Audio Media magazine's Microphone Guide 2010 // Audio Media dergisinin 2010 Mikrofonlar kitapçığı

1. AUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDING
AUDIO MEDIA
THE INTERNATIONAL
BUYER’S GUIDE
THE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINE
A SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP
MICROPHONES
2010
PRODUCED BY
AUDIO MEDIA

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3. Welcome to Microphones 2010, an International
contents Buyer’s Guide. We’ve scoured the ever-widening
market of professional microphone products for
4 Ribbon Mics: Fact or Fiction? . . . . . . . . . . . . . . . . .
your convenience, and thrown in a few informative
and hopefully thought provoking articles from
experts in the field.
6 An Engineer’s Guide to the Orchestra . . . . . . . . Now updated and refreshed, this guide is a collection of
promotional articles looking at some of the world’s leading
microphone manufacturers and their product ranges.
Inside you’ll find the stories behind the gear – the ethos’
8 AKG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . and design ethics that go into producing one of the core
components in professional audio – and details of the products
themselves. In addition, we’ve collated a massive directory of mic
manufacturers, and included three articles around the subject of
microphone technology and technique for the audio pro.
10 Audio Technica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Whatever your field of work, the quality of your product
depends heavily on the quality and method of acquisition. This is
why microphones are so important, and why this genre of audio
gear probably generates more passion than any other. While the
range of basic principles in microphone technology is relatively
12 Beyerdynamic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . small, the variations on these themes are incredibly numerous
– we’ve listed over 80 manufacturers in our directory, from all
over the world, most offering choice across several transducer or
electronic approaches.
You might be a film or drama location recordist, a music studio
14 Blue (TC Electronic) . . . . . . . . . . . . . . . . . . . . . . . . . . . engineer, a Foley editor, a radio journalist, a member of an ENG
crew, a live sound engineer – any, in fact, of the hundreds of very
specialised roles that require not only a theoretical grounding in
microphone technology, but also intimate knowledge of the ‘art’
of microphone practise, placement, and choice.
16 DPA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . You might even just be starting to build your microphone
stock and need a place to start. Are you aware of recent advances
in all areas of microphone technology? Are you familiar with a
handful of high-profile manufacturers, but would like a greater
18 Mic W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . breadth of awareness when it comes to the ‘alternatives’?
Whatever your needs, Microphones 2010 should be able to help.
It should be a place to begin your search.
Microphones 2010 is a project developed by Audio Media
Worldwide (www.audiomedia.com). Audio Media concerns itself
20 Prism Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . with the business of production and production technology
for professional creatives, operators, technicians, and engineers
everywhere.
Paul Mac, Editor
22 Sennheiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24 Shure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
AUDIO MEDIA www.audiomedia.com
(UK) Tel: +44 (0)1480 461555 - Fax: +44 (0)1480 461550
26 Telefunken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sales Manager Editorial Manager (Europe)
Graham Kirk Lanna Marshall
g.kirk@audiomedia.com l.marshall@audiomedia.com
Editor In Chief Design & Production Manager
Paul Mac John-Paul Shirreffs
28 Violet ...........................................
p.mac@audiomedia.com jp.shirreffs@audiomedia.com
30 Manufacturers Directory . . . . . . . . . . . . . . . . . . . . . .
Mic
www.nbmedia.com
34 Microphone Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether
10
mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure
accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or
any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers
accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.
© 2010 NewBay Media. All rights reserved.

4. + + FACT OR FICTION? + + + + FACT OR FICTION?+ + + + FACT OR FICTION
Ribbon Mics:
Fact Or Fiction?
ANDREW GRAEME explodes the bare truth behind common ribbon microphone myths...
I
t seems strange in today’s digital world, perfect recordings every time. recordings were made using tape
but just a few years ago, avoiding noise was But we still have cupboards full recorders and the ribbon mic was
everything! And the one piece of equipment of condenser mics that were
“I think all but forgotten and in 1976, RCA
that added more noise than most was the tape ideal at overcoming the effects ribbons stopped making ribbon mics.
recorder. Early tape was noisy and bouncing tracks of tape.
meant losing the top end. have The Difference
So I suppose it was inevitable that we would
forget the poor old ribbon back in the 60s and
Time to Take a New Look at
become The idea may not be high-
tech, but the biggest physical
Ribbons!
70s. After all, condensers sounded so much Back in the 19th Century, more difference has to be the
brighter and sharper and we needed that to Werner von Siemens discovered extremely low mass of the ribbon
overcome the effects of tape. The subtlety, that vibrating a thin sheet of
important when compared to other types
purity, and open sound of a good ribbon
microphone was often lost under all that tape
conductive material suspended to me, since of membrane. This low mass
means that transient response at
in a magnetic field created a
noise of earlier recordings. The condenser had very small current. At the time, I have been all parts of the audio spectrum
enough top-end for tape, and some of us even should be better. The ribbon can
preferred a bit of a presence peak.
this was of no practical use,
but with the advent of sound
recording in follow the smallest movement
But then along came digital and a new
beast raised its ugly head: digital harshness.
reproduction, Harry Olson, an digital.” of the higher frequencies better
engineer working at RCA, was and, at the same time, cope
That presence peak was no longer as desirable able to use this principle to build Bruce Swedien (legendary better with the large movements
as it once was. Our initial pleasure of a life good quality microphones. engineer) of bass notes and the thump of
without noise was somewhat diminished by In the era of direct-to-disc kick drums.
the new bugbear of a harsh top end caused by recording, the ribbon did a good job, but by For this reason, it has been
distortion. Today, better digital filter designs the end of the 60s, all popular commercial my experience that a good passive ribbon mic
and fewer clocking problems gives us nearly will show up the difference between a good
and a poor mic pre-amp more than other
The Phantom Killer types of microphone, particularly on drums
A long time ago, a producer was making my life and the life of the musicians in the studio, as and percussion. You will need more gain than
difficult as possible. He didn’t like the desk, he didn’t like the acoustics of the room, he didn’t a comparable condenser mic, and larger
reserves of current to cope with deep notes
like the way the musicians were playing and, to cut a long story short, we didn’t like him. He
and sudden thumps.
certainly didn’t like the microphones, but he had a solution: he brought out his own ribbon
Perhaps the most noticeable difference to
mic and plugged it in. Leaning over my shoulder, he started fiddling around with the channel
condensers is the almost universal absence of
settings, as in his view, I hadn’t got those right either! In doing so, he inadvertently switched sibilance and other HF distortion problems.
on phantom power to his ribbon. “Oh good,” I thought. “He’s broken the damn thing!” As one student in a work group put it, “I don’t
Sadly, this was not the case. get essing problems when I hear someone
And so I learned: if everything is correctly wired and phantom power is uniformly applied singing next to me, so why do we have to use
to pins 2 and 3, then the ribbon has no reason to move at all. a de-esser with some condenser mics?”
However – if you plug your ribbon mic into the desk via a jack or TT socket and phantom The answer is that they (or something in
power is on, for a just a split second, 48 volts is applied first to one pole of the ribbon and the signal chain following them) are distorting,
then, as the wipers in the socket pass from the tip to the sleeve, to the other pole, making it and the better transient response of ribbons
means that they are far less likely to cause this.
jump first one way, then the other. The output transformer limits this effect, but these jumps
There just is something about the way a ribbon
can stretch and therefore damage the ribbon.
reproduces sound that is just closer to the way
The same thing happens if there is a momentary disconnect on either pins 2 or 3 caused,
the human ear behaves.
for example, by a loose or dirty connection. So if you do inadvertently switch on phantom For a long time, the Coles 4038 and
power whilst using a ribbon, it is best to just switch it off again. Do not plug or unplug the mic the Beyerdynamic M160 were drum overhead
whilst phantom is on, as pins 2 and 3 are unlikely to make and break contact at exactly the standards, along with a select few condensers
same time. that were not quite as harsh as most.
4 FACT OR FICTION

5. microphones 2010
N?+ + + + FACT OR FICTION?+ + + + FACT OR FICTION?+ + + + FACT OR FI
there are many other excellent ribbon mics on
Ribbons Sound Dull and Have Very Low Ribbons Break Easily
the market, but I just have not got round to
Output We were told that a small puff of wind
trying them all – not yet, anyway!
There was a time when many ribbon mics will tear the ribbon, and sudden jolts,
did indeed sound dull, but today’s mics or even storing them on their sides
Transformation
range in tone from ‘warm and vintage’ The tiny voltage that occurs at the ribbon will cause the ribbons to sag. All of the
(that’s dull by some standards) to being is considerably less than a millivolt – even major manufacturers have been working
almost as bright as any condenser. Indeed, if you shout right at it at point-blank range. diligently on making their ribbons far more
a very few users even complain about For this reason, a transformer is used to robust than they once were. The old RCA
a handful of models being too bright. generate something more useful. ribbon mics, such as the 77DX, were said
As for low output, the ribbon mic has a Doing this also puts a load on the ribbon, to have noticeably more bass when tipped
transformer that brings the output up which reduces its ability to respond to high to make the ribbon sag and doing this was
to about the same level as most other frequencies. In other words, the addition sometimes known as the ‘warmth tilt.’
of a transformer acts as a filter. The better
dynamic mics. They have, of course, a I do not know if this was ever true using
the quality of the transformer, the less
much lower output than condensers, but old ribbon material, and one suspects that
filter effect there is and the smoother it
screaming into a ribbon gives you about this effect had more to do with a change of
is. For this reason, better ribbon mics
20mV, the same as for an SM58. The use very high quality transformers, angle than with sagging ribbons!
difference is that ribbon mics are usually typically, from Lundahl or Cinemag, with Some ribbon mics using older designs
used as an alternative to a condenser and larger manufacturers using transformers and materials may be still somewhat
have a lower output in comparison. specifically wound for each model, and of fragile, but many of the technical advances
course sE has Rupert Neve on the case. made in the past few years have been
Unfortunately, the wholesale price for a in the ribbons themselves and several
But now, with the advent of modern full range
good transformer is about the same as the models would seem to have ribbons that
ribbon mics that cover every part of the audio
wholesale price of a cheap ribbon mic, including are about as robust as you could wish
spectrum, we are able to use them for anything
the box, the wind-sock and a suspension
and everything, from lead vocals to being the them to be. Even those models using
mount! But the difference between a good
main stereo pair for full orchestras. And we conventional two microns thick aluminium
transformer and an off-the-shelf cheapo is
can do so, without having to use condensers ribbons are far more robust than their
the difference between night and day!
to ‘pep-up’ the sound! older counterparts, as modern aluminium
foil is purer and the thickness far more
Patently Better
Body Language consistent. Impure aluminium foil will
A dig through patent applications and
It has been my experience that the more oxidise and therefore become brittle
patents granted has told me that this rebirth
solidly built microphones (all other factors and break.
of interest in ribbon mics is here to stay,
being equal!) sound better than their
and further technical advances are in the
flimsier counterparts. In particular, budget-
pipe-line. This ranges from ultra- many different recording situations that you
priced ribbon mics built into
strong composite materials for
larger housings made of “Ribbons the ribbon, to new methods
are going to be confronted by. In the past, our
serious mic-money went on good condensers.
thin metal can have a slight
‘honk’ or ‘ring’ to the sound. were of concentrating and focusing
magnetic fields around the ribbon.
Now that there is no more need for a sharp
top end to cut through tape hiss, woolly noise
This is particularly true, if
there is no, or insufficient,
designed There are applications for printing reduction, track bounces, and AM radio, the
complex conductive patterns onto
acoustic de-coupling between when one composite polymers to increase
time has come to re-evaluate the balance of
our mic lockers. A few pairs of good ribbon mics
the ribbon assembly and the
housing. Perhaps it is for mic had the generated voltage, to a large
collection of mechanical means
may make all the difference!
this reason, that amongst my
favourite ribbon mics are the
to sound of protecting the ribbon and
Thanks To…
altering the frequency response.
Royer 122, the AT 4081, and good on For example, Audio Technica has Audio Media would like to thank sE
the magnificent SE Electronics
RNR1, all of which have
everything.” no fewer than 18 patents in the Electronics, Audio-Technica, Royer, and
Shure for their help with this article.
pipeline for ribbon microphone
beautifully machined bodies Wes Dooley (President of
technology alone!
and a very solid construction. AEA Microphones)
www.seelectronics.com
These three are active, which
And Finally... www.audio-technica.com
has the advantage of permitting
There is no one mic that is good www.royerlabs.com
the use of a wider range of pre-amps, but,
for every application, so it pays to have as many www.shure.com
well-built passive ribbons are every bit as good,
good mics of various types to cover all the
when used with good equipment. Obviously,
THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 5

6. + + ORCHESTRA + + + + ORCHESTRA+ + + + ORCHESTRA+ + + + ORCHESTR
An Engineer’s Guide
To The Orchestra
We present a short trip around the instruments of
an orchestra with Angel Studios’ Senior Engineer
Gary Thomas, who brings a lifetime’s experience to
bear on his own approach to orchestral recording...
Starting With Stereo again, perhaps some other cardioids. If space is Strings
“The most accepted stereo source is the tight I may put the sides and rears in extreme “For more gentle material, I may just use the
standard Decca tree – two omni mics around places to add character. They’ll be there to room – that always gives a smoother and more
two metres apart and a third omni 1.5 metres capture reflections off a wall or ceiling, anything diffuse sound. But for action movies the strings
forward. The tree is above the conductor and to fill out the ambience. Sometimes I’ll even put may need more bite and definition, and that
gives a true impression of what he or she is them up on a balcony. will mean close miking the whole section to
hearing. I’ll often use the traditional Neumann “A lot depends on the score – what you add some bite to the sound. Typically I’ll put up
M50s for that, which is what Decca trees were record always depends on what the score is one mic per desk. In a section of forty, that can
first used with. But there are alternatives; trying to do, which is always up to the director mean twenty mics or more. I’ll find out from the
I really like some of the DPA microphones – and the composer. Directors generally know composer beforehand if there are any solo lines,
the DPA4006s because they have a very nice what they are trying to create, so you’re always which are usually played by the leaders in each
smooth sound. Neumann TLM50s and KM83s working with that. In many cases a lot of activity section. Soloists get an extra mic of their own, to
can work well too.” in the rear can be detrimental. I’ve worked on be used with discretion.”
projects where the director wanted nothing at The mics are on stands, between two and
The Fills the rear because he wanted to keep the dialogue four feet away, depending on the space and the
“I’m sure if you ask other engineers, everyone clean. For other films – e.g., action movies – sound we’re after. For the high strings I might
has a different view on how to create side and there’s a need for a lot of activity. And it’s not use Schoeps CMC5s or Neumann KM84s, for
rear fills and where they should go. A lot of just ambience – sometimes other elements, the lows U87s or U89s. For solo violin or cello I’ll
people add in extreme side fills to add more like piano, percussion and keyboards, are often use a DPA 4011, which is another DPA mic
width to the tree – typically TLM50s or KM83s included in the rears.” with a very smooth sound, or a Neumann 149.
6 AN ENGINEER’S GUIDE TO THE ORCHESTRA

7. microphones 2010
A+ + + + ORCHESTRA+ + + + ORCHESTRA + + + + ORCHESTRA + + + + ORCHE
I don’t usually use contact mics except for very Woodwind “Dynamic range is the issue for percussion,
special effects – I think we have just the one in “Musicians try to keep their instruments in top and there are some vintage Calrecs which
the cupboard at Angel now. form, but that isn’t always possible. Sometimes have an amazing dynamic range – they’ll take
They can be very impressive though – with woodwind you’ll get clicks and clacks from almost anything – but still sound exceptional.
there’s a DPA contact mic which is superb for the keys. To minimise that I’ll mic them from I’ll also use a mix of AKG D12s, Neumann
double bass. It’s only about a centimetre wide some distance away – to get the full value of KM84s, and sometimes I’ll use a couple of
but it sounds fantastic.” the sound yet attempting to lose the key noises. dynamics like SM58s.
That doesn’t always work. Bassoons sound best
Brass miked from the middle, not the top, which can Piano
“Brass can be more of a challenge than some make it impossible to eliminate the key noise. “For piano. I’ll use Neumann KM143s for a
of the other sections. First – screens. You’ll For woodwinds I’ll use brighter sounding mics first choice, or perhaps DPA 4006s because
sometimes find that on the first cue of the day because you’re only really dealing with mids they give a very open sound. If it’s a short lid
the brass wipes out the strings and drowns out and top – there’s not much needed at the set-up I’ll use a pencil mic like the Neumann
everything else. And once in a while dynamics bass end. So I’ll use AKG 414s on clarinets and KM184. The 143s and the 184s are both small
don’t get written in, so the section can be bassoons, and Neumann 184s and 89s on the cardioid condensers so they can work for close
playing more enthusiastically than it should. flutes. The exception to that is bass clarinet, miking. Sometimes you want a darker sound,
If there’s a brass onslaught like that, some which composers write for when they want and the old Calrecs or a Neumann KM84 are
extra work is needed. Then again, for something comical or sinister. My first choice good for that.”
something like a John Williams score you want for that is a Calrec 1050 cardioid, which is a
to keep that powerful brass sound because it’s warmer sounding mic, that brings out the
Many thanks to Angel Studios for its help with
a key feature of the mix. So again it depends body of the sound, but is still quite small.
this article. Interview by Richard Wentk.
on the music. In a big orchestral room, you may It’s also very handy to have a crossed pair
not want screens because there’s enough space of cardioid mics on the section to create
for everyone. But in smaller rooms screens are a some width and depth.
good way to give yourself more control.”
“Mic placement for brass is similar to Percussion
strings – a section mic like a stereo Schoeps “With percussion I like to have distance and
or a Neumann SM69, and then individual mics the option of extremely close mics, inches
in pairs or trios. Often I’ll record the horns from rather than feet, on things like bass drums,
behind – they’re usually loud enough and snare drums, sparkly sounds like Mark trees and
far enough away from the percussion not to piano pins. The close miking adds body to the
pick up too much spill. I would use any large sound. So for a bass drum hit, you may want
capacity microphone like a Neumann U47 heavy resonance. Also, military snares would
or U89, generally look for a mic that has an be close miked to add more body and balance
attenuator with high headroom. out some of the snare rattle with extra depth.
On trumpets I’ll use a Coles ribbon 4038, Similarly triangles, vibes, and marimbas would
which is a very smooth sounding microphone all be close miked. Cymbals are the exception.
that can take some of the edge off the sound. I’ll place the mic maybe a couple of feet
Alternatively Neumann U87s or U89s can work away on those to cut down on their
well, again usually with a pad especially for natural harshness.
louder playing.”
THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 7

8. + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + +
Latin superstar Alejandro Sanz used
the frequency-agile DMS-700 for his
worldwide Paradise tour.
Professional Sound Solutions
AKG has been pioneering the development of cutting-edge audio technologies since 1947.
Today, it is continuing its tradition of audio innovation in producing some of the most advanced
microphones and wireless microphone systems in the world.
From some of the most high-profile live sound DMS 700 offers a quick system setup for easy and user-
events to small town theatre installations, AKG’s The frequency-agile DMS 700 is AKG’s first friendly operation.
equipment is used to satisfy a wide variety digital wireless microphone system. Offering Included in the DMS 700 are the DHT 700
of audio requirements the world over. In just users a state-of-the-art feature set that includes Digital Handheld Transmitter, the DPT 700
the last year, AKG’s microphones and wireless digital audio encryption, ultra wide tuning range, Digital Bodypack Transmitter, and the CU 700
microphone systems were used live in concert and a high channel count in a simple to use 19- Charging Unit. Each of the components can
by Kanye West, Missy Elliot, and Alejandro inch chassis, the DMS 700 is ideal for live sound be purchased individually or grouped together
Sanz; they were installed for secure audio reinforcement, conference facilities, courtrooms, to make up the DMS 700, and can be easily
transmissions at the Swiss Exchange in Zurich’s and houses of worship. It operates with two integrated to operate with Harman’s HiQnet
Crystal Palace, and they were installed in a wide frequency bands that each feature a tuning protocol.
variety of theatres, cinemas, and recording range of up to 155MHz, and it has the ability to
studios. Here are just a few products that have operate up to 100 channels simultaneously. Perception 120 USB
contributed to AKG’s global dominance: With all these features, the DMS 700 The Perception 120 USB is AKG’s
offers a clean digital audio transmission that first USB-equipped microphone
eliminates the distortion and is a real plug-and-play
and significant noise levels device that allows users to do
that are typically produced podcasts, voiceovers, and studio-
with analogue systems. quality rehearsal-recordings
AKG’s frequency-agile DMS 700. For confidential audio from their desktop without any
transmission, each channel installation or drivers. It’s one
can be secured with its own of AKG’s most user-friendly
encryption, allowing the microphones to date, and is
user to broadcast sensitive compatible with Windows XP, AKG’s
audio transmissions with Windows Vista, MAC OS X, and
Perception 120
confidence. What’s more, Windows 7.
USB.
the infrared link between The desktop microphone
receiver and transmitter includes a two-third-inch
8 PROMOTIONAL FEATURE

9. microphones 2010
AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + + AKG+ + + +
condenser capsule with a low-mass diaphragm
UK Distributor China Distributor
that delivers accurate sonic details. It features
Sound Technology Plc. Acton Audio Musical Instruments Ltd.
an integrated pop filter that avoids plosives, a
switchable bass cut filter, and an attenuation Letchworth Point, Letchworth Garden City 3 Hong Ye Road , Wang Gang Town
switch, and comes complete with a tripod table Hertfordshire SG6 1ND Pudong District, Shanghai
stand, a swivel mount, and a USB cable. e info@soundtech.co.uk Marketing and Sales:
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Architectural Microphone Series f +44 (0) 1462 480800 t +852 2737 7688
With over 6,840 customisable settings that w www.soundtech.co.uk f +852 2730 3573
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interactive website, AKG’s Architectural India Distributor
Microphone Series is one of the most versatile
Hi-Tech Audio Systems PVT. Ltd.
lines of microphones available on the market.
3406, Desh Bandhu Gupta Road, Check www.akg.com/distributors for the
Just by logging on to the website, users
Karol Bagh, 110005 New Delhi complete list of AKG Distributors
can customise their microphones based on
t +91 11 4317 4317 (30 Lines)
seven different variables: capsule design, polar
pattern, gooseneck length, connector style, f + 91 11 2872 0461
printing, colour, and accessories. With the click
of a button, users can select from five different
capsule designs, including a signal, tech, current, their wireless microphone and IEM systems
flow, or cross design. There is an option for from the palms of their hands.
hypercardioid, cardioid, and omnidirectional The new application links Harman’s
polar patterns, and an option for connection HiQnet® protocol to the iPhone and iPod®
preference, based on the most common use of Touch app via Wi-Fi® network, and has the
the microphone. power to monitor wireless system parameters
In addition to the functional settings, there and radio frequency connections from
are also a number of pages on the website anywhere for some of AKG’s most popular
where users can adjust the microphone’s wireless microphone systems, including the
aesthetic qualities. There is an option to adjust DMS 700, the WMS 4000/4500, and the IVM
the neck length from 15cm, to 30cm, to 50cm, 4 in-ear monitoring system. With the new app,
change the colour or finish, and even decide the iPhone can now also be used to browse
what’s printed as a logo. Finally, after the through the entire wireless system within
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are set, users can choose to add a number of parameters separately within the stripe view, or
different accessories including different types use the RF monitor to check the radio frequency
of mounting clips, a stand adapter, a screw set, connection of each wireless device.
and a windscreen for greater capsule protection. The new iPhone application is available
online at the iTunes store.
AKG’s revolutionary iPhone application brings
iPhone Application
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With its new iPhone application, AKG has given
users a new tool to browse, monitor, and control everywhere.
CONTACT DETAILS
AKG Acoustics GmbH
Lemböckgasse
21-25 A-1230, Vienna, Austria
e sales@akg.com
t +43 1 86654 0
f +43 1 86654 8800
US Distributor:
AKG Acoustics, U.S.
8400 Balboa Boulevard
Northridge, CA 91329
THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 9

10. + + AUDIO-TECHNICA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNIC
The Drive for Innovation, Quality,
and Consistency
The youngest of the world’s ‘big four’ microphone brands, Audio-Technica has employed design
innovation and advanced manufacturing to consistently break the price/performance barrier with
leading products for studio, broadcast and live production applications.
As a world leader in the design and manufacture In The Studio have traditionally plagued ribbon mics, in part
of high performance microphones and wireless It was with the introduction of the AT4033 in through the use of a proprietary MicroLinear
microphone systems, Audio-Technica has 1992 that the company established a leading ribbon imprint for excellent durability.
developed market leading product ranges for position in the studio recording market. The A significant degree of hand production,
music recording, broadcast production, and AT4033 was the first ever high performance including ribbon corrugation, imprint, and
live production. In each of these areas Audio- large studio condenser microphone priced at assembly, is involved in the construction of the
Technica delivers products that have raised the under US$1,000; exploiting the very latest new mics, which maintain the sought-after
performance bar and established a reputation design, engineering, and production techniques, ‘vintage-style’ ribbon mic tone.
for design, engineering, and build manufacturing the AT4033 provided performance Also designed to bring
excellence that is second to none. from a back electret design that classic tone to the studio are the
rivalled famous studio condenser AT4050ST and 4047MP. The
models several times more expensive. AT4050ST is a stereo version of
Special accelerated diaphragm aging the widely-used AT4050, featuring
methods ensured performance a pair of elements positioned
remained consistent over time, which at 90° to each other in a Mid-
provided for a more linear response Side set-up, with one element
over a wide frequency range, even at in cardioid mode and the other
high SPLs. configured as figure-of-eight. This
Modern production methods innovative design allows users to
enabled a level of consistency that opt for either a left-right stereo
ensured the identical performance of output, or for discreet mid-side
every microphone; with no necessity signal for later manipulation for
to produce the microphones in remarkable flexibility.
‘matched pairs’ for stereo recording. The AT4047MP is a multi-
Selling in thousands, the success pattern condenser microphone,
of the AT4033 established the created to deliver beautiful
company’s reputation as a high-end vintage tone that is perfectly
AT 4080 studio microphone manufacturer suited to vocals, strings, acoustic
and spawned the 40 Series large guitar, and instrument ensembles.
It’s an engineering and business philosophy diaphragm condenser range. All The pattern choices comprise
that originates with the company’s inception models in the 40 series adhere omnidirectional, cardioid, and
in 1962 when founder Mr. Hideo Matsushita to the same paradigm of high figure-of-eight pickup, while the
introduced a moving-magnet-type stereo performance and value for money, transformer-coupled output and
phonograph cartridge. The company went on and as testimony to their quality also specially tuned element provide
to design and produce phono cartridges and come with the company’s Lifetime the sonic character of early FET
tone arms, both under its own brand and for Warranty. mic designs.
others, including the legendary NHK broadcast Recently added to the 40 Series Modern day classics of
organisation. The same high precision design are two exciting new models, the the recording world, the 40
and engineering techniques that made the AT4080 and AT4081 – the company’s AT 4081 Series microphones are lauded
company’s various cartridge designs so first ever ribbon microphones. The by internationally renowned
successful were also applied to the manufacture pair feature groundbreaking Audio-Technica engineers and producers like Phil Ramone, Joe
of microphone and headphone products design, with no less than 18 patents pending Chiccarelli, Frank Filipetti, Nathaniel Kunkel,
throughout the 1970s and 1980s, earning on the new models. Created from the ground and David Reitzas. These are among the
the brand prestigious status among audio up, the AT4080 and AT4081 convincingly solve world’s most successful and best selling studio
professionals. the problems of fragility and low output that microphones today.
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11. microphones 2010
CA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TECHNICA+ + + + AUDIO-TEC
In addition to the unique Lifetime
Warranty offered on its 40 Series, Artist
and Artist Elite series microphones, Audio-
Technica introduced its First Impressions
trial scheme in 2009. Covering the above-
mentioned ranges, First Impressions
allows consumers to try microphones in
their own particular working environment,
free of charge, for a two-week period. Trial
mics are shipped with a discount voucher,
redeemable in-store only against Audio-
BP 892 Technica microphones from these ranges
at a participating First Impressions dealer.
Further details are available at
www.audio-technica.com/firstimpressions
For Broadcast On Stage
In the broadcast industry Audio-Technica is a In recent years Audio-Technica has won
brand that has become synonymous with high devotees among artists and sound engineers
performance location recording microphones alike for its Artist Elite Series performance
employed in the transmission of major outside stage microphones, in both wired and wireless
broadcast events. In particular the company form. With users and endorsees as musically
has been associated with the broadcast of diverse as Alesha Dixon, Rush, Metallica, and
international sporting competitions. For many Katherine Jenkins, AE Series handheld models
years, the official broadcast productions – both condenser and dynamic – are famed
of the Summer and Winter Games – from for their sound quality. When partnered with
Atlanta City to Beijing and Vancouver – have Audio-Technica’s recently updated 5000a and
featured literally thousands of Audio-Technica 4000a Series wireless technology, transmission
microphones. In particular the company’s quality is such that engineers as seasoned as
innovative shotgun designs have enabled Dick Rabel are on record as saying that there is
greater capture of close up audio in games and “remarkably little difference” between wired and
competitions. wireless models with the same capsule.
Introduced in 2009, the BP4071 and On backline too, Audio-Technica is a de
BP4073 microphones are tailored to the needs facto standard for many world-class sound
of critical broadcast applications with excellent engineers including ‘Big’ Mick Hughes
signal-to-noise ratios and RFI-immunity. (Metallica, Def Leppard, Slipknot), Dave Bracey
Innovative acoustic design also ensures that (Robbie Williams), and Andy Hawkins (Pigeon
the new models offer levels of directivity Detectives). For these and many others,
comparable to mics up to 50% longer, and models like the AE2500 dual element design,
as such deliver unequalled performance in a the AE3000, the AT4050 and AT4041, and Audio-Technica Ltd (UK)
compact package. the ATM350 are essential tools of the trade. Technica House
At the other end of the spectrum, the These live production series are now joined by Royal London Industrial Estate
new BP892 (headworn) and BP896 (lavalier) re-engineered Artist Series, offering unrivalled Old Lane
are subminiature omnidirectional condenser performance at competitive price points: Leeds
microphones, designed to provide high SPL they are already making an impression in the UK
handling and accurate sound in tiny packages market, with singers including Jodie Jones using LS11 8AG
for broadcasters, presenters and actors. the ATM710 condenser exclusively on stage, t +44 (0) 113 277 1441
and other models earning a place on backline w www.audio-technica.com
rosters.
Harvey Roberts
Senior UK Marketing Manager
t 0113 277 1441
e hroberts@audio-technica.co.uk
THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 11

12. + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ +
beyerdynamic
GmbH & Co. KG
beyerdynamic microphones, wireless systems, headphones,
and headsets are chosen by professionals all over world for their
sonic excellence and reliability.
worldwide. Eighty-six years after Microphone Portfolio
its foundation, beyerdynamic Live Performance Microphones
still develops headphones and
microphones in Germany, which The Difference Between Microphones
are carefully handcrafted in the Deciding on a beyerdynamic microphone is
southern city of Heilbronn. Each of first and foremost an individual process.
our products contains true passion The selection of a microphone is based on a
and know-how for an excellent great number of factors: personal preferences,
sound experience. the voice or instrument itself, and how and
Currently the beyerdynamic what is being sung or played. All beyerdynamic
product range comprises, in addition microphones have their own special
to microphones, wireless systems characteristics. They differ in their design,
and professional headphones, sound, and timbre. Sometimes the differences
headsets for TV commentators are great, and sometimes they are only nuances.
Optimal Sound and pilots, as well as conference One thing beyerdynamic microphones have in
As the Measurement of all Things systems and interpreting facilities. The latest common is the unbelievably natural sound they
Since the Eugen Beyer electrical engineering inventions of our engineers therefore include deliver on stage or in studio, and the maximal
factory was founded in 1924, beyerdynamic has products for 5.1 surround sound integrated in feedback suppression – and hence optimal live
been synonymous with German-made applied high-tech headphones, the worldwide unique experience for artists and their audience –
high technology in the professional audio wireless conferencing system Revoluto, high- they guarantee.
electronics sector. end headsets with digital noise cancelling,
Until this very day, Eugen Beyer’s heirs individually manufactured headphones for iPod Opus Series: When Sound Meets Function
feel bound by the company’s tradition and fans, and premium headphones with novel Tesla As different as the Opus models may be,
by its visionary, pioneering founder’s values. Technology. they are all united by their ability to meet all
Technological advance, constant innovation, beyerdynamic is proud to number among its demands on stage or in the rehearsal room.
and maximum quality standards ensure the products many ‘industry standards’, such as the Their robust construction can stand up to the
company leads the field in sound technology DT 100 monitoring headphone and the M 88 TG rigours of touring, they can handle high sound
dynamic microphone. pressure levels, and provide an extremely high
gain-before feedback. The models in the Opus
series stand for a lot – but especially for their
outstanding sound characteristics.
TG-X Series:
A Synonym for Excellent Live Performances
The higher the demands, the better. Striving to
be better is by all means positive – also when
it comes to your music equipment. This applies
in particular to the microphone; after all, what
good is the greatest talent when the wrong
technology makes it sound only average in the
end? The reverse is also obviously true: only with
an optimal microphone can you get the best out
of yourself. The microphones in the TG-X series
are synonymous with perfect live performances.
12 PROMOTIONAL FEATURE

13. microphones 2010
+ + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ + + + BEYERDYNAMIC+ +
M Series: Legends of Music
You can’t create a legend; it arises from
fame. The M series models have earned their
reputation as classics. Hardly any
other microphone is linked to
the history of rock and roll in
quite the way that our ribbon
microphones M 130 and M
160, or the dynamic models
M 88 TG, M 69 TG, and M 201
TG are.
Studio and Recording Microphones
MC and MCE Series:
Reliable Partners for your Daily Work
MC and MCE microphones
accompany recording engineers,
broadcast professionals, and
film crews at work reliably.
Through professional competence
and high quality awareness our
microphones made their mark in the MC 900 Series
audio industry. The MC 900 small-diaphragm condenser
One of many beyerdynamic inventions in the microphone series features a tremendous
microphone technology was in 1996, when the diversity due to the sound neutrality and
company presented the MCD 100, the world’s painstaking construction of its models.
first digital studio microphone, at the 100th AES Designed as first-class tools for stage and
convention in Copenhagen. studio, the models MC 910 (omnidirectional),
MC 930 (cardioid), and MC 950 (supercardioid)
MC 840 are the first choice for all applications where
The MC 840 is an extremely compact large high-quality pickup or transmission of acoustic
diaphragm studio microphone with a gold signals is crucial. The MC 900 microphones are
vaporised double diaphragm, and five selectable particularly suitable for natural pickup of choirs,
polar patterns (omnidirectional, wide cardioid, orchestras, solo instruments (e.g., guitar, wind
cardioid, hypercardioid, instruments, drums), or even stage plays.
figure-of-eight). On the The special characteristics of this series include
basis of the MC 740 a high open-circuit voltage and a wide balanced
microphone capsule this transmission range without a narrow-band
model has been equipped resonance rise. Through the switchable pre-
with an improved low- attenuation of 15dB, the models are also
noise pre-amplifier and an perfectly suited to use with very high sound
impedance transformer levels. In the MC 930 and MC 950 models,
without transducer. the switchable bass roll-off filter compensates
Due to a two-stage roll- for the proximity effect; the MC 930 and MC
off filter (80 and 160 Hz) 950 with their largely frequency-independent
compensating the close directional characteristics offer outstanding
miking effect and a two- directivity in combination with high elimination
stage pre-attenuation (-10 of noise from the rear. All models operate from
and -20dB), the MC 840 is a phantom power supply of
a superior microphone for 11-52V, and can hence be used with nearly any beyerdynamic GmbH & Co. KG
any recording application. microphone amplifier for studio and Theresienstraße 8
It has been designed live applications. 74072 Heilbronn – Germany
without compromise to capture every
sound detail with absolute clarity and purity. t +49 (0) 7131/617 440
Applications for the MC 840 include f + 49 (0) 7131/617 299
recording orchestras resulting in a superb e proaudio@beyerdynamic.com
transparent sound. w www.beyerdynamic.com
THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 13

14. + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE
Serious Tools For Serious Recording
Blue Microphones is commonly referenced as ‘the microphone company of today’ melding the
heritage of the past with current cutting-edge technology, leading to continuous innovation in the field
of studio recording, live performance and consumer audio.
The Blue Story increased bandwidth benefits enabled by the knowledge gleaned from years of repairing and
Founded in 1995 by Skipper Wise, a professional advances in digital processing (e.g., extended improving classic mics from a wide variety of
musician and producer with over 100 albums to frequency response, dynamic range, and project manufacturers, while simultaneously integrating
his credit, and Martins Saulespurens, a renowned recording capability). These microphones would new technologies, materials, and a first-hand
audio and electronics engineer, Blue has grown harness this new era of digital technology, knowledge of today’s recording processes, Blue
from a company that refurbished vintage eliminating the need to suppress the most is a pioneer in developing the modern analogue
microphones into a unique, multi-faceted audio colourful aspects of the audible spectrum input devices for the digital age.
company with a prestigious line of award- (thundering lows and piercing highs) that
winning microphones and accessories. Blue’s were previously constrained by the analogue Capture Every Nuance
mission statement was expressly to improve process of recording onto tape. Basing many Blue’s philosophy is that all great sound begins
the front-end of audio recording by utilising the of their concepts, designs, and technology on with the capsule. Hand assembled and tuned,
our proprietary capsule designs capture specific
sonic signatures in specific ways, creating
The Flagship Bottle Series completely different tonal characteristics for
Designed for the most discerning recordists, the Bottle Series (consisting of the Bottle, the Bottle each mic in the Blue lineup. In addition, Blue
Rocket Stage One, and Bottle Rocket Stage Two) feature microphones capable of providing a studio mics employ state-of-the-art technology
wide palette of tonal characteristics and pickup patterns to satisfy even the most discriminating that ensures the purest possible signal path and
tastes. The Bottle Series integrates the best of Blue’s discrete class-A circuitry with a unique Class-A fully discrete circuitry with no ICs, pads,
and revolutionary system of interchangeable capsules, like Blue’s Bottle Caps, that provide the or filters; each microphone is designed to fill a
engineer with a wide range of potential tonal characteristics. specific role in a recordist’s repertoire. The result
is a portfolio of professional studio microphones
that create a palette of sounds, enabling artists
The Bottle
to truly realise the sonic landscape of their vision.
The Bottle is our highest achievement in quality and innovation. Meticulously
hand assembled, the Class-A discrete Bottle utilises a single EF86 pentode Sound For Everyone, Everywhere
vacuum tube in triode mode. The Bottle combines low noise and With the advent of increasingly powerful and
superb transient response, and when combined with Blue’s nine affordable personal recording software, Blue
interchangeable Bottle Caps capsules, provides the recordist with realised that project studio recording presented
an entire mic cabinet all in one mic. the next revolution in the music industry.
Believing that the lack of a high-quality USB
Bottle Rocket Stage Two microphone to protect the signal source would
The Stage Two’s transformerless, Class-A discrete tube amplifier be an impediment, Blue developed the Snowball,
now the number one-selling professional wired
circuit delivers low noise and superb transient response. Like
condenser microphone in the world. Throughout
the Bottle, the Stage Two has the ability to hot swap up to nine
its development process the Snowball was
different capsules for amazing versatility.
designed with musicians in mind, however
people quickly began to adopt the product
Bottle Rocket Stage One for consumer applications such as podcasting,
The Stage One is Blue’s most accessible mic with a foundation of chatting, and narration. These new and
interchangeable capsules. The Class A discrete solid state Stage constantly expanding applications have allowed
One has a very low self-noise specification (<7.5dB) and a very high Blue to tap into its pro audio DNA to launch
output level (+12dBV), making it the perfect choice for today’s high sample rate/ a line of products catering to life outside the
deep word length digital platforms. studio. These include high-quality USB products
for both Mac and PC, iPod accessories, and an
XLR-to-USB converter that allows everyone to
take advantage of the quality and performance
inherent in every Blue microphone, right on their
own computer.
14 PROMOTIONAL FEATURE

15. microphones 2010
E+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ + + + BLUE+ +
Application Specific Series
Blue’s latest innovative USB mic is the multi-pattern Yeti. Yeti’s triple-
array capsules boast latency-free monitoring (with dedicated volume
Every Blue microphone in the Application Specific Series contains its own proprietary capsule
control), digital muting, and just like all Blue mics, amazing sound quality.
that is hand-tested to capture a specific sonic signature. Blue’s philosophy is to create
With four different pattern settings and THX-certification for exceptional
sound and performance, unparalleledcapture anything with a clarity and
microphones that are the Yeti can for their intended application.
ease unheardNine-pattern tube condenser – vintage vocals
Cactus: of in a USB microphone.
Kiwi: Solid state multi-pattern – Blue’s signature contemporary vocals
Mouse: Bottom end boom – bass, drums, and broadcasting
Woodpecker: Only ribbon mic with true top end – classic warm sound and an ultra-smooth
top end
Dragonfly: Thickens thin sound sources – high vocals, acoustic guitar, drum overheads
Blueberry: Commanding, intimate presence – vocals moved to the front of the mix Innovative Consumer
Baby Bottle: Midrange focused – rock vocals, guitars
Recording Tools
Mikey
L-R - Cactus, Kiwi, Mouse, Woodpecker, Dragonfly, Blueberry, Baby Bottle
The Best Studio Mics in the World. Live. Icicle
With our new en•CORE line of studio-grade handheld microphones, all of the knowledge, Eyeball
craftsmanship, and innovative technology we’ve poured into our high-end studio microphones
has now been transferred to the stage. Designed to deliver exceptional all-round performance
and capture your unique, individual sound, the en•CORE mics combine beauty and ruggedness
into one perfect family of instruments. Gorgeous styling and craftsmanship, including elegant
grille/ring assemblies, precision-machined barrels and grips, along with rugged durable plating
finishes, make the en•CORE line a standout on any stage. Snowflake
en•CORE 100
Studio-grade dynamic that delivers natural vocals, balanced highs,
and amazing detail and clarity.
en•CORE 200 Snowball Yeti
Blue’s proprietary Active Dynamic Circuit delivers those same natural
vocals with amazing detail and clarity, along with electronically
transformed output to provide remarkably high gain.
en•CORE 300
Features a hand-selected cardioid condenser capsule, tuned for
Blue Microphones (North America)
an open, detailed, and present sound. Its custom-designed phantom power t + 1 818 879 5200
circuit provides a rapid and powerful sound, while the unique f + 1 818 879 7258
reinforced chassis design mounts the capsule for optimal performance e support@bluemic.com
and isolation from handling noise. w www.bluemic.com
en•CORE 100i Europe: TC Group International
Utilises a new dynamic capsule with a custom-tuned diaphragm designed Sindalsvej 34, 8240 Riskkov
specifically to provide a tighter polar pattern perfect for miking instruments and Denmark
t +45 8742 7000
other sources requiring high isolation.
e info@tcelectronic.com
w tcelectronic.com
THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 15

16. + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + DPA+ + + + D
Professional Microphone
Solutions For Any Need
DPA prides itself on producing the best, most accurate microphones available, guaranteeing stunningly
natural sound quality and zero colouration. Each microphone is handcrafted in Denmark and whatever
the application, venue or instrument, DPA can provide the optimum microphone.
DPA 4099 Clip Microphones DPA Miniatures DPA Headbands
DPA’s ever-growing 4099 range of clip Since the 4060 miniature microphone series DPA sets the standard for headband mics,
microphones has solutions for different launched in 1996, the result of intensive being at the forefront of this miking technique.
instruments at an affordable price, and is work with leading theatre sound designers The acclaimed DPA headbands complete the
proving a hit with musicians who love freedom to fine-tune adapters and mounting cables, miniature range and are famous for staying
when playing live. Each 4099 comes with an DPA miniature condenser mics have proved put under the most difficult conditions as well
ingenious, gentle mounting accessory, indispensable. Much loved in the theatre, where as their clear, natural sound. Comfortable
which stays put on the instrument while they are widely used on West End, Broadway, and easy to wear, DPA headbands come in
the mic captures the best possible sound. and touring productions the world over, DPA omindirectional and cardioid versions, in a
The 4099 range is invaluable for gigging miniatures have also found favour in broadcast choice of colours, and for the left and right
musicians who want to guarantee and for close-miking. With a capsule smaller than sides of the face. Much R&D has gone into
unbeatable, reliable quality each time a pencil eraser, DPA miniatures have a neutral ensuring that humidity and moisture won’t be a
they play. character, combining great detail and resolution problem. This is demonstrated night after night
To hear with a rounded sound and natural response. A in theatres and broadcast studios across the
who’s been won range of adapters make them suitable for use world, as DPA headbands are put through their
over by the DPA with most professional wireless systems. paces on the most rigorous performances and
4099, go to DPA miniatures are available in different productions.
the DPA Video sensitivities and a range of skin colours for
Gallery at www. efficient concealment, as well as cardioid and
DPA Headband Key Features
dpamicrophones. omnidirectional versions. Many accessories are
Headband of choice for theatres and
com/video, where musicians available, as are miniature miking kits in a neat
broadcasters
including Randy Brecker, carrying case, combining mics and accessories
Chris Minh Doky and Curtis for specific applications such as stereo recording, Easy to adjust
Stigers, and Sting’s engineer instrument miking, electronic news gathering, Extremely stable once in place
Donal Hodgson, share their and film. DPA’s miniature mic technology is Natural, highly detailed sound
experience of the range. also deployed in the BLM4060 Boundary Layer Resistant to wear and tear, sweat and humidity
Microphone for boardrooms, conferences,
DPA 4099 Key Features courtrooms, and anywhere that excellent vocal
High gain-before-feedback pickup is essential.
Natural sound
Easy, gentle mounting DPA Miniatures Key Features
Suitable for ever-growing range of instruments Natural, highly detailed sound
including guitar, violin, trumpet, sax, cello, bass, Wide dynamic range
drums and piano Rugged design
Compatible with most wireless transmitters
16 PROMOTIONAL FEATURE