Handheld vocal mic. Sleek 70's design.
Originally designed for vocals, this mic has a soft roll-off at 8 kHz. Often used for kick drum or bass guitar.
Modern (c. 1980) version of D12E.
Hypercardioid and small size. Good for fitting in tight spots.
"Pro" version of ATM-25. Hypercardioid dynamic mic well suited for toms/kick drum.
Similar to Pro 25 but with more rugged body. Hypercardioid dynamic mic well suited for toms/kick drum. Smallish size makes it great for sneaking into tight spots.
D2 is designed for use with toms and percussion. D4 is designed for use with lower frequency instruments.
Better as a ball than as a mic. Not very good as a ball, though.
Designed for voice. Capsule is located very close to the front of the wind screen. Very susceptible to proximity effect. Often used for low frequency instruments. Diaphragm cannot withstand prolonged exposure to wind blasts. Using a foam wind screen can alleviate this stress. Great on bass, drums and voice.
Designed for close miking percussion. Can handle very high SPLs. Great on snare drum.
Broadcast industry standard. If I had to choose only one mic, it would be this. Works on everything.
Designed for use with toms and snare drum.
Designed for use on guitar cabinets and toms. End address!
Designed for use with kick drum.
Rebranded AKG D-202E. High quality hand-held dynamic. Works well on percussion. Switchable pad and HPF.
Old-school dynamic lavalier microphone. Meant to be worn around a reporter’s neck using the supplied lanyard. Captive cable.
Modern version of the MD409. Don’t know if there is any real similarities between the two mics other than the appearance. Side address makes it easy to hang in front of an amp. Again, good for if an engineer is feeling lazy and doesn’t want to set up a mic stand. Why is this engineer so lazy?
One of the greatest sounding dynamic mics with the absolute worst integral mic clip design. Built in 5 position low frequency roll off switch. “M” for Musik and “S” for Sprache.
High output dynamic microphone. Sound quality often compared to a condenser microphone. 5 way bass roll off and high lift switchable. Works well on snare drum or guitar and bass cabinets.
Modern kick drum mic. Scooped sound. All drums sound the same using this mic.
James Hetfield, Michael Jackson.
Industry standard instrument mic. Go-to for snare and electric guitar. Good enough for Keith Richards and Eddie Van Halen.
Dynamic vocal mic. You know the one.
Handheld dynamic mic.
Works well on snare drum. Very high SPL handling rated at 135 dB.
1.8u ribbon and Lundahl LL2913 transformers. Can take high SPLs with pop filter.
Eddie Kramer and Jimi Hendrix's favorite guitar cabinet mic. 'When the Levee Breaks' drum overhead mic. Bright for a ribbon mic but never harsh.
The Eagles used these live for vocals. Rush 'Permanent Waves' distant overhead drum mics. Very bright for a ribbon mic.
Dark sounding ribbon mic good for taming overly bright sound sources like guitar cabinets or drum overheads. Also works well for ambient miking. Sensitive to plosives and wind blasts. Often used in conjunction with a pop filter to alleviate stress on the ribbon.
Short 1.8u ribbon and Cinemag CM-9888 transformers.
Designed to withstand the concussive blast of gunfire. Cardioid polar pattern. Excellent on guitar cabinets. Both have been re-ribboned by Stephen Sank.
I can’t believe how good these mics sound. These super cheapo Chinese ribbon mics were modified by Stephen Sank. He replaced the stock ribbons with RCA ribbon material. Transformer upgraded and JFET buffer amp added which is powered via +48v. These things sound killer. Great on voice and room mics for drums. Insane low end.
Worst sounding mic in our collection. Embarrassed to have this on our gear list. The "S" stands for "sucks".
With CK-1 cardioid capsules (x3), CK-22 omni capsules (x2), A-50 -20 dB pads (x2) and A-51 "knuckle" adaptors (x2). One of our favorite mics. Good on almost everything. Excels as drum overheads and close mics (using pads) on drums. Very high output and low noise. EB versions feature 2 position high pass filter switch. Transformer coupled output.
Dual element dynamic/condenser coincident microphone designed for use on kick drums. Each capsule has its own discrete output. Great for lazy engineers who can't be bothered setting up a 2nd mic stand. What a chore!
Small diaphragm condenser mics with high pass filter switch. Very bright and detailed. High output and low self noise.
Small diaphragm transformerless output design. Very detailed.
General purpose large diaphragm condenser microphone with built-in pad and high pass filter. Fixed cardioid pattern.
Large diaphragm cardioid condenser microphone.
Large diaphragm cardioid condenser microphone utilizing a FET and output transformer. Works well on kick drum, bass guitar and pretty much everything else. Includes -10 dB pad and HPF switches.
Small diaphragm condenser microphone with interchangeable capsules. We have 3x cardioid capsules and 1x omni. Very bright. Good for drum overheads or where brightness is desired.
Stereo microphone switchable between X-Y and M-S stereo modes. Width of stereo image can be adjusted by turning set screw which changes the angle of the outer 2 elements. Excellent sound quality and sleek modern design.
This is essentially the same at the Red Type-B microphone. Solid state amplifier body with modular bayonet-style microphone capsule system. B8 capsule is an edge terminated “all purpose” large diaphragm capsule. Works well on pretty much everything.
Fixed cardioid pattern large diaphragm condenser microphone. Works well on guitar cabinets.
General purpose side address large diaphragm continuously variable multi-pattern condenser microphone with switchable -20 dB pad and HPF. High output. Work well on tom toms.
Small diaphragm cardioid condenser mics from England. Modular capsule design. Transformer coupled output. Excellent sound quality. Good enough for the BBC!
Small diaphragm tube condenser mic with interchangeable cardioid and omni small diaphragm capsules and one multipattern large diaphragm capsule.
Miniature cardioid electret condenser microphone. Can handle high SPL. Great for fitting into tight spaces.
Hand made in Oakland. K67-style capsule made in Russia. Output transformer made in Kansas. NOS Telefunken EF86 tube. Copy of the Neumann U67 tube mic.
Matched stereo pair of small diaphragm tube condenser microphones. Tube circuit utilize a 'cathode follower' design which allows the mic's output transformer to be installed in the power supply. That way, a much larger and more robust transformer can be used which equals a mic with very high SPL handling capacity. These mics excel at close miking drums or as drum overheads. Stock cardioid capsules have a +6 dB presence peak at 6 kHz - a similar frequency response to a Shure SM57. We had Michael Joly of OktavaMod build custom cardioid capsules which exhibit a much flatter frequency response than the stock capsules. Both capsule sets have their uses and sound great!
Custom electronics and 3 micron MJE-K47 capsule. Non sibilant. Very detailed sounding microphone without being harsh. Great as drum overheads or on voice.
Large diaphragm tube condenser microphone with M-7S (cardioid) and M-55 (omni) capsules.
Excellent example of an early 70's vintage Neumann U87. Industry standard large diaphragm condenser microphone. Excels in almost any application.
Large diaphragm fixed cardioid pattern condenser mic made in Russia.
Radio Shack's version of a Crown PZM.
Blue microphones had a separate line of mics under the label Red for about 5 minutes. This is a solid state amplifier body with modular capsules similar to the Neumann CMV “lollipop” capsule system. This is a very high quality mic/capsule combination with lot of detail and plenty of low end. Great on acoustic guitar and voice. Capsule is cardioid pattern.
Large diaphragm fixed cardioid pattern tube condenser mic.
Finest in German microphone design and manufacturing.
Shure’s most popular pressure zone microphone, the Beta 91 is most commonly used inside kick drums for that “...And Justice For All” clickity-click kick drum sound. Often used in conjunction with a dynamic mic.
Medium diaphragm electret condenser mic. Switchable -10 dB pad and HPF. Works well on guitar cabinets and as drum overhead.