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Cover Background: The Capitol Theatre, Port Chester, NY.
Photo: Dino Perrucci
2013 G e a r g u i d e Mi crophone 3
Studio MicS
InsIde The Modern

sTudIo MIc cabIneT
By Janice Brown
“It’s a beautiful, beautiful
time for microphones,” says
engineer/producer Oliver
Straus (New Politics, Born
Cages). As the owner of a
popular Brooklyn recording
studio, Mission Sound, Straus
is always in the market for a
great new microphone; he
believes “there are always col-
ors that are missing from a mic
cabinet,” and that these days,
there’s no excuse not to have
several good and different
flavors of microphones. “It’s
so affordable now,” he says.
“It’s like someone saying you
can have Picasso’s entire color
palette for $2,795.”
Indeed, microphone markets have
surged in recent years, as the recording
industry has spread out into a landscape of
artist- and producer/engineer-run private, Modern tube Mics:
bedroom and commercial studios. With so The Blackspade
many new buyers—especially considering acoustics UM17
the massive indie music industry with its (top left), its UM17r with pre-
propensity for DIY—studio microphones of mium capsule (right), and the Lucas
all shapes and sizes are in high demand. engineering cS-1 from the mic locker
The modern mic cabinet can look pretty at Strange weather Studio. Below,
different from studio to studio; there are so Producer engineer and Dungeon Beach
many flavors of highbrow, workhorse, alter- co-owner Keller McDivitt.
native and classic microphones that there
are almost no staples anymore. of microphones to be excited about.
But there are always the du-jour mics, Schlett has been using both the Lucas
the microphones engineers are gravitating CS-1 and CS-4 tube mics, noting, “It can
to as musical styles evolve and fuse and be a really slow process to get one, but it’s
revive. They are new and old, and both sur- well worth the wait. They’re both inspired
prising and totally unsurprising. by classic mics, but very much their own
entity—the CS4 has basically the same
NEW(ER) TO MARKET MICS dimensions as a U 47, but it doesn’t sound
Daniel James Schlett, producer/engineer like a U 47 so much; it’s much airier, much
(DIIV, Luke Temple) and co-owner of clearer sounding and less aggressive. It’s
Strange Weather Recording, echoes Straus good on everything.
right off the bat: “There are tons of great “I’ll use the CS-4 for recording vocals,
microphones being built right now.” He’s and drums, whether as a room mic, or an
quick to mention the Lucas and Blackspade overhead, or the only mic for the whole
Acoustics lines among the new generation drumset; it’s been really outstanding—
4 M i c r op hon e G e a r G u i d e 2013
Studio MicS
super focused and three-dimensional

sounding. I’ve also used the CS-1 on vocals,
and I’ve been using it on bass amps. I had
that setup on a bass amp last week, and
when we moved to percussion overdubs,
I didn’t even move the mic. I just kept it in
front of the bass amp, recorded all the per-
cussion overdubs from across the room with
the CS-1 and it was great.”
Both the Lucas and the Blackspade
Acoustics mics were born at least in part The Bomb Shelter Studio owner Andrija Tokic with his Neumann
from the mind of highly respected mic SM 69 vintage stereo tube mic; below he demonstrates less than
designer Oliver Archut (TAB Funkenwerk). optimum miking technique with the SM 69.
The Lucas mics are co-developed by Archut
with engineer Terry Manning (Stax
Records, Compass Point), while
Archut’s AMI, Inc. mic manufac-
turing has a co-venture with the
Swiss-based Blackspade. “The new
Blackspade mics are fantastic,”
Schlett continues. “One of those
mics retails for like $1K and it’s amaz-
ing, which is especially great com-
pared to, like, $8K for a potentially
questionable vintage U 67.”
Producer/engineer and Dungeon
Beach co-owner Keller McDivitt (The
Ascent of Everest, The Midnight
Hollow) seconds Schlett. “I recently
got a chance to try the Blackspade
UM17 and was blown away on its
performance; such a solid mic.”
Brian Bender, producer/engi-
neer (Krystle Warren, José James)
and owner of The Motherbrain, also
names Blackspade and Lucas as
some of the most compelling new
mics on the market. “These guys
seem to be doing more what the
guys who made the mics that we all
want were doing. Rather than just
recreate, they’re trying to make mics
that look in both directions.” The Bock 251 (above, left). A trio of
Meanwhile, producer/engineer Joe Mojave MA100s (below).
Chiccarelli (My Morning Jacket, Jason
Mraz) has a couple favorite new mics as
well—the Bock Audio 251 for vocals and
the Neumann TLM 49 for overheads. And
more generally of his recent mic choices,
Chiccarelli notes: “I’m a big fan of all the
Royer ribbon mics, as well as ribbons made
by AEA. They’re great for electric guitars,
drums and percussion—I use them every
day.”
To that, he adds: “Companies like Bock
Audio and Wunder Audio are making great
6 M i c r op h on e G e a r G u i d e 2013
Studio MicS
clones of the classic mics; not

exactly the same, but perhaps
some of the old-school flavor
[with] lower noise specs and a
more open, modern top-end
response.”
Other acclaimed new large
diaphragm condensers include
the Lewitt 640 FET and 840
“Authentica” dual-diaphragm
mic, the Nevaton MC51 multi-
pattern condenser mic, and
Audio-Technica’s new hi-fi AT
5040 studio vocal microphone.
SMALL DIAPHRAGM
CONDENSERS
Commercial studio owners are
always on the hunt for both the
client-pleasers as well as the
everyday utility mics, like the Engineer Jon Altschuler lends an ear
small diaphragm condensers to a production (above). A closeup
that get used all over sessions. of the AEA R84 ribbon mic (right).
Ken Rich, a producer/engineer
(Allison Miller, Tracy Bonham)
who owns and operates Grand Street his Mojave M100s.
Recording in Brooklyn, will routinely run mic “The Mikteks were
shoot-outs for his team, as he did with the quite a bit drier, like
Mojave Audio MA-100s when he first got his comparing an SM57
hands on them. to an AKG 451 on a
“We put the Mojaves up against a vin- snare, but they won in
tage pair of Neumann KM84s and other the mono shootout.
similar mics on acoustic guitar, piano, as As a stereo pair, in
overheads and percussion, and in every X-Y coincidental, the
case, they were just really, really great,” he Mojaves won—it just
shares. “The MA-100 just has more body seemed like their polar
than some of the other mics in that cat- pattern was more
egory. open. The Mojaves are a go-to on acoustic pair as stereo room mics,” he says. “We put
“We continue to use them all the time,” instruments and piano.” them just a few feet out from the kit with
Rich adds. “They have omni and cardioid the nulls facing the drums. I love them!”
capsules, so I’ll use the omnis as room RIBBONS Chiccarelli cites AEA and Royer ribbons
mics—we’ll do a wide-spread room pair on The last decade has seen a resurgence in as everyday choices for electric guitars,
drums and hand percussion—and I’ll also ribbon mics, between the now-ubiquitous drums and percussion, while Phil Palazzolo
use them on our piano, and as overheads Royers (R-121, 122) and Wes Dooley’s (New Pornographers, Nicole Atkins) votes
on acoustic guitars in X-Y pattern.” AEA “Big Ribbon Mics,” as well as newer for the Oktava ML19 for best ribbon. “It’s
Similarly, at Mission, Straus put up a pair offerings from manufacturers like Cloud quirky sounding, but really cool,” he notes.
of the new small diaphragm Miktek C5 mics Microphones (which just launched an RCA- “The top end is soft, but I would never
against his KM-84s on a recent acoustic inspired 44A), Cascade (Fat Head), and call them dull. Great as a room mic if your
record. “I was blown away,” Straus reports others. With many producer/engineers, ask room isn’t really dialed-in, and super ‘classy’
of the Mikteks. “They weren’t as fast and them what their mic du jour is, and odds are sounding on horns and strings.”
the frequency response wasn’t as broad, it’ll be a ribbon. Meanwhile, the Shure KSM353 gets
but they were somehow more focused. I felt Producer/engineer Brian McTear (Local Keller McDivitt’s vote for top ribbon: “I’ve
like they were in some ways pre-EQ’d but in Natives, Marissa Nadler) of Miner Street never heard another microphone that
a very pleasing way, like what I would have Recordings in Philadelphia is one such case. sounds that amazing in front of a cranked
done anyway. It’s just a great utility mic.” “I’ve been blown away lately by the AEA guitar amp.”
He also shot the Miteks out against A440 on vocals, and the AEA A840s as a
8 M i c ro p hon e G e a r G u i d e 2013
SURPRISING RE-DISCOVERIES and-roll kick drum, or if the bass player is
turning up the low-end to a point where
The Electro-Voice RE-20 is a staple of any it’s shaking the room because that’s what
modern recording studio, but some produc- they’re used to hearing at practice, you put
er/engineers are rediscovering its precursor, the 441 on those things, and it makes the
the 50s-era 666 dynamic. “It’s quite unusual signal real bitey and lops off the extreme
in its color,” says Chiccarelli of the 666, “It’s lows in a pleasing way.”
almost telephonic in tone, and great for Back in Brooklyn, Jon Altschuler (They
some electric guitars, drums and even some Might Be Giants, David Byrne) recently got
lead vocals. back with the Sennheiser MD441 as well.
Ken Rich, too, talks about this mic as “On a whim, I put one up to record a fairly
an unexpected hit: “The Electro-Voice 666 woolly guitar amp in the hope that the
often surprises me, just how well it sits in a brighter mic would help it cut through,”
track, on a powerful voice. It’s worked really he explains. “I’d forgotten what the mic
well for us.” sounded like, but I was very pleasantly sur-
In his East Nashville studio, The Bomb prised when I pushed the fader up—it’s got
Shelter, Andrija Tokic (Alabama Shakes, a nice full midrange and top end, almost
Hurray for the Riff Raff) has been rediscover- approaching the detail of a condenser.
ing his Sennheiser MD441. “I’ve been using “Since then, I’ve been using it regularly
it an awful lot, mostly for low-end stuff,” he on guitar amps, often in combination with
says, “because it’s a really bitey, midrange a darker mic to fill out the body if it seems
mic, and it just seems to take care of overly appropriate. I’ve gotten great results put-
woofy problems. Like obnoxiously large kick ting it alongside a Coles 4038, 5 inches or
drums—if the drum is super boomy, but more, depending on amp volume, from the
The Audio-Technica AT4060
they want it to sound like a punchy rock- speaker. It’s quickly becoming my go-to
Studio MicS
electric guitar setup. The 441 also works

really well as a vocal mic, for certain sing-
ers.”
UNSUNG VOCAL MICS, ETC.

While a great-sounding Neumann U 67 or U
47 is often still top choice for vocals, engi-
neers will often feel their way to the right
path on each project.
Ben Lindell (Chromeo, MGMT) shoots
out vocal mics on every session to find the
right fit for his vocalists. Lately, one mic in
particular has been winning: the Lauten
Audio Horizon. “It’s surprised me,” he
says. “It’s one of their first mics and was
designed primarily to be great on drums
and guitars, but it sounds seriously awe-
Sennheiser’s MD 441 some on vocals, too. On some voices, it
has beat out some great mics, like the AKG
C12VR and Neumann U87, among others. It
does a great job of capturing all the detail
and dynamics of the voice without sounding
“It’s so affordable now [to stock your too hyped.”

Chiccarelli, on the other hand, has
had luck lately with the Manley Reference
mic cabinet]. It’s like someone saying Cardioid and the Manley Gold Standard
mics. “They are honest and open, and can
handle a lot of level without compressing or
you can have Picasso’s entire color overloading,” he describes.
While there’s no one-size-fits-all in vocal
mics, the modern mic cabinet will have its
palette for $2,795.” supply of “Swiss Army mics.” “One of the
most popular mics for vocals at Seaside
— Oliver Straus Lounge Recording is the Neumann KM 86,”
says Altschuler. “The Audio-Technica 4060
is usually the next choice, if you’re looking
for something that’s slightly warmer and
grittier.”
Brian Bender’s favorite all-rounder for
vocals is his Neumann CMV-563. “I have
an original Neumann M7 cardioid capsule
for it that’s in great shape, and that M7
vibe immediately connects to so many
great vocals sounds from so many records.
Granted, that M7 sound is usually a U 47,
but this gets me way closer than any mod-
ern reproduction for cheaper than most of
them, too. And it’s a real M7. I usually find
the top for modern 47 clones a little razor-y.
The CMV is way smoother; it sort of under-
plays those little transients in a pleasing way
without sacrificing the air on top.”
If Ken Rich isn’t using a U47 or 67, he’ll
often go to a Sony C37A, if not his Shure
SM7, aforementioned EV 666, or—for a
The ubiquitous Shure SM57 funkier take—his Turner Model 253 CB-style
10 M ic r op hon e G e a r G u i d e 2013
mic. thing as a “Swiss Army Mic” on vocals, he In fact, the Shure SM57 still comes up
Chiccarelli also calls out the vintage also believes: “If you can’t get it from an as a winning choice on many a project, in
Sony C37A tube mic. “It’s got lots of charac- SM7, a U 47 or a U 87, you probably can’t many an application. “This microphone is
ter—open top end but not too much harsh get it. We have a gorgeous U 67, but these the sound of pop music since the 70’s,”
midrange,” he describes. “I used it on lead days, it’ll usually be a U 47 or SM7. And I’ve says Bender of the SM57. “I mean, every-
vocals for the band Young The Giant, as well even punched in on vocals cut with a U 47, one ever, from Wu-Tang to Queen. [It is]
as for singer/songwriter Bernard Fanning.” with an SM7.” my favorite snare drum mic ever and also
Palazzolo has recently discovered the And Tokic—who has a string of clas- among the best guitar amp mics of all-time.
Blue Bottle microphone for vocals. “Having sic vocal mics on hand as well—has been Nothing is as right as it is, as often.”
been loaned a Blue Bottle with a few ‘caps’, finding himself using a 441 on vocals, and Schlett, too, sings its praises. “You can’t
I was really impressed,” he says. “Using a recently did a couple of records where he go wrong with an SM57,” adds Schlett. “I
Neve 1073 and LA-2 with the same singer, I used SM57s for vocals, exclusively. “And have eight of them, and I use them all the
shot them out against an ELAM, a U47 and I was absolutely thrilled when all was said time; I should get a few more. You can
a C12—all impeccably maintained—and it and done,” he swears. record everything with a 57 and get some-
very much held its own against these clas- “That’s [SM57 on vocals] a thing people thing cool out of it. Most of the stuff I work
sics. talk about doing that I never quite believed, on is so manipulated anyway, but a 57 is a
“It’s gigantic, almost comically so, but at but then I found myself doing a couple really solid starting point.”
around $7,000, you couldn’t get a vintage records that were just live, wide-open, loud And Bender comes back to it again and
mic that worked as well. Maybe it’s not an records and I needed something like a 57 again: “While there are, of course, several
investment prospect like some classics, but that wouldn’t pick up too much cymbals new posh LDCs that are lovely—I am on the
it doesn’t need a re-cap, or the diaphragm and other things in the room,” he explains. waiting list for a Lucas still, those Blackspade
re-sputtered. It doesn’t have dirty contacts, “I found if you crunch them up a little bit, mics look amazing, Gefell is keeping the
and there’s something to be said about you can get them to bite real good, cut porch light on—there is not another new
that.” through a mix and sound like a way more microphone on the planet that could pur-
While Straus maintains there’s no such expensive microphone.” port to being as important as the SM57.”
Live Mics
Wired For Stage

By Steve Harvey
Although wireless microphones tend to be

at the center of attention, since they are fre-
quently in the hands of the lead singer and
thus a focal point of a typical live perfor-
mance, in truth many, many live sound engi-
neers still rely on wired microphones, espe-
cially across the backline instruments. We
asked three experienced FOH engineers
to share what brands and models of wired
microphones they usually reach for when
working with a typical rock band line-up.
“We all know the rule,” says Ron
Kimball, who has mixed Bad Religion live
for many years. “If it sounds good at the
source, any mic will work. I’m lucky enough
to work with a band that understands this.”
Although it’s not unusual for artists
to have an endorsement deal with a mic
manufacturer, Bad Religion does not, and FOH/studio engineer Noel edwards tends to turn to a Lewitt MtP 840 DM, Shure
Kimball, who uses a total of 17 channels KSM 9 or Shure Beta 58 for live vocals mics.
with the band—which currently has a six-
piece line-up—is just fine with that. “I’d sound out of bad mics,” he says. other than for vocals. Consequently, Kimball
rather buy what I want and not get stuck “I have no problems with using the bul- relied on the SM57, a model that pretty
with a painful exclusive,” he explains letproof standard Shure SM58—not a Beta; much every venue owns.
For lead vocal, Kimball likes to use an it works and sounds fine 90 percent of the “At the point where we started purchas-
Audix OM7. “As Dr. Graffin [lead singer time,” he says. “If I have an option, I prefer ing our mics, we tried many different ones,
Greg Graffin has a Ph.D. in zoology from to use the Audio-Technica AE5400 cardioid and the players kept coming back to the
Cornell University] has a normally low out- condenser. It’s crisp and warm, high SPL SM57s. I use one for rhythm and one for
put when singing, I find myself with my and I find it has good gain before feedback. solos and accents. The guitars are panned
preamp wide open, or close to it, and since It’s just a mic that works well for rock, jazz left and right with the solo/accent mics right
I have 102-103 dB onstage, the Audix OM7 and acoustic singers.” up the middle. I can feature a part and get
allows me plenty of gain before feedback “I’ll use a Lewitt MTP 840 DM, Shure rid of it without losing the body or making
everywhere. It also has this inherent ‘bite’ KSM 9 or Shure Beta 58,” says Noel any uneven movements.”
to it that puts him out in front without any Edwards, who has experience at front-of- Kimball positions the rhythm mic just off
EQing.” house and monitors, and is equally at home the dust cap and the solo/accent mic just
Background vocals from the bass player in the studio or a live venue. Edwards will on the dust cap, he reports. “I’d like to note
and guitarist are fed to the mix via an Audix listen to a singer’s natural voice in order to that the guitar players have been trained to
OM6 and a Shure SM58 respectively. “The decide which mic will suit it best. “Given the move the mic around to fit the ‘sweet spot’
OM6 and the SM58 are very similar; I like opportunity, I will A/B mics with the singer. on the speaker for their ears. I’m going to
those two because the bass and guitar play- I find that with all three of these mics, you make it sound the way I want it to sound,
ers actually belt it out, and those mics both can get them to cut over a loud band and but if they are happy, who am I to argue?”
allow me to shut down what’s coming in still sound warm and full.” “Hopefully the player has at least two
behind them.” Moving to the backline amps, Kimball speakers,” says Redstone. “I like the ol’ reli-
Alan Redstone, owner of Wavelengths says, “For guitars, I use two mics, but not to able 57. I like to use two 57s and place them
Pro Audio, LLC, a production sound rental, produce ‘a unique sound.’ I’m not making between the dust cap and surround. By mik-
sales and installation company located in records here—except the two live records I ing two speakers, I EQ one channel fat and
Leominster, MA, has a similar philosophy did with the band!” the other thin; the sum is a full rig sound that
to Kimball when it comes to mic choices. When Bad Religion first got in-ear moni- cuts through the noise of effects pedals.”
“With all the digital boards and onboard tors, it needed consistency from gig to gig, As with vocals, Edwards will first listen to
processing, I find it hard not to get a good as it was not carrying any of its own mics, the guitar and select the most appropriate
Live Mics
make and model accordingly. “Of course, a Shure Beta 52 and a Sennheiser 901. bottom for me, but no out-of-phase: SM57
everyone is going to use a Shure SM57; you Again, this is ‘salt and pepper;’ some of the on top and an Audio-Technica ATM450
can’t go wrong with that, but if I want to players like the 52 and some like the 901 side-fire on the bottom—super sweet
spice things up a bit, I will go for a Shure in the monitors. I mix them together most sound.”
KSM 27 or a Sennheiser 409—not to be of the time, but some days, just one or the Any good mic will do on toms, he says.
confused with the newer 609 model.” other sounds great by itself and, just like “I use A-T’s Pro 35. It’s small, so it doesn’t
He adds, “I will generally just use one the bass, it gives me a backup plan.” get whacked, and has good SPL and isola-
mic, unless the guitar player requests that Although it’s not unknown for an engi- tion. It’s really all in the tuning of the drum.
I use two mics to capture a particular tone. neer to individually mic cymbals from below, I have always said if you can’t tune ’em,
I’ll usually place them a little off-center in use of one or two overhead mics tends don’t play ’em!”
the middle of the speaker.” to be more typical. For Kimball, Graffin’s For cymbal overheads, he says, “Just
With all three engineers, bass guitar is wideopen vocal mic—a wireless Telefunken give me a pair of Earthworks SR25s and I’m
usually a combination of direct output and a M80 or an Audix OM7—has always picked happy.” Hi-hat? “Top or bottom, depend-
mic. “With Bad Religion, I use the output of up plenty of cymbal. “It’s the only ‘over- ing on the style of music being played,”
the Ampeg SVT and an SM57. This is a ‘salt head’ I use,” he says. “Since I’m not doing he says. “I like an AKG condenser, like the
and pepper to taste’ for me with respect to R&B or jazz, I just find it unnecessary.” C430. If you play an open hi-hat, I usually
the P.A. du jour,” says Kimball. Plus, he adds, “I have Brooks mic that from the loading dock.”
He reports that some of the players Wackerman on drums. He uses 18-inch “My favorite alternative to the SM57 is a
prefer the direct sound in their monitors, crashes for hi-hats, which are very smooth Beta 98,” comments Edwards. “You can use
while others favor the mic. Plus, he notes, through the M80, and everything else it on all the same instruments on which you
“It also gives me a backup should one of is picked up through other mics on the use an SM57 and it sounds great. They are
a bit more delicate than the SM57, but it is
a versatile microphone.”
“If it sounds good at the source, any Edwards’ go-to for kick is the Lewitt DTP
640 REX. “This mic has a dynamic capsule
and a condenser capsule, and comes with
mic will work. I’m lucky enough to work two outputs. The mic sounds amazing and
no matter what the genre of music is, you
can get your kick to sound nice and phat.”
with a band that understands this.” His overheads serve two purposes, he
says. “I want my overheads to pick up the
— Ron Kimball, FOH engineer, Bad Religion sibilance of the cymbals, but also capture
the overall sound of the kit. The right over-
heads will make the entire drum kit sound
the lines fail.” stage.” very big and wide. My preference in over-
Edwards typically favors the direct Kimball’s choice of tom mic is another heads is the Lewitt LCT540. You can hear
output from the amp head, he says. “I find reliable old standard. “I’m lucky to have everything with these mics, but you can still
that I generally get the widest range of one of the best drummers around, and I use them on a loud stage without picking
sound when using this method. Sometimes, have a fantastic drum tech, so I really don’t up the entire stage.”
depending on the genre of music, I will use need any special mics on the toms. I use For the rest of the kit, he says, “I gener-
a Beta 98 on bass—very little mic, but it Sennheiser 604s. They’re rugged, they clip ally don’t get too fancy with my choice of
sounds great on the right bass rig. The Red on easy, they’re light—every ounce counts mics when it comes to toms and hi-hat. I
Hot Chili Peppers’ engineer uses a Beta 98 on fly dates—and they’re cheap. And one use Beta 98s on the toms and a Shure KSM
on Flea’s bass and it sounds amazing. Then more thing: They sound great!” 137 on the hi-hat. In some instances, I may
again, it is Flea playing the bass. He’ll make Redstone also favors two mics on the use the Sennheiser 604, depending on how
any mic sound good!” kick: “I really like using a Shure 91A inside the drummer decides to tune his toms.”
For Redstone, “It’s real simple: an active and a Heil Pro 48 on the front. With the When the band features more play-
DI box—any pro one, really—and an EV Shure, being a half cardioid, I can get a ers than just guitar, bass and drums, says
RE20 on the speaker.” good shot at the beater for the snap and Redstone, “If there’s a Leslie [cabinet], then
Kimball’s choice of snare drum mic with the Pro 48 for the punch of the drum. If I I’ll use an Audix D2 on the top and a D4 on
Bad Religion is pretty traditional: an SM57. can’t get inside the shell for the 91, the Pro the bottom.” For horns, he adds, “EV RE20
But with other artists—he typically works 48 will still give me that snap and punch and Sennheiser MD 421 only.”
with production sound company Rat Sound with the built-in low pass at +10 dB, 60 Hz Of course, these are all just opinions,
between Bad Religion tours—he’ll use to 100 Hz, from the front, with or without a says Redstone. “But remember, sound guys
whatever is available. front head.” are like artists: Everything I do is the only
On kick drum, he says, “I use two mics— As for snare, he continues, “Top and way to do it!”
14 M i c rop hon e G e a r G u i d e 2013

Spectrum update
Space Wanted: WireleSS

Spectrum update
By Steve Harvey
Telcordia. Those databases are to be
Back in June 2009, in order to free up the used by portable and fixed unlicensed
airwaves for digital television, the Federal TVBDs to identify available wireless chan-
Communications Commission decreed nels at their specific geographic location.
that wireless microphones and similar (Information on reserved channels can be
devices, such as wireless intercoms, found using Spectrum Bridge’s “Show
would no longer be permitted to operate My White Space” online tool.)
in the so-called 700 MHz Band, effec- Just three years later, however, yet
tive June 2010. The ruling significantly more channels and the protections
reduced the amount of UHF spectrum afforded by the 700 MHz plan are about
available for use by the systems, which to be stripped away. The problem is that
at some locations and for some events mobile device in your pocket. Streaming
were already struggling to share limited video and audio, apps and e-mail con-
bandwidth. sume a lot of bandwidth. According to
Wireless audio and similar systems Cisco’s annual study, global mobile data
had to vacate the 700 MHz Band—actu- traffic almost doubles every year, and
ally 108 MHz of bandwidth extending there’s no end in sight to that trend,
from 698 through 806 MHz, or TV chan- certainly through 2016. As noted by the
nels 52 through 69— to make room for FCC, an iPhone requires 24 times, and an
the switchover from analog television to iPad 122 times, the spectrum of a tradi-
DTV, as mandated by Congress years tional standard cell phone. According to
earlier. Those rules applied to everyone: AT&T, wireless data traffic on its network
not just to professional audio users such is up 20,000 percent since the launch of
as production sound companies, perfor- the iPhone six years ago.
mance venues and broadcast operators, In an effort to provide telecommuni-
but also churches, schools and amateur Spectrum Wireless has introduced both iPhone cations companies with the bandwidth
musicians. and android “Show My My White Space” apps they need in order to keep up with
While there are some wireless audio to help wireless mic users determine available consumer demand and stave off the oth-
systems operating at higher frequen- frequencies in their vicinity. erwise inevitable dropped calls and slow-
cies, such as the 2.4 GHz band, most down of data transfer, the FCC started
manufacturers chose to focus on develop- sumer TV Bands Devices (TVBDs)—which looking for spectrum to free up for mobile
ing new products or retuning old products are expected to begin appearing on the wireless devices. It came up with a plan to
for use in what the FCC refers to as the market later in 2013—to operate together auction off spectrum to the telecoms that is
“core TV bands,” channels 2 (54 MHz in the on the available spectrum. TVBDs are currently used by TV broadcasters and vari-
VHF band) through 51, excluding channel intended to operate in the unused channel ous government agencies.
37 (608-614 MHz), which has traditionally spectrum between local TV channels, the As it stands, the plan intends to per-
been reserved for use by medical telemetry so-called “white spaces.” suade certain broadcasters to either relin-
and radio astronomy equipment. Virtually In its plan, the FCC reserved a minimum quish spectrum that is not currently being
every wireless audio equipment user in the of two TV channels, which are 6 MHz each, used or alternatively move to another spot
country had to take advantage of the offers per geographic market exclusively for RF on the dial. That, the FCC hopes, will free
from manufacturers to retune their systems, systems use that are strictly off-limits to up spectrum in the 600 MHz UHF range that
where it was technically feasible, or else had TVBDs. These are located either side of can be auctioned off.
to purchase new gear that operated in the channel 37. Unfortunately, the VHF and UHF bands
new permissible frequency range. Further, wireless system operators must are exactly where wireless microphone and
The FCC made provisions in its 700 MHz register with the various FCC-approved TV intercom systems (and other wireless equip-
Band auction plan that were intended to Bands Devices Database administrators ment) work best. They can be designed and
allow wireless system operators and con- nationwide, such as Spectrum Bridge and built to operate at other frequencies, such
18 M i c ro p hon e G e a r G u i d e 2013
Spectrum update
as 900 MHz, 2.4 GHz and 5 GHz, but the that would strip away some of the provi- spectrum availability disparity between
practicalities of these systems dictate that sions currently protecting wireless mic consumer products and professional audio
they perform optimally in the prime real operators in the FCC’s 700 MHz plan. For equipment.”
estate between 60 MHz and 800 MHz. example, in its comments, WISPA advocates The NFL, which not only requires access
So it appears that pro audio users are the elimination of the two channels that to significant chunks of wireless spectrum
about to lose another chunk of spectrum, are exclusively reserved for wireless mic every weekend for the hundreds of channels
just a few years after they lost 100 MHz of and intercoms. Google and other potential used by its coach, player and official mic
bandwidth. For many, that will inevitably white space users reportedly also support and intercom systems, as well as the atten-
involve yet more expense, retuning or re- this notion. dant broadcasters, but also operates one of
equipping, once again, with systems oper- The idea is that wireless audio equip- the most RF-intensive events in the country,
ating outside the spectrum being auctioned ment operators should instead reserve the the Super Bowl, agrees. “Despite NFL’s
off. spectrum that they require. Those users best efforts to manage its wireless micro-
The 600 MHz Band plan, like the 700 should also not be allocated the full 12 MHz phones on its increasingly scarce spectrum,
MHz Band plan before it, has implications bandwidth (two TV channels), as is currently NFL has received numerous recent reports
for more than just wireless mic users. The the provision, says WISPA. Wireless mic of wireless microphone interference during
FCC earlier this year extended the period operators should instead share that specific games, rendering coaches unable to com-
for comments on its incentive auction plan, spectrum with other devices through coor- municate plays to their quarterbacks and
and in the process, received a reported 80 dination with the database systems, espe- referees unable to consult one another on
responses from broadcast organizations, cially at those times when a full comple- calls,” it wrote in a letter to the FCC.
Of course, there are best practices that
enable wireless audio equipment users to
“The fact is wireless microphones do optimize their use of the available spec-
trum. As Shure notes in its filing, there are
five variables that may be adjusted in exist-
not have access to sufficient UHF ing equipment or future designs in order
to maximize spectrum efficiency: audio
spectrum today to meet the needs of compression, forward error correction,
modulation efficiency, intermodulation dis-
many professionally produced large tortion (IMD) and receiver sensitivity. Each
can be adjusted against the others, but with
varying degrees of success; for example,
events….” modulation efficiency may be increased, but
at the expense of lower operating range,
— Shure FCC Comment Filing less immunity from interference and higher
design costs and complexity in future gear.
Wireless audio manufacturers have
wireless carriers, and manufacturers and ment of RF mics is not in use. responded to the pressure placed on the
users of unlicensed wireless equipment The idea is also that the spectrum available spectrum over the last several
including mics, medical equipment and should be used more efficiently, by allow- years with various innovations. Current wire-
TVBDs. ing unlicensed devices such as TVBDs to less systems will typically support between
Virtually no two entities appear to opportunistically share those frequencies 15 and 20 microphones in a single TV chan-
exactly agree on every point of the plan or without interfering with the wireless audio nel, or 6 MHz; Shure has developed a High
precisely how it should be implemented. gear. WISPA also wants the FCC to allow Density mode for its ULX-D digital system
But the forces ranged on the side of the opportunistic use by unlicensed devices of that can cram 47 mics into that same spec-
FCC’s plan, whatever form it might even- channel 37. trum. At full power in standard operating
tually take, are intimidating, and include But as Shure noted in its comment fil- mode, ULX-D will support 17 mics, which,
Congress, which sees an opportunity to add ing, “The fact is wireless microphones do as Shure notes, is comparable to the best
billions of dollars to the coffers to offset not have access to sufficient UHF spectrum analog systems available.
some of the nation’s deficit. The FCC, for today to meet the needs of many profes- James Stoffo, one of the industry’s
its part, has earmarked the first $7 billion sionally produced large events, and the preeminent wireless coordinators, has
raised by the auction to build a nationwide Commission’s proposal in the Incentive ventured into manufacturing in an effort to
public safety communications network. Auction NPRM [notice of proposed rule- relieve some of the pressure on the spec-
There are various rumblings, including making] to auction further TV Band spectrum. Radio Active Designs, a collaboration
those from WISPA, the Wireless Internet trum and allocate the guard bands for between Stoffo and two other RF experts
Service Providers Association, that indicate the exclusive use of unlicensed devices, working on Broadway and in broadcasting,
there is fairly wide support for proposals if adopted, will further exacerbate the launched its first product, the UV-1G wire-
20 M ic r op h on e G e a r G u i d e 2013
less intercom system, at the NAB Show in for live performances. Given these chal-
April. The idea, according to Stoffo, is to lenges, some of the currently available
free up more of the available bandwidth digital wireless microphones are less
for spectrum-hungry microphones by spectrally efficient than the leading ana-
moving intercom channels, which must log models for the same audio quality
currently share the same frequencies, and working range. In addition, efficiency
into another range completely. improvements that can be achieved
The Wireless Internet Service Providers
Current intercom systems operate in through the use of digital technology
Association (WISPA) has been advocating for
the UHF bands using frequency modula- cannot be achieved in the absence of
the elimination of the two channels that are
tion (FM); the UV-1G system uses RAD’s clean, interference-free UHF spectrum.”
exclusively reserved for wireless microphones
proprietary Enhanced Narrow Band The transition to digital products
and intercoms.
technology, a form of AM with DSP, in should be allowed to continue at its
the VHF bands. That technology enables own pace, says the Shure filing, and in
the RAD system to fit an intercom channel nologies is one potential long-term solution the meantime, analog and digital systems
into 25 kHz. A typical UHF system requires to the problem. But as Shure points out in should be allowed to coexist in the spec-
300 kHz. As a result, the system will support its recent filing, “While digital technology trum. But as the company’s comments also
30 base stations of intercom with 180 packs has improved, there are important tradeoffs point out, such a demand would once again
in the same space of UHF spectrum that vis-á-vis analog transmission. The interplay place an onerous burden on wireless audio
one current 4-drop FM technology system of various design elements (audio coding, system operators: “[U]sers have made a
currently occupies, according to Stoffo. error coding, compression, modulation, huge investment in analog equipment dur-
Needless to say, the product launch at NAB intermodulation distortion (“IMD”) and ing the 700 MHz transition that is capable
attracted representatives from all the major receiver selectivity) makes it difficult to of providing satisfactory service for many
sports organizations in the country. simultaneously achieve high spectrum effi- years. Therefore, it would be detrimental for
The FCC suggests that a transition by ciency and robustness against interference, the FCC to impose a mandatory transition
the pro audio manufacturers to digital tech- while providing the low latency necessary to digital wireless microphones.”
Wireless Mic Users
GettinG An AnGle on
AlternAtive Wireless
systems
By Clive young
They say land is always a good investment
“because they aren’t making any more of
it.” The same could be said of the radio
spectrum, and as the FCC has sold off
large swaths of it in recent times, wireless
microphone users have become all too
aware that they aren’t making any more
frequencies either. Pro audio manufacturers
have answered the challenge with various
responses, literally trying to achieve more
with less—more robust sound with less
bandwidth—as they attempt to make the
most of the TV band channels they have left.
With the arrival of TVBD devices immi-
nent, added wireless congestion expected
and more spectrum sales seemingly inevita-
ble, end users and the pros who spec their
mics are in a bind: Either they buy a new
system and hope that it still has enough
room to work within in a few years, or they
Kenny “Babyface” edmonds (left) and FoH engineer Rick Camp put a Sony DMX wire-
somehow attempt to go back to wired mics
less mic system through its paces last summer on an arena tour.
even though modern production demands
often make that impossible.
Finding neither option to be an option less system. people and up every night,” he explained.
at all, wireless mic operators are increas- “About 25 years ago, I was doing Earth “Frankie Beverly was the headliner and we
ingly exploring alternative wireless micro- Wind and Fire, and they had Sony wire- were opening for him. We brought our own
phones technologies, ranging from digital less mics,” he recalled. “Back then, Sony console and the Sony wireless mics, and the
wireless mics to microphone systems that didn’t have the best-sounding capsules, sound company was amazed by them. You
work outside the typically used TV channel but they had the best-sounding receiv- don’t see Sony wireless on a lot of riders
frequencies. Of course, deciding to take ers—nobody could beat them. Then Sony and TV shows, but that’s going to change.
the road less traveled sends up all kinds of kind of dropped off and I didn’t see them They work great–the range is superb and
red flags to the uninitiated—what about anymore.” Fast-forward a few decades Babyface really put them to the test. At the
latency? What’s the range like? Can you use and Camp heard about the DWX wireless end of his show, he and his brother would
them outside the U.S.? Are they reliable or system last year. With a summer 2012 tour run out into the audience all the way to
are they going to cut out just before the mixing Babyface ahead of him, Camp got front of house, and take a lap around the
singer hits the high note? In short, are these his hands on the modern-day Sony system, whole arena. Not a problem—no dropouts,
things ready for prime time? which transmits and receives 24-bit/48-kHz no nothing; they were rock solid.”
As far as Rick Camp is concerned, the digital audio, while offering a reported Of course, range doesn’t mean much if
answer is yes. A first-call FOH engineer, dynamic range of more than 106 dB and a a wireless mic sounds terrible to begin with,
Camp has mixed the likes of Madonna, frequency response of 20 Hz to 22 kHz. but Camp found that wasn’t an issue. “The
Beyoncé, Jennifer Lopez, Anita Baker and “On Babyface, we were out on tour for sound is better because they’re not using
many others, and these days, his wireless about a month and a half, so we were hit- the companders like on a regular analog
mic of choice is Sony’s DWX digital wire- ting all the sheds and amphitheaters, 10,000 wireless systems,” said Camp, “and latency?
Wireless Mic Users
If there’s any, I haven’t heard it yet.” while Channel 38 was designated to replace wireless antenna manufacturer RF Venue.
Nonetheless, the person who has to be Channel 69, it’s not as wide or as stable, “Operating range, mitigating third-party
most satisfied by a microphone is the end- therefore less frequencies are available. “It interference, and maintaining a reliable
user, and Babyface, a multi-Grammy winning is also unclear whether our communications RF link are all heavily influenced by your
producer in his own right, was no slouch regulator in 5-10 years may choose to sell of antenna system and also your transmitter
in that regard. “The Sonys have change- Channel 38 as well,” he added. power levels.”
able capsules,” said Camp. “Their new Faced with these issues, Limor made the Sometimes solutions come down to
capsules sound pretty nice to me, ’cause jump to wireless microphones operating in simply experimenting with multiple channel-
we tried the DWX in rehearsal with the Sony an entirely different part of the spectrum: use settings. Line 6, for instance, offers RF1,
capsules and it sounded pretty good, but “Buying into the 2.4 GHz range, which has a redundant 4-channel mode, but defaults
we switched it to the Shure KSM9 capsule a strong case for future use, seemed a logi- to RF2, which uses two channels. Using the
because that’s what he’s used to singing on, cal move. Another consideration was that latter mode would make it less likely to
and it’s my favorite capsule as well.” there’s a license fee for Channel 38, versus overlap with Wi-Fi channels in use, while
Perhaps the ultimate stamp of approval, no license fee for 2.4 GHz.” bringing latency under 2.9 mS and allowing
however, is the fact that Camp now hopes The result was that Limor’s conferences more simultaneous systems.
to switch some of his other clients to the now make use of Line 6 XD-V55 handheld “There’s been some learning curves for
Sony DWX: “Now I’m going to try and get mics with standard capsules. “As I under- us, like using any other wireless technolo-
it on some of the one-offs that Jennifer stand it, Line 6 mics convert the signal to gies, but you have that kind of problem
[Lopez] has coming up this summer, like digital at the source—thus a very short with UHF or VHF signals, too,” said Landon
Party In The Park in London.” analogue signal path—and send a wireless Balding of Monumental Entertainment,
recalling the first time he set up a different
Line 6 system: XCV-75 handhelds.
“I think the better 2.4 GHz mic As the manager of Mosaic, an a capella
group with a modern pop/hop-hop vocal
platforms have come a very long way style that primarily plays corporate events,
he said the act came to use alternative wire-
from where they were just 5-6 years less systems purely by chance: “We had an
event in my hometown of Grand Junction,
CO and went down to the local music store;
ago; you might be surprised if you they had this product on the shelf and
spoke very highly of it. We weren’t search-
haven’t checked any out in a while.” ing for a digital solution; we kind of walked
into it and gave it a shot.”
For the vocal act, the two main selling
— Chris Regan, RF Venue points were that the system could travel
(“Mosaic performs a lot overseas, so we
Much like the U.S., the U.K. has had its digital stream. Since the transmitter and can travel with the mic worldwide and it’s
own spectrum upheaval in recent years. In receiver are communicating in binary, inter- license-free”) and digital modeling tech-
the past, wireless mic users had exclusive ference is ignored and not processed with nologies. The microphone’s capsule can be
use of a dedicated channel—channel 69— the incoming signal, hence, no noise. I have interchanged with any Shure, Earthworks,
but 2012 saw that change to a requirement no complaints—clear signal every time. My Heil or Telefunken capsule, but it also
to shared use of channel 38 (with temporary only gripe until now was the lack of 19” rack offers digital modeling of various Shure and
shared use of channels 39, 40 and 69 in a hardware for this particular product line.” Sennheiser mics, so Mosaic elected to emu-
pinch). It was that change that led Gilead That hardware debuted at InfoComm in late the Shure Beta58.
Limor, a corporate audio-visual specialist June, 2013. Brent Handy, a systems installer, design-
for London-based Music, Arts & Media, to 2.4 GHz is where Wi-Fi networks reside, er and project manager for Advanced
leave the TV bands behind altogether. so some thought has to be put into antenna Sound & Communications in Kansas City,
“I work mainly in conferences and cor- placement and frequency scanning. Wi-Fi MO, takes a pragmatic approach to alterna-
porate events with up to 200 delegates,” he networks with high channel counts can tive wireless systems, noting that his com-
said. A typical event has up to six radio mics sometimes overlap with 2.4 GHz wireless pany “is a dealer for just about every major
for spoken-word use, along with “a room mic systems, resulting in network slow- wireless manufacturer’s line. We cherry pick
full of mobile phones switched on—mostly downs. specific models from each line to minimize
set to silent—which used to come across “Just like with all the UHF band mics, overlap, maximize purchasing power, and
as interference in my Channel 69 mics.” RF distribution and smarter antenna most importantly, provide our customers
Disruptive calls from home weren’t the deployment make an enormous differ- with the best solutions.”
only reason he made the switch, however; ence,” advised Chris Regan, CEO of While Handy’s company sells analog
systems, in his opinion, most of them still spectrum. That feature came in handy for In another instance, he installed eight
have compander artifacts, less gain before Handy, who recalled, “We recently com- systems in a Bonner Springs, KS Methodist
feedback, and simply don’t sound as good pleted an installation of 32 Shure ULX-D church surrounded by a well-populated
compared to their 24-bit digital counter- systems in an Overland Park, KS Jewish neighborhood. “We have had no issues,
parts. Between those concerns and the Community Center theater, where we and the church is very happy with the sound
additional challenge of having 14 broad- installed an Allen & Heath iLive console last quality,” he reported. “The pastor’s body
casters in his market, Handy has moved year. Shure’s inclusion of the Dante proto- pack used the same Countryman E6 series
to spec’ing digital wireless “almost exclu- col meant I could connect to the iLive rack mic she had been using with another ana-
sively, selling mostly the Shure ULX-D and with one cable, which allowed us to patch log system, and she was blown away by the
Line 6 XD-V75. These systems fit the needs all stage inputs to the rack. Shure’s software precise detail.”
of the bulk of my customers. There will be is great, and the set-up is fast. The units For now, most installations and produc-
some instances where the new Shure BLX become a system, not just a bunch of con- tions seem to be sticking with tried and
[analog system] might fit the budget and nected parts; in about five minutes, I had 32 true analog-based systems, but alternative
be made to work in a specific environment, receivers programmed.” wireless mics are undeniably becoming
but for the most part, I like the sound of While some might have concerns about more popular. “Overall, I think the better
digital and the fact that digital does not 2.4 GHz systems competing with Wi-Fi 2.4 GHz mic platforms have come a very
glitch as blatantly when experiencing inter- networks, Handy recalled installing three long way from where they were just 5-6
ference as similarly priced analog. That is XD-V75s in a downtown Kansas City event years ago; you might be surprised if you
my experience.” center that had more than 30 simultane- haven’t checked any out in a while,” said
Top analog systems support upwards ously active wireless routers. “Never once RF Venue’s Regan. The same could be said
of 20 microphones per TV channel, or 6 have they had a drop out issue,” he said. for digital wireless systems as well. As the
MHz. In its standard mode, Shure’s ULX-D “The units were installed as specified by spectrum becomes more congested and
supports 17 mics, which is comparable, but Line 6, and we spent an hour on site during digital mic technologies advance, it may not
when set at High Density, it can fit 47 wire- the peak of the business day trying to make be long before alternative wireless aren’t
less microphones into that same amount of them fail.” considered alternatives any more.
product showcase
AKG Project Studio
C4500 BC AudioVault MicVault Live App
AudioVault has released MicVault Live, an iPhone app which pro-
AKG has updated its Project Studio Line of vides miking advice from seasoned pros, helping users choose the
microphones, originally launched in 1993. best possible microphone to use on a particular sound source.
First out the gate is the C4500 BC, specially Aimed at all skill levels, MicVault Live provides microphone
designed for on-air broadcast purposes. recommendations for everything from drums and percussion, to
The mic is designed with cardioid pickup strings, guitars and vocals. And, if the recommended mic is beyond
and offers an edge-terminated, large dia- the user’s price range, the engineers offer a low-budget alternative
phragm condenser when appropriate. Information is provided in a simple interface, and
capsule. It has a the app includes photos of all of the recommended microphones,
reported 8 dB-A self- as well as links to the microphone manufacturers’ websites.
noise and 145/165 MicVault Live draws upon the combined knowledge of Pro
dB SPL capacity. The Audio Review contributor Jason Spence, Chris “Sully” Sullivan
mic’s acoustical design and Chris Taylor, whose combined credits include work with
and front-end address artists such as Michael Jackson, Lynyrd Skynyrd, Janet Jackson, Keith Urban, Barbara
allow it to be used for Streisand, Joe Cocker, Steven Curtis Chapman, Megadeth, Jewel, Conway Twitty,
on-air broadcast work and Amy Grant. Their TV mix credits include the Grammy Awards, Super Bowl, CMA
and use in front of Awards, CMT Awards, MTV Awards Europe and the Garth Brooks Central Park concert.
instruments, due to its AudioVault | audiovault.co
3-stage filter and low
up-close bass boost, new AT8480 shock mount. The AT8480 was tube amplifier circuit delivers low noise,
allowing for close posi- engineered not only to isolate the micro- superb transient response and utilizes a
tioning to sources. phone, but to rid the apparatus itself of single hand-selected ECC88 vacuum tube.
AKG | akg.com any unwanted resonances and other audio Also designed with a compact form fac-
aberrations that could be transmitted to the tor, the Stage One is the accessible Class
microphone. It also features a unique lock- A discrete solid state microphone with a
Audio-Technica AT5040 ing mechanism that holds the microphone foundation for interchangeable capsules.
Audio-Technica’s AT5040 Cardioid securely in place. Compared to similar microphones, the
Condensor Microphone boasts high fidelity Audio-Technica | www.audio-technica.com Stage One has a very loose self-noise speci-
performance as a studio vocal microphone, fication (<7.5 dB) and a very high output
featuring four ultra-thin (2 micron) rectan- level (+12dBV), making it the perfect choice
gular diaphragms that function together to Blue Microphones for today’s high sample rate/deep word
provide combined surface area unachiev- Interchangeable Capsule length digital platforms.
able in a standard round diaphragm. The Blue Microphones | www.bluemic.com
Series
AT5040’s large-diaphragm characteristics
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With the AT5040, four matched dia- changeable microphones: the Bottle, Bottle
phragms function together (with outputs Rocket Stage One and Stage Two. Each
proprietarily summed) as a capsule in the series is numbered from
single high-performance ele- B0 to B8, and each has their own unique
ment. By using four diaphragms sound. From airy highs to larger-than-life
as a single capsule, the AT5040 lows, the Bottle Caps capture anything from
achieves remarkably large sur- vocals to bass, wind instruments to horns.
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weight and decreased transient great transient response integrated with
response that are the expected its interchangeable capsules. The Class A
limitations of expansive size. discrete amplifier circuit of the Bottle is
Another key AT5040 design designed utilizing a single hand-selected
feature is advanced internal EF86 pentode vacuum tube in triode mode.
shock mounting that effectively The Bottle Rocket Stage Two offers
decouples the capsule from the Blue’s vacuum tube microphone with an
microphone body. For addition- interchangeable bayonet-mount capsule
al isolation, each AT5040 is also system. The Stage Two vacuum tube micro-
provided with Audio-Technica’s phone’s transformerless, Class A discrete
from reduced proximity effect. With the fil- DPA Microphones
ter switched off to its “music” position, the d:facto II Handheld
microphone captures the most challenging
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Vocal Mic
high sensitivity. DPA’s special talent for producing mics with
Cloud Microphones | www.cloudmicro- visual elegance and technical excellence
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Cascade Fat Head II brings the true studio sound to the live
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The Cascade Fat Head II Active/Passive many professional wireless systems such
ribbon microphone offers a unique feature as Sony, Lectrosonics, Shure, Wisycom and
that allows the user to have the option to Sennheiser in addition to the wired DPA
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requires phantom power and will add up to lenge, the d:facto II is up to the task with its
25 dB of gain, which opens up the option 160 dB SPL threshold, three-step pop-pro-
to use this microphone with a wide range of tection grid and best-in-class low handling
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traditional ribbon microphone and is best phase, both on- and off-axis, the d:facto II
used with high gain preamps. The micro- reproduces the singer’s voice effortlessly.
phone has an optimized circuit to produce Its supercardioid polar pattern provides
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only high quality components throughout
the design. Revolutionary, incredible sound
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Electro-Voice RE320
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Announced at Musikmesse this year, Cloud Voice’s Variable-D proximity control technology for tight, bold, expressive, and
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original 1930 RCA design, however it also creates two mics in one. One setting of the switch engages a response curve that is
incorporates Cloud’s Cloudlifter circuitry for ideal for voice and most instrument micing, while the other switch position activates a
a more modern compatibility. response curve designed specifically for kick drums with dips and peaks exactly where
When engaging the device’s onboard kick drums need some attention.
high-pass filter, the 44-A provides voice Electro-Voice | www.electrovoice.com
actors and vocalists with the benefits gained
2013 G e a r G u i d e Mi c rop hone 27

product showcase
making the job easy for both the singer and Lewitt MTP Live Series Line 6 Relay
the sound engineer. Lewitt’s newest additions to its MTP Live V75-SC Digital
DPA Microphones | www.dpamicro- Series include the MTP 940 Cm condenser
phones.com microphone and the dynamic MTP 840 DM,
Wireless
which both offer a wide range of features Handheld
and impressive performance specifications. Transmitter
The MTP 940 CM includes three switch-
able polar patterns—wide cardioid, cardioid Line 6’s new Relay V75-SC
and super cardioid—allowing maximum 14-channel digital wireless
flexibility when dealing with a diverse range handheld transmitter includes
of sources and environments; from lead a super-cardioid condenser
vocals, public speaking, choirs, to classic and is designed to use with the
unplugged situations with a singer and an XD-V75 digital wireless system.
acoustic instrument. A three-position high- The Relay V75-SC isolates
pass filter makes it possible to directly influ- vocals while rejecting stage
ence the proximity effect, adapting it in the noise, resulting in strong vocal
to the sound source in the best possible way. clarity and articulation.
Additionally, the three-position pre-attenua- Featuring 24-bit audio qual-
tion pad guarantees clip-free results even in ity, 10 Hz to 20 kHz frequency
extremely high SPL environments. The exter- response and a wide dynamic
nally biased large-diaphragm of the MTP 940 range of up to 118 dB (A
CM offers a 135 dB dynamic range. Due to weighted), the Relay V75-SC
its high headroom and Lewitt’s own, patent signal is so clear and strong
pending, Direct Coupling circuit design, the that it sounds and performs like a wired
MTP 940 CM delivers an ultra-low self-noise microphone. Thanks to compander-free Line
Lectrosonics HH level of just 9 dB. 6 digital wireless technology, Relay V75-SC
The MTP 840 DM is useful onstage and allows vocalists to convey every nuance of
Transmitter in the studio, with a three-step high-pass fil- their performances to the audience with
Lectrosonics’ HH Handheld Transmitter ter directly influencing the proximity effect, crystal clarity. Relay V75-SC also offers four
provides a wireless solution for presenters, allowing the adaptation of the character microphone models, allowing vocalists to
educators and for use in houses of worship of the mic to an individual artist’s require- choose the perfect sound to match their
without compromising the quality of the ments and tastes. Utilizing Phantom Power, voice, performance style and venue.
audio transmitted. As part of Lectrosonics’ an internal three-position amplifier makes Line 6 | www.line6.com
Digital Hybrid Wireless microphone sys- the MTP 840 DM an active microphone,
tems, the HH transmitter accepts the stan- allowing for enhanced capturing of vocal
dard thread-on capsule that best suits the nuances and distant sources. Mojave Audio MA-301fet
user’s need, and offers 44 dB of input gain Lewitt Audio | www.lewitt-audio.com Mojave Audio’s MA-301fet
range. Two Lectrosonics capsules, the HHC Condensor Microphone
cardioid condenser and the HHS supercar- is the latest upgrade from
dioid condenser, are also available to work Mojave’s MA-201fet, which
with the HH transmitter. includes the addition of a
The Lectrosonics HH transmitter is also 3-position pickup pattern
equipped with a membrane switch con- selector, a 15 dB pad and
trol panel / high-resolution LCD display. switchable bass roll-off.
Designed to facilitate intuitive operation The microphone is ideal for
and setup, this menu-driven system offers vocal recording, voice overs,
numerous essential operating parameters, broadcast, and numerous
including operating frequency, audio modu- instruments, providing
lation level, battery status, and additional warm, full-bodied reproduc-
information. The transmitter also has a talk- tions of vocals and instru-
back feature that enables communication ments, reminiscent of some
between the performer and, for example, of the most-loved classic
the front of house engineer. condenser microphones.
The HH transmitter is powered by 2 AA With its multi-pattern
batteries and offers selectable RF power at capabilities—Cardioid,
50 or 100 mW. Omnidiectional, and Figure-
Lectrosonics | www.lectrosonics.com eight (Bi-directional)—
Mojave Audio’s new MA-301fet Condenser inch diameter, 6-micron gold-sputtered dia-
Microphone adds greater flexibility for phragm behind its tuned grill cavity. It has
recording a multitude of instruments, 20 Hz – 20 kHz frequency response specs
voices, and other sound sources. These with a signal/noise ratio of 80 dB, a maxi-
capabilities are augmented still further with mum SPL of 138 dB and 124 dB dynamic
the incorporation of a switchable 15 dB pad range.
and switchable bass roll-off. “The mic features impressive build
Mojave Audio | www.mojaveaudio.com quality, both inside and out, and has a
lovely, sleek flat black finish. The mic’s
FET design incorporates a transformer-
MXL Microphones less output. Included with the CR89 is a
CR89 Large Diaphragm wooden storage box, a cleaning cloth, and
Condenser a heavy-duty shockmount that attaches to
the mic via a threaded shaft at the base of M/S is a one-mic solution for the Mid-Side
MXL rebranded its the microphone.” Stereo recording technique. It utilizes two
well-received V89 MXL Microphones | mxlmics.com large dual diaphragm transducers of the
large diaphragm Figure 8 and Omni or Cardioid (optional)
condenser (LDC) patterns. The design of both microphones
as the MXL CR89, a Nevaton MC50-QUAD is based on the principle of a single point
fixed-cardioid micro- and MC52-MS source pick-up that creates a three-dimen-
phone that PAR sional sound image without phase-related
Senior Contributor New for 2013, Nevaton Microphones anomalies.
Russ Long claimed, released two microphones: the MC50- Nevaton Microphones | www.nevaton-
in an exclusive first QUAD and the MC52-MS. Both MC50- mics.com
review for the maga- QUAD and MC52-MS are large diaphragm
zine, “performs well condenser microphones that employ
beyond its street Nevaton’s legendary transducers, Class-A Pearl Lab Priority Large
value and can easily amplification with unprecedented low-level Membrane Cardioid
adapt to most any of 4 dB self-noise and more than 130 dB Condenser Microphone
studio recording dynamic range.
requirement.” The MC50-QUAD offers 4-channel This buzzed-about microphone from
“Less than two primary signal outputs for direct control Pearl Lab is a handmade cardioid large
lbs., the brass-bodied CR89 measures 2.5 of both dual 33mm capsules, positioned diaphragm condenser with a unique rect-
inches by 7.25 inches and features a 1 1/4- 90 degrees from each other. The MC52- angular capsule featuring “an unusually
Royer 15th Anniversary R-121 Mic

To mark the company’s 15th anniversary, Royer Labs has announced its
limited edition R-121 Ribbon Microphone; only 250 are available. Founded
in 1998, Royer Labs began by producing its first mic, the R-121 with a black
Royer logo, before it later changed to a green logo. The limited-edition mics
will don the original black logo to mark the company’s 15th anniversary.
John Jennings, Royer Labs’ Vice President of Sales and Marketing, com-
mented, “The R-121 is an exceptional microphone, but I have to admit to being
sentimentally attached to the first few R-121s with their black logos. When David
showed Rick Perrotta and me the original R-121 design, we knew we had a
game changer on our hands. That mic laid Royer’s foundation, and over the past
fifteen years, R-121s have been used on countless world renowned recordings;
everything from heavy rock to the finest classical and scoring work. It’s become
a fixture with many pro audio engineers and producers, and it was a huge factor
in our receiving the 2013 Technical Grammy Award. The 15th Anniversary R-121 Limited Edition Ribbon Microphone has a rich and unique heri-
tage that, in many ways, has defined who we are as a company.”
In addition to carrying the original Royer black logo, the 15th Anniversary R-121 Limited Edition Ribbon Microphone also ships with
a special 15th Anniversary Certificate of Authenticity personally signed by David Royer, the company’s chief engineer after whom the
company is named.
Royer Microphones | www.royerlabs.com
2013 G e a r G u i d e Mi crophone 29
product showcase
large membrane,”
explains US distrib- Sterling Audio ST6050 Ocean Way
utor Independent Edition Studio Microphone
Audio’s Fraser
Jones. This, offers Recently reviewed
Jones, contrib- by Pro Audio
utes significantly Review, Sterling
to the Priority’s Audio’s ST6050
“astonishing sonic Ocean Way Edition
capabilities.” Its condenser micro-
capsule has been phone can now be
tuned for vocals in heard by potential
particular, with a customers “in use”
slight increase (2-3 by the designer and
dB) around 5 kHz, lauded LA engineer
“which corresponds himself, Allen Sides.
to the presence The “impressive,
increase often larger-than-life
sought particularly sound” of the
for vocals,” offers ST6050, illustrates Sides, can now be heard via YouTube videos featuring demo tracks
Pearl Lab promo- created by Allen himself at his legendary Ocean Way Recording studios. Demo tracks
tional material. include Vocals, Acoustic Guitars, Electric Guitars, Piano, Bass, Piano, Piano/B3, show-
Independent Audio (US Distributor) | casing the ST6050’s recording versatility. Hear and download these demo tracks at the
independentaudio.com official Sterling Audio website, or watch the Allen Sides video demonstrations and other
demos and artist interviews at the Sterling Audio YouTube channel.
Sterling Audio | sterlingaudio.net
Sanken CU-55
Cardioid
Telefunken
Microphone In comparison to the M80, the M81
Elektroakustik M81 retains the same minimal proximity effect,
Sanken’s CU-55 cardioid Reggae Dynamic feedback rejection and mid-range, how-
microphone report- ever, the top end is said to be pulled back
edly offers flat off-axis
Cardioid Microphone a bit, yielding a flatter overall frequency
response for even Telefunken T Elektroakustik has introduced response—a factor that Telefunken sug-
broadcast audio, featur- its new M81 Reggae version of its popular gests makes it appropriate for use on
ing a side-firing 16 mm universal dynamic cardioid microphone. The lighter sounding voices, as well as electric
capsule with a resonant M81 Reggae, featuring a three-color red, guitar, percussion and rack toms.
chamber, identical yellow and green paint finish and a Lion of As an alternative to the top end capa-
to Sanken’s premium Judah graphic is a tribute to the interna- bilities of the Telefunken M80, the M81 is a
CU-44x studio mic; the tionally known reggae artist Toots Hibberts tool that is a bit less specialized, giving the
same diaphragm mate- of Toots & The Maytals. Frederick “Toots” microphone more universal application abil-
rial as the proven Hibbert is widely recognized as the man ity in both stage and studio use.
CO-100K and CUW-180 who coined the word “reggae.” Telefunken Elektroakustik | t-funk.com
models; and a -10 dB
attenuation switch.
Frequency response is
a notably flat 40 Hz - 20
kHz, with a maximum
SPL of 137 dB (at 1%
THD). “It’s warm and
natural, not hyped at all,
and is really great as a
compact side-address
mic that is easy to maneuver into tight
spaces,” endorses prolific Nashville record-
ing engineer Chuck Ainlay.
Plus 24 (US Distributor) | plus24.net
P rofes s io na l m ic r o P h o n e m a n u f a ctu rer s d i recto r y
(COMpILED WITH THE ASSISTAnCE OF AUDIO MEDIA WORLDWIDE)
ADK company focuses on simple, elegant designs conceived with the “aim of building high
ADK was established in 1997 by recording with microphones covering applications in quality performance recording tools that cost
engineer/vintage-mic collector, Larry Villella, corporate, live, broadcast and studio. less, with performance on par with the estab-
in order to replicate the sonic attributes of audixusa.com lished industry standards.”
vintage European microphones. The ADK blackspademics.com
microphone design approach includes opti- AVANTONE
mization to match spectrum analysis and Avantone transducers are manufactured by BLUE
computer modeling of the response curves Avant Electronics, which is owned by Ken Blue Microphones began in 1995 by found-
of Villella’s favorite microphones. and Sue Avant. Along with premium studio ers Skipper Wise and Martin Saulespurens.
adkmicrophones.com monitors, the Avant mic line includes ribbon, With experience gleaned from years of
FET and tube models.
repairing and improving classic micro-
AEA avantonepro.com
phones, Blue focuses its designs to deliver
Audio Engineering Associates’ (AEA) Wes the best possible reproduction of specific
Dooley drew upon his 40 years of experience AVLEX vocal or instrument types.
and passion for ribbon microphones when Based in Kansas City, MO, Avlex offers solu- bluemic.com
he reintroduced the AEA R44 (based on tions principally for presentation and theater
the RCA 44) back in 1998. Since then, AEA applications. Other audio applications are
has introduced mic preamps specifically for covered with microphone ranges with differ- BOCK AUDIO DESIGNS
ribbon use alongside other ribbon micro- ent brand names, such as Mipro for location From 1996 to 2006, former studio tech David
phones, including the A440 active version of and broadcast use, and Superlux for more Bock ran Soundelux Microphones. He then
the 44 mic, and the R92, optimized for close studio-specific uses. opted to start his own company where he
miking. avlex.com continues to develop his own hand-built,
wesdooley.com high-performance designs.
AZDEN bockaudiodesigns.com
AKG Azden has more than 40 years of experience
Founded in Vienna in 1947, AKG has grown utilizing CAD and SMT technology to create BRAUNER
to become one of the principal microphone a number of standard and wireless transduc- Dirk Brauner was developing ideas with tube
manufacturers with a product range that tion solutions. Originally an OEM manufac- microphone circuits back in 1993 when he
spans all areas of professional audio—live turer for many brands, the last 15 years has founded Brauner Microphones, creating a
performance, studio recording, broadcast seen Azden raise its own brand identity. limited number of handcrafted microphones
and boardroom. azdencorp.com based on his VM1 design. The Brauner line
akg.com includes a variety of condenser microphone
BEHRINGER models, with either tube or FET internal
AMT Uli Behringer founded his eponymous circuitry.
Applied Microphone Technology has been company in 1989 in Germany. Since then, brauner-microphones.com
manufacturing microphones for near two Behringer has grown to have offices in 10
decades, and takes the approach of produc- countries, including its own Asian factory,
ing microphones for specific instruments.
CAD AUDIO
and has created its own parent company,
A recent addition is the i series with inline CAD Audio, in business for over 75 years,
Music Group. Behringer offers a range of
preamps. general-purpose dynamic and condenser lays claim to introducing the first studio
appliedmic.com microphones. condensers to offer high-end performance
behringer.com at affordable prices in the late 1980s. CAD
Audio manufactures a variety of visu-
AUDIO-TECHNICA
ally distinct condenser, tube, ribbon and
Audio-Technica began back in 1962 in BEYERDYNAMIC
instrument-specific microphones for the stu-
Tokyo’s Shinjuku-Ko district manufacturing beyerdynamic was founded back in 1924.
stereo phono cartridges, marking over 50 dio and live markets, and, under its Astatic
Developments in a number of audio areas,
years of business. The company’s range of including wireless, continue, and beyer- brand, for installation applications.
microphones includes wired and wireless dynamic condenser, ribbon and general cadmics.com
models for applications in live, broadcast, dynamic microphones still form the back-
studio, commercial and industrial. bone of many mic collections. CASCADE
audio-technica.com beyerdynamic.com U.S.-based Cascade produces a wide variety
of mic types, but is best known for its range
AUDIX BLACKSPADE ACOUSTICS of ribbon microphones and the retro styl-
Starting life back in 1984 in Redwood, CA, Swiss maker Blackspade offers two tube ing of many of its designs, including the Fat
Audix moved to Oregon in 1991, where it mics in two versions each for a variety of Head II.
established a manufacturing facility. The applications. The classic format designs were cascademicrophones.com

P ro f es s io na l m ic r o P h o n e m a n u f a ctu rer s d i rect or y
(COMPILED WITH THE ASSISTANCE OF AUDIO MEDIA WORLDWIDE)
CHARTEROAK ACOUSTICS factors in each of its designs. HHB COMMUNICATIONS

Founded by producer/engineer Michael digital-reference.com HHB, in collaboration with Sennheiser,
Deming in Connecticut in 2002, CharterOak entered the microphone market with a
manufactures tube and solid-state micro- DPA range of recording microphones aimed at
phones, which are assembled and inspected In 1994, Danish manufacturer Brüel & Kjær audio journalists and field recordists. HHB’s
by hand, with each being studio-tested spun off its pro audio division and out- FlashMic line includes omni and cardioid
before shipping to the customer. sourced sales and service of its 4000 series models.
charteroakacoustics.com microphones to the former employees that hhb.co.uk
designed them, under the name Danish Pro
Audio. DPA has continued and extended HEIL SOUND
COLES ELECTROACOUSTICS the line, which includes mini, compact, large- The origins of the Heil Sound date back to
Coles Electroacoustics has manufactured its diaphragm, reference test microphones, the 1950s when a young organist, Bob Heil,
BBC-designed ribbon microphones in the underwater microphones and surround began to dissect the sounds around him.
U.K. for over 30 years. Originally designed microphones. Moving into design and the manufacturing,
for radio and television broadcast, the com- dpamicrophones.com Heil Sound became renowned for ground-
pany’s ribbon mics have become primary breaking, early sound reinforcement systems.
tools of choice throughout the sound record- EARTHWORKS Returning to pro audio in recent years, Heil
ing industry. Formed in New Hampshire by David has introduced a series of dynamic micro-
coleselectroacoustics.com (distributed in Blackmer, inventor and founder of dbx, phones that have quickly found loyal adher-
U.S. by Independent Audio) Earthworks Audio has specialized in wide- ents on the stage and in the studio.
bandwidth, low-noise electret pencil micro- heilsound.com
phones in omni and directional versions. The
CORE SOUND
Earthworks line also includes its PianoMic HOLOPHONE
Core Sound was founded in 1990 by electri-
system. Musician and sound designer Michael
cal engineer Len Moskowitz to serve the
earthworksaudio.com Godfrey founded Holophone in Toronto,
professional and hobbyist digital audio
Canada in 1994, looking to deliver realistic
community and discriminating musicians.
ELECTRO-VOICE listening experiences with recorded multi-
Core’s offerings include binaural models,
Electro-voice has been developing pro audio channel audio. The company has a number
the “Stealthy” stereo cardioid pair for field
products, principally in the area of sound of products that accommodate surround
recording, and the TetraMic single-point
reinforcement, for 80 years. The venerable applications and, more recently, single chan-
Ambisonic soundfield microphone.
RE series are among EV’s microphone mod- nel models.
core-sound.com
els, a line that includes both standard and holophone.com
wireless microphone products for live, stu-
COUNTRYMAN ASSOCIATES dio, install and broadcast applications. JOEMEEK
With more than 30 years of experience, electrovoice.com Referencing many of the experiments made
Countryman Associates manufactures by Joe Meek in the early to mid 1960s,
microphones for a variety of live applica- Joemeek continues to provide solutions
tions, including theater, presentation and EQUATION AUDIO
Armed with the intellectual property of in a number of areas of project and pro
live music. The range consists of a number audio, including a range of small- and large-
noted mic guru Fred Cameron, and com-
of mini and micro microphones, including its diaphragm condenser and dynamic micro-
prised of key members of the team behind
popular headworn models. phones.
the original CAD Equitek line, Equation
countryman.com joemeek.com
Audio’s mic lines include the Alpha drum
mic series, the Dominion series of handheld
CROWN condenser and dynamic microphones, and JOSEPHSON ENGINEERING
Known for its innovative PZM designs, Crown the F.20 large-diaphragm condenser mic. Since 1998, Josephson Engineering, as well
boundary layer microphones are now distrib- equationaudio.com as producing and supplying capsules to
uted by sister Harman Pro company, AKG other microphone manufacturers, has pro-
Acoustics. duced its own range of high-performance
FOSTEX
crownaudio.com Founded by the Foster Electronic Company microphones for studio, location, live and
in Tokyo back in 1973, Fostex has estab- instrument-specific applications.
DIGITAL REFERENCE lished itself in location recording and broad- josephson.com
Digital Reference, based in Thousand Oaks cast audio, designing and manufacturing
CA, offers a wide selection of wired micro- recorders, loudspeakers, headphones and a JTS MICROPHONES
phones and wireless mic systems. Digital number of microphones for these applica- For near three decades, JTS has been
Reference cites affordability, high perfor- tions. investing large amounts of resources into
mance and high reliability as the common fostex.com microphone research and development of
a line that includes both wired and wireless transmitter as part of its hybrid digital line, MERCENARY
microphones optimized for affordability, per- accommodating a variety of thread-on cap- Based in Foxboro, MA, Mercenary Audio
formance and reliability. sules from other manufacturers. not only distributes gear from many other
jts.com.tw lectrosonics.com companies, but it also manufactures its
own products, including the KM-69 small-
JZ MICROPHONES LEWITT diaphragm condenser microphone.
Over the past decade, Latvian manufacturing In just a few short years, Roman Perschon’s mercenary.com
company, Scruples, ventured into the pro Austrian company, Lewitt, has produced
audio market with a number of products, a broad and varied line of studio and per- MICROTECH GEFELL
including microphones under the Violet formance microphones, from condenser to With German roots tracing to the late 1920s,
brand. Scruples created a spin-off company, dynamic, from large diaphragm to handheld Microtech Gefell has been in continuous
JZ Microphones, that has been established to pencil, wired to wireless, instrument production of fine microphone products
to concentrate on microphone develop- specific to broadly flexible—with an equally since 1943. The product line includes studio
ment with technical innovation and unique broad range of endorsees who favor the line condenser, handheld dynamic and instru-
aesthetics. for studio and stage. mentation/measurement microphones.
jzmic.com lewitt-audio.com microtechgefell.de
KEL AUDIO LINE 6 MICW

Canadian mic maker KEL Audio specializes Line 6 is a manufacturer of digital modeling The MicW microphone line ranges from
in microphones with unique sonic signa- guitars, amplifiers and related electronic handheld vocal mics to compact, desktop,
tures, conceived to enhance sound sources. equipment. The company was founded in shotgun and boundary models for record-
Condenser models, each with a specific char- the mid-1990s and is based in Calabasas, ing, live and conference audio applications.
acter, currently comprise the value-priced, CA. In 2008, Line 6 acquired X2 Digital MicW is the recording microphone subsid-
high-performance line. Wireless, which entered the company into iary of Beijing-based BWSA Tech Ltd., which
kelaudio.com the digital wireless market with products for has been manufacturing precision test and
guitar, bass, vocals and wind instruments, in measurement microphones for the domestic
LAWSON musician and professional packages. Chinese markets for over 12 years.
Founded by Gene Lawson in 1979, and line6.com mic-w.com
now handcrafted in Nashville, TN, Lawson
Microphones has a range of high-end tube LUCAS ENGINEERING MIKTEK AUDIO
and FET offerings, taking the best character- Lucas devices are custom-built, hand con- Miktek claims inspiration from the iconic
istics of legendary classics and re-creating structed one-at-a-time in the USA by audio mics of the past in developing capsules and
them with superior quality components for a technicians and tested in a professional unique circuits designed to capture that elu-
lifetime of reliable service. studio situation before delivery. The Lucas sive, classic sound. Incorporating premium,
lawsonmicrophones.com microphone offerings are classically inspired precision-matched, high-quality compo-
while thoroughly modern tube designs. nents, Miktek designs have achieved acclaim
LAUTEN AUDIO compasspointstudios.com/lucas by some of the world’s most renowned
Lauten Audio was founded by Brian recording engineers. All Miktek microphones
Loudenslager and is based in San Jose, M-AUDIO are hand-built in Nashville.
CA. It is a high-end manufacturer, focusing Formed in 1988, and now part of the inMusic miktekaudio.com
on microphones that target both profes- family, M-Audio is focused on computer-
sional and amateur recordists. The company based products and on providing solutions MILAB
released its first product, the Horizon tube to mobile musicians. The M-Audio micro- The Milab story begins in 1941 when Rune
microphone, in October 2006. phone selection includes solid-state and Rosander produced crystal, and then subse-
lautenaudio.com tube condenser models. quently carbon and dynamic microphones.
m-audio.com In the late 1960s, the rectangular capsule
LECTROSONICS and double-sided rectangular capsule were
Since 1971, Lectrosonics’ wireless micro- MANLEY LABORATORIES developed and are still part of produc-
phone systems and audio processing Since 1989, and now located in Chino, CA, tion today. The name Milab (Microphone
products have been used in mission-critical Manley Laboratories has focused on the Laboratories) came into being in 1970.
applications including broadcast and stage. development of a number of products based milabusa.com
Innovations from the Rio Rancho, NM-based on tube designs. Among these are the
company include its hybrid digital technol- range of Manley tube microphones, which MOGAN
ogy, blending digital precision with tra- include the 2-channel, multi-pattern Stereo Founded in 2011 as a division of Hosa
ditional wireless transmission techniques. Reference Gold mic. Technology, Mogan Microphones specializes
Lectrosonics’s offerings include a handheld manleylabs.com in subminiature microphones for the music,
2013 G e a r G u i d e Mi crophone 33
P rofes s io na l m ic r o P h o n e m a n u f a ctu rer s d i rect or y
(COMPILED WITH THE ASSISTANCE OF AUDIO MEDIA WORLDWIDE)
theatrical, broadcast, House of Worship and diaphragm condenser mics; boundary layer in Sudbury, MA.
presentation markets. Drawing from Hosa’s shotgun microphones; and miniature micro- revolabs.com
experience as a provider of connectivity solu- phones.
tions, Mogan microphones can be readily nevatonmics.com RØDE
fitted for use with wireless systems from the Røde came into existence after Henry and
world’s leading manufacturers. OKTAVA Astrid Freeman emigrated from Sweden to
moganmicrophones.com The Russian-made Oktava microphone line Australia in 1967. Its background in audio
includes a wide range of small- and large- product development within its own Freeman
MOJAVE AUDIO diaphragm condenser microphones (includ- Group of companies led to the development
David Royer established Mojave Audio in his ing models with interchangeable capsules). and release of the first Røde microphone in
garage in Fullerton, CA in 1985. Known for his Handheld condenser mics and tube con- 1990. The company’s range has grown with
ribbon microphone designs with Royer Labs, denser mics are also in the line, along with tube and conventional microphones for main-
Mojave Audio is the outlet for David Royer’s ribbon models. ly studio and broadcast use.
tube and FET condenser microphone designs. oktavausa.com rodemic.com
mojaveaudio.com
PEARL ROYER LABS
MXL In 1941, Rune Rosander established Pearl, Formed in 1998 to bring David Royer’s ribbon
MXL Microphones are designed and manu- which was the first microphone manufactur- designs to the world, Royer produces a wide
factured by U.S.-based Marshall Electronics, ing company in Sweden, and remained the range of ribbons that include phantom-pow-
in El Segundo, CA. The brand has a variety of sole Swedish microphone manufacturer for ered and tube models, as well as roadworthy,
standard microphone types aimed at offer- the next 40 years. The company’s early stereo ruggedized models.
ing premium performance to the expanding microphone, TL 4, led to more than 20 other royerlabs.com
“cost-effective” market. models developed over the past several
mxlmics.com decades.
pearl.se (distributed in U.S. by SACOM
A successor to the Sabine wireless line—early
NADY SYSTEMS Independent Audio)
innovations in digital and alternative frequen-
Founded by John Nady in 1976, Nady cy wireless—Sacom brings a “mission critical”
Systems was, and remains, at the forefront of PEAVEY level of attention to their systems be they for
wireless mic design. Nady was among the first After graduating college in 1965, Hartley stage, broadcast or boardroom.
to address the issues of noise reduction in Peavey started his company using the logo he sacomusa.com
wireless systems. The company has branched came up with while doodling in his notebook.
out and now includes a comprehensive range With products spanning the entire audio
of studio condenser, ribbon, instrument- world, Peavey microphones feature units for SAMSON
specific and USB microphones. use in the studio and on stage, including wire- Samson began in 1980, designing and pro-
nady.com less systems. ducing wireless microphone systems. Since
peavey.com then, the company has diversified into a num-
ber of areas including conventional, ribbon
NEUMANN and USB microphones.
With a history going back to Berlin in 1928, PSC
samsontech.com
Neumann has been involved in the design Since 1976, Professional Sound Corporation
and manufacture of a wide range of audio (PSC) has been a manufacturer and distribu-
products, but it is with microphones that tor of professional audio products for the film SANKEN
the name is most associated. Neumann and video industries. Within its product range Sanken Microphones is based in Tokyo and
microphones include legendary models still are a noise-canceling headset and mini lava- has focused since 1926 on producing high
hand-manufactured with traditional tech- lier microphones. performance, original condenser and dynamic
niques, refined by modern science. Neumann professionalsound.com microphone designs for studio, broadcast and
became part of the Sennheiser group in 1991. live use.
neumann.com sanken-mic.com
REVOLABS
Revolabs, Inc. is a provider of wireless audio
NEVATON solutions for unified communications, enter- SCHOEPS
Nevaton is a Russian microphone manufac- prise collaboration, and professional audio Founded in 1948, the company has special-
turer with roots dating back to 1947, when applications across a range of markets. The ized in the design and manufacture of con-
an acoustic laboratory established itself at company’s wireless conferencing and micro- denser microphones. The Schoeps range now
the Leningrad (now St. Petersburg) optical phone systems are utilized across the globe includes condenser solutions for all manner of
and mechanical association (LOMO). The for a variety of applications, from webcasts studio, broadcast, live and location scenarios,
company’s product catalog includes stereo and video conferencing to podcasts and as well as surround applications.
microphones; small-, medium- and large- broadcasting. The company is headquartered schoeps.de
sE ELECTRONICs sONY and premium transducers for accuracy and
sE Electronics was founded by Siwei Zou, a Sony has a long history when it comes to transparency. The range includes reference
classical musician from Shanghai. Through microphones, and its current range (which condensers, modular mics and a binaural
years of education and experience in both includes nearly 100 different models) reflects sphere.
China and the U.S., his designs began to be Sony’s continued involvement in all pro audio theaudio.com
developed in Shanghai in 2003. The product arenas. Recent innovation has been focused
line includes the Rupert Neve Signature line on Sony’s fully digital wireless microphone TRINNOV AUDIO
and a range of other ribbon and tube and systems. Located in France, Trinnov Audio specializes
solid-state condenser microphones. pro.sony.com in the digital processing of acoustic fields.
seelectronics.com
The company has produced the SRP surround
sOUNDFIELD array of microphones, to be used with high-
sENNHEIsER Based in the U.K. and formed in 1993, resolution DSP technology.
Sennheiser has been delivering pro audio for Soundfield manufactures and continues to trinnov.com
more than 50 years, filling many microphone develop its multi-capsule, tetrahedral design
cabinets, whether it is for music, broad- for both enhanced stereo and multichannel
cast, post, live or location applications. The VIOLET DEsIGN
applications.
Germany-based company has its U.S. head- Violet has been developing and manufactur-
soundfield.com (distributed in the U.S. by
quarters in Old Lyme, CT, where it distributes ing in Latvia since 2003, where it produces a
TransAudio Group)
standard-setting wired microphones and wire- combination of tube, solid-state, large- and
less microphone systems. small-diaphragm condensers. Quality and
sennheiserusa.com
sTERLING AUDIO consistency, as well as visual appeal, are cited
Sterling Audio employs several advanced by Violet as key to its product development
technologies in its large-diaphragm condens- and manufacture.
sHURE er mics. One of the features is the exclusive violetusa.com
Founded in Chicago, IL by Sidney Shure in Disk Resonator system, developed to com-
1925 to sell radio parts, the company pro- pensate for the 14-kHz frequency roll-off that
duced its first microphone in 1932. Shure is inherent in large-diaphragm mics. Sterling’s WUNDER AUDIO
now boasts a collection of wired and wireless designs, which include ultra-thin diaphragms Mike Castoro’s Austin, TX-based company
microphones, including the SM58. Innovation and long, lossless line-driving capability, also builds on classic vintage themes in its line of
continues with the KSM series of high-perfor- reflect its continuing working relationship with products including a console, mic pre and
mance studio microphones, and a full line of tube guru and mic designer, Aspen Pittman. EQs and seven high-performance condenser
performance, broadcast, install and perfor- sterlingaudio.net microphones.
mance mics. wunderaudio.com
shure.com
sTUDIO PROJECTs
From the B, C and CS Series, Studio Projects
sONODORE microphones are designed and engineered
Sonodore microphones and microphone
by Brent Casey for high performance and
preamplifiers are manufactured in Holland
value. The Studio Projects line of condenser
by Rens Heijnis Audio Electronics. Producer/
microphones includes over ten models in four
engineer Bert van der Wolf of Northstar
series.
Recordings has been involved in the devel-
studioprojectsusa.com
opment of these recording tools from its
conception in the early ‘90s, and has been
using them in his own recordings for many TELEFUNKEN | UsA
years. Sonodore microphones are known for Telefunken | USA was incorporated in early
high-resolution, accurate and transparent 2001 to provide restoration services and build
performance. reproductions of vintage Telefunken micro-
sonodore.com phones. In addition to faithful recreations,
Telefunken has taken advantage of modern
sONTRONICs materials and techniques to develop new
Designed and developed in the U.K. and
handcrafted in Shanghai, Sontronics pro-
condenser and dynamic designs for studio
and stage.
AUDIO MEDIA
duces a full line of affordable but high-quality telefunkenusa.com
dynamic, tube and Fet condenser and ribbon
designs. Sontronics has such confidence in its T.H.E.
microphones that each is sold with a lifetime Based in Connecticut, Taylor Hohendahl
warranty for the original purchaser. Engineering produces microphones designed
sontronicsusa.com to include state-of-the-art electronic circuitry

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& present

CLiVE YoUNG mANAGiNG EditoR

KELLEiGH WELCH, StRotHER BULLiNS

KAREN GodGARt AdVERtiSiNG diRECtoR

art & production

WALtER mAKARUCHA, JR. ARt diRECtoR

FREd VEGA PRodUCtioN mANAGER

newbay Media l.l.c.

PAUL mAStRoNARdi CHiEF FiNANCiAL oFFiCER

toNY SAVoNA diRECtoR oF EditoRiAL,

CoPYRiGHt ©2013 NEWBAY mEdiA

InsIde The Modern

super focused and three-dimensional

clones of the classic mics; not

electric guitar setup. The 441 also works

UNSUNG VOCAL MICS, ETC.

“It’s so affordable now [to stock your too hyped.”

Wired For Stage

Although wireless microphones tend to be

14 M i c rop hon e G e a r G u i d e 2013

Space Wanted: WireleSS

2013 G e a r G u i d e Mi c rop hone 27

Royer 15th Anniversary R-121 Mic

2013 G e a r G u i d e Mi c rop hone 31

CHARTEROAK ACOUSTICS factors in each of its designs. HHB COMMUNICATIONS

KEL AUDIO LINE 6 MICW

2013 G e a r G u i d e Mi c rop hone 35

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