Universal microphone shock-mount and pop filter for mics between 18 and 55 mm in diameter, and from 500 to 750 grammes in weight
- Fits any large-diaphragm recording microphone with a diameter between 18 and 68mm
- USM offers up to 12dB better isolation against unwanted vibrations
- Pop Filter provides up to 20dB pops and thumps attenuation, with no HF loss
Mic diameters: 18-55 mm
Microphone length: up to 300 mm
Maximum Weight (vertical): 750 g (26.5 oz)
Maximum weight (horizontal): 500g (17.6 oz)
Suspension Rotation (maximum): 175%
Product Length: 300mm
Product Width: 130mm
Net Weight: 200.2 grams
|Neumann U 87 Ai||The U 87 is probably the best known and most widely used Neumann studio microphone. It is equipped with a large dual diaphragm capsule offering three directional patterns: omnidirectional, cardioid and figure-of-8. These are selectable with a switch below the head-grille.
A 10dB attenuation switch is located on the rear. This enables the microphone to handle sound pressure levels up to 127dB without distortion. In addition, the low-frequency response can be reduced to compensate for the proximity effect.
|ADK A-51||The A-51 condenser microphone is designed for use in studios, concert halls, and broadcast applications. It has wide frequency response, a smooth response curve, large dynamic range, and low distortion. The Type III A-51 mic now has a 3 to 6dB lower self noise than previous models and uses a precision 1′ gold sputtered diaphragm, with discrete Class A FET electronics and a transformer-coupled balanced output.|
|ADK A-51TC||The A-51TC features a large 1′ diameter capsule. It is a single pattern (cardioid) tube microphone. The circuit design utilizes a specially selected 6072 vacuum tube and runs from a dedicated AC power supply.|
|ADK Area 51||A dual diaphragm top-of-the-line tube microphone. It is similar in electronic design to the A-51TC but nine switched polar patterns are available.
A Commemorative Edition features a hand-picked GE6072A tube.
|ADK Hamburg||A large diaphragm fixed cardioid microphone related to the Vienna but with a 1′ 6 micron capsule. The diaphragm is centre-connected and gold vapour-deposited. It has a discrete FET, bipolar drivers and a transformer output. An Ultra-Pro and LE stereo pair are also available.|
|ADK Vienna||The ADK Vienna Edition is intended as pop/rock vocal microphone that can handle a wide variety of high SPL situations. It is a fixed cardioid design with a 1.07′ (28mm) capsule. The diaphragm is5 micron, edge connected and gold vapour-deposited. The electronics use a low-noise Class A discrete FET with bipolar driver and transformer output. An Ultra-Pro version and a LE stereo pair are available.|
|AKG C 12 VR||The new C 12VR is true to the original C 12’s electronic and acoustic design, with only subtle refinements incorporated to increase overall robustness and reduce susceptibility to hum and noise.
It is a classic large diameter dual diaphragm tube design with 9 different polar responses remotely switchable from the N 12VR.
|AKG C 426 B||This externally polarised, switchable condenser is a linear descendent of AKG’s original C 24 stereo microphone.
The upper head can rotate to alter the stereo pick-up angle and a total of 9 polar patterns can be electrically selected.
|AKG Perception 400||The Perception 400 is a studio microphone with three selectable patterns. It is a large capsule (25mm) type with dual gold-sputtered diaphragms, built to an AKG (Vienna) design but made under their control in China.|
|Audio-Technica AT 3060||A large-diaphragm tube design that does not need a dedicated power supply – it operates from 48V phantom power. The cardioid back-electret condenser element provides high sensitivity and smooth reproduction with low noise levels. The tube is hand-selected and shock-mounted, and the precision-machined, nickel-plated brass acoustic element baffle provides enhanced element stability. A large coupling transformer provides superior low-frequency linearity.|
|Audio-Technica AT 4047/SV||Designed for professional recording and critical applications in broadcast and live sound, the AT4047/SV has a transformer-coupled output and specially-tuned element, which provide sonic characteristics reminiscent of early FET studio microphone designs. It offers exceptionally low self-noise, wide dynamic range and high SPL capability, and has gold-plated, specially-contoured and aged, dual-diaphragms.
Switchable 80Hz hi-pass filter and 10dB pad.
|Audio-Technica AT 4050||Superior performance for studio recording and live sound applications is provided by the AT4050’s remarkable combination of warm, transparent sound and super-high SPL capability. It features three switchable polar patterns (omni, cardioid, and figure-of-8), a large-diaphragm design for extended frequency response, and symmetrical direct-coupled electronics for excellent transient response and low distortion.
Switchable 80Hz hi-pass filter and 10dB pad.
|Audio-Technica AT 4060||This microphone combines a vintage tube sound with the versatile performance necessary for the most demanding studio applications. It has a wide dynamic range, low self-noise and high maximum SPL capability, while its carefully-controlled cardioid pattern maintains uniform off-axis response. The dual large-diaphragm element provides an extended frequency response, and the hand-selected tubes are aged and individually tested to ensure peak performance.|
|Audix CX-111||A true condenser microphone of classic design. The capsule is a 25mm gold-sputtered single diaphragm type. The housing is machined brass.|
|Audix CX-112||A large (1.07′) diaphragm studio microphone using an edge-terminated capsule. It has very low noise circuitry and a fixed cardioid pattern. Matched pairs are also available.|
|Audix CX-212||A large diaphragm studio microphone with a 25mm capsule. The polar pattern is multi-pattern.|
|Behringer B2||A dual diaphragm design with a 1′ capsule which can be selected to either an omni or a cardioid pattern. It uses a transformerless output and has a rugged construction that suits it for both recording and broadcast use.|
|Behringer C1||A large diaphragm studio microphone with a flat response and ultra low-noise transformerless FET electronics.|
|Berliner Microphones USA U7||A large-diaphragm studio microphone with a fixed polar pattern. The capsule is a centre contact type with a 6-micron gold-evaporated diaphragm. The impedance converter uses a GE6072 tube (valve) and the output is transformer coupled.|
|BeyerDynamic M 99||Very large capsule microphone for low frequency instruments such as kick-drum, double bass and tenor saxophone. Also recommended as a vocal microphone for radio presenters.|
|BeyerDynamic MC 742||This microphone has been withdrawn.|
|Bock Audio Bock 151||The Bock 151 is a lower-priced version of the 251 microphone with a fixed cardioid pattern. A ‘brite/normal’ switch is added to allow alternative HF responses – ‘brite’ gives a fully extended HF to match modern capacitor microphones, ‘normal’ is a closr match to classic microphones.|
|Bock Audio Bock 195||A fixed pattern studio microphone with a large (25mm) diaphragm capsule – dual symmetrical backplate (K67 style). The electronics are Class A FET with a transformer output. This transformer is the oversize version used in the 151 and 251 microphones. Switching supplies and oscillators are avoided. The ‘Fat’switch position introduces a low end boost between 10Hz and 400Hz.|
|Bock Audio Bock 251||A large diaphragm studio microphone that emulates a vintage ‘251’. The design uses a hand-wound multi-section transformer. This is over-sized to provide very low distortion at extreme LF. Distortion is primarily 2nd harmonic and rises relatively slowly (2% @129dB). The capsule is a German 1′ dual diaphragm design with an asymmetrical C12-like backplate. The tube electronics are based on a GE5670 with a resistive, rather than transistor, load. Polar patterns are switchable.|
|CAD Professional Microphones GXL3000||A large diaphragm multi-pattern studio microphone. The capsule is 1′ gold vapour deposited.|
|CAD Professional Microphones M177||Using the latest computer modelling tools has resulted in a microphone that features the best of old world and new world technology at affordable cost. The M177 features a single pattern version of the original Equitek E-300 capsule. An externally biased capsule, it has a gold sputtered 1.1′ diaphragm. The M177 has a high speed, low noise operational amplifier head amp, coupled with a new discrete high efficiency power supply circuit. This results in incredibly low noise, low distortion and fast transient response. The M177 can be used with 24 to 48V phantom supplies.|
|Canford Audio CSM41||This studio-grade, large diaphragm condenser features a 25mm gold sputtered diaphragm, balanced transformer output, and a machined brass enclosure. A bass-cut switch is mounted internally.|
|AKG C 214||A lower cost version of the C414 using a large diaphragm (1′) back electret capsule. It is single-sided and fixed cardioid pattern. The capsule is internally suspended in the die-cast body, making it extremely robust. It can also work with a Max SPL of 156dB due to the provision of a 20dB pad.|
|AKG C 28||A classic axial condenser design dating from the 1950s. The preamplifier can be fitted with a CK28A cardioid or less usually a CK26A omni capsule. Slim VR29 and VR30 tubes allow the capsule to be extended 33cm or 100cm. The N28A power supply is mains powered and can be mounted 20m from the preamplifier (Mk28 cable). Designed as a general-purpose studio microphone it was the mainstay of television and recording studios for many years.|
|AKG C 414 B-Xlii||The C 414B-XLii is a reworking of the legendary C414 preserving the sonic character and essential shape but adding an improved shock mount, new switching functions and a more modern internal design. A status LED shows the selected polar pattern and also capsule overload. Three pad settings and three bass-cut filters are also given LED indication and there is provision for remote switching. Considerable care has been taken to minimize humidity problems by using low-impedance switching. The 414B-XLii has a distinct timbre and is recommended for use with vocals and as a distant instrument microphone.|
|RODE NT1-A||An improved version of the original NT1. It retains the large capsule (25mm) with its gold-sputtered diaphragm along with the internal shock-mounting but now uses state-of-the-art surface mount electronics to provide an ultra-low noise level through its transformerless circuitry. The design is rugged and finished with a heavy-duty nickel finish.|
|Sennheiser MK4||The MK 4 is a large-diaphragm true condenser microphone for professional studio recordings. Featuring fine resolution and outstanding sound quality, the MK 4 is easy to handle and excellent value for money, making it an ideal choice for professional project studios and home recordists. It features a 1 inch true condenser capsule based on the acoustics of the e 965 high-end vocal mic, optimised for recording. The MK 4 is made in Germany, its transducer being manufactured in the same clean room as all high-end Sennheiser condenser capsules.|
|Shure KSM32||Side-address cardioid condenser microphone for studio recording and live sound. A large diaphragm Class-A transformerless design.
Max SPL increases to 139dB for 2.5k* load
|AKG C 3000||Large diaphragm cardioid condenser microphone for universal use, designed and made specially to suit the needs of musicians as well as the rigours of the stage.|