A microphone is an instrument that is used to convert sound waves into a small electrical current. That current can then be passed on to other devices where it can be amplified, altered, and/or recorded. The 4 kinds of pickup patterns for microphones are cardioid, super cardioid, omni, and figure 8. The pickup pattern determines the amount of range the microphone has. Check out some of the microphones that artists and musicians are using around the world.
The legendary Shure SM57 is exceptional for musical instrument pickup and vocals. With its bright, clean sound and contoured frequency response, the SM57 is ideal for live sound reinforcement and recording. The SM57 has an extremely effective cardioid pickup pattern that isolates the main sound source while minimizing background noise. In the studio, it is excellent for recording drums, guitar, and woodwinds. Outstanding performance, reliability, and application diversity make this "workhorse" the choice of performers, producers, and sound engineers worldwide.
Dynamic cardioid vocal microphone offering a smooth, natural sound. Fast transient response ensures no details are missed. Low handling noise. 100% metal casing for tough on-stage use. The e 935 is a cardioid vocal stage microphone specially designed to perform under pressure while cutting through the mix with its high output. Made for the working musician. Excellent sound results guaranteed, day to day, 365 days a year. First choice for rental companies.
Professional super-cardioid, dynamic instrument mic. Versatile to handle drums, percussion, and guitar amplifiers. Switchable presence filter to tailor its sonic characteristics to different requirements. The cardioid e 906 instrument microphone was especially designed for guitar amps and is also excellent for percussion and horns.
R-121 Studio Ribbon Microphone
Released in 1998, the award-winning R-121 is our flagship microphone; the world’s first radically reengineered ribbon microphone and the model that reintroduced ribbon mics to engineers around the world. We did away with the large, heavy, fragile “classic” approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warmth and natural sound that experienced engineers have long turned to ribbon mics for, but in a compact, light-weight, high output and tough-as-nails package that was unheard of in a ribbon mic before the R-121. In its 10+ years in the market, thousands of R-121’s have been sold around the world and it’s well established as a standard for tracking electric guitar and brass. The R-121 redefined ribbon microphones so completely that Recording Magazine wrote “…the Royer R-121 is destined to become one of the classic microphones of the 21st century.” Like many of the best classic ribbon mics, the R-121 has a figure-8 pattern, output level comparable to a dynamic mic, and a warm, realistic tone and flat frequency response. But that’s where the similarities end. By using advanced materials and a blend of cutting edge and old-school, hand-build construction techniques, the R-121 is an extremely versatile and user-friendly ribbon mic that can stand up to the most demanding tasks. Cranked up electric guitars, close up brass, drums – you name it, the R-121 will help you record it with realism you have to hear to believe. We build the R-121 solid enough to give it a lifetime warranty. We expect you to own it for as long as you record, and we’ll stand behind it the whole way. Patented Offset Ribbon Technology The R-121’s proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It’s an integral piece of the magic of all Royer R-series microphones.
The AKG C 414 needs no introduction - it is a tool found in most recording studios and has been used on thousands of hit records; it's been on stage with artists of every musical genre and is also used by leading broadcast facilities the world over. For over 60 years, leading musicians and engineers have used legendary AKG microphones to capture their sound so their audience hears every nuance. The C 414 family has been one of the world's most widely-used and respected studio and stage microphones in audio history. AKG has continually set new benchmarks for useful features, improved technical specifications and ease of use to answer requests from ever-demanding recording studios, broadcast stations and audio engineers. The new models C 414 XLS and C 414 XL II offer nine pickup patterns which enable to choose the perfect setting for every application. For live-sound applications and permanent installations all controls can be disabled easily for trouble-free use. A Peak Hold LED displays even shortest overload peaks. The C 414 XLS maintains the sonic character of the legendary C 414 B-ULS, the longest-lived C 414 model. Engineered for highest linearity and neutral sound, it is the most universal and versatile large diaphragm microphone for decades. Widely used for accurate, beautifully detailed pickup of any acoustic instrument the new C 414 XLS combines proven reference quality, leading-edge technology and state-of-the-art components. The C 414 comes complete with carrying case, pop filter, windscreen, and spider-type shock mount. Features:
C214 Stereo Set
The new AKG C 214 is designed as a cost-effective alternative to the high-end, industry-leading C 414 family. It captures sound combining one side of the legendary C 414 dual-capsule system and AKG's patented Back-Plate Technology which results in an outstanding performance close to the famous C 414 B-XLS. Like the C 414 models, the C 214 is capable of handling the rigors of high-pressure sound such as amplified guitars, with a sensitivity perfect for voice and orchestral instruments as well. Additionally, the microphone offers a 20 dB Attenuation pad, 13 dB noise floor, and a low cut switch‰ÛÓall in an elegant but rugged package. Besides, the C 214 will also work on low phantom power voltages from 12 up to 48 volts. Additional features include an integrated suspension, a double mesh grill high RF immunity without affecting acoustics. The circuitry in the C 214 provides maximum SPL capability with minimum noise and the gold-plated XLR-type output connector offers loss-free signals. The AKG C 214 Stereo Set comes complete with two C 214s, two windscreens and two elastic spider suspensions - all packed in an aluminum carrying case.
The AKG D112 MkII professional dynamic bass drum microphone features a new integrated flexible mount, while retaining all the sonic strengths that have made it's predecessor the industry-standard. Over the years the D112 has earned a well-deserved reputation as one of the best bass drum microphones ever made, for its high SPL capability, punchy EQ and bulletproof construction. The D112 MkII can handle more than 160 dB SPL without distortion. Its large diaphragm has a very low resonance frequency that delivers a solid and powerful response below 100 Hz. Its authoritative low end is complemented by a narrow-band presence boost at 4 kHz that punches through even dense mixes and loud stage volumes with forceful impact. One of the many reasons artists and sound engineers love the D112 MkII is that it requires no additional EQ to sound just right as soon as you bring up the fader. Further refining its performance, the D112 MkII features an integrated hum-compensation coil that keeps noise to an absolute minimum. In addition to being an exceptional bass drum mic on stage and in the studio, the D112 MkII is an excellent choice for miking electric bass cabinets and trombones.
SF-24 Stereo Active Ribbon Microphone
The SF-24 stereo ribbon microphone is a phantom powered version of our popular SF-12 stereo ribbon microphone. It combines the SF-12’s high quality audio performance, outstanding stereo separation and imaging with our exclusive active electronics system for ribbon microphones. The SF-24’s output of -38 dB is a full 14 dB more sensitive than our non-powered SF-12, putting its sensitivity on par with that of phantom powered condenser microphones. The unique electronics and custom designed FET’s used in the SF-24 allow for ultra-quiet operation, with self-noise of lower than 18 dB. Like an SF-12, the SF-24 is actually two matched ribbon microphones placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible. The SF-24’s extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled “Upper” and “Lower” for the upper and lower capsules of the microphone (when held vertically). Gain Our active ribbon™ mics (SF-24 and R-122) are as sensitive as phantom powered condenser microphones, allowing you to use virtually any mic preamplifier or board pre. Conventional ribbon microphones are 15 to 30 dB less sensitive than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers when recording softer sound sources like acoustic instruments, vocals and room ambiance. The SF-24 contains two fully balanced, discrete head amplifier systems utilizing specially wound toroidal transformers and ultra-low noise FET’s, each delivering a sensitivity of -38 dB. This lets you mate an SF-24 to any preamplifier with average gain characteristics. Even with quiet sound sources, you’ll have enough level to drive any recording medium. It is important to note that the SF-24’s higher sensitivity does not create additional self-noise. All of the SF-24’s increased level comes from its large, specially wound toroidal transformers – that wonderful thing called “free gain.” The level at the each of the transformers is actually hotter than what comes out of the microphone. The phantom powered system operates at less than unity, adding no noise of its own. This system took years to develop and is in patent pending status. Impedance Matching The electronics in the SF-24 provide a perfect load to the ribbon elements at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, SF-24’s can also be used on extremely long cable runs with minimal signal loss. A good impedance match is critical to ribbon microphones. Impedance mis-matching loads a ribbon improperly, resulting in loss of low end, diminished body, lowered sensitivity and an overall compromised performance. With our Active Series ribbon mics, the ribbon element sees a perfect impedance at all times, regardless of the preamp you use, so its performance will never be compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables. Recording Like the SF-12, the SF-24 is uncanny for creating “you-are-there” stereo recordings that capture not only the instrument(s) being recorded, but, depending on how the microphone is positioned, varying degrees of the acoustical space. In addition, the increased sensitivity and impedance matching circuitry allows for more consistent results in a variety of recording situations and with a wider selection of mic pre’s. For mono recording, phase compatibility between the two sides of the SF-24 is excellent. This allows you to combine the two channels perfectly in mono without creating undesirable phase artifacts. This is particularly useful when capturing a wide sound field in mono; for instance, a singer who tends to move off the “sweet spot” of a mono microphone. Either side of the SF-24 can also be used individually as a mono microphone. The SF-24 excels on classical piano, drum overheads, ensemble and orchestral recordings, a wide variety of percussion instruments, virtually all acoustic instruments, small vocal ensembles, large choirs, etc. Recording in Mono Phase compatibility between the two sides of the SF-24 is excellent, allowing you to combine the two channels for mono recording without creating phase artifacts. This is particularly useful when capturing a wide sound field in mono; for instance, a singer who tends to move off the “sweet spot” of a mono microphone. Either side of the SF-24 can also be used individually as a mono microphone.
The new Wunder Audio CM7 Suprema microphone is one step above our already legendary CM7 model. The standout qualities of the new CM7 Suprema passive electronics are their extraordinarily direct low-end responsiveness and wide high-end plateau. Combine this with an audiophile PSU and you'll hear both the best qualities of a modern microphone and the legendary sound of a vintage microphone. The CM7 S is exceptional as a vocal mic as well it being an excellent choice for drums, acoustic guitars, and piano. The CM7 S is a serious pro-studio workhorse because it has a very nice top and bottom, and brings out a natural sound from any source.