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2013 G e a r g u i d e Mi crophone 3
Studio MicS
4 M i c r op hon e G e a r G u i d e 2013
Studio MicS
6 M i c r op h on e G e a r G u i d e 2013
Studio MicS
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
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
12 M i c r op hon e G e a r G u i d e 2013
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!”
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 spec- trum. 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?
22 M i c r op hon e G e a r G u i d e 2013
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
24 M i c r op hon e G e a r G u i d e 2013
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
and fast transient response also make it Blue Microphone’s Interchangeable
ideal for recording acoustic instruments such Capsule Series provides a wide range of
as piano, guitar, strings, and saxophone. tonal characteristics with its three inter-
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.
face area without the increased The Bottle combines low noise and
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
26 M i c r op hon e G e a r G u i d e 2013
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
sources in fine detail, and with unusually
Vocal Mic
high sensitivity. DPA’s special talent for producing mics with
Cloud Microphones | www.cloudmicro- visual elegance and technical excellence
phones.com is demonstrated in the d:facto II handheld
vocal microphone range. The d:facto II
Cascade Fat Head II brings the true studio sound to the live
Active/Passive Ribbon Mic stage. Featuring a state-of-the-art adapter
system enabling seamless integration with
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
switch between either mode with a simple handle, this microphone defines versatility.
flick of an internal switch. The Active mode Where sound pressure levels are a chal-
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
preamps. The Passive mode operates as a noise. Superbly linear in frequency and
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
a warm, open, and detailed tone by utilizing high separation from nearby sound sources
only high quality components throughout
the design. Revolutionary, incredible sound
plus value, and groundbreaking have
been used to describe the new Fat Head II
Electro-Voice RE320
Active/Passive ribbon microphone. Electro-Voice’s newest addition
Cascade Microphones | www.cascade- to its RE Performance Group is
microphones.com the RE320, engineered for perfor-
mance in virtually any imaginable
application, delivering excellent
Cloud Microphones 44-A results when micing vocals or instru-
Ribbon Microphone ments on both the studio and stage. The RE320’s key features include Electro-
Announced at Musikmesse this year, Cloud Voice’s Variable-D proximity control technology for tight, bold, expressive, and
Microphones’ new Cloud 44-A brings the consistent tonal performance, their patented humbucking coil for noiseless
quality of the classic RCA Type 44 ribbon operation, and a high-output neodymium magnet structure capsule that delivers
mic to the modern era. Internally, the Cloud fast and accurate transient response and pronounced high-frequency detail.
44-A ribbon remains unchanged from the Rounding out the feature set is the new “dual personality” switch, which essentially
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
28 M i c r op hon e G e a r G u i d e 2013
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
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
30 M i c r op h on e G e a r G u i d e 2013
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
32 M i c r op h on e G e a r G u i d e 2013
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
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
34 M i c r op hon e G e a r G u i d e 2013
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