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PRODUCT SAMPLER
50
Audio Media selects some of the
finest studio mics currently wowing
the industry.
The C 214 recording microphone
from AKG is a costeffective
alternative to the
C 414 family that combines
the C 414 dual-capsule
system with AKG’s patented
Back-Plate Technology. The
model utilises a switchable
20dB attenuation pad, low
cut switch, a double mesh
grille for high RF immunity,
integrated suspension, and
comes complete with a
spider-type shock mount.
www.akg.com
audio-technica’s AT4022 omni-directional
condenser mic excels when used to record
acoustic instruments due to
a flat, extended frequency
response, and a tolerance for
high SPLs. Furthermore, the
omni-directional polar pattern
delivers maximum ambient
pick-up for low self noise, while the lowmass
diaphragm supports transient response
and reduces handling/mechanical noise transfer.
The unit also incorporates a switchable hi-pass
filter (80Hz) and a -10dB pad.
www.audio-technica.com
Audix’s VX5 condenser mic is suitable for both
studio and live use with a
supercardioid polar pattern
that isolates the source
sound from other instruments.
The company claims
that the mic can handle high
sound pressure levels without
distortion, is resistant
to feedback, and boasts a
smooth, accurate frequency
response. The frequency
range of 40Hz-16.5kHz is
complemented by a -10dB
pad and bass roll-off filter.
www.audixusa.com
Studio Mics
We’ve sounded out the pick of the bunch for your browsing convenience, though if
you want even more, check out our Microphones 2009 supplement – available online
at the end of this month.
beyerdynamic’s MC 840 compact large
diaphragm condenser microphone benefits
from five switchable polar patterns
(omni-directional, wide cardioid,
cardioid, hypercardioid, figure-ofeight).
Building upon the company’s
MC 740 capsule, the newer model is
fitted with an improved low-noise
pre-amplifier and an impedance
transformer without transducer.
The unit is further augmented by
two-stage roll-off filters (80 and
160Hz) and two-stage pre-attenuation
(-10 and -20dB).
www.beyerdynamic.com
Blue Microphones’ ‘flagship
recording tool’ is the Bottle, a versatile,
hand-crafted unit integrated
with a system of eight optional
interchangeable capsules (Blue’s
Bottle Caps) that can be swapped
to provide different tonal characteristics
and pick-up patterns. The
design is a modern rethinking of
classic ideas with a Class A discrete
amplifier circuit containing a handselected
EF86 pentode vacuum
tube in triode mode.
www.bluemic.com
Brauner has distilled the
technology of the tube
microphones VM1 and
VMX into two distinct
‘pure cardioid’ models. The
VM1 offers natural capturing
of audio, whereas the
VMX supplies ‘charming
tonal character’. Both feature
a frequency range of
20Hz-22kHz, equivalent
noise of 9dBA, signal to
noise of 84dB, and are
hand-built for ‘uncompromising
sonic excellence’.
www.brauner-microphones.com
AUDIO MEDIA MAY 2009
CharterOak’s newest
offering is the S700
broadcast microphone,
a fusion between the
company’s Series 700
type head amplifier
and the S-3 type capsule
used in the S600.
The S700 looks to
address users who may find the E700 ‘a bit bulky’
and would prefer a front address microphone.
Designed specifically for broadcasters, it features
a robust midrange, smooth and detailed top end,
and internal plosive filter.
www.charteroakacoustics.com
DPA is offering the opportunity to
upgrade the 4006 and 4011 to TL
versions that feature transformerless
preamps and updated components.
The 4006 model benefits from an extended
low frequency response (15Hz-20kHz)
and increased sensitivity, as well as
retaining the acoustic modification
accessories that bestow seven different
frequency responses and directional
characteristics to the user. The 4011 TL
continues to benefit from a flat on axis
frequency response and smooth off-axis response.
www.dpamicrophones.com
Horch has three microphones
in its studio catalogue.
The RM2J takes cues from
Neumann’s M49/U47 and operates
in two different modes
with one featuring an adjustable
polar pattern and the
other a broad cardioid. The
RM3 comes with an integrated
shock mount and pop filter and
is suitable for female vocals.
Finally, the RM4 offers control
over tube saturation from a
‘clear to a high saturated and
compressed sound’.
www.horchaudio.com