Studio Microphones

The Warm Audio Fen-tone™ is inspired by a classic ribbon microphone from the 1950s, built with improved, modern components to deliver iconic sounds. Like B&O's original design, the Warm Audio Fen-tone has a compact, pencil-like design with vented sides that can be easily placed in tight recording situations. Unlike the original, the Fen-tone features modern upgrades such as a custom Japanese ribbon, a neodymium magnet and a CineMag USA transformer to deliver the iconic ribbon sounds popular in contemporary music on electric guitars, overheads, wind instruments and many other instruments. Fen-tone also features a pure analogue 26 dB JFET in-line preamp that enables active use - a key advantage for direct use of the mic with low-power audio interface preamps.

The X1 A studio condenser microphone sets standards within its price class. It not only offers first-class sound quality and a high dynamic range, but also impresses with its high-quality workmanship and very attractive design. The balanced sound and the switchable filters enable a wide range of applications both in the studio and on stage.The X1 A is a high-quality condenser microphone that is suitable for a wide range of studio applications - from vocals to acoustic instruments and drums. Thanks to the carefully selected capsule and high-quality electronics, it offers unadulterated sound quality and a straightforward, very balanced frequency response.The electronic circuit, built with high-quality, discrete components, and the switchable pre-attenuation filter result in a high dynamic range, guarantee the clean processing of very high sound pressure levels and offer low self-noise. The switchable high-pass filter suppresses low-frequency noise (e.g. footfall, rumble or wind noise) and compensates for the bass boost that occurs at close microphone distances due to the proximity effect. This enables the near-field miking of many instruments such as electric guitars, brass instruments and drums. High reliability, even in demanding stage applications, is guaranteed by the robust metal construction and high production standards.The completely new acoustic design, the hand-selected condenser capsule and the low-noise electronics guarantee the best possible sound quality in its class. Gold-plated contacts, a high-quality, robust metal housing, switchable attenuation and bass filters, a completely redesigned stand adapter and an integrated windscreen round off the new X1 A.

The reduced overall sizeresults in an extremely compact appearance that combines all the typical design components of a Neumann microphone. The harmonious proportions and the high-gloss basket ring ensure that the TLM 102 is instantly appealing. When it comes to sound, the TLM 102 is really big: inside it is a newly developed large diaphragm capsule (cardioid) which, with a maximum sound pressure level of 144 dB, also allows drums, percussion, amps and other very loud sound sources to be recorded, for example. Even instruments that are not extremely loud benefit from the very fast transient response of the TLM 102, but the most important area of application is in vocals and speech, where a slight boost above 6 kHz ensures an excellent presence of the voice in the overall mix. Up to this point, the frequency response is extremely linear, which guarantees maximum freedom from colouration and a very clearly defined bass range. The capsule is elastically mounted for structure-borne noise suppression and a pop protection integrated in the basket ensures the suppression of explosive sounds during vocal or speech recordings. The TLM 102 is predestined for the home recording and project studio sector, but also for the broadcast sector, especially if particular value is placed on a clear line of sight to the speaker positions. The TLM 102 is available in black and nickel. A tripod joint is included in the scope of delivery.

With the Apollo 2, the stereo ribbon microphone also receives an upgrade. The two capsules in a Blum-lein arrangement reproduce the sound in detail and vividly. The result is a stereo image that is as pleasant as it is lively, providing a first-class presentation of room signals, choirs, chamber music, piano and drums. The Apollo 2 also features the RFI filters that ensure interference-free transmission in the other Sontronics ribbon microphones of the second generation. Conveniently, the two capsules can also be used individually, allowing the Apollo 2 to function as a mono microphone if required. The frequency range of 20 Hz to 18 kHz covers the entire range of music and creates a balanced sound image.

The KSM313 is a ribbon microphone with exceptional sound characteristics, equipped with a figure-of-eight characteristic. The dual-voice design combines two different sound characteristics in one microphone. One side of the microphone has been optimised with a rising frequency response for transparent vocal recordings. The other, with a darker sound characteristic, is ideal for miking electric instruments (e.g. electric guitar). Shure ribbon microphones are handmade in the USA with selected components. Compared to traditional foil ribbon technology, Roswellite technology is characterised by the particularly high elasticity and resilience of the material, which allows the microphones to be used even at extremely high sound pressure levels. The unique technology and features as well as the carefully selected materials and meticulous handcrafting make Shure ribbon microphones an excellent choice for the most demanding studio and stage recordings.

The C391 B Combo is a combination of the SE300 B preamplifier and the CK91 capsule. It offers excellent audio quality and unique flexibility and is therefore ideal for demanding broadcasting applications. The microphone has a cardioid polar pattern, low self-noise and very good impulse behaviour for a bright and brilliant sound. The bayonet coupling system allows the capsule to be quickly exchanged with the other microphone modules in the Blue Line series. The SE300 B offers a switchable bass attenuation filter with three settings: flat, 75 Hz and 10 dB attenuation.

The STC-1S is a lab-tuned stereo pair of the STC-1 cardioid microphone. With these microphones you will be able to record a perfect stereo image, whether it's a string quartet or an entire symphony - the STC-1S is the ideal microphone for A/B, Y/Y and other stereophonic recordings. The variable filter and pad switches further extend the versatility of this set for use in recording many instruments, whether acoustic or amplified. Compatible with this set are the optional "Omnidirectional" and "Hypercardioid" capsules. Please note, however, that when using these capsules, the microphones can no longer be classified as "stereo tuned". They are supplied in a luxurious wooden case, together with a stereo microphone holder and clamps. The optional capsules can also be stored in the wooden box.

Subsequent adjustment of the directional characteristic:In contrast to conventional microphones, the LCT 640 TS can be used in dual output mode to record both directions of pickup individually. This makes it possible to change or continuously fine-tune the directional characteristic from omnidirectional to figure-of-eight, as well as to rotate the direction of pickup by 180°. This means that the spatial component of the recording can be changed retrospectively or a range of special stereo recording techniques can be realised. Recordings of opposing artists can also be captured with the dual capsule.MS stereo technology with just one microphone:Another feature is the possibility of MS stereo recording technology (centre-side) with just one LCT 640 TS. Musicians and sound engineers only need to point the microphone at the sound source with the narrow side (90° to the normal pickup direction), so the left side channel is obtained from the signal of the front capsule, the right side signal from the rear capsule and the sum of both channels forms the centre channel.Lewitt Polariser plug-in:The LCT 640 TS comes in a package with the newly developed, ground-breaking DAW plug-in Polariser. This intuitive plug-in allows the polar pattern to be changed or continuously adjusted during the post-production process in the recording software. Polarizer works on both Windows and OS-X platforms and supports the following plug-in standards: VST, AU and AAX.Lewitt's LCT 640 TS is an all-round studio condenser microphone of outstanding quality and will add a new dimension to the modern recording process. The 1 capsule guarantees extremely precise transient reproduction thanks to the gold-plated Mylar diaphragm, which is only 3 micrometres thick. The dual capsule offers a choice of 5 different polar patterns: omnidirectional, cardioid, figure-of-eight, wide cardioid and supercardioid. The internal suspension of the capsule efficiently reduces structure-borne noise.The LCT 640 TS has a 4-stage subsonic filter and a 4-stage attenuation. This microphone, developed in Austria, has been designed for recording almost any conceivable sound source and is particularly suitable for vocals, piano and acoustic instruments. The microphone comes in a set with a spider and windscreen and an extremely robust hard-shell case. Also included for the first time is the innovative LCT 50 PSx pop shield, which is attached directly to the microphone clamp without a gooseneck.

The TLM 103 is the ideal large diaphragm microphone for all those who do not want to do without uncompromisingly professional technology despite tight budget constraints. It works with the transformerless circuit technology already proven in numerous Neumann microphones, offers an unrivalled low self-noise level and maximum dynamic range. The cardioid capsule used is particularly well-balanced acoustically and has excellent cancellation for rear sound incidence.

The SuperCMIT defines a new type of straightening tube. Its directivity goes far beyond that of a conventional, even long, levelling tube. It therefore offers completely new possibilities for the sound engineer.The SuperCMIT is a digital microphone according to the AES-42 standard, which is supported by most mobile recorders, among others.

The original - still unrivalled today:Introduced in 1960, the U 67 was the proverbial workhorse during the formative years of the musical revolution. Its inimitably smooth sound is still extremely popular today. That's why, after many years of waiting, Neumann is reissuing the tube classic - to the original specifications!A legend returns:As a successor to the extremely popular Neumann U 47, a weaker microphone would certainly have failed. The U 67, however, was quickly chosen as the new studio standard, as it offered many advantages over its predecessor. With three directional characteristics and an advanced tube circuit, including switchable pre-attenuation and bass roll-off, the Neumann U 67 was ideally equipped for any task. This is still true today: for many famous sound engineers, it would be the microphone they would take to a desert island because of its tremendous versatility and unrivalled sound quality.Neumann engineering at its best:The U 67 was the first microphone with the famous K 67 capsule, which has characterised the Neumann sound ever since and is still used today in its successor, the U 87 Ai. Hardly less important is the masterful tube circuitry, which minimises tube noise by means of a sophisticated pre-emphasis/de-emphasis technique. The U 67 was also the first microphone to specifically address modern recording techniques such as close miking, including a switchable bass roll-off to compensate for the proximity effect. With its switchable pre-attenuation, the U 67 can handle sound pressure levels of up to 124 dB without distortion (and much higher with a little tube dirt).Its appearance is as timeless as its sound and technology. The conical housing tube and the bevelled microphone headgrille of the U 67 are now considered iconic for the Neumann brand, as the same elegant design also adorns its transistorised successor, the U 87 - for over 50 years!History repeats itself:In terms of sound, the reissue is identical to the U 67, which was produced from 1960 to 1971. It uses the same capsule and circuitry; key elements such as the BV12 output transformer have been faithfully reconstructed using the original documentation. EF 86 tubes are carefully selected for optimum characteristics and minimum noise at a dedicated measuring station. The power supply unit has been redesigned to comply with today's strict safety regulations and to provide a slightly higher heating current for current premium tubes. The new NU 67 V power supply is fully compatible with older U 67 microphones.

The C214 large diaphragm condenser microphone was designed as a cost-effective alternative to the high-end C414 series. Like the C414, the C214 also has a 1" large diaphragm capsule of the highest quality. This is mounted in an integrated capsule suspension to reduce mechanical noise. A switchable 20 dB pre-attenuation filter allows the recording of loud sound sources of up to 156 dB SPL. A switchable bass attenuation filter enables close-up recordings without any noticeable proximity effect.By combining one of the two C414 capsules with the patented AKG back plate technology, an excellent dynamic range is achieved that comes very close to the performance of the C414 XLII.

Sontronics CORONA - dynamic vocal microphone in an unusual retro design, developed and manufactured in England, finely tuned sound image ensures a powerful presence and makes an EQ almost superfluous, supercardioid characteristic ensures effective damping of the rear of the microphone, versatile - for both vocals and instruments.

The active NUVO N8 is a modern ribbon microphone that captures the natural live sound of instruments in a room as they would sound in person - with all the subtleties and nuances. It effortlessly captures complex sources such as drums, strings, piano and other instruments that can produce intricate transients, harsh highs and powerful lows.

SCHOEPS now also offers the best-selling modular microphone series Colette in a handy and robust Peli Case as a pair at a set price.

The brand new STC-3X's greatest asset is its versatility: the multi-pattern large-diaphragm microphone offers an adjustable directional characteristic and can be operated with cardioid, omnidirectional or figure-of-eight polar patterns. In addition, a dual pad circuit (-10 dB / -20 dB) and a dual switchable high-pass filter (75 Hz / 125 Hz) have been integrated. The STC-3X is particularly impressive when recording various instruments: from acoustic guitar and piano to loudly played drums, it delivers perfect results. It is also ideal for overhead applications. The STC-3X complete set includes a solid spider for a secure hold and excellent decoupling as well as a pop protection with nylon covering for clean vocal recordings. A 5 metre long, high-quality XLR cable provides the ideal connection to a console, preamp or audio interface. A microphone bag made of hard-wearing plastic for safe transport rounds off each set. You also receive the Toontrack EZdrummer Lite software in the form of a download code. Sontronics offers a lifetime guarantee on all its microphones. This emphasises the British company's high quality standards for components and production

The C414 XLS, multi-pattern condenser microphone, offers a choice of nine polar patterns for the optimum sound for every application. An LED override indicator shows even the shortest signal peaks. In both live and fixed installations, all controls can be deactivated by means of a key lock to prevent unintentional changes to the settings.The C414 XLS retains the characteristic sound properties of the legendary C414 B-ULS, the most popular AKG C414 version since 1971. Developed for maximum linearity and neutral sound, it has been the most versatile large diaphragm microphone on the market for decades.

Technical values of the premier class:The Mercury is manufactured by hand in England from the best components. Most of the components used have a manufacturing tolerance of less than 1% - a real speciality in this price class. The technical values of the new microphone from Sontronics are correspondingly excellent: less than 12 dB(A) self-noise, 18 mV/Pa sensitivity. A hand-selected ECC81/12AT7 vacuum tube from European production provides the pleasant, characterful tube sound. This type of tube also leaves its sonic footprint in microphones in the upper price range.Wide range of functions for versatile applications:Despite its low price, the Sontronics Mercury has additional functions that considerably expand its range of applications. The most prominent function is the adjustable polar pattern. A potentiometer on the Mercury's feed section allows the polar pattern to be continuously adjusted from omnidirectional to cardioid to figure-eight in all intermediate forms to suit the respective requirements. This makes it possible to effectively minimise crosstalk in more complex recording setups - the Mercury is the right microphone for almost any situation. The switchable high-pass filter can effectively keep impact sound and bass frequencies below 75 Hz out of the recording. The 10 dB pad extends the Mercury's range of applications for handling signals up to 135 dB.Developed with artists and producers for practical use:Trevor Coley, company founder and chief developer at Sontronics, repeatedly sought the expertise of artists and producers during the development phase. Paul Epworth (Adele, Coldplay, U2, among others) and Gary Barlow (Take That) influenced the creation of the Mercury with their feedback, as did several engineers from Abbey Road Studios. Trevor Coley describes the process himself as follows: 'The Mercury has been three years in the making. It combines the highest quality components and the best of British engineering with our passion for versatile microphones that don't break the budget. We've had great feedback from top artists who have enjoyed working with the prototypes so much that they've already bought the finished product. The Mercury is compared to vintage tube microphones that can cost ten times the price.A lifetime of pleasure with Sontronics:Trevor Coley's confidence in his products is demonstrated by the lifetime guarantee that Sontronics offers to registered first-time buyers. Anyone who buys a new Mercury and registers it with Sontronics within 30 days is rewarded with this service - even if it rarely needs to be utilised. This literally guarantees long-lasting enjoyment of the Mercury.

Rock'n'roll ribbon! The Delta in its original design was already convincing when used with guitar amps and brass instruments. The Delta 2 adopts the ribbon driver of its predecessor and offers an updated circuit with high-quality components and a robust housing design. The circuit is designed to be less sensitive and therefore also allows very loud signals of up to 140 dB to be picked up. Powerful guitar amplifiers can be reproduced just as well with the Delta 2 as saxophone, trombone and trumpet. The powerful mids and basses are complemented by exceptionally clear highs and thus paint a precise picture of the sound source. Like the Sigma 2, the Delta 2 is also manufactured at the Sontronics headquarters in England and features the RFI filter circuit, which makes the microphone particularly insensitive to sources of interference. Ribbon sound for loud signals? The Delta 2 is the answer.

With its thick bass and powerful mids, the R92 ribbon microphone with two sound colours (different front/rear) and near-field characteristic is an exceptional tool for everyday use in the studio.

Beyond StereoThe Soyuz 013 Ambisonic Microphone is an innovation in the world of spatial sound and creative recording. The 013A captures 360° surround sound with unrivalled fidelity and character that captivates any audience and translates to any system - stereo or beyond.With just a single microphone, the 013 Ambisonic simplifies setup and allows you to explore new worlds of sound with unlimited flexibility. The included customised Soyuz Ambisonic plug-ins offer complete control in post-production and allow you to further shape the sound field to your personal preferences.The 013 Ambisonic microphone creates dynamic recordings with ease and captures performances like no other.Ambisonic audio has been around since the 1970s, and although the format was introduced with high hopes, it didn't catch on at first. Over the years, however, Ambisonic microphones became a secret weapon for inventive producers and engineers looking to stand out and expand their sound. Producers like Steve Albini have used Ambisonic microphones to expand the stereo field and add a unique sonic signature to many records. They have been used as the only microphone for complete albums, used by classical sound engineers for entire symphonies, and used on stages and in film studios to create a truly immersive experience that translates to any system.The 013 Ambisonic microphone makes this exciting recording technique accessible to all creatives. With a design that is both original and innovative, and features that surpass other microphones in its class, the 013 Ambisonic delivers immersive detail and captivating depth without limitations.

A stereo microphone in a class of its own. Two selected 1/2 inch condenser capsules, mounted in the classic 90 degree XY arrangement, now make stereo recordings a pleasure. A robust microphone body and the possibility to operate the NT 4 via phantom power as well as via 9V block battery do not limit the field of application to the studio, but also enable stage applications, film dubbing or nature recordings in best stereo quality. Two adapter cables are included to connect the microphone to two 3-pin XLR connectors and the microphone to a 3.5 mm stereo jack plug.

It is equipped with a large double diaphragm capsule with omnidirectional, cardioid and figure-of-eight polar patterns, which are selected via a switch on the capsule head. A switch at the rear provides a 10 dB pre-attenuation. This allows the microphone to transmit sound pressure levels of up to 127 dB without distortion. Furthermore, the frequency response can be reduced in the low frequencies, e.g. to compensate for the proximity effect. It is equally suitable for a large number of applications in radio, television, film and sound recording technology. In orchestral recordings it is used as the main microphone and as a support microphone for individual instruments, but mainly as a vocal microphone in all music genres.