,
and podium
speaking, the
versatility of the
DPA compact
range means
there is a mic for every application.
DPA compacts and standards are also
available in carefully-matched Stereo Kits for a
wide variety of uses.

Head Ofce:
DPA Microphones A/S
Gydevang 42-44
DK-3450 Alleroed
Denmark
t +45 4814 2828
f +45 4814 2700
e info@doamicrophones.com
w www.dpamicrophones.com

US Sales Ofce:
DPA Microphones, Inc.
2432 N. Main St., Suite 200
Longmont, CO 80501
USA
t +1 303 485 1025
f +1 303 485 6470
e Info-usa@dpamicrophones.com
w www.dpamicrophones.com

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

17

+ + MICW+ + + + MICW+ + + + MICW+ + + + MICW+ + + + MICW+ + + + MICW

Precision Solutions
MicW Audio is a precision microphone manufacturer of the metal-type
professional microphones for recording, broadcasting, and live music.
Its N-series high quality condenser microphones are based on nickel
diaphragm technology. In 2010, MicW launched 11 new products,
ranging from high-quality handheld vocal mics to compact, desktop,
shotgun, and boundary models.
Company Prole

MicW is the professional recording microphone

brand manufactured by BWSA Technology
Ltd. The company, founded in Beijing in 1998,
rst became known for its precision industrial
test and measurement microphones and
equipment, before creating a complete range of
microphones for recording and live applications.
The companys extensive experience of
measurement microphone manufacture assisted
its entrance into the professional recording
microphone market: for example, MicWs
quarter-inch and half-inch omnidirectional
capsules are direct descendants of BWSAs
precision designs for test and measurement
microphones, and MicW makes use of BWSAs
design team and wholly owned manufacturing
facilities.
The Capsules

High-quality microphones require high-quality

capsules. MicW has invested heavily in the

development of a range of capsules from

7-37mm in diameter. The tension of the
capsule diaphragm and the backplate gap are
carefully adjusted to produce the right acoustic
performance during manufacture.
The choice of material used to construct a
microphones capsule diaphragm is a decisive
element in the quality of the overall microphone
design. A single type of material may not meet
all the requirements made of MicWs different
microphone designs, so MicW uses titanium,
nickel, stainless steel, and synthetic polymers
to make its diaphragms. It is essential that the
diaphragm, which has a thickness of just a few
micrometres, is completely airtight.

HN101

A one inch diaphragm with selectable 80Hz

low frequency cut-off and -10 dB attenuation.
It provides precision recording with no colour
added.

N-Series Precision Recording Microphones

The N-series precision recording microphones

are based on the nickel diaphragm technology in
all metal structures. The microphones transport
spectacularly pure and uncoloured sound.
The new models in the N series family include:

The HN101.

CN201

The compact version of the N201.

The omnidirectional CN201 is perfect for drum,
guitar, and bass miking, percussion and speech
or vocals.

The CN201.

18

PROMOTIONAL FEATURE

microphones 2010

W+ + + + MICW+ + + + MICW+ + + + MICW+ + + + MICW+ + + + MICW+

E-Series Performance

The MicW E-series microphones are developed

for general recording purpose with high ratio of
performance vs. cost. The E-series microphones
have the similar mechanical structures as
N-series microphones but different material.
The diaphragms of the E-Series are made from
polymer and coated with gold or nickel. Their
innovative design means E-series microphones
have similar accuracy and performance
as N-series microphones. The E-series
microphones are a good choice for customers
looking for high value microphones with high
performance. The new models in the E series
family include the E436 and BE426.
E436

A professional miniature clip-on mic with an

omnidirectional pattern. It is the ideal choice
for miking up musical instruments, and spot
miking in live recording.

G-Series Golden Diaphragm Microphone

The MicW G-Series Golden Diaphragm

Microphone is an omnidirectional microphone
that uses a 26mm diameter large diaphragm
capsule. It uses a gold-plated polymer
diaphragm, whose tension is carefully adjusted
during the manufacturing process to ensure the
frequency response from 10Hz to 20kHz with
a 4-6dB soft boost around 8kHz. The HG106 is
the new model of the G series.

The E436.

Microphone Pair

BE426

A boundary layer microphone. It is ideal for use

in the boardroom, or in conference facilities
and courtrooms where excellent vocal pickup is
required. The BE426 has very high sensitivity.

MicW also provides microphone pairs that

are state-of-the-art stereo kits featuring two
matched microphones. Each pair is guaranteed
to a sensitivity match within 0.5dB, and phase
match within 5 up to 5000Hz.

International Distributors

USA: FDW
w www.fdw-w.com
UK: eMerging
w www.merginguk.com
France: Areitec
w www.areitec.fr
Norway: Procom
w www.procom.no
Japan: ONZU
w www.onzu.co.jp

MicW Audio
Unit 1003, North Ring Center
No.18 Yumin Road, Xicheng District

The BE426.

Beijing 100029, China

t +86 10 5128 5118
f +86 10 8225 1626
e sales@mic-w.com
w www.mic-w.com

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

19

+ + PRISM SOUND+ + + + PRISM SOUND+ + + + PRISM SOUND+ + + + PR

Maselec MMA-4XR
Microphone Preamplier
Prism Sound has been supplying successful studio products for over twenty years and is renowned
for designing specialised performance products built for the most discerning in the industry, where
sophisticated and innovative technologies set them apart from the masses.

Famous for producing uncompromised audio

hardware, Prism Sound and Maselec are no
strangers to the most demanding and revered
recording, mixing and mastering studios, and
engineers around the world. The key feature and
main attraction to all of their equipment is the
transparent signal path.
Throughout their product range Prism
Sounds converters and Maselec analogue
processors are designed to capture, process,
and reproduce analogue and digital audio
with clinical accuracy and faithfulness to the
original signal. The MMA-4XR microphone
preamp is no exception; the MMA-4XR is a fourchannel minimalist microphone preamplier
that has been designed to provide integrity
and transparency.
Consistent with this, each channel has
controls for gain (69dB in 3dB steps), phase
invert, cut (mute), and 48V phantom power.
The phantom power circuit provides a higherthan usual level of current output often a
problem with inferior designs that can result
in compromised microphone performance.
Its output headroom extends to +28dBu,
whilst the frequency response extends to
more than 200kHz well beyond the basic
20kHz audio band.

This was the philosophy when Leif

Mases set about designing his microphone
preamplier. Leifs rich audio history behind
the console, including work with Black
Sabbath, Led Zeppelin, and Jeff Beck, gave
him the practical frontline experience needed
to identify what he required when he decided
to design the original MMA-4 mic preamp
nearly ten years ago. It was a huge success
and was favoured by engineers needing a
combination of great dynamic range and low
noise performance, as well as a preamp that
would capture the sound of the microphone a
preamp that remained transparent and colourless at all gain values, something that was not
always available due to poorer transistor designs
in some of the other available tube-less mic pres.
The MMA-4XR design was a continuation
from the MMA-4s success and also allowed
room for some improvements due to the
availability and better performance provided

by newer components and creative feedback

about the original design and applications,
such as the popularity of ribbon microphones.
This meant a complete input stage redesign,
including a ten discrete transistor input,
increased input impedance, and new amplier
design so that the 60dB gain range of the MMA4 was altered in the XR model to start at 9dB
(instead of 0dB) and increase in 3dB increments
to 69dB (instead of 60dB).
All of this resulted in an improved sounding
and performing microphone preamplier staying
faithful to the design philosophy of the original
Maselec MMA-4 pre.
MMA-4XR Case Studies
Youki Yamamoto and Matt Howe

Composer and Arranger Youki Yamamoto has

resided in the UK for the last 22 years partnering
with Grammy award-winning Engineer Matt
Howe. Based primarily at their studio in

The Theory

When a microphone is chosen for a job, it seems

logical to do it justice by providing adequate
gain via the preamp without colouring the
sound.
20

Youki Yamamoto and Matt Howe in their studio at Pinewood with their MMA-4XR mic pres
and Prism Sound ADA-8XR converter.

PROMOTIONAL FEATURE

microphones 2010

RISM SOUND+ + + + PRISM SOUND+ + + + PRISM SOUND+ + + + PRISM

Pinewood Studios, both
Youki and Matt have worked
on several international lm
and TV scores at various
locations around the world.
We took MMA-4XR
mic pres with us everywhere
last year Teldex Studios in
Berlin, National Radio Hall
in Soa, Abbey Road Studios
in London, and Sony Music
Studios in Tokyo.
In the orchestra sessions
we used two MMA-4XR pres
on all of what we considered
the important mics. This
Steve Levine: Producer, and Maselec MMA-4XR and Prism Sound Orpheus user.
included the conductors
PHOTOGRAPH: ROSIE LEVINE
tree microphones, certain
section microphones, and
renowned pop and punk acts over the past
solo spots. During the
three decades, as well as composing a number
mixdown, we used fewer microphones than
of lm scores. Still a very-much active producer
we really recorded because the MMA-4XR
and contributor to the audio and music
revealed the best characteristics of our principle
industry, Levine can be credited with helping to
microphones we had taken. These included
dene modern digital audio production.
some vintage valve microphones and other
Over the many years Ive been a record
modern day condenser mics.
producer
I have used some of the worlds
Matt has used the MMA-4XR for other music
greatest
studios
and have regularly used Prism
sessions, including Latin Percussion on a recent
AD/DAs, but its only recently that I discovered
Jazz album. The controls are very simple to use
the MMA-4XR mic pre, and what a revelation!
and easy to read.
I have built up a nice collection of mics
over the years every single one sounded
Steve Levine
better through this mic pre, especially the more
Multi-award winning Producer and Composer
esoteric ones. I have just got the new Audio
Steve Levine has worked with many of the
Technica ribbons and they sound so amazing

through this mic pre (ribbons are one of the

hardest tests for a mic pre). I am also a fan of
detented pots, great for repeatable settings.
Mike Hedges

Already a renowned and successful Producer

Mike Hedges has been praised for his recent
work on the hugely successful classical album
The Priests, a project that took Mike and his
team from Northern Ireland to Vatican City to
produce the fastest selling UK debut album for
a classical act.
Very rarely have I come across a piece of
equipment that is truly indispensable and I
am so happy to have found these. Prism Sound
and Maselec have certainly delivered on their
promises with the MMA-4XR; it is only when
recording through mic amps of this quality that
you can really appreciate the massive benets
and true beauty of audio transparency.

Prism Sound and Maselec products can be

found in many studios around the world,
often complementing one another within
a single system. This natural marriage is
the inherent result of a passion from both
companies to produce the highest quality
audio devices without compromise. This
synergy became ofcial in the late 90s
when Prism Sound and Maselec teamed
up to produce a range of analogue
processors, MEA-2 equalizer, MLA-2
compressor/limiter, and MMA-4XR mic
pre, to complement the already-popular
Prism Sound converters.

Prism Media Products Ltd.

The Old School, High Street
Stretham, Cambridgeshire
CB6 3LD, England
w www.prismsound.com
t +44 (0) 1353 648 888
f +44 (0) 1353 648 867
Mike Hedges with the Three Priests.

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

e sales@prismsound.com

21

+ + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENN

Sennheiser The Audio Specialists

For more than sixty years, the name Sennheiser has been synonymous with state-of-the-art
microphones. Bands, artists, live sound engineers, recording engineers and amateurs,
broadcast professionals and lm crews worldwide rely on Sennheiser microphones.
History
Lab W

Sennheiser was founded in the summer of

1945 as Laboratorium Wennebostel or Labor
W (Lab W) for short, named after the tiny
village of Wennebostel. Founder Prof. Dr. Fritz
Sennheiser, at the time Deputy Head of the
Institute for Radio Frequency Engineering and
Electroacoustics at Hanover Technical University,
turned the relocated university lab into a small
company and started manufacturing measuring
devices. Two years later, he and his engineers
unveiled their very rst microphone design, the
MD 2 and were soon to become experts in
many elds of audio recording and reproduction.
Early product highlights included ampliers,
microphone transformers, magnetic miniature
headphone capsules, and microphones such
as the MD 3 invisible mic (1949), the MD 82
shotgun microphone (1956), and Sennheisers
rst wireless microphone (1957), which opened
up a eld in which the company was to excel
in the future. In 1958, Lab W was renamed
Sennheiser electronic, as the company had
long since ceased being just a small laboratory.

Sennheiser

Innovations continued under the Sennheiser

brand name. The company developed condenser
microphones that operated according to the RF
principle, and the rst professional condenser
clip-on microphone, the MK 12. The worlds rst
open headphones were developed at Sennheiser
(1968), and the company led the innovation
for infrared sound transmission in the seventies.
The launch of the radio microphone classic
SKM 4031-TV in 1982 laid the foundation for
the success of Sennheiser wireless systems
in the following years, and was followed
by the development of ever-smaller clip-on
microphones. 1993 saw the launch of another
radio microphone classic, the SKM 5000. In
1987, Sennheiser was awarded the Scientic and
Engineering Award for the MKH 816 shotgun
microphone, and an Emmy Award for pioneering
developments in RF wireless technology in
1996. In 1998, the evolution microphone
series was launched, followed by evolution
wireless in 1999, Sennheisers most successful
RF wireless series to date. In 2000, Sennheiser
introduced the rst studio microphone to fully
utilise the wider frequency range of the new

digital audio formats, the MKH 800. 2002 saw

the glamorous combination of the SKM 5000 N
with a Neumann capsule. In 2007, Sennheiser
launched its new MKH 8000 Series. 2009 saw
the launch of the wireless 2000 Series and of the
third generation of evolution wireless systems.
From 1988, the company had begun
founding its own sales subsidiaries to further
increase proximity to its customers. Today,
the Sennheiser network is comprised of
subsidiaries in France, Great Britain, Belgium,
the Netherlands, Germany, Denmark (Nordic),
Russia, Hong Kong, India, Singapore, Japan,
China, Canada, Mexico, and the USA, as
well as long-term trading partners in many
other countries. The Sennheiser Group has
manufacturing plants in Germany, Ireland,
and the USA.

The late company founder

Prof. Dr. Fritz Sennheiser and his
son Prof. Dr. Jrg Sennheiser,
Chairman of the
Supervisory Board.
(PHOTO: PETRA SCHRAMBHMER)

22
00

PROMOTIONAL
FEATURE
SENNHEISER MICROPHONES

microphones 2010

NHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER

The Microphone Portfolio
evolution Microphones

specialists, Sennheisers
MKH microphones are
a sophisticated class of
condenser microphones.
They operate according to
the RF principle and use a
unique symmetrical pushpull transducer. The result
of this balanced design is
an unchanging acoustic
impedance, extremely low
distortion gures, a higher
capsule output with much
lower noise, and thus a very
clear signal. These microphones
are uniquely insensitive to
unfavourable climatic conditions,
evolution wireless is
have a wide dynamic range
Sennheisers most successful RF
and an excellent low frequency
wireless series.
The MD Range of Dynamic Microphones
response even with small capsules.
Sennheisers rugged, easy-to-use dynamic
Although their capsule is grounded, they possess
microphones include all-time classics as the MD
a genuine fully oating, balanced output
21, MD 421, and MD 441, but also reporters
without the need to use a transformer.
microphones like the MD 42 and MD 46.
The latest models in this line are the MKH 8020
(omni), MKH 8040 (cardioid), MKH 8050 (superPermanently Polarised Condenser Microphones
cardioid), and the MKH 800 Twin, a doubleEverything from professional subminiature
capsule microphone whose audio signals are
clip-on microphones for use with Sennheisers
available separately at the output. This allows
wireless technology to headset microphones
the pick-up pattern to be remotely controlled
and small camcorder microphones. Among
and modied during post-production.
the classics are the legendary MKE 2 clip-on,
and the K6 Series, where the user can tailor
Wireless Microphone Systems
the microphone to the recording situation by
Thanks to the outstanding RF properties
adding microphone heads of varying directivity
of Sennheisers wireless technology, sound
to the basic power module. The portfolio also
engineers were able to create systems with
comprises the award-winning HSP 2 and HSP 4
more than 140 microphone channels operating
headset microphones, the MKE 400 camcorder
simultaneously. The top-of-themicrophone, and Sennheisers
range 3000 and 5000 Series
smallest clip-on, the
include such industry standards
MKE 1. The latest
as the SKM 5200 handheld and
additions are the
SK 5212 bodypack transmitters,
single-sided Earset 1
as well as the EM 3732 twin
and Earset 4 mics for
receiver. As the entry line to
stage and broadcast
the professional segment,
use.
the 2000 Series offers
The evolution series of
microphones provides a
complete microphone setup for vocals and the entire
backline. It comprises
600 Series instrument
microphones, 800 Series
vocal microphones, and
the top-of-the-range
900 Series of vocal and
instrument mics, with
such acclaimed models
as the e 935 dynamic
vocal mic and the e
965 large-diaphragm,
true condenser vocal
microphone.

MKH Microphones

The choice for recording,

broadcast, and lming

The MKH 8000 Series can be used in

analogue and digital environments, simply
by exchanging a mic module.

Sennheisers renowned audio

and RF quality at a very
attractive price point.
For more than one

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

million users worldwide, evolution wireless

is their no.1 choice for stage and live use.
Whether wireless instrument transmitters or
acclaimed vocal mics this series contains
wireless solutions for almost every application.
Great sound, quality workmanship, and exciting
extras for up-and-coming bands, established
performers, presenters, musicians, reporting
teams, and PA companies.
Digital Microphones

are the youngest members in the Sennheiser

microphone family, and a sound investment in
the future of audio. Simply by adding a digital
module, the renowned MKH 8000 series can
be turned into digital microphones. Perfectly
matched to the MKH microphone heads, the
MZD 8000 digital module directly translates
the clear, warm, and responsive sound of the
microphones into the digital world, avoiding
the losses or signal disruptions to which cables
are prone. The microphones can be remotely
controlled, allowing parameter settings such
as the low-cut lter and attenuation to be
adjusted via an AES 42 interface and a PC.

SENNHEISER

Sennheiser electronic GmbH & Co. KG

Am Labor 1
30900 Wedemark
Germany
t +49 (0) 5130 6000
f +49 (0) 5130 600 300
e info@sennheiser.com
w www.sennheiser.com
A complete list of Sennheiser subsidiaries and
partners around the globe can be found at
www.sennheiser.com.

23

+ + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + +

Legendary Performance
Superior sound and solid reliability have made our microphones the industry standard for decades.
Shure microphones deliver consistent vocal and instrument reproduction in any performance or
recording setting, which is why they are legendary.
Superior sound and solid reliability have made
our microphones the industry standard for
decades. Shure microphones deliver consistent
vocal and instrument reproduction in any
performance or recording setting.
Shure microphones for performance and
recording are designed for artists and engineers
at all levels. Whether youre at the top of the
charts or on your way there, choosing from any
of these Shure product lines puts you in good
company.
KSM

Shure KSM Series

microphones balance
exceptional performance
and exibility with
a level of reliability
and consistency not
typically found in ultrapremium microphones.
Finely tuned condenser
cartridges give voice to
each of these six elegant
models, with high
sensitivity to accurately
capture the widest
variety of sound sources.
Their very low self-noise
makes them ideal for use
with digital mixing and
recording equipment.
Some models feature
switchable polar patterns
The KSM313
for increased versatility
bi-directional ribbon
and to suit
microphone.
the characteristics
of a particular
voice, instrument,
or microphone technique.
The KSM9 unites the best of studio and
stage. With its dual diaphragm design and
switchable polar patterns, the KSM9 reveals
nuance and subtlety normally heard only in a
studio microphone. Yet, its solid build quality
delivers traditional Shure dependability allowing
it to be used in the most demanding live
environments. A wireless version is also
24

available for performances where complete

mobility is required.
The latest introductions to the KSM range
include the KSM313 and KSM353 ribbon
microphones (formerly known as Crowley and
Tripps Naked Eye and El Diablo respectively).
Beta

Shure Beta Series microphones are designed

specically for use in live performance
applications. They feature carefully tailored
supercardioid polar patterns with a remarkable
absence of off-axis colouration, for use when
high sound levels onstage require maximum
isolation without sacricing sound quality.
Handheld vocal, miniature instrument-mount,
and low prole head worn models are available,
as well as dynamic and condenser
kick drum models. The latest
addition to the range is the large
diaphragm Beta 27 microphone,
which is unique in the industry as
the only side-address, supercardioid
condenser designed for professional
sound reinforcement.
SM

Legendary SM Series microphones

have come to dene the sound of
live performance. Recognisable
by name and reputation, SM
microphones are virtually
indestructible professional gear,
built to take the punishment of
night-after-night touring. Durable
and reliable, SM microphones deliver
consistent vocal and instrument
reproduction in any performance
setting. The SM58 and SM57 the
#1 and #2 bestselling microphones
worldwide for decades possess
a consistency and familiarity that
takes some of the guesswork out
of setting up an unfamiliar sound
system in an unfamiliar venue.

PROMOTIONAL FEATURE

Performance Gear

Performance Gear Series microphones are

designed to give access to Shure professional
quality for artists and musicians on a more
modest budget. Models include a complete set
of vocal, instrument, and drum microphones.
Ideal for everyday use and practice, they share
many of the performance and construction
details of other legendary Shure microphones.
Performance Gear microphones come complete
with cables and accessories, so they easily t into
the beginners budget. New models in this range
include the PG27 multi-purpose microphone,
and the PG42 vocal microphone (both available
in USB and XLR versions).
Shure Performance Gear wireless microphone
systems deliver the freedom and convenience
of wireless, while matching the
legendary sound quality of our
wired microphones.
X2U

The X2U is Shures new XLR

to USB signal adapter allowing
users to connect their favourite
microphone directly into a
computer. Features include zero
latency monitoring and monitor
mix control, making it ideal for
a whole host of applications
at home, in the studio, or
on location.
UHF-R

Shure UHF-R Wireless

Microphone Systems deliver
uncompromising Shure sound,
and are the premium choice
for the most demanding
music, theatre, and broadcast
applications. The latest
frequency band (K4E) covers
Channel 38 in line with the
X2U
latest developments in UK
spectrum regulation. The entire system can
be networked together via USB or Ethernet
connections with Wireless Workbench software
providing full monitoring and set-up features

microphones 2010

+ + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE+ + + + SHURE

for all parameters. The all-metal handheld and
bodypack transmitters have switchable RF
output power and a backlit LCD display.
Shures breakthrough Audio Reference
Companding delivers crystal-clear sound
that matches a hard-wired microphone.
ULX

Shure ULX wireless systems deliver outstanding

performance for working musicians and
professional sound system installers. ULX is an
excellent choice for larger performing groups,
meeting facilities, and houses of worship. Shure
Predictive Diversity constantly monitors RF
signal strength and silently switches antennas
when it appears likely that a dropout will occur.
Automatic Frequency Selection makes it easy
to nd an open frequency, lockable frequency
and volume adjustments prevent tampering
once the system has been set; -wave antennas
that can be remote-mounted are standard
equipment; and the receiver provides in-line
power for antenna ampliers.
SLX

Shure SLX Series wireless systems are designed

for working bands and sound system installers.
Useful features like Automatic Frequency
Selection and Infrared Auto Transmitter Setup
make setup quick and easy, and Shures
patented Audio Reference Companding delivers
sound that matches a wired microphone.

Shure History

Founded in 1925, Shure has consistently produced

innovative products that have become industry
benchmarks. Here are just a few of the many
Shure milestones:
The rst directional microphone: The model
55 Unidyne, introduced in 1939, was the rst
directional microphone, meaning that it was able to
reject sounds from the sides and rear. The Unidyne
greatly improved the sound quality of public address
systems. The unique styling of the 55 series also
known as the Elvis mic has been featured in
countless videos, movies, and ads.
The rst wireless microphone: The Vagabond
88, introduced in 1953, was the rst wireless
microphone system for performers. The radio signal
from the microphone was picked up by an antenna
wire along the perimeter of the stage, which
connected to a receiver.
The rst stereo phonograph cartridge: Introduced in 1958, the M3D
brought high-delity into the home, at a time when millions of people were
discovering stereophonic sound.
The rst portable P.A. system: The Vocal Master, introduced in 1958, was
the rst product to combine a mixer, equaliser, and amplier, in one portable
unit, greatly simplifying P.A. system setup and operation.
Shure Incorporated corporate headquarters is located in Niles, Illinois,
in the United States. The Company has additional manufacturing facilities
and regional sales ofces in China, Germany, Hong Kong, Japan, Mexico,
The United Kingdom, and The United States.

PGX

Shure PGX wireless systems offer Automatic

Frequency Selection and Infrared Auto
Transmitter Setup ensure quick and easy setup,
while microprocessor-controlled diversity and
Audio Reference Companding deliver great
sound and reliable performance. PGX systems
are available with the most popular Shure
handheld, lavalier, headworn, and instrument
microphones, providing a stage-ready option for
almost any application. The popular Beta 87
is now available on PGX for the rst time.
All Shure wireless systems are available in
both handheld and bodypack styles, with a
wide choice of handheld, lavalier, and headworn
microphones. Receivers range from simple to
elaborate, and a full selection of accessories
and other tools are available to complete
any installation.

United Kingdom

Europe, Middle East, and Africa

Shure Distribution UK

Shure Europe GmbH

Unit 2,The I.O Centre

Wannenacker Str. 28 74078

Lea Road, Waltham Abbey

Heilbronn Germany

EN9 1AS, UK

t 49-7131-72140

t 01992 703058

f 49-7131-721414

f 01992 703057

e info@shure.de

e info@shuredistribution.co.uk

Asia
USA, Canada, Latin America, Caribbean

Shure Asia Limited

Shure Incorporated

301, Citicorp Centre

5800 West Touhy Avenue

18, Whiteld Road,

Niles, IL 60714-4608 USA

Causeway Bay, Hong Kong

t +1(847) 600-2000

t (+852) 2893-4290

t (U.S. only) +1(800) 25-SHURE

f (+852) 2893-4055

f +1(847) 600-1212

e info@shure.com.hk

e (US): info@shure.com
e (Canada/Latin America/Caribbean):
international@shure.com

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

25

+ + TELEFUNKEN+ + + + TELEFUNKEN+ + + + TELEFUNKEN+ + + + TEL

A Tradition Of Innovation
Since its rst foray into microphones in 1960, TELEFUNKEN has produced its microphones in the
earnest tradition of excellence and innovation.
TELEFUNKEN Elektroakustik of South Windsor,
Connecticut, has been following the tradition
of excellence and innovation set by the original
German TELEFUNKEN Elektroakustik, GmbH
which began over 100 years ago.
While TELEFUNKEN Elektroakustik was
widely regarded as Europes nest tube and
audio equipment manufacturer, its foray into
microphones began in earnest in 1947, with the
distribution of the world renowned U-47, and
the release of arguably the worlds most sought
after microphone, the ELA M 251 in 1960.
Production of the original ELA M 251 ceased
in 1963, but was reborn in 2000 when owner
Toni Fishman needed to recreate the switch
assembly for the 251s in his extensive vintage
microphone collection. Having made the moulds
for the revival of these historic microphones,
the next logical step was to faithfully recreate
the entire microphone in its original, historically
accurate glory.
As the years passed, historic blueprints for
capsules, circuits, and systems were obtained.
Transformers were recreated; often by their
original manufacturer from 50 years ago.
This meticulous historic research has
led to the creation of TELEFUNKEN
Elektroakustiks Diamond Series,
which includes historically
accurate reproductions of the
U-47, U-48, C-12, and four
different versions of the
ELA M 25x, which all
embody precise
historic detail.
In 2009,
not satised
to rest
on the

M 80

26

laurels of historically accurate recreations,

the CK-13 capsule was released. This capsule
features a diaphragm membrane material
made from Alloy 2213, a Titanium and
Aluminium alloy that was originally
developed for the aerospace industry.
The material has better rigidity
than the gold that is traditionally
employed for microphone
diaphragms, with a lighter mass in
order to achieve a greater level of
detail and nuance captured by the
microphone system.
The R-F-T Series

Simultaneous to the continued

development and renement of
TELEFUNKEN Elektroakustiks Diamond
Series has been the development and
renement of the affordably priced R-F-T Series.
The R-F-T brand name is a nod to
TELEFUNKENs former East German rival
R-F-T; a company that was also producing
ne microphones during the 50s and 60s,
but were more affordably priced than their
TELEFUNKEN counterparts.
The modern R-F-T Series takes
only its name from the historic R-F-T
Company. The microphones within
this series feature newly developed
ampliers; which take advantage of
modern manufacturing processes while
keeping the eye for quality and depth of
tone rmly entrenched in the TELEFUNKEN
tradition of excellence.
The R-F-T AR-51 microphone employs
the same output transformer as the historic
C-12 and ELA M 251 E (made by the
original manufacturer), and a very similar
amplier design which is built on a printed
circuit board instead of the very costly
implementation of point to point wiring
found in the historic Diamond Series,
and feature six selectable polar pickup
pattern options.
The TELEFUNKEN Elektroakustik R-F-T
AK-47 received a bit of an internal face-lift
this year, and the AK-47 MkII was born.
The AK-47 features a New Old Stock (NOS)

PROMOTIONAL FEATURE

TELEFUNKEN EF-732 tube, which is very similar

in size and function to the TELEFUNKEN AC-701
tube found in historic M-49/50/269c, KM-54/56,
SM-2, and M-221b microphones, as well as
many others that were built by various
manufacturers during the 50s and
60s. The properties of this tube
exemplify the air, clarity, and
sexy depth of tone associated
with these historic classics.
2010 Updates

In 2010, it was found that

with a couple of amplier
modications, the noise oor
could be lowered, and increase the
CK 13
microphones internal current handling
capability for better transient and bass
response. These modications made it possible
to add the historic BV8 transformer found in
the ubiquitous U-47/U-48 microphones of
yesteryear for what has become the AK-47 MkII.
The BV8 assists the transfer of low frequency
detail that the newly designed amplier affords,
leading to a higher degree of reality and detail
necessary for the recording of music, voice,
and ambient sources.
Also included in the R-F-T Series is the ELA M
260 small diaphragm pencil mic, which provides
nearly unparalleled exibility in its design. Three
interchangeable capsules are provided with the
system permitting the user to decide if Cardioid,
Omni-directional, or Hyper-Cardioid will best suit
their recordings. The ELA M 260 also features
the NOS TELEFUNKEN EF-732 tube, and a
proprietary output transformer that permits the
detail of the audio to be translated for the best
possible result and highest quality recording.
In order to round out TELEFUNKEN
Elektroakustiks product offerings, a dynamic
microphone called the M80 was developed.
In the TELEFUNKEN tradition of innovation, a
low mass/high output diaphragm system was
developed, along with a proprietary head grille
assembly and output transformer. The head
grille assembly helps the M80 achieve a greatly
reduced proximity effect, which assists with the
mitigation of the mud found in the industry
standard hand-held vocal microphone.

microphones 2010

LEFUNKEN+ + + + TELEFUNKEN+ + + + TELEFUNKEN+ + + + TELEFUN

AK 47

ELA M 251 E

Like the industry standard, the M80 has

found its way onto countless tours. The M80
has many more applications than just vocal
duties: it is being used by countless artists and
recordists for snare, guitars, percussion, and a
myriad of other applications. It has found a
home on the road with users as varied as Phish
and Cee-Lo; The Dixie Chix, and Green Day,
not to mention applications in recording
studios the world over.
TELEFUNKEN On Tour

In 2009 TELEFUNKEN Elektroakustik was

presented with a very interesting situation.
The production crew for Green Days current
world tour; in support of their multi-platinum
album 21st Century Breakdown (which
employed many TELEFUNKEN microphones
in recording) liked the M80 so much during
rehearsals they wanted to use it on the tour.

U 48

AR 51

However, Green Day plays stadiums and arenas

where a wireless vocal microphone is pretty
much mandatory.
The engineering staff at TELEFUNKEN was
able to modify the bands current wireless
microphone systems to work with the M80
capsule and output transformer. The band
and crew liked the system so much that over
40 microphones have been modied to date.
Other artists have liked the clarity of the vocals
on the Green Day tour so much that they too
have requested their wireless microphone
systems also be modied, so this modication
is now a standard product, which is available
factory direct.
TELEFUNKEN Elektroakustik
300 Pleasant Valley Rd. Unit E,
South Windsor, CT 06074, USA
w www.t-funk.com
e contact@t-funk.com

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

27

+ + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + +

Violet Design
Microphones Made in Latvia
A Unique Look, Superior Sound Quality, and Innovative Solutions
Violet Designs main philosophy is to offer
handcrafted microphones with a unique look
and a superior sound quality, using innovative
solutions in manufacturing techniques without
losing details of that vintage microphone
sound. We believe that in the process of music
recording, the most important things are passion
and inspiration, and nothing should get in the
way of these two. So with our ideology we trust
in three simple points: excellent performance,
easy to use, and good design.
The applications for Violet Design
microphones are wide and diverse you can
use them in a recording studio or sound
reinforcement, in broadcast or a TV
studio, in the lm or video industry,
in a project studio or home
recording.
The Benets of Violet Design
Microphones Are:

High SPL level

Very low self-noise
Low distortions
Wide dynamic range
High output level
Solid state or tube Class A
discrete preamplier
An attractive design
Hand craftsmanship with a 5-year
warranty
Users

Our microphones are

successfully used by dozens of
famous producers, recording
engineers, and musicians,
starting from Bruce Sugar (Ringo
Starr, Elton John, Paul McCartney,
Ozzy Osbourne), David Kahne
(Paul McCartney, Sublime,
Fishbone, The Bangles), Joe
Barresi (Tool, Kyuss, Melvins,
The Jesus Lizard), John Paterno
(Bonnie Raitt, Joan Osborne,
Los Lobos) to B2 a famous
Russian band.
28

Products
The Flamingo ME

The Flamingo ME is the topof-the-line vacuum-tube studio

microphone designed for highend quality audio recording. The
irregular shape of diaphragm
and sputtering technology of
the membrane coating result in
a resonance and harmonic free,
warm, and very natural sounding
transducer that provides 130dB and
higher SPL. The larger diaphragm
surface provides higher
output and low
frequency
response
beginning at
16Hz.
The
Flamingo ME
has unidirectional
cardioid polar
patterns, and
introduces a
new physical design to the
industry. The combination
of a massive body, an internal
capsule shockmount, the
integrated head shockmount,
and the included compact
external shockmount
work together to reduce
rumble and outside
infrasonic interference as
well as mechanical shocks.
The internal vacuum
tube pre-amplier is
based on class-A fully
discrete electronics,
built using the best quality
components and carefully
selected and tested 6267
vacuum tube.

PROMOTIONAL FEATURE

Global Pre
+ VIN Mk.2 Heads

The Global Pre preamplier body is designed

for use with our VIN-series changeable capsule
heads. It is also compatible with Neumanns
vintage M7, M8, and M9 series. The Global
Pre is an alternative to expensive and noisy
vintage vacuum tube preamplier bodies and
is affordable enough for small or home studios,
but produces a sonic performance way above its
price point.
Phantom powered, linear, class-A discrete
solid state transformerless preamplier
electronics provide extremely ultra-low self noise,
and hard to measure all kind of distortion.
The Mk.2 heads, whilst still featuring the
original capsules, have been redesigned to be
more compact with a sleeker look.
Simply changing the VIN head to achieve
the desired sound is an excellent design concept
that allows users to add to their microphone
collection without the hassle of purchasing
separate models.

microphones 2010

+ VIOLET DESIGN+ + + + VIOLET DESIGN+ + + + VIOLET DESIGN+ + + +

The Flamingo Junior

The Flamingo Junior Series

of studio microphones
are side-addressed
unidirectional microphones
designed for professional
audio recording where
sound quality and
musical character is of
the utmost importance.
The Junior uses a singlediaphragm cardioid
electrostatic transducer,
providing vintage tone
with transparent highs,
optimized vocal presence,
and fundamental lowfrequency register with
minimal proximity effect.
The Junior
microphone is
designed for
the recording
studio all-round
needs, capable
of capturing vocals,
piano, guitars, drums,
percussion, strings,
wind, and other musical
instruments and sound sources.
The Amethyst Vintage

The Amethyst Series of studio

microphones utilise capsules with
6-micron gold sputtered Mylar
diaphragms tensioned and
adjusted on precisely made brass
backplates. They possess very
fast impulse transient response
without sound colouration or
low frequency reduction, as
well as the ability to handle
louder sound pressure
levels. The Amethyst
Vintage has a grey/
blue body and uses a
dual large-diaphragm,
centre terminated dual
back plate capsule that
provides a classical,
wide-spectrum, vintage
microphone sound. It has
a unidirectional cardioid
polar pattern with minimal
proximity effect and a wide frontal
incidence angle.

The Finger

The Finger uses a single medium diaphragm

transducer to provide detailed sound with
smooth transparent highs, optimal presence,
and natural low-end response with a
unidirectional polar pattern. The Finger has a
unique body design with an integrated tapered
reector which reduces resonances, removes
reections, and optimises the microphones
cardioid polar pattern. Integrated damping of
the transducer reduces stand rumble, outside
infrasonic interference, and mechanical
shocks. The Finger microphones are designed
for very wide applications, including ambient,
musical instrument, and vocal needs. Musical
instruments include drums, piano, guitars,
percussion, bowed strings, and many other
instruments. Vocals include choir and distanced
lead vocal applications.

The Black Knight

The Black Knight uses a large dual-diaphragm,

side-terminated, condenser capsule. It
possesses a detailed and natural musical sound
with transparent highs and a smooth midrange,
with a subtle vocal presence bump at
3kHz, at low-frequency response, and
a unidirectional cardioid polar pattern.
The acoustically open transducer
head minimises internal resonances
and reections so that even the most
minute sound details are authentically
captured. An integrated swivel-mount
allows for fast and handy positioning
of the transducer head. The internal
phantom powered preampliers Class
A fully discrete transformerless circuit
provides very high output, at audioresponse, and ultra-low distortion
and noise. Gold-plated contacts
on the output connector provide a
noise-free connection. The Black
Knight is a very accomplished and
well-balanced design, offering real
value for money, and would make
an excellent rst mic for anyone
setting up a home studio on a
reasonable budget, easily
delivering quality results from any source.

Violet Design LTD.

P.O.Box 3393, Tallinn,
10506, Estonia
t (+372) 6455007
f (+372) 6466054
e media@violet-design.com
w www.violet-design.com

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

29

Microphone Manufacturers Directory

ADK MICROPHONES

ADK Microphones was

established in 1997 by
recording engineer and
vintage microphone collector,
Larry Villella, to replicate the
sonic attributes of vintage
European microphones
through spectrum analysis
and computer modelling of
the response curves of his
favourite microphones.
A wide range of FET,
transformerless and tube
microphones make up the
ADK range, which has just
added the Vienna MKII and
Hamburg MKII.
www.adkmicrophones.com

AKG

2007 marked the

60th anniversary
for AKG. Founded
in Vienna in 1947
AKG has grown a
great deal from
ve workers hand
building microphones, to
become one of the principal
microphone manufacturers
with a product range that
spans all areas of professional
audio, many becoming
established classics. AKG
microphones include the
Blue Line range of modular
mics; lavalier; instrument; live,
recording the list is endless.
www.akg.com

AEA MICROPHONES

Audio Engineering Associates

(AEA) Wes Dooley drew upon
his 40 years of experience
and passion for ribbon
microphones when he
reintroduced the AEA R44
(based on the RCA 44) back
in 1998. Since then AEA has
introduced mic preamps
specically for ribbon use
alongside other ribbon
microphones, including the
well-regarded R84.
www.wesdooley.com
AEVOX AUDIO

Handmade in Belgium, Aevox

Audio produces a range of
micro/lavalier microphones
and accessories for use with
portable recorders, video
cameras, wireless packs and
computers. The range includes
the IE (In Ear) stereo MKII
microphones for discreet or
binaural recording, power
adapter, wind shield, and the
Omni Classic M MKII which
boasts extended frequency
response and reduced
handling noise.
www.aevox.be

AMBIENT RECORDING

Ambient Recording was

founded in 1989, and was
originally a company dealing
with sound equipment rentals
and transfers.
It now manufactures a
number of products for
location recording based on
the founders considerable
experience.
Ambient has a couple of
microphones, the Tinymike, a
mini camera mounted shotgun
microphone and
the Emesser bi-directional mini
microphone.

AUDIO LTD

AVLEX

BERLINER AUDIO

Based in High Wycombe,

Audio Ltd produces
a number of wireless solutions
for theatrical and broadcast
applications. The Envoy range
is designed for ENG news
crews who are looking for high
quality and reliability. The
RMS2040 range of wireless
products received a recent
edition with the miniTX
wireless transmitter.

In Kansas City, USA, Avlex is

about rugged cost effective
solutions principally for
presentation and theatre
applications. Other audio
applications are covered
with microphone ranges with
different brand names. Mipro
microphones are a line of
wireless systems for location
and broadcast use, and
Superlux microphones are for
more studio specic uses.

USA-based Berliner
Audio introduced its rst
microphone, the CM33 handmatched stereo pair in 2007
and has since followed this
with four further models. The
range t a variety of recording

www.audioltd.com

www.avlex.com
AUDIO TECHNICA

Audio
Technica
began back
in 1962
in Tokyos
ShinjukuKo district
manufacturing state of the art
stereo phono cartridges. Now
a global group, Audio Technica
is involved in the manufacture
of audio equipment across the
whole spectrum of
the industry.
Its range of microphones
illustrates this diversity with
cost effective solutions for
semi-pro use through to high
end models for applications
in live, broadcast, studio,
commercial and industrial.
www.audio-technica.com

www.ambientaudio.com
AUDIX
AMG ELECTRONICS

Sitting on the Surrey/

Hampshire borders, AMG
Electronics produces a number
of different congurations of
its C-ducer (Capacitive-TransDucer) microphone.
Available in various lengths,
1mm thick, exible and light
weight, the C-ducer can
be formed to all shapes of
instrument surface.
www.c-ducer.com
AMT

Applied Microphone
Technology has been
manufacturing microphones
for seventeen years, and
takes the approach of
producing microphones for
specic instruments without
compromise.

Starting life back in 1984 in

Redwood California, Audix
moved to Oregon in 1991
where it established a state
of the art manufacturing
facility, where the quality
of its microphones could be
controlled from start
to nish.
Audix focuses on simple,
elegant designs with
microphones covering
applications in corporate,
live, broadcast, and studio.
Amongst them is the
respected D-series of drum
microphones.
www.audixusa.com

www.appliedmic.com

30

MICROPHONE MANUFACTURERS DIRECTORY

AZDEN CORPORATION

East coast USA Azden

Corporation has some 40
years of experience utilising
CAD and SMT technology to
create a number of standard
and wireless transduction
solutions. Originally an OEM
manufacturer for many of the
worlds best known brands,
the last 15 years has seen
Azden raise its own brand
identity, providing low cost
microphone systems for event
and wedding videography use.
www.azdencorp.com
BEHRINGER

Uli Behringer founded the

company that takes his name
back in 1989 in Germany.
Since then Behringer has
grown to have ofces in 10
countries distributing a wide
range of audio products.
Behringer has a range of
general purpose dynamic
and condenser microphones
including the B-2 Pro and
stereo pair C-2.
www.behringer.com
BEIJING 797 AUDIO

Founded in 1952, Beijing 797

Audio is now a very large
concern with development,
manufacturing and testing
facilities. It has the largest
anechoic chamber in Asia
and its microphone range
encompasses condensers,
dynamics and a wide variety
of wireless and electret
microphones for broadcast
and presentation use.
www.797audio.com

applications.
www.berlineraudio.com

BEYERDYNAMIC

beyerdynamic has
evolved into one of
the better known
manufacturers since
its beginnings back in
1924. Developments
in a number of audio
areas continue, and
beyerdynamic condenser,
ribbon and general dynamic
microphones, still form the
backbone of many studios
mic collections.
www.beyerdynamic.com
BLUE MICROPHONES

Headquartered in Westlake
Village in California,
and with engineering
and manufacturing
facilities in Latvia,
Blue Microphones has
come a long
way since 1995 when
founders Skipper
Wise and Martin
Saulespurens put together a
few hand built microphones
for fellow musician friends.
Blue has some of the most
distinctive looking mics for
recording purposes, and
through their Vintage Mic
Store has further examples as
well as vintage mic restoration
services.
www.bluemic.com
BOCK AUDIO DESIGNS

From 1996 to 2006, former

studio tech (Hit Factory,
Oceanway) David Bock ran
Soundelux Microphones.
Concerned with producing
high-end microphones for
recording applications,
David continues to develop
his designs through southern
California-based Bock Audio.
www.bockaudiodesigns.com

microphones 2010
BRAUNER MICROPHONES

COLES ELECTROACOUSTICS

ELATION

HEBDEN SOUND

JJLABS

Dirk Brauner was developing

ideas with tube microphone
circuits back in 1993 looking
to create the worlds best
tube microphone. Initially
creating a limited number
of handcrafted microphones
based on his VM1 design,
demand led to the start
of Brauner Microphones
in 1995 which now boasts
an impressive collection of
microphones still headed up
by the VM1.

Coles in Hertfordshire
continues to manufacture
the BBC-designed ribbon
microphones that include the
ever-popular 4038.

Many decades of research

and development have led
Russian company Elation
to manufacture its own
microphones. Limited to
a single large and single
small diaphragm condenser
microphone, and bass
drum mic.

Since 2003, Shefeld-based

Hebden Sound Ltd has
supplied the HS3000 series
of interchangeable capsule
microphones, which are still
only available directly from
Hebden Sound.

www.elation-mics.com

HEIL SOUND

Started in Stockolm by Johan

and Jerker Antoni in 2000,
JJLabs has a comprehensive
range of tube, ribbon, and
conventional condenser
and dynamic microphones.
It also has the unique Ehrlund
triangle membrane condenser
microphone designed to
deliver the desirable traits
from both small and large
diaphragm condensers.

www.brauner-microphones.com

CAD MICROPHONES

CAD Microphones
manufactures a variety of
visually distinct condenser,
tube, ribbon, and instrumentspecic microphones.

www.coleselectroacoustics.com
COUNTRYMAN ASSOCIATES

With more than 30 years

of experience, Countryman
Associates manufactures
microphones for a variety of
live applications including
theatre, presentation and
live music. The range consists
of a number of mini and
micro microphones for these
situations.
www.countryman.com
DPA MICROPHONES

ELECTROVOICE

Electrovoice has been

developing pro audio
products principally in the
area of sound reinforcement
for over 80 years. Its
microphone range illustrates
this orientation in both
its standard and wireless
microphone products.
www.electrovoice.com

www.cadmics.com
FOSTEX
CASCADE MICROPHONES

US-based Cascade
microphones produces a
wide variety of types, but is
probably best know for its
range of ribbon microphones
and the retro styling of many
of its designs, including the
Fat Head II.
www.cascademicrophones.com
CHAMELEON LABS

Chameleon is a relatively new

company with the strap line
Value Conscious Audio. It
makes a selection of audio
products, including the
TS-1 Tube Pencil condenser
microphone, and the TS-2
large diaphragm tube
condenser microphone.

In 1992, Danish company

Bruel and Kjaier took the
decision to spin off its pro
audio division and outsource
sales and service of its 4000
series microphones to the
former employees that
designed them. It formed
Danish Pro Audio and since
1994 has introduced new
products into its line. These
include mini, compact, large
diaphragm and reference
test microphones, and also
the only phantom powered
underwater microphone, the
P48 Hydrophone.
www.dpamicrophones.com

www.chameleonlabs.com
EARTHWORKS AUDIO
CHARTEROAK ACOUSTICS

Founded by producer/engineer
Michael Deming in Connecticut
in 2002, CharterOak is all
about creating the classic
microphones of tomorrow.
All tube and solid state
microphones are assembled
and inspected by hand,
with each being studio tested
before shipping to
the customer.
www.charteroakacoustics.com

Formed in New Hampshire

by David Blackmer, the
inventor and founder of dbx,
Earthworks Audio looks to
develop the next generation
of audio products, including
microphones with its High
Denition Microphone
range. Both general use
and instrument specic
microphones are designed
to pick up sound with
much higher delity than
conventional designs.
www.earthworksaudio.com

Founded by the Foster

Electronic Company in
Tokyo back in 1973, initially
to deliver high quality
speaker components to
customers for Foster, which
was well established in the
development of transducer
technologies. Fostex has come
to establish itself in location
recording and broadcast audio
applications, with a number of
mics for these areas.
www.fostex.com
GROOVE TUBES

Formed in California in the

late 1970s by Aspen Pittman,
who gathered together some
technicians to explore why it
was that tubes performed and
sounded so different. From a
garage workshop to a global
company, Groove Tubes now
produces a range of tube, FET
and ribbon microphones that
still includes the MD1.
www.groovetubes.com

HHB COMMUNICATIONS

HHB entered the mic

market with an innovative
range of recording mics aimed
at audio journalists and eld
recordists. In collaboration
with Sennheiser, HHB now
has a range of devices with
various options, including the
increasingly popular FlashMic.

www.hebdensound.com

The origins of Heil Sound

date back to the 1950s
when organist Bob Heil,
began to mentally dissect
the sounds around him. Heil
began to experiment with
design and manufacture of
organs. He then transferred his
experience to other musical
forms with great success. The
90s saw Heil move into the
microphone market with the
HC series, and now Heil has a
range that leans towards live
applications.

www.jjlabs.se
JOEMEEK

Referencing many of the

experiments made by Joe
Meek in the early to mid
1960s, Joemeek continues to
provide cost effective solutions
for project and pro audio, with
a range of general purpose
small and large diaphragm
condenser and dynamic
microphones.

www.heilsound.com

www.joemeek.com

HOLOPHONE

JOSEPHSON ENGINEERING

Musician and sound

designer Michael Godfrey
founded Holophone in
Toronto, Canada, in 1994
looking to deliver the most
realistic listening experience
from recorded audio.
Holophone has a number of
microphone products that
can accommodate surround
applications.

Since 1998 Josephson

Engineering, as well as
producing and supplying
capsules to other microphone
manufacturers, has produced
its own range of microphones
for studio, location, live
and instrument specic
applications.

www.holophone.com

JZ MICROPHONES

HORCH AUDIO

German company Horch

Audio manufactures three
retro styled tube microphones,
the RM3, RM4 and RM2J for
high-end recording work.
www.horchaudio.de

ISK MICROPHONES

ISK is a Surrey-based mic

manufacturer, and produces
top-quality microphones for
broadcast and home stuios.

www.josephson.com

Over the past decade, Latvian

manufacturing company
Scruples ventured into
the pro audio market with
products including mics under
the Violet brand. Scruples
created a spin off company,
JZ Microphones, that has
now been established to
concentrate on microphone
development.
www.jzmic.com

www.iskmic.com

www.hhb.co.uk

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

31

KATAMOUNT ENTERPRISES

MBHO

MILAB MICROPHONES

Katamount Enterprises was

established in Canada in 1999
as a distribution company
for post and broadcast, but
now manufactures its own
products including its
KAT66 Lavalier mics.

Established in Obrighelm
in 1962 by Herbert Haun,
MBHO has been producing
high quality microphones
ever since. Ninety ve percent
of the MBHO range is still
handmade and includes both
modular and xed capsule
condenser and dynamic
microphones.

The Milab story begins in

1941 with Rune Rosander
producing crystals, and then
subsequently carbon and
dynamic mics. In the late
1960s, the rectangular capsule
and double-sided rectangular
capsule were developed and
are still produced today.
The name Milab came into
being in 1970 and now Milab
manufactures a full range of
microphones including the
brand new BDM-01 bass drum
microphone.

www.katamount.com

LAUTEN AUDIO

Lauten Audio is committed

to producing high-end
microphones with an original
sound. Loudenslager worked
with some of the biggest
microphone brands in the
world before forming the
company whose ethic now is
to design mics that present
an accurate rendition of the
source while adding an artistic
character of its own. Its lineup comprises the Oceanus,
Clarion, Torch, and Horizon.
www.lautenaudio.com

www.mbho.de
MERCENARY AUDIO

The straight-talking team

at Mercenary Audio are
all engineers who sell an
impressive array of high-end
audio equipment. They also
manufacture the KM-69, born
out of a need for a KM-84i for
hi-hats. The sound of the mic
was created over time solely
by listening and using,
and was designed to a
particular aesthetic end
rather than a set of numeric

LAWSON MICROPHONES

specications.

Founded by Gene Lawson

in 1979, and now hand
crafted in Nashville, Lawson
Microphones range of award
winning high end tube and
FET microphones, with their
distinctive look, are desired
the world over.

www.mercenary.com

www.lawsonmicrophones.com
MANLEY LABORATORIES

Since 1989 Manley

Laboratories has focused on
the development of a number
of products based on tube
designs. Amongst these are
the range of Manley tube
microphones, which include
the Manley stereo tube
reference microphone.

Formed in 1988, and now part

of Avid, M-Audio is focused
on computer based products
and those aimed to provide
solutions to mobile musicians.
The M-Audio microphone
selection includes a number
of general-purpose units
including the lollipop large
diaphragm condenser, Luna.
www.m-audio.com

The origins of Microtech

Gefell can be traced to 1928
when Georg Neumann and
Erich Rickmann formed
Georg Neumann and Co. In
1943, production moved to
Gefell, where many years of
developing and producing
some classic products took
place. The range of Microtech
Gefell microphones is
extensive.
www.microtechgefell.de
MICW

Designed, developed, and

manufactured by BSWA
Technology, the MicW brand
delivers professional mics for
recording, broadcasting, and
live music applications. MicW
was established in 1998 and
claims to be the rst company
to introduce the electro-static
transit response technique
for microphone evaluation,
as well as instigators in the
use of polymer diaphragms
for measuring microphone
structures.
www.mic-w.com

32

MOJAVE AUDIO

David Royer established

Mojave Audio in his garage
in Fullerton California in
1985. Known for his ribbon
microphone designs with
Royer Labs, Mojave Audio is
the outlet for David Royers
tube microphone designs.
www.mojaveaudio.com
MXL MICROPHONES

MICROTECH GEFELL

www.manleylabs.com

M-AUDIO

www.milabmic.com

MXL Microphones are

designed and manufactured
by US-based manufacturers
Marshall Electronics. The
brand has a variety of
standard microphone types
aimed at the expanding costeffective market for good
quality products.
www.mxlmics.com
NADY SYSTEMS INC

Founded by John Nady in

1976, Nady Systems Inc was,
and remains, at the forefront
of wireless mic design. Nady
was amongst the rst to
address the issues of noise
reduction in wireless systems
and, by 1985, eighty percent
of the worlds top artists were
using Nady systems.Nady
has branched out and now
includes a comprehensive
range of studio condenser,
ribbon, instrument specic,
and USB mics.
www.nady.com

Sennheiser group in 1991,

and this branch of Neumann
is focused on continuing its
long tradition of high quality
industry wide microphones.
www.neumann.com
OKTAVA

For many years, being the

largest manufacturer of
electro-acoustic transducers
in Russia has given Octava
a great background for
producing their own
microphone range. This is
now a large collection of
tube, ribbon, electret, and
conventional microphones
for all manner of studio
applications.
www.oktava-online.com

With roots going back to

Berlin in 1928, Neumann has
been involved in the design
and manufacture of a wide
range of audio products, but
it is with microphones that
the name is most associated.
Neumann became part of the

MICROPHONE MANUFACTURERS DIRECTORY

Prism Sound has been

supplying successful high
quality analogue and digital
studio products for 23 years.
Originally set up as an R&D
consultancy, Prism Sound now
manufactures its own highend recording and mastering
products
www.prismsound.com
RICSONIX

Based in Australia, Ricsonix

manufactures several pin/
button microphones designed
to be hidden behind a button
or badge. The MITS-2 features
a built in windshield.
www.ricsonix.com

PEARL MICROPHONES

Pearl shares the same origins

as Milab and owes much
to the designs of Rune
Rosander. Based in Sweden,
Pearl produces a number of
conventional and tube mics.
www.pearl.se
PEAVEY

After graduating college in

1965, Hartley Peavey started
his company using the logo he
came up with while doodling
in his notebook. Peaveys
products are known the world
over and have mic units for
use in the studio, speciality,
and sound reinforcement
market.

RODE MICROPHONES

Rode came into existence

after Henry and Astrid
Freeman emigrated from
Sweden to Australia in 1967.
Their background in audio
product development within
their own Freeman Group
of companies led to the
development and release of
the rst Rode Microphone in
1990.
The Rode range has
grown in number and
reputation since then, with
quality, affordable tube and
conventional microphones for
broadcast and studio use.
www.rodemic.com

www.peavey.com
ROXDON
PELUSO MICROPHONE LAB

All Peluso mics are custom

designed, handcrafted,
and individually tested in
Virginia. The range features
tube, ribbon, and solid state
versions that benet from
the companys 26 years of
experience in repairing and
restoring all brands of vintage
and modern microphones.
Furthermore, all mics are
protected by a three year
warranty for peace of mind.
www.pelusomicrophonelab.com

NEUMANN

PRISM SOUND

London-based RoXdon
produces high-end mics and
pop lters for recording and
broadcast studios, which are
distributed worldwide through
Wild Distribution.
www.wilddistribution.com
ROYER LABS

Formed in 1998 to bring David

Royers ribbon designs to
the world, Royer produces a
wide and respective range of
ribbons that include unique
tube and phantom powered
ribbon microphones.
www.royerlabs.com

microphones 2010
SAGE ELECTRONICS

SD SYSTEMS

SONTRONICS

SYMPHOTEC

TRINNOV AUDIO

Sage Electronics was founded

in 2002, and is operated by
long-time record producer
Phillip Victor Bova, his wife
Janet Kirby and their son
Philip Shaw Bova. It produces
a number of pro audio
products that includes the
SE-BB1 Bova Ball Spherically
mounted condenser
microphone.

A group of sax players

banded together to create
a mic able to capture their
instrument while facilitating
stage freedom. In 1981 SD
Systems was born with the
bell-mounted solution that
they developed, the LCM85.
The SD Systems microphone
range now encompasses mini
and contact mics for a wide
range of instruments.

Designed and developed in

the UK and hand crafted
in Shanghai, Sontronics
produces uncompromising
high performance mics at
affordable prices. The range
includes distinctive condenser,
tube, and ribbon designs.

German company Symphotec

set about designing a
microphone specically for the
purpose of producing a better,
more faithful, reproduction
of orchestral and concert hall
presentations. This resulted
in the Symphotec Orchestral
Management System.

Trinnov Audio specialises

in the digital processing of
acoustic elds. Trinnov has
produced the SRP Surround
array of microphones, based
on a breakthrough special
high resolution technology.

www.symphotec.de

VIOLET DESIGN

www.sageelectronics.com

www.sdsystems.com
SAMSON

Samson began 26 years ago

designing and producing
wireless mic systems. Since
then Samson has diversied
into a number of areas of
audio equipment production
that includes a large number
of conventional, ribbon, and
USB microphones.
www.samsontech.com
SANKEN MICROPHONES

Sanken Microphones is based

in Tokyo and has focused on
producing simple original
condenser and dynamic
microphone designs for studio,
broadcast, and live use
since 1926.

SE ELECTRONICS

The origins of sE Electronics

are with Mr Siwei Zou, a
classical musician from
Shanghai who developed
products in Shanghai before
entering the European market
in 2003. The mic product
line includes tube, ribbon,
modular and conventional
microphones. The company's
newest addition, the RNR1
active ribbon microphone,
is the fruit of a joint
collaboration with Rupert
Neve.
www.seelectronics.com
SENNHEISER

Schertler started life

in the early 1980s in
Switzerland with a mission
to produce mics for faithful
capturing of acoustic string
instruments. Schertler now
has a well-established and
comprehensive range of
contact microphones for a
cross section of acoustic string
instruments.

Sennheiser has
been delivering
top of the line
pro audio for
more than 50
years, providing the backbone
of many studios microphone
cabinets, whether it be music,
broadcast, post, live, or
location. Sennheiser has
a microphone range that
is truly diverse covering every
nook and cranny of
the industry.

www.schertler.com

www.sennheiser.co.uk

SCHOEPS

SHURE

Founded in 1948 by Dr
Schoeps, the company has
specialised in the design and
manufacture of high quality
condenser microphones
for over half a century. The
Schoeps range is now an
extensive one with condenser
solutions for
all manner of studio,
broadcast, live, and location
scenarios, as well as surround
applications.

Founded in Chicago in 1925

selling radio
parts, Shure
produced its
rst microphone
in 1932 and
has not looked
back. It now
has a collection
of wired and wireless mics
including the ubiquitous
SM58. More recently Shure
Inc. has acquired Crowley and
Tripp Ribbon Microphones
from Soundwave Research
Laboratories.

www.sanken-mic.com
SCHERTLER

www.schoeps.de

www.shure.com

www.sontronics.com

SONY

Sony has a long history when

it comes to microphones and
has produced a few classics in
its time both old and new. The
current range reects Sonys
continued involvement in all
pro audio arenas.
www.sonybiz.net
SOUNDFIELD

Based in the UK and formed

in 1993, Soundeld Limited
manufactures and continues
to develop its unique multi
capsule tetrahedral design
for both enhanced stereo and
multi-channel applications.
www.soundeld.com
SOUNDKING

The Soundking Group Ltd

of China specialises in the
research and development
of a variety of products in
pro audio. In the microphone
category, it has a wide range
of mic types and kits.
www.soundking.com
SOUNDMAN

Headquartered in Berlin
and founded in 2001,
Soundman have developed
the OKM dummy head
microphone. An electret
condenser microphone for
use in live, voice, and other
environmental recording
applications. The company
also produces the OKM II Rock
Studio version.
www.soundman.de
STUDIO PROJECTS

In conjunction with partner

company 797 Audio, USbased Studio Projects looks
to provide a quality general
purpose microphone product
with German type build
standards at a fraction of
the cost. The company has
recently released the CS series
of studio microphones.

TELEFUNKEN

Telefunken started
life early in the
20th C in wireless
telegraphy, with
the German Army
and Imperial Navy
its rst customers.
Today, its products
are sold in 130+
countries worldwide and is
symbolic of the quality of
sound craft.
www.telefunken.com
T.H.E

Based in Connecticut, Taylor

Hohendahl Engineering
produces beautifully crafted
microphones designed by
Andy Hohendahl. The range
includes reference condensers,
modular mics, and a binaural
sphere.
www.theaudio.com
TRAM LAVALIERS

TRAM manufacturers the

famous TR-50 lavalier
omni-directional mic, which
comes with a huge range of
accessories for many different
congurations and mountings.

www.trinnov.com

Violet has been

developing and
manufacturing
in Latvia since
2003, where it
produces a range
of distinctive
and colourful
microphones
a combination of tube,
solid-state, large and small
diaphragm condensers.
www.violet-design.com

VOICE TECHNOLOGIES

Voice Technologies is focused

on mics for use in broadcast,
theatre, lm, video, and
conference applications. A
range of miniature lavaliers
and headset mics are
available.
www.voicetechnologies.net
WUNDER AUDIO

Wunder Audio has come

from refurbishing vintage
equipment to producing
products that give a big nod to
past classics. Wunder produces
handmade transformers for
all of its products including a
range of high-end tube mics.
www.wunderaudio.com

www.tram-usa.com
TRANTEC

Based in London and running

now for over a decade,
Trantec was formed by Steve
Baker, Dave Binks and Terry
Maybe, who developed and
subsequently specialised in
wireless mic solutions. Trantec
now supply to broadcast and
theatre clients. The Trantec
range includes the SD7000
digital wireless.
www.trantec.co.uk

www.studioprojectsusa.com

THE INTERNATIONAL MICROPHONE BUYERS GUIDE

XXL INSIDE

XXL supplied technical services

to some of the top names
in the audio sector before
venturing into production.
XXLs mic collection includes
studio condenser and
dynamic, miniature lavalier,
and headset microphones.
www.xxlinside.com
ZAXCOM

Known primarily for its

Deva location recorders and
digital wireless systems,
Zaxcom produces the ZFR800
handheld digital recording
mic for eld recording
and broadcast journalism
applications.
www.zaxcom.com

33

Microphone Basics
The foundation of good microphone practice is technical knowledge. Blao Guzina provides a
run-down of the basics for anybody just getting to grips with the wibbly bits...
Microphones have different overall physical
and electrical characteristics and are classiable
into three main groups, based on the physical
principle of converting sound into an electrical
signal: electrodynamic coil, electrodynamic
ribbon, and electrostatic (or condenser)
microphones.
Dynamic Microphone

The electrodynamic moving-coil microphone

has a coil of nely wrapped wire precisely
suspended between the poles of a magnet
and attached to a diaphragm. Soundwaves
drive the diaphragm, which vibrates in a highlevel magnetic eld. In the coil, this movement
induces a voltage, which corresponds to the
sound pressure.
Dynamic microphones are very rugged
and handle high sound pressures without
overloading. They are reliable and virtually never
distort the sound signal. They are insensitive
to extreme heat, cold, and high air humidity.
Dynamic microphones can usually withstand
extreme environmental conditions such as
temperatures from -25C to +70C.

diaphragm (very thin foil) and a xed metal

plate (back electrode).
These two electrodes make up a condenser
(capacitor) charged by an externally applied
voltage (polarization voltage) or carrying its own
permanent electrical charge, as with an electret
microphone.
When soundwaves vibrate the diaphragm,
the capacitance of the condenser changes
simultaneously, thus producing an output
voltage that varies with the intensity and
frequency of the sound.
Condenser microphones usually have a at
frequency response, high sensitivity and good
ability to follow sudden, percussive sound events
immediately. This is described as good transient
response.
Condenser microphones require an
impedance converter in the form of a
preamplier to match the very high output
impedance to low impedance microphone
inputs. This amplier ts within the body of
the microphone in order to prevent hum, noise
pickup and the losses of the signal level due to
the length of the circuit from the diaphragm to
the amplier.

Ribbon Microphone

The electrodynamic ribbon mic has a thin

metal foil in the form of a corrugated ribbon
suspended in a magnetic eld. Sound pressure
variations displace the diaphragm, in which
an electrical current is induced depending on
the amplitude and frequency of sound. Due
to the short length of the ribbon compared
to the moving coil, its output electrical
impedance is less than 1 . This resistance is
too low to directly connect to the microphone
input of a mixing desk or recorder, so a stepup transformer is needed to increase the
impedance up to the 150 to 600 range.
Due to constructional improvements,
modern ribbon mics are suitable for outdoor and
handheld use. They are prized for their warm,
smooth, yet delicate sound quality.

Phantom Power

Condenser microphones need a DC supply

voltage. Except for battery operated
microphones, the voltage usually comes through
the microphone cable. The positive (+) side of
a DC voltage connects to both signal wires of a
balanced line and the negative () side to the
cable screen.
An exception is the electret condenser
microphone. This type of microphone has the
polarizing charge stored permanently within
the diaphragm or on the backplate. No external
power is required to charge the diaphragm.
Polar Patterns

The electrostatic (condenser) microphone uses

a transducer element consisting of a vibrating

Apart from the basic differences in the physical

principle of operation, the main factor that
inuences the choice of a microphone is its
polar pattern.
Polar pattern, also known also as polar
response, is a chart that graphically represents

34

MICROPHONE BASICS

Condenser Microphone

microphone sensitivity with respect to the

direction of soundwaves arriving at its
membrane.
A chart is usually plotted in the form of
a 360 polar diagram, with the on-axis 0
direction clearly marked. It is possible to classify
microphones into two main groups, based on
their directional characteristics: non-directional
and directional microphones.
In principle, a non-directional microphone is
a pressure-operated electroacoustic transducer.
Its response to acoustic sound pressure is
omnidirectional, meaning that the diaphragm
reacts equally to all soundwaves arriving at its
surface, regardless of their direction.
A typical example of a directional
microphone is a pressure-gradient transducer.
This type has a bidirectional (or gure-of-eight)
polar diagram. This means the microphone
reacts to differences in pressure between the
two sides of a diaphragm.
Ribbon microphones are the most common
type with a bidirectional polar response. A
metal ribbon diaphragm is equally sensitive to
soundwaves arriving from front and rear axes.
All other known directional patterns
are obtainable as a result of a combination of
the aforementioned two main polar pattern
types. The number of variations is practically
unlimited.
When the outputs of an omnidirectional
(pressure) and bidirectional (pressure-gradient)
pickup pattern are combined, the best known
resulting polar responses that are obtainable are
cardioid, supercardioid, and hypercardioid. Their
common name is unidirectional microphones.
A unidirectional microphone is most sensitive
to soundwaves arriving from one direction, in
front of the microphone, but softens sounds
from the sides or rear.
The cardioid microphone is sensitive to
sounds from a broad angle in front of the
microphone. Generally, it is about 6dB less
sensitive at the sides, at 90 and 270, and 15 to
25dB less sensitive to the rear.

Up to 12dB
better isolation
against unwanted noise

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