audiomedia microphone guide 2011

1THE INTERNATIONAL

BUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP

AUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDING

T H E W O R L D ’ S L E A D I N G P R O F E S S I O N A L A U D I O T E C H N O L O G Y M A G A Z I N E

MICROPHONES2011

AUDIO MEDIAPRODUCED BY

In assoc iat ion wi th :

I N T E R N AT I O N A L E D I T I O N

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2Exclusively distributed in the UK & Ireland by Source • www.sourcedistribution.co.uk/rode • T: 020 8962 5080

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3 4 Alan Branch Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5 Talking Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

6 Taming Of The Talent . . . . . . . . . . . . . . . . . . . . . . . . . .

8 AKG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10 Audio Technica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12 Audix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

14 Beyerdynamic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16 DPA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18 Prism Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

20 sE Electronic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

22 Sennheiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24 Schoeps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

26 Shure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28 Manufacturers Directory . . . . . . . . . . . . . . . . . . . . . .

30 Microphone Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Welcome to Microphones 2011, an International Buyer’s Guide. We’ve scoured the ever-widening market of professional microphone products for your convenience, and thrown in a few informative and hopefully thought provoking articles from experts in the field.

Newly updated and refreshed for this year, Microphones 2011 is a collection of promotional articles looking at some of the world’s leading microphone manufacturers and their products.

Inside you’ll find the stories behind the gear – the ethos’ 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 directory of mic manufacturers, and included three articles around the subject of microphone technology and recording technique, specifically for the audio pro.

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 small, the variations on these themes are incredibly numerous – we’ve listed over 90 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 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.

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 breadth of awareness when it comes to the ‘alternatives’? Whatever your needs, Microphones 2011 should be able to help. It should be a place to begin your search.

Microphones 2011 is a project developed by Audio Media Worldwide (www.audiomedia.com). Audio Media concerns itself with the business of production and production technology for professional creatives, operators, technicians, and engineers everywhere.

Paul Mac, Editor

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c o n t e n t s

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Sales Manager Graham Kirk [email protected]

Editor Paul Mac [email protected]

Editorial Manager (Europe) Lanna Marshall [email protected]

Design & Production Manager John-Paul Shirreffs [email protected]

AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0)1354 669960 - Fax: +44 (0)1354 669965

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether

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.

© 2011 NewBay Media. All rights reserved.

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4 Microphone Tips

4 MICROPHONE TIPS

Recording with a microphone is often more simple than people think. With correct placement, the right mic choice, and the most direct route to the recorder you can create a high quality recording with a natural tone and good rejection of unwanted noise.

1. Mic Placement This has to be the most important point of this list, if you remember anything from this list remember MIC PLACEMENT. Experiment with moving the mic around the instrument, try using one ear by turning it toward the instrument and moving around till you find a sweet spot. Sounds obvious I know, but I never cease to be amazed at poor recordings because someone’s placed a mic in a less than optimum position, such as next to a rattling drum or air con unit!

2. Mic Settings For the majority of recordings the pick-up pattern is normally set to cardioid, however omni is the purest pattern and has a more natural sound if you have a good enough room. Patterns like super cardioid and hypercardioid, are all basic extensions of the cardioid ‘rejection’ shape, so a singer recording in front of the speakers because they don’t like headphones or only have one room may use a supercardioid dynamic mic and place the mic with the speakers to its rear.

3. Recording Rooms

Poor room acoustics need help. Are there any unwanted noises? Can you isolate them? Is the instrument best placed in the room? Try a different mic, try adding more dampening to the walls – or some corrugated metal roof sheets if you want it more ‘live’. Remember to remove anything that might rattle or make noise in the room – the usual culprits are someone forgetting to take the snare off the drum. Use carpet for the mic stand and the singer to try and stop any foot tapping being picked up – and make sure the mic stand is tightly secured. With a heavy mic and noise filter you don’t want it drooping in the middle of a take.

4. Recording Instruments Some instruments only record well with their natural sound which includes the room, you need to capture a balance of the room and the direct sound, adjusting the mic distance until you find the right place. Too much of either results in the instrument not sounding as good as it naturally

does. Listen to the instrument being played in your recording room, then listen to your recording – does it sound as rich and detailed, or a thin and poor impression? Obviously if the recording room is not so nice it’s more of a job of getting the instrument to sound right first then finding a mic position.

5. Recording vocals Dead, dead, and even deader is how you want your room. Any reflections recorded onto a vocal take are impossible to get rid of, and don’t normally sound very nice. The use of the modern day mic sound filter that envelopes the mic by placing a half round sound proof barrier is almost standard now as they stop reflections of the voice in the room bouncing back into the mic, the sE Reflexion filter being the most popular. Position a singer’s mic slightly above but facing their mouth – this angle helps them open their throat more. Use a pop shield or get them to sing off axis so wind isn’t blowing directly into the mic diaphragm.

6. Drums – Kick And TomsPlacement is key. With the kick drum mic, the closer to the beater, the less bass you get – often engineers use two, one by the beater and one inside the sound hole or if the head is off just above the floor of the drum. Be careful the snare mic doesn’t pick up too much high hat by positioning it with the hat to the rear, sometimes tricky with certain drummers’ set-up. Ringing toms have to be dampened – tape, Moongel, O-rings, etc – these all help dampen the drums into a tight sound without losing power. There are lots of budget work arounds like old drum heads cut for O-rings, plumber’s putty in place of Moongel, etc – just remember to use your ears. If it’s not right keeping trying things out. Normally dynamic mics are used throughout the kit because of the high SPL – apart from overheads, which need condensers or ribbons to pick up the high frequencies of cymbals. Overhead mics can be positioned in a variety of ways and placements depending on if you want more cymbals than toms, but an X-Y set-up is

a good start – that’s two cardioid mics placed facing each other at right angles, so the heads are nearly toughing each other. This keeps phase problems down and is simple to adjust on one stereo mic stand for trying different heights. Don’t forget a room mic or two, these can be any type of mic, I’ve even used talk back mics (really nice as it can have some kind of hard compression built in) dynamics, condensers, ribbons, different distances from the kit and positioning in different directions. I often put lots up and delete the ones I don’t like later. With some nice EQ and compression the room mics can add extreme power to your drum sound.

8. Drums - No Gate!Don’t gate kits when recording, just don’t do it – you’ll end up chopping off a lightly played press roll or similar and the producer will never employ you again, then again nor will the drummer.

9. Recording General

Record everything, usually the takes when the player or singer doesn’t know it’s recording can often be the best, and the first takes can often have the most vibe before they get bored of the song.

10. StandfirstWatch for mic stands moving or touching a drum kit, these will only ruin an otherwise great recording, and sometimes you won’t get a second chance.

10. Inside-OutLastly make sure your mic is the right way around! I got asked by a producer once who was working in a studio next door why their vocal sounded so funny, was it the room or the compression? I knew straight away when I heard it, and helped the engineer avoid embarrassment by pretending to adjust the mic, whereas in fact I just turned it round the right way.

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5 Talking Voice

Voalists often get a bad press, and accusations of being difficult or being prima donnas are commonplace.

Occasionally there may be substance to this, but mostly I think it’s a symptom of a neurosis that is easy to understand.

The voice is an instrument that cannot have its strings changed or heads tightened if it’s not sounding right; vocalists have to hope it will deliver when they ask it to. They can (and should) exercise and develop it to gain as much control as possible, but they also depend on the skills and understanding of producers and engineers to capture it in all its glory.

The Final FrontierAny acoustic instrument depends on the space in which it is being played to reflect its delights and nuances, so the first and most important

task is to find a place in the room that ‘sings well’. This will also help to relax the singer and reassure them that that you have their best interests at heart.

My philosophy remains consistent for any source – get it sounding as close to your intended sound as possible, and the rest will follow...

A couple of years ago I was asked to produce the vocals for a singer in a goth rock band. She was classically trained, with – potentially – a strong voice and wide range. Unfortunately, all her recordings felt and sounded timid – lacking the power they needed to compete with the music. She never pushed her voice to full capacity because she had never heard, in the room or headphones, an accurate representation of the effort she was putting into the performance.

The solution was to walk around the studio, with her singing a couple of the bigger lines, until we found a place that had the right acoustics. The difference was instant – she started to sing 100 percent better and actually enjoyed the experience.

Next, as I normally do at the start of a vocal session, we set up an assortment of microphones to try out. Generally I will lean towards using large diaphragm condensers for vocals, but I will never rule anything out if it gets the right result. When recording Buddy Guy I had to use an SM58 for his vocals because he was singing in the same room as the band, with his guitar amplifier right behind him. He would move back and forth on the microphone, sometimes over a foot away, yet his voice was always full and present – proof that there are times when remarkable artists require exceptional solutions.

Experimenting with polar patterns can also improve the results, though this will depend on the voice and the room. For our goth rock singer we used a figure-of-eight pattern because I wanted to pick up some of the sound of her voice in the room beyond the capsule, and I wasn’t keen on the side reflections.

Squeeze GentlyAfter best position, microphone, and mic settings are established, I will try different compressors. My goal is to apply just enough to pull in the full range of the voice without losing the singer’s control over the timbre.

Encouraging them to ‘work’ the microphone by leaning into quiet passages and moving away for the loud ones will provide quite enough control over the dynamics, leaving the compressor to even out any inconsistencies. Some artists may not be capable of this and the compressor will need to be applied more exuberantly. The compressor will be bringing another component to the overall sound and therefore the right choice will get you closer to the desired result.

Incidentally, I have always found the hardware 1176 compressors introduce unwelcome sibilance to most voices and avoid using them on vocals. However, several software versions – such as the Bomb Factory one – do not display this characteristic, and I find them very useful.

At this stage I normally avoid EQ unless absolutely necessary – perhaps an HPF if there is rumble in the room, and sometimes a slight middle roll-off if the voice is too harsh.

In The MixOnce the vocal performance is captured and I get to the mix I can experiment with all sorts of processing in the knowledge that the recording has as much power and depth as the artist is capable of delivering. Every mix is different and there are no standard techniques for this stage.

Even if an effect is considered inappropriate for the genre, I try not to discount it – a philosophy that I think stems from working with AC/DC. The band was adamant that if we used effects on any of the instruments, they weren’t to be heard. This made me think hard about how I used reverb and delays and so on, and the result was an enhancement of the natural organic power that is the AC/DC trademark.

For example, the use of very short delays, sometimes with a little pitch change or even phasing can widen the sound of a vocal and sit it more effectively into the mix, and I have gone this route in all styles of music from metal to jazz.

Neither am I adverse to introducing a little extra power by amplifying the voice and this has become much easier to try these days with plug ins.

The vocal is, for me, very much the reference point for a mix and getting the right tone, timbre, and perspective on it can develop a mix more easily and quickly, but it’s not always easy!

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Producer and Engineer TONY PLATT discusses his approach to recording vocals in the studio.

THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 5

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6 The Taming Of The Talent

6 THE TAMING OF THE TALENT

JERRY IBBOTSON gets expert insights on getting the best out of ADR.

I remember it like it was yesterday: sitting in the studio at a top London voice recording outfit. The voiceover talent (a guy

off the telly) was in the booth and the producer from the games company was sitting on a sofa behind me. I was there to act as an extra pair of ears and because I’d written the script. After one take I turned to the producer and said, “Was that okay?”

“What... oh... yeah... fine,” he said.Then he went back to filling out his expenses

form. That, to me, sums up where voice recording can go horribly wrong: treated as an afterthought; a distraction from adding up taxi receipts. As a studio engineer or technician it may not be your actual job to see that things go smoothly but what happens when the producer goes AWOL, either literally or figuratively?

“Some of the best engineers I work with end up making decisions for the client. But they still leave the client with the impression that it was their choice,” actor Tom Clarke Hill told me. Tom’s been an actor and voice artist for more than twenty years. He regularly lends his voice to video games, and TV and film productions. He can’t speak highly enough of those studio engineers who play an active role is recording sessions.

“A good studio person is the one who can say ‘That take is the one to use because...’ rather than simply sitting there letting the client get

stressed over which is best. A good engineer is also one who works out what they need to give the actors, so that they can give their best performance.”

Tom’s recently worked with two different engineers in the same recording studio. “One had a great personal touch and was happy to make suggestions that kept the client calm. The other one just shrugged his shoulders and said, ‘that’s not my decision’. I could see the client’s face muscles tighten”.

Thoughtful ThespiansSomeone who regularly sits on the other side of the studio glass from Tom is Mark Estdale, who runs Outsource Media, one of the biggest players in voice production for games. As a former actor, he has an understanding of how thespians think and this is invaluable when it comes to teasing out the best performance.

“Actors are like racehorses,” Mark said, “They’re easily spooked. You need to communicate what is actionable – what they can actually do. If an actor can’t get a line, then chances are it’s a fault with the line, not the actor.”

According to Mark, one of the problems with recording dialogue for games is that there is often no single coherent narrative. Because a game is broken down into small chunks, and because there may not be one single outcome to the ‘story’, it’s harder for an actor to get a grip on their character. This is especially true for open-world, ‘sand box’, games.

“My perspective is to understand how actors train and how they work,” he told me. “One way is the Meisner Technique, which is all about truthfulness in performance.”

For those not well versed in drama theory, Stanford Meisner was an American theatre practitioner who gave his name to a method of acting. It’s based on the idea that every action a character takes is in reaction to another. Sit a character in a room on their own and you’d never know, for example, that they were a fastidious control freak. Have them answer the question, “What would you like to drink?” and you’d quickly learn: “A coffee. Columbian. Freshly ground. Filtered. White whole milk and

two lumps of brown coffee.” Meisner trained actors include legends like

Robert Duvall, James Caan, Steve McQueen, Gregory Peck, and Jeff Goldblum.

Mark puts his knowledge of such techniques to good use in the studio; providing actors with as much information as possible about their character and the situation they’re in. These cues may be visual, in the form of moving or still images, or even audio, in the form of sound effects. As Mark said, “This is not voice over. This is acting.”

Take TwoAnother take on recording dialogue in the studio comes from Nick Kray, an ADR Mixer at De Lane Lea in London. Nick’s been at DLL for six years and before that he worked at Skywalker Sound. He took a break in recording to explain some of the tricks of his trade and talk about his whole ethos.

“ADR is a dark art,” he said. “If I’m doing my job it’s invisible.”

To be honest, talking to Nick provided a whole raft of quotes and ideas that will stick in the mind for a long time. Anyone who’s ever done a decent amount of voice recording will echo many of his sentiments. Talking about ADR itself, he said, “It’s the only production work within post production. This is the only time in post where live stuff is being made.”

That’s something that he drives home to directors and actors who are stepping into the world of ADR for the first time, often reluctantly. He sits them down and stresses that ADR is not really post-production. They (the actors) are still performing, just as they were on set or on location. This is filming but without the cameras. The concept is the same as Mark Estdale’s quote from earlier – it’s not voice over at all.

Then comes the comment that will stay with me the longest, possibly because it’s something I see every day in my own production work.

“My job is thirty per cent technical. And that thirty per cent is the same as most people’s one hundred per cent. But the rest, the remaining seventy per cent, is public relations. Dealing with people.”

“It’s about getting people into the right headspace to produce what’s needed in an alien

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Nick Kray.

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7 THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 7

The Taming Of The Talent

6 THE TAMING OF THE TALENT

landscape. They’re not on set any more and can’t, for example, see someone holding a gun at them. They can’t see other people and react off them in the same way.”

Which is where the public relations element comes in. Nick goes to great lengths to talk to the actors on a non-technical level; to get to know them as people. He aims to find a common ground with them so that they’re not fazed by being in a studio with a huge mixing desk staring at them.

“I don’t want technology to get in the way. A desk and studio can look inhuman. So I sit down on the sofa with them to begin with and we look at the scene we’re working on, over and over.”

He’s happy to admit that he’s a bit of a chameleon: changing how he behaves according to who he’s working with: “Some actors may not want to do certain things, so my job is find a way round that. Putting up barriers would frustrate the director, which is the exact opposite of what I’m trying to do.”

Nick is sympathetic to actors who might become aggravated in the ADR studio, acknowledging that they are ultimately the ones who will be judged by their performance. This comes back to ADR being invisible: a good or bad performance will be laid at the actor’s feet, not the engineers.

Session OpenerWhat about technical tips? At Outsource Media, Mark Estdale has a few basic principles that have helped him create a highly successful business and a solid reputation. For example, “The control room is on constant open-mic talkback. It keeps the session flowing and focuses people’s minds.”

This point is echoed by actor Tom Clarke Hill, who has an enviable pedigree in voice work. “Turning off talkback is a bad thing,” he told me. “I can see them through the glass having a heated conversation but they’ve cut me out. If that’s what they want to do then fine, but there’s no reason for it. I might use the time to make notes on my script but often I’ll walk into the studio with them.”

Not having tunnel vision when it comes to scripts is also vital, according to Tom. “A good engineer will spot that there might be some shouting right at the start of the script and shift it to the end. There’s no point in shouting for half an hour if you then have to do really quiet, gentle stuff. The actor’s voice might be croaky by then. Save the shouting or the death gurgles to the end of the session.”

Bringing Fantasy To LifeOne thing that voices can suffer from is the overwhelming feeling that the characters are standing in a Soho voice booth rather than in the middle of a fantasy forest or in the thick of a fire fight. If you think the audience doesn’t notice such things, believe me it does.

What are the techniques that a voice recordist can employ to help place a voice in the right environment? In Nick Kray’s work as a movie ADR Mixer, it’s essential to replicate the sound of the original location dialogue as closely as possible. A character has to ‘be’ in, for example, the Wild West and not just in W1.

“I’ll often find out what microphones they used on set and hire some in for our session. Using location mics means half the battle is won.”

The next step is microphone placement. Or rather, actor placement. “In the large theatre here at DLL, I can put an actor in the middle of the room with a few mics around them. They can get a sense of space and distance.”

Bearing in mind that Nick has worked on some of the biggest movies in the world, he swears by something of fairly humble origins and has been evangelising about it to studios in the States.

“It’s the sE Reflexion Filter. I’ve stuck these in the ADR theatre, quite far back from actor, with a Schoeps boom mic inside. They allow me to use all the space we have. I swear by them.”

But to Nick, it’s still the human, personable approach that wins through. He judges a successful session by the smile on the director’s face and his willingness to share a few beers in the pub afterwards.

From actor Tom Clarke Hill comes a similar message. “I got into voice work because I love sound. I didn’t get into it to crank the rubbish out and leave. You need to be having some fun hanging out with the actors and doing some recording at the same time. Get all the egos out of the way.”

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Tom Clarke-Hill.

microphones 2011microphones 2011microphones 2011

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88 PROMOTIONAL FEATURE

As the music business continues to evolve, HARMAN’s AKG has a long-standing reputation for offering studios, artists, and producers the highest quality microphones. Providing continued international leadership in the professional audio market, AKG’s DMS 700 V2 wireless system, iPhone App 2.0, C 414 XLS and XLII, and Perception 820 Tube flex the company’s vocal muscles in all categories and genres of music.

The Next Level in Reliable Wireless Audio TransmissionAKG’s DMS 700 V2 improves the link quality and increases working range of transmitters, allowing freedom in applying a wireless solution to any room in size from a small, intimate venue, to a stadium. The successor of the successful DMS 700 system, includes a 512-bit encryption, AES EBU output and improved latency, link quality and range. The wireless system includes the DPT 700 bodypack for the ultimate in gain control. For existing systems AKG offers an upgrade package that upgrades latency by 1msec, 512-bit encryption, offers the DPT 700 manual microphone input gain 0, +10, and +20dB, and increases headphone output level 24dB.

Combined with AKG’s HC 577 L, which is insensitive to moisture, perspiration, and salts,

suppresses cable noise through a dual-diaphragm transducer and sits comfortably on the user and also becomes virtually invisible on stage under the lights or on camera, the DMS 700 V2 is one of the top wireless systems on the market.

Control Functionality and Style at your FingertipsAKG’s iPhone App 2.0 provides users advanced control functionality, managing wireless system parameters, from the name of the set-up to the frequency signals, while possible solutions for solving signal issues are also addressed. An ALERT system automatically issues a warning with a low battery or antenna malfunction. With a Wi-Fi connection, users are connected to the AKG HUB 4000 Q, which can be used side-by-side with HiQnet System Architect™ as the entire system is based on the advanced HiQnet protocol.

The application is available on the Apple iTunes store.

Professional, Affordable Quality The price is no match for AKG’s Perception 820 Tube microphone. Raising the bar in the class of affordable mics, the 820 offers nine different pick-up patterns, remote-control switchable bass-cut filter, a ground switch that prevents unwanted hum; and includes a spider suspension, mic and power cable, and metal carrying case – the ultimate in affordability.

The 820 was constructed and designed with superb quality and low production cost in mind.

A Classic is RebornSurrounded by a seemingly limitless number of top hits, AKG’s C 414 continually improves with the next generation XLS and XLII. The C 414 provides the lowest noise floor ever among competitors and previous models of the C 414 series.

The C 414 XLS maintains the sonic character of the legendary C 414 B-ULS, the longest-lived C 414 model. Engineered for the highest linearity and neutral sound, it is the most universal and versatile large diaphragm microphone released in decades. Widely used for accurate, beautifully detailed pickup of any acoustic instrument, the C 414 XLS combines proven reference quality, leading-edge technology, and state-of-the-art components.

The C 414 XLII is the successor of the famous C 414 B-TL II. It shows the unique sonic signature of the highly sought-after AKG C 12,

which enables lead vocals and solo instruments to be placed even in a dense mix. The unrivalled up-front sound is also well known for distant miking applications like classical music recording or drum ambience miking.

AKG Microphones – Testament to Audio Quality Tradition

+ + + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + +

AKG microphones, including the famous C 414 series, have been part of countless records, awards and performances.

The C 414 comes complete with everything you need to

create great sound recordings, including: a carrying case, a pop filter, a windscreen, and spider-type shock mounts.

From the studio, to the live stage, to the broadcasting booth, AKG continues to supply the professional audio realm with quality microphones, backed by decades of a highly respected reputation.


the AKG HUB 4000 Q, which can be used side-by-side with HiQnet System Architect™ as the entire system is based on the advanced HiQnet protocol.

The application is available on the Apple iTunes store.

which enables lead vocals and solo instruments to be placed even in a dense mix. The unrivalled up-front sound is also well known for distant miking applications like classical music recording or drum ambience miking.

AKG’s friends include: Brooks & Dunn, Missy Elliot, The Faint, Jon Hiseman, Alejandro Sanz, Sepultura, Steve Stevens, Kanye West, Trey Songz, and other international superstars.

08-akg-2011.indd 1 21/07/2011 11:18

98 PROMOTIONAL FEATURE THE INTERNATIONAL GUIDE TO MICROPHONES 2011 9

CONTACT DETAILS

AKG Acoustics GmbHLemböckgasse 21-25

A-1230 Vienna, Austria

t +43 (0) 1 86654 0

f +43 1 86654 8800

w www.akg.com

e [email protected]

US Distributor:

AKG Acoustics, U.S.8400 Balboa Boulevard

Northridge, CA 91328, USA

HARMAN (www.harman.com) designs, manufactures, and markets a wide range of audio and infotainment solutions for the automotive, consumer, and professional markets – supported by 15 leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark

Levinson®. The company is admired by audiophiles across multiple generations, and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 11,800 people across the Americas, Europe, and Asia, and

reported sales of $3.5 billion for the twelve months ended December 31, 2010. The Company’s shares are traded on the New York Stock Exchange under the symbol NYSE:HAR.

microphones 2011microphones 2011

+ + + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + + A K G A C O U S T I C S + + + +

For over 60 years, leading musicians and engineers have used legendary AKG microphones to capture their sound so their audience hears every nuance.

UK DistributorSound Technology Plc.

Letchworth Point, Letchworth

Garden City, Herts SG6 1ND

e [email protected]

t +44 (0) 1462 480000

f +44 (0) 1462 480800

w www.soundtech.co.uk

India DistributorHi-Tech Audio Systems PVT. Ltd.

3406, Desh Bandhu Gupta Road,

Karol Bagh, 110005 New Delhi

t +91 11 4317 4317 (30 lines)

f +91 11 2872 0461

China DistributorAction Audio

Musical Instruments Ltd.

3 Hong Ye Road, Wang Gang Town,

Pudong District, Shanghai

e [email protected]

t +852 2737 7688

f +852 2730 3573

w www.tomleemusic.com

For a complete list of AKG

distributors, please visit

http://www.akg.com/distributors.

HARMAN’s AKG, founded in Vienna, Austria more than 60 years ago has established a reputation for superior audio equipment, holding more than 1,500 patents for microphones, headphones and wireless technology.

08-akg-2011.indd 2 21/07/2011 11:18

10 As a world leader in the design and manufacture of high performance microphones and wireless microphone systems, Audio-Technica has developed market leading product ranges for music recording, broadcast production, and live production. In each of these areas Audio-Technica delivers products that have raised the performance bar and established a reputation for design, engineering, and build manufacturing excellence that is second to none.

It’s an engineering and business philosophy

that originates with the company’s inception in 1962 when founder Mr. Hideo Matsushita introduced a moving-magnet-type stereo phonograph cartridge. The company went on to design and produce phono cartridges and tone arms, both under its own brand and for others, including the legendary NHK broadcast. The same high precision design and engineering techniques that made the company’s various cartridge designs so successful were also applied to the manufacture of microphone and headphone products throughout the 1970s and 1980s, earning the brand prestigious status among audio professionals.

In The StudioIt was with the introduction of the AT4033 in 1992 that the company established a leading position in the studio recording market. The AT4033 was the first ever high performance large studio condenser microphone priced at under US$1,000; exploiting the very latest design, engineering, and production techniques, the AT4033 provided performance from a back electret design that rivalled famous studio condenser models several times more expensive. Special accelerated diaphragm aging methods ensured performance remained consistent over time, which provided for a more linear response over a wide frequency range, even at high SPLs.

Modern production methods enabled a level of consistency that ensured the identical performance of every microphone; with no necessity to produce the microphones in ‘matched pairs’ for stereo recording. Selling in thousands, the success of the AT4033 established the company’s reputation as a high-end studio microphone manufacturer and spawned the 40 Series large diaphragm condenser range. All models in the 40 series adhere to the same paradigm of high performance and value for money and as testimony to their quality also come with the company’s Lifetime Warranty.

Audio-Technica’s 20 Series also strikes a perfect balance of performance and price and has long been popular with aspiring and

professional producers and engineers. Recently added are two exciting new models that reinforce the 20 Series reputation for innovation and affordability. The AT2031 cardioid condenser is designed to be the ideal microphone for use with string instruments – its permanently polarised element offers extended frequency response with a slight rise in the high frequency range for a beautifully detailed sound. Its low self-noise and high SPL handling capability offer a wide dynamic range, perfectly suited for the most demanding applications.

The AT2022 stereo microphone features two unidirectional condenser capsules in an X/Y configuration pivot to allow for narrow (90-degree) or wide (120-degree) stereo operation. Designed for general stereo recording and field sound capture, the AT2022 provides the spatial impact and realism of a live sound field.

The new AT2022 and AT2031 join

As a world leader in the design and manufacture of high performance microphones and wireless microphone systems, Audio-Technica has developed market leading product ranges for music recording, broadcast production, and live production. In each of these areas Audio-Technica delivers products that have raised the performance bar and established a reputation for design, engineering, and build manufacturing excellence that is second to none.

‘matched pairs’ for stereo recording. Selling in thousands, the success of the AT4033 established the company’s reputation as a high-end studio microphone manufacturer and spawned the 40 Series large diaphragm condenser range. All models in the 40 series adhere to the same paradigm of high performance and value for money and as testimony to their quality also come with the company’s Lifetime Warranty.

Audio-Technica’s 20 Series also strikes a perfect balance of performance and price and has long been popular with aspiring and

the spatial impact and realism of a live sound field.

The new AT2022 and AT2031 join

Audio-Technica The Drive for Innovation, Quality, and ConsistencyThe 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 product for studio, broadcast, and live production applications.

+ + + + + + A U D I O - T E C H N I C AA U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A ++ + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A +

The pivoting capsules of

the AT2022 condenser mic

allow narrow and wide

stereo operation.

The Audio-Technica AT2031

is designed specifically for

superb performance with string

instruments.


10-audio-technica 2011.indd 1 21/07/2011 11:18

11 THE INTERNATIONAL GUIDE TO MICROPHONES 2011 11

CONTACT DETAILS

Audio-Technica Ltd (UK)Unit 5 Millennium Way

Leeds, LS11 5AL, UK

t +44 (0) 113 277 1441

w www.audio-technica.com

Harvey Roberts

Senior UK Marketing Manager

t +44 (0) 113 277 1441

e [email protected]

Audio-Technica The Drive for Innovation, Quality, and Consistency

microphones like the 40 Series AT4080 and AT4081 ribbon microphones as highlights of the current Audio-Technica range. The company’s first-ever ribbon mics, the AT4080/4081 feature groundbreaking Audio-Technica design, with no less than 18 patents pending on the new models. Created from the ground up, the pair convincingly solve the problems of fragility and low output that have traditionally plagued ribbon mics, in part through the use of a proprietary MicroLinear ribbon imprint for excellent durability.

A significant degree of hand production, including ribbon corrugation, imprint, and assembly, is involved in the construction of the new mics, which maintain the sought-after ‘vintage-style’ ribbon mic tone.

Modern day classics of the recording world, the 40 Series microphones are lauded by internationally renowned engineers and producers like Phil Ramone, Joe Chiccarelli, Frank Filipetti, Nathaniel Kunkel, and David Reitzas. These are among the world’s most successful and best selling studio microphones today.

For BroadcastIn the broadcast industry Audio-Technica is a brand that has become synonymous with high performance location recording microphones employed in the transmission of major outside broadcast events. In particular the company has been associated with the broadcast of international sporting competitions. For many years, the official broadcast productions of the Summer and Winter Games – from Atlanta City to Beijing and Vancouver – have featured literally thousands of Audio-Technica microphones. In particular the company’s innovative shotgun designs have enabled greater capture of close up audio in games and competitions.

The BP4071 and BP4073 microphones are tailored to the needs of critical broadcast applications with excellent signal-to-noise ratios and RFI-immunity. Innovative acoustic design also ensures that the new models offer levels of directivity comparable to mics up to 50% longer, and as such deliver unequalled performance in a compact package.

New for 2011, the BP4001 (cardioid) and BP4002 (omni-directional) dynamic microphones are designed for all types of broadcast interview and remote newsgathering situations including ENG, EFP, and sports applications.

Both microphones’ frequency response is tailored specifically for clear, articulate reproduction of speech. The cardioid design

of the BP4001 reduces pickup from the side and rear of the microphone,

allowing for excellent isolation of the sound source, while the BP4002’s omni-directional nature provides a balanced reproduction of surrounding ambience.

Ruggedly built to withstand a life in the field, the new microphones feature a hardened steel grille, an integral windscreen,

and a back-cavity assembly that ‘floats’ inside the handle shell,

providing exceptional isolation from handling noise. The handle itself is

generously long to accommodate microphone flags, making the BP4001 and BP4002 particularly suitable for location interviews.

On StageIn recent years Audio-Technica has won devotees among artists and sound engineers alike for its Artist Elite Series performance stage microphones, in both wired and wireless form. With users and endorsees as musically diverse as Katherine Jenkins, Rush, Metallica, The Blackout, and I Blame Coco, AE Series handheld models – both condenser and dynamic – are famed for their sound quality. When partnered with Audio-Technica’s recently updated 5000a and 4000a Series wireless technology, transmission quality is such that engineers as seasoned as Dick Rabel are on record as saying that there is “remarkably little difference” between

wired and wireless models with the same capsule.

On backline too, Audio-Technica is a de facto standard for many world-class sound engineers including ‘Big’ Mick Hughes (Metallica, Def Leppard,

Slipknot), Dave Bracey (Robbie Williams), and Andy Hawkins (Pigeon Detectives). For these and many others, models like the AE2500

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 (and the company’s flagship monitoring headphone, the ATH-M50 along with premium noise-cancelling and hi-fi headphones), 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-Technica microphones from these ranges at a participating First Impressions dealer. Further details are available at www.audio-technica.com/firstimpressions


+ + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A ++ + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + +

The Audio-Technica

BP4001 dynamic

broadcast interview

microphone.


dual element design, the AE3000, the AT4050, AT4041, and the ATM350 are essential tools of the trade. These live production series are now joined by the re-engineered Artist Series, offering unrivalled performance at competitive price points. They are already making an impression in the market, with singers including Jodie Jones using the ATM710 condenser exclusively on stage, and other models earning a place on backline rosters.

and low output that have traditionally plagued ribbon mics, in part through the use of a proprietary MicroLinear ribbon imprint

A significant degree of hand production, including ribbon corrugation, imprint, and assembly, is involved in the construction of the new mics, which maintain the sought-after ‘vintage-style’ ribbon

Modern day classics of the recording world, the 40 Series microphones are lauded by internationally renowned engineers and producers like Phil Ramone, Joe Chiccarelli, Frank Filipetti, Nathaniel Kunkel, and David Reitzas. These are among the world’s most successful and best selling studio microphones today.

In the broadcast industry Audio-Technica is a brand that has become synonymous with high performance location recording microphones employed in the transmission of major outside broadcast events. In particular the company has been associated with the broadcast of international sporting competitions. For many years, the official broadcast productions of the Summer and Winter Games – from Atlanta City to Beijing and Vancouver – have featured literally thousands of Audio-Technica microphones. In particular the company’s innovative shotgun designs have enabled greater capture of close up audio in games and competitions.

The BP4071 and BP4073 microphones are tailored to the needs of critical broadcast applications with

reproduction of speech. The cardioid design of the BP4001 reduces pickup from the

side and rear of the microphone, allowing for excellent isolation of the

sound source, while the BP4002’s omni-directional nature provides a balanced reproduction of surrounding ambience.

Ruggedly built to withstand a life in the field, the new microphones feature a hardened steel grille, an integral windscreen,

and a back-cavity assembly that ‘floats’ inside the handle shell,

providing exceptional isolation from handling noise. The handle itself is

generously long to accommodate microphone flags, making the BP4001 and BP4002 particularly suitable for location interviews.

On StageIn recent years Audio-Technica has won devotees among artists and sound engineers alike for its Artist Elite Series performance stage microphones, in both wired and wireless form. With users and endorsees as musically diverse as Katherine Jenkins, Rush, Metallica, The Blackout, and I Blame Coco, AE Series handheld models – both condenser and dynamic – are famed for their sound quality. When partnered with Audio-Technica’s recently updated 5000a and 4000a Series wireless technology, transmission quality is such that engineers as seasoned as Dick Rabel are on record as saying that there is “remarkably little difference” between

wired and wireless models with the same capsule.

On backline too, Audio-Technica is The Audio-Technica

BP4001 dynamic

10-audio-technica 2011.indd 2 21/07/2011 11:18

12At a time when most companies outsource their labour and manufacturing, Audix built an in house, state-of-the-art manufacturing facility with an emphasis on R & D, automation, and CNC machining equipment. This not only enables Audix to control the quality of the products from start to finish, it allows for continual improvements and enhancements as new materials and processes become available. While the process of capturing acoustic sound waves and converting them to electronic impulses is a very complex process, Audix always strives for the simple, most elegant

solutions. This is apparent from the design and performance of products such as the OM Series, VX5, VX10, D Series, i5, SCX25A, and Micros®.

OM Series – Pioneering VLM™ Capsule TechnologyIn 1986, Audix designed and introduced a proprietary capsule for the OM series utilising VLM™ (Very Low Mass) technology. The principle of the VLM™ technology is based on a very lightweight diaphragm, which allows for extremely fast, accurate processing of incoming signals. The result is clear and natural

sound reproduction, extended frequency response, and high SPL (Sound Pressure Level) handling.

VLM™ technology, combined with a very tight hypercardioid polar pattern and aerodynamic body design established the OM Series as a new class of vocal microphones. The OM5, OM6, and OM7 are the vocal microphones of choice amongst sound engineers and top touring artists such as Alanis Morissette, Pearl Jam, George Strait, Red Hot Chili Peppers, Willie Nelson, Bonnie Raitt, The Doobie Brothers, Blink 182, Jimmy Eat

World and Crosby, Stills & Nash; to name a few. This series continues to grow in popularity year after year and has become a standard in the industry.

VX5 and VX10 – Achieving New Standards in Handheld Vocal Condenser Condenser microphones are more challenging to use in a live stage environment. Typically, these mics are more prone to feedback due to higher sensitivity and are less capable of handling high sound pressure levels. However, many of today’s jazz artists, acoustic-based groups, and singer/songwriters demand studio quality sound on stage. Audix has provided for this demand with the development of two outstanding condenser microphones; the VX10 and the VX5.

The VX10 features a 21mm capsule and requires 48-52 volts phantom power

Audix – A History of Performance, Innovation and ExcellenceAudix is a wholly owned American Corporation that was founded in 1984 in Redwood City, California, and has been operating out of its headquarters in Wilsonville, Oregon, since 1991. Audix is a shining example of what can be achieved when a vision is fuelled by imagination, passion, persistence, and hard work. Audix is one of the most recognised microphone companies in the industry, consistently raising the bar in the pro audio world with innovative, award-winning products.

+ + + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + +


+ + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X +

Bonnie Raitt.

12-audix-mics-2011.indd 1 22/07/2011 13:00


CONTACT DETAILS

Headquarters: Audix Corporation9400 SW Barber Street, Wilsonville, OR 97070

t 011 503 682 6933.

f 011 503 682 7114

w www.audixusa.com

e [email protected]

UK Distribution:

SCV Electronics Ltd.40 Chigwell Lane, Oakwood Hill Indust. Estate,

Loughton, Essex, IG10 3NY

t +44 (0) 208 418 1470

f +44 (0) 208 418 0624

w www.scvlondon.co.uk

e [email protected]

Audix – A History of Performance, Innovation and Excellence

for operation. Ideally suited for stages with one featured vocal artist, the VX10 will provide unmatched studio quality sound for live broadcasts and performances. The VX5 features a 14mm capsule and switches for -10 dB pad and bass roll-off. The VX5 is an electret condenser vocal microphone requiring phantom power of 9-52 volts. Providing a very wide frequency response with rich lows and detailed highs, the VX5 will meet the most demanding requirements for a wide variety of live sound applications.

The D Series & i5 Dynamic VLM ™ Instrument Microphones – Compact Design, Powerful Performance Dynamic VLM™ instrument microphones are chosen for live performance due to their ruggedness, utility, high SPL handling, and pattern control. The introduction of the D Series in 1993 broadened the category of dynamic instrument microphones and created new possibilities for drum and percussion applications.

Audix combined VLM™ capsule technology, transformerless design, and precision machined aluminum housings to achieve new performance standards in live sound and recording. With the introduction of the D6 in 2002, Audix set the world standard for kick

drum microphones. The tradition continues with the recent development of the i5; a well-

rounded general purpose utility mic with outstanding results on snare and

guitar cabs. Audix simplified the challenging task of selecting

microphones to use for drum kits, percussion ensembles, piano and general studio sessions by being the first in the industry to pre-package

several different configurations of microphones into ‘mic

packs’.

SCX25A – Destined to Become a Classic

In the world of studio condensers, a microphone only becomes a

classic when it proves itself to be indispensable. The SCX25A is just that. SCX25A has a large diaphragm capsule housed within a unique, patented internal shockmount, which is isolated within an intricate machined brass ring. This microphone has its own signature sound that delivers a pure, open-air sound with exceptional detail and realism.

The SCX25A has proven to be an outstanding microphone on piano.

Because of its small footprint and acoustic behavior, it can successfully be used on a short stick or in a closed lid environment; one of the biggest challenges facing any microphone.

The SCX25A is ideally suited for any acoustical application including vocals, guitar, strings, brass, overheads, woodwinds, ensembles, and room miking.

The Micros ® – Pushing the Limits of Size and Performance Representing one the most intriguing innovations in microphone technology, The Micros™ are the world’s smallest condenser microphones with integrated preamp and


+ + + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + +

12 PROMOTIONAL FEATURE THE INTERNATIONAL GUIDE TO MICROPHONES 2011

+ + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X ++ + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X + + + + A U D I X +

detachable cable. The Micros™ also feature studio quality sound, very low self-noise, and up to 129dB of dynamic range. Additional characteristics of these mics include complete immunity from RF, tailored frequency response, three application specific levels of sensitivity, and a wide variety of optional clips and accessories. Coupled with the MicroBoom™, a portable lightweight carbon fibre boom arm available in varying lengths of 24, 50, and 84 inches, the Micros have raised the bar when it comes to overhead choir miking applications.

The M1255B features an unprecedented output sensitivity of 32 mV/Pa and operates on a minimum phantom voltage of 18 volts. It is ideally suited for distance learning and conference systems. The most recent products developed utilising this highly sensitive capsule include the M40 and M70 ceiling microphones, which are designed for permanent installation.

The VX5.

M1255B.

The Audix DP-QUAD,

Audix’s newest mic

pack.

The SCX25A on guitar.

12-audix-mics-2011.indd 2 22/07/2011 13:00


Perfect Sound Crafted By HandSince the Eugen Beyer electrical engineering factory was founded in 1924, beyerdynamic has been synonymous with German-made applied high technology in the professional audio sector. The dynamic microphone he invented in 1939 was a first milestone – and many more followed.

Since then, scores of beyerdynamic engineers have continuously invented new technologies to achieve ever clearer and purer sound. The result: microphones developed and handcrafted in Germany, whose sound and quality are legendary throughout the world.

The Power Of The MicrophoneWhether for voices or instruments, whether at concerts, TV performances, or in the studio, the microphone is an integral part of the connection between a performer and the audience. Because a microphone does so much more than just transform sound into electrical impulses; it can excite you, make you scream, make you beam, make you cry, and touch your soul. A microphone transmits sound but it can also transmit so much feeling. Yet another reason for beyerdynamic to build the very best microphones.

Currently the beyerdynamic product range comprises, in addition to microphones, wireless systems and professional headphones, headsets for TV commentators and pilots, as well as conference systems.


Perfect and Legendary Sound – Handmade in GermanyProducing true, natural sound has always been of the highest priority at beyerdynamic. This goes all the way back to the company’s founder, Eugen Beyer, who was fascinated by the idea of recording sounds as perfectly as possible and then reproducing them just as perfectly.

+ + + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + + + +

14-beyerdynamic-mics-2011.indd 1 21/07/2011 11:17


CONTACT DETAILS

HQ: beyerdynamic GmbH & Co. KGTheresienstraße 8

74072 Heilbronn – Germany

t +49 7131/617440

f +49 7131/617299

w www.beyerdynamic.com

e [email protected]

US: beyerdynamic Inc. USA56 Central Ave.

Farmingdale, NY 11735

t +1 (631) 293 3200

e [email protected]

UK: Polar Audio Ltd.17 Albert Drive, Burgess Hill

West Sussex, RH15 9TN

t +44 (0) 1444 258258

f +44 (0) 1444 258444

w www.polaraudio.co.uk

e [email protected]

Microphone PortfolioTouring Gear Microphone Series: The best live microphone series we’ve ever built.The Touring Gear series is a completely new microphone range from beyerdynamic, totally redesigned from the ground up. Touring Gear – the sound of German craftsmanship from beyerdynamic.

How is one microphone different from another? Some are assembled by a machine and others are individually crafted by hand. Some can just be adapted to suit an application while others are designed specifically for it. Some only transport sound, others utilise special acoustic labyrinths to optimally channel the sound. Some are purely made up of parts while others contain the know-how and precision of one of the most experienced and respected companies in the audio industry. Experience the difference between conventional microphones and beyerdynamic microphones.

The new Touring Gear microphones from beyerdynamic are a series of live microphones that are set to excite performers in studios and on stages all over the world. Rugged in design with phenomenal audio quality, they are the perfect complement to beyerdynamic’s legendary M series models, including well-known classics such as the M 88 and M 160 and the personalised M(y)88.

The Secret Of Perfect TuningTo achieve that unique ‘beyer’ sound, beyerdynamic has been developing and

redefining its Sound Channelling Technology (SCT) for decades. beyerdynamic’s acoustic experts have created acoustic labyrinths with special geometries providing optimised sound channelling. They influence the sound and model the polar pattern by using precisely tuned delay lines and attenuation pads. Whether with additional elements, special materials, or unique design: every beyerdynamic microphone has its own Sound Channelling Technology to ensure perfect control of the sound waves. The result is a just incredible sound quality.

The Four CategoriesTG 30:The TG 30 series is the perfect introduction to the world of beyerdynamic live microphones. An entry-level series that can produce big beyerdynamic sound on a small budget.

TG 50:With aesthetically pleasing looks and outstanding sound quality, the TG 50 series is ideal for all users. The series covers all applications relating to stage performing – from vocals, instruments and drums, to headsets and lavalier microphones. TG 50 is the standard Touring Gear series with a truly premium performance.

TG 70:The models of the TG 70 series go one step further with no compromises: even better technical characteristics and even higher quality materials for an even better sound. Every detail


+ + + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + B E Y E R D Y N A M I C G M B H & C O . K G + + + + + + +

counts - both during development and during manufacturing. The result: first-class microphones - handcrafted in Germany.

TG 90:Designed to be the very best in the Touring Gear range, the TG 90 series is manufactured to the absolute highest quality standards and delivers a sound that is second to none. High-end equipment handcrafted in Germany for the user who is looking for the ‘non plus ultra’. The TG 90 series provides an outstanding performance every time and can handle even the most demanding requirements on the stage.

For more details please visit www.beyerdynamic.com/TouringGear and www.beyerdynamic.com.

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DPA Reference Standard MicrophonesThe DPA family of high-end capsules is the premium choice of engineers around the globe. Although one of the most imitated designs, the quality craftsmanship cannot be replicated, nor can the unique design which produces such impressive performance. The new Reference Standard Microphones include the DPA sonic signature in every capsule, while offering three different choices of better sounding, noise rejecting state-of-the-art preamplifiers.

The modular Reference Standard Mic series not only offers functional flexibility within the family of high-end capsules but also a wider selection of capsules at different price points and performance levels.

The new modular 4000 series includes the state-of-the-art DPA Microphones sonic signature in every capsule. Choices include the legendary DPA omni, wide cardioid, cardioid, and

the super cardioid shotgun. Introduced with this new series are the pioneering Twin Diaphragm Capsules – the 2000 series – with sonic characteristics second only to the 4006 and 4011. These Twin Diaphragm Capsules bridge the gap between DPA’s market leading miniature microphones featuring the best miniature capsule in the world, and the ultimate Reference Standard capsules.

We now offer three different choices of better sounding, noise rejecting state-of-the-art preamplifiers: the MMP-A ultra transparent transformerless

preamp with active drive for impedance balancing, the MMP-B preamp with low cut and high boost filters, and the ultra-compact MMP-C preamp with a softer, slightly more musical and slightly softer character.

Any Reference Standard capsule can be transformed into a new configuration by combining it with one of three new preamplifiers, providing signal integrity, noise elimination, and even tighter specifications.

DPA 4099 Clip MicrophonesDPA’s ever-growing 4099 range of clip microphones has solutions for different instruments at an affordable price, and is proving a hit with musicians who love freedom when playing live. Each 4099 comes with an ingenious, gentle mounting accessory, which stays put on the instrument while the mic captures the best possible sound. The 4099 range is invaluable for gigging musicians who want to guarantee unbeatable, reliable quality each time they play.

Great performers like Sting, John Patitucci, Wayne Shorter, Randy Brecker, and many more have been won over by the DPA 4099. See some of them at www.dpamicrophones.com/video where they share their experience.

DPA Microphones – Professional Microphone Solutions for any NeedDPA 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.

+ + + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + +

The Best Just Got Better

With the new redesigned DPA Reference Standard Microphones you get:

• New electronics design – up to 120dB dynamic range

• Full modularity: three new preamps with interchangeable capsules

• Ultra-compact mics with unrivalled cable mount for all areas of installation

• Improved rejection of radio frequency interference

• The best off-axis performance of any mic

• Zero colouration

DPA 4099 Key Features

• High gain-before-feedback

• Natural sound• Easy, gentle

mounting • Suitable for ever-

growing range of instruments including guitar, violin, trumpet, sax, cello, bass, drums, and piano

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CONTACT DETAILS

DPA Microphones A/SGydevang 42-44, DK-3450 Alleroed, Denmark

t +45 4814 2828

f +45 4814 2700

w www.dpamicrophones.com

e [email protected]

DPA MiniaturesSince the 4060 miniature microphone series launched in 1996, the result of intensive work with leading theatre sound designers to fine-tune adapters and mounting cables, DPA miniature condenser mics have proved

indispensable. Much loved in the theatre, where they are widely used on West End, Broadway, and touring productions the world over, DPA miniatures have also found favour in broadcast and for close-miking. DPA miniatures have a neutral character, combining great detail and resolution with a rounded sound and natural response, and a range of adapters make them suitable for use with most professional wireless systems.

DPA miniatures are available in different sensitivities and a range of colours for efficient concealment, as well as cardioid and omni-directional versions. Many accessories are available, as are miniature miking kits in a neat carrying case, combining mics and accessories for specific applications such as stereo recording, instrument miking, electronic news gathering, and film. DPA’s miniature mic technology is also deployed in the BLM4060 Boundary Layer Microphone for boardrooms, conferences, courtrooms, and anywhere that excellent vocal pick-up is essential.

DPA Headworn MicrophonesDPA is proud to present the new single-ear headset microphone, d|FINE; the same tried and true DPA condenser miniature capsule in a sleek new housing with a newly designed single-ear mount that wears like it’s not even there. It will be launched in September 2011.

DPA has long set the standard for headworn mics, being at the forefront of this miking technique. The acclaimed DPA headbands are famous for staying put under the most difficult conditions as well as their clear, natural sound. Comfortable and

easy to wear, DPA headbands come in omni-directional and cardioid versions, in a choice of colours, and for the left and right sides of the face. Much R&D has gone into ensuring that humidity and moisture won’t be a problem. This is demonstrated night after night in theatres and broadcast studios across the world, as DPA headbands are put through their paces on the most rigorous performances and productions.

DPA 5100 Mobile Surround MicrophoneDPA offers various versatile solutions for surround miking. The DPA 5100 mobile surround microphone delivers channel separation and exhibits extremely low sensitivity to wind and mechanical noise, low distortion, highly consistent low frequency, and enormous dynamic range. This self-contained plug-and-play solution is compact, easy to use, and features DPA’s stunning sound


+ + + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + + D P A M I C R O P H O N E S + + + +

DPA Miniatures Key

Features

• Natural,highlydetailedsound

• Widedynamicrange

• Ruggeddesign• Compatiblewith

mostwirelesstransmitters

DPA Headworn Mic

Key Features

• Micofchoicefortheatresandbroadcasters

• Easytoadjust• Extremelystable• Natural,highly

detailedsound• Resistanttowear

andtear,sweatandhumidity

About DPA Microphones

Drawingonmorethanfivedecadesofworld-class condenser microphone design, DPAhasmanufacturedground-breakingproductsinitsownnamesince1998.The company employs 110 people and isrepresentedbyprofessionalaudiodistributorsanddealersinmorethan40countriesworldwide.AllDPAmicrophonesandcomponentsaremanufacturedatthecompany’spurpose-builtfactoryinDenmark.

DPA 5100 Key

Features

• Plug-and-playsolution

• Lightweightandportable

• Rich,smooth,fullyenvelopingsound

• Discrete5.1analogueoutput,no processing needed

quality. Its innovative design delivers a rich, smooth, and totally enveloping ambience to HDTV production, sports broadcasts, film projects, etc.

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Famous for producing uncompromised audio hardware, Prism Sound and Maselec are no strangers to the most demanding and revered recording, mixing and mastering studios, and engineers around the world. The key feature and main attraction to all of their equipment is the transparent signal path.

Throughout their product range Prism Sound’s converters and Maselec analogue processors are designed to capture, process, and reproduce analogue and digital audio with clinical accuracy and faithfulness to the original signal. The MMA-4XR microphone preamp is no exception; the MMA-4XR is a four-channel minimalist microphone preamplifier that has been designed to provide integrity and transparency.

Consistent with this, each channel has controls for gain (69dB in 3dB steps), phase invert, cut (mute), and 48V phantom power. The phantom power circuit provides a higher-than usual level of current output – often a problem with inferior designs that can result in compromised microphone performance. Its output headroom extends to +28dBu, whilst the frequency response extends to more than 200kHz – well beyond the basic 20kHz audio band.

The TheoryWhen a microphone is chosen for a job, it seems logical to do it justice by providing adequate gain via the preamp without colouring the sound.

This was the philosophy when Leif Mases set about designing his microphone preamplifier. Leif’s rich audio history behind the console, including work with Black Sabbath, Led Zeppelin, and Jeff Beck, gave him the practical frontline experience needed to identify what he required when he decided to design the original MMA-4 mic preamp nearly ten years ago. It was a huge success and was favoured by engineers needing a combination of great dynamic range and low noise performance, as well as a preamp that would capture the sound of the microphone – a preamp that remained transparent and colour-less at all gain values, something that was not always available due to poorer transistor designs in some of the other available tube-less mic pres.

The MMA-4XR design was a continuation from the MMA-4’s success and also allowed room for some improvements due to the availability and better performance provided by newer components and creative feedback

about the original design and applications, such as the popularity of ribbon microphones. This meant a complete input stage redesign, including a ten discrete transistor input, increased input impedance, and new amplifier design so that the 60dB gain range of the MMA-4 was altered in the XR model to start at 9dB (instead of 0dB) and increase in 3dB increments to 69dB (instead of 60dB).

All of this resulted in an improved sounding and performing microphone preamplifier staying faithful to the design philosophy of the original Maselec MMA-4 pre.

MMA-4XR Case StudiesYouki Yamamoto and Matt HoweComposer and Arranger Youki Yamamoto has resided in the UK for the last 22 years partnering with Grammy award-winning Engineer Matt Howe. Based primarily at their studio in Pinewood Studios, both Youki and

Maselec MMA-4XR Microphone PreamplifierPrism Sound has been supplying successful studio products for over twenty years and is renowned for designing specialised performance products built for the most discerning in the industry, where sophisticated and innovative technologies set them apart from the masses.

Youki Yamamoto and Matt Howe in their studio at Pinewood with their MMA-4XR mic pres and Prism Sound ADA-8XR converter.

+ + + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + +

18-prism-mics-2011.indd 1 21/07/2011 11:16


CONTACT DETAILS

Prism Media Products Ltd.The Old School, High Street

Stretham, Cambridgeshire

CB6 3LD, England

w www.prismsound.com

t +44 (0) 1353 648 888

f +44 (0) 1353 648 867

e [email protected]

Matt have worked on several international film and TV scores at various locations around the world.

“We took MMA-4XR mic pres with us everywhere last year – Teldex Studios in Berlin, National Radio Hall in Sofia, Abbey Road Studios in London, and Sony Music Studios in Tokyo.

In the orchestra sessions we used two MMA-4XR pres on all of what we considered the important mics. This included the conductor’s tree microphones, certain section microphones, and solo spots. During the mixdown, we used fewer microphones than we really recorded because the MMA-4XR revealed the best characteristics of our principle microphones we had taken. These included some vintage valve microphones and other modern day condenser mics.

Matt has used the MMA-4XR for other music sessions, including Latin Percussion on a recent Jazz album. The controls are very simple to use and easy to read.”

Steve LevineMulti-award winning Producer and Composer Steve Levine has worked with many of the renowned pop and punk acts over the past three

decades, as well as composing a number of film scores. Still a very-much active producer and contributor to the audio and music industry, Levine can be credited with helping to define modern digital audio production.

“Over the many years I’ve been a record producer I have used some of the world’s greatest studios and have regularly used Prism AD/DAs, but it’s only recently that I discovered the MMA-4XR mic pre, and what a revelation!

I have built up a nice collection of mics over the years – every single one sounded better through this mic pre, especially the more esoteric ones. I have just got the new Audio Technica ribbons and they sound so amazing through

Prism Sound and Maselec products can be found in many studios around the world, often complementing one another within a single system. This natural marriage is the inherent result of a passion from both companies to produce the highest quality audio devices without compromise. This synergy became official in the late 90s when Prism Sound and Maselec teamed up to produce a range of analogue processors, MEA-2 equalizer, MLA-2 compressor/limiter, and MMA-4XR mic pre, to complement the already-popular Prism Sound converters.


Mike Hedges with the Three Priests.

Steve Levine: Producer, and Maselec MMA-4XR and Prism Sound Orpheus user.PHOTOGRAPH: ROSIE LEVINE

this mic pre (ribbons are one of the hardest tests for a mic pre). I am also a fan of detented pots, great for repeatable settings.”

Mike HedgesAlready a renowned and successful Producer Mike Hedges has been praised for his recent work on the hugely successful classical album The Priests, a project that took Mike and his team from Northern Ireland to Vatican City to produce the fastest selling UK debut album for a classical act.

“Very rarely have I come across a piece of equipment that is truly indispensable and I am so happy to have found these. Prism Sound and Maselec have certainly delivered on their promises with the MMA-4XR; it is only when recording through mic amps of this quality that you can really appreciate the massive benefits and true beauty of audio transparency.”

+ + + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + P R I S M S O U N D + + + + +

18-prism-mics-2011.indd 2 21/07/2011 11:16

20 sE RNR1sE Electronics and Rupert Neve Designs first collaborative product, the RNR1 Ribbon microphone, made history as the world’s first full frequency response ribbon microphone, boasting almost flat performance from 20Hz-25KHz. This revolutionary active ribbon microphone launched in 2008, incorporates discrete circuits and a purpose designed transformer by Mr. Rupert Neve, with the capsule, chassis and manufacturing by sE Electronics.

“…the U87’s sounded quite brash (by comparison). In contrast the RNR1 delivered a wonderfully warm and musically involving sound… the other invited guests included a number of producers and engineers, all of whom came to the same conclusion I did.” Paul White, Sound On Sound, May 2009

sE RN17Following the success of the RNR1, the design teams at Rupert Neve Designs and sE Electronics have come together to produce an incredibly high performance pencil condenser for instrument mic’ing, the RN17.

This is the world’s first pencil mic with a large scale, ultra high performance transformer customed designed by Rupert Neve. This combined with a newly developed 17mm capsule from sE, which with a diaphragm diameter of just 15mm is the worlds smallest mylar capsule in production. The result is truly magnificent performance, incredible high frequency definition, smooth and natural bass extension and a combined package of absolute fidelity.

Rupert Neve says:“Recent developments in the way that humans perceive sound are demanding significant advances both in performance and the philosophy of audio processing. That which was ‘good enough’ for light-hearted amusement fails to satisfy the thoughtful listener – in fact deficient sound quality has been shown to result in frustration, even anger. The experienced listener is aware of incredibly small Sound Pressure Levels that in many cases are beyond the conventional range of hearing.”

“I have worked for some time on the designs for a new range of microphones ¬– the concepts of which are actually already being implemented in our own Rupert Neve Designs 5088 Console – namely utilising Discrete Single-Sided Circuits and my custom designed transformers."

“This new approach to analogue sound processing needs extreme care in its manufacture and meticulous alignment of the embedded discrete op-amps and the delicate microphone elements.”

“This association with Siwei Zou and sE Electronics will provide an ideal partnership

in terms of their masterly and enthusiastic commitment to innovation and quality that have also been my own hallmarks for more than 50 years."

Siwei Zou of sE Electronics says: “I have, for many years, admired the work of Mr Neve, and now that we have a chance to work together I am able to realise a quality level in microphone technology that no other manufacturer to date has managed to achieve.

The excellence we have worked so hard to accomplish in production, design and capsule technology at sE, coupled with the best transformers this product area has ever seen, plus new cutting edge circuit board design, means we are now able to produce high end mics, at a fraction of the cost of other high end brand models. This is a truly exciting time for sE.

The mic ships with a cardioid capsule, in a solid oak presentation case, and with 4 metal cartridges which are provided ready to hold the optional cardioid with pad/cut, Omni, Hypercardiod and Figure of 8 capsules (which can be purchased separately). The RN17 is also available as a factory matched stereo pair, with all 5 capsules also available as factory matched pairs.


sE Electronics InternationalRN17 Release


Rupert Neve and sE Electronics tear up the manufacturing rule book again with the release of thesE RN17 pencil microphone

+ + + + + + S E E L E C T R O N I C S + + + + R U P E R T N E V E D E S I G N S + + + + S E E L E C T R O N I C S + + + + R U P E R T N E V E D E S I G N S +

20-sE-2011r1.indd 1 21/07/2011 11:32


CONTACT DETAILS

sE UKsE Electronics International3 Hunting Gate, Hitchin, Herts SG4 0TJ

t +44 (0) 845 500 2 500f +44 (0) 8442 459 159 w www.seelectronics.com

e [email protected]

+ + + + + + S E E L E C T R O N I C S + + + + R U P E R T N E V E D E S I G N S + + + + S E E L E C T R O N I C S + + + + R U P E R T N E V E D E S I G N S +

These products areavailable as part of thesE FREE LOAN Service

For details please contact:t: 0 845 500 2 500

e: [email protected]

CONTACT DETAILS

US DistributorFingerprint Audio511 Flite Acres, Wimberley TX 78676

t 00 1 512-847-5696f 00 1 512-842-1380w http://fingerprintaudio.come [email protected]

20-sE-2011r1.indd 2 21/07/2011 11:32

22 HistoryLab WSennheiser was founded in the summer of 1945 as ‘Laboratorium Wennebostel’ or ‘Labor W’ (Lab W) for short, named after the tiny village of Wennebostel. Founder Prof. Dr. Fritz Sennheiser, at the time Deputy Head of the Institute for Radio Frequency Engineering and Electroacoustics at Hanover Technical University, turned the relocated university lab into a small company and started manufacturing measuring devices. Two years later, he and his engineers unveiled their very first microphone design, the MD 2 – and were soon to become experts in many fields of audio recording and reproduction. Early product highlights included amplifiers, microphone transformers, magnetic miniature headphone capsules, and microphones such as the MD 3 ‘invisible’ mic (1949), the MD 82 shotgun microphone (1956), and Sennheiser’s first wireless microphone (1957), which opened

up a field in which the company was to excel in the future. In 1958, Lab W was renamed ‘Sennheiser electronic’, as the company had long since ceased being just a small laboratory.

SennheiserInnovations continued under the Sennheiser brand name. The company developed condenser microphones that operated according to the RF principle, and the first professional condenser clip-on microphone, the MK 12. The world’s first open headphones were developed at Sennheiser (1968), and the company led the innovation for infrared sound transmission in the seventies. The launch of the radio microphone classic SKM 4031-TV in 1982 laid the foundation for the success of Sennheiser wireless systems in the following years, and was followed by the development of ever-smaller clip-on microphones. 1993 saw the launch of another radio microphone classic, the SKM 5000. In

1987, Sennheiser was awarded the Scientific and Engineering Award for the MKH 816 shotgun microphone, and an Emmy Award for pioneering developments in RF wireless technology in 1996. In 1998, the evolution microphone series was launched, followed by evolution wireless in 1999, Sennheiser’s most successful RF wireless series to date. In 2000, Sennheiser introduced the first studio microphone to fully utilise the wider frequency range of the new digital audio formats, the MKH 800. 2002 saw the glamorous combination of the SKM 5000 N with a Neumann capsule. In 2007, Sennheiser launched its new MKH 8000 Series. 2009 saw the launch of the wireless 2000 Series and of the third generation of evolution wireless systems.

From 1988, the company had begun founding its own sales subsidiaries to further increase proximity to its customers. Today, the Sennheiser network is comprised of subsidiaries in France, Great Britain, Belgium, the Netherlands, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Canada, Mexico, and the USA, as well

as long-term trading partners in many other countries. The Sennheiser Group

has manufacturing plants in Germany, Ireland, and the USA.

Sennheiser – The Audio SpecialistsFor more than sixty years, the name Sennheiser has been synonymous with state-of-the-art microphones. Bands, artists, live sound engineers, recording engineers and amateurs, broadcast professionals and film crews worldwide rely on Sennheiser microphones.

+ + + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + +S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R +

first wireless microphone (1957), which opened radio microphone classic, the SKM 5000. In subsidiaries in France, Great Britain, Belgium, the Netherlands, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Canada, Mexico, and the USA, as well

as long-term trading partners in many other countries. The Sennheiser Group

has manufacturing plants in Germany, Ireland, and the USA.

The late company founder Prof. Dr. Fritz Sennheiser and his son Prof. Dr. Jörg Sennheiser, Chairman of the Supervisory Board. (PHOTO: PETRA SCHRAMBÖHMER)


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+ + + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + +

microphones 2011

+ + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R +


evolution Microphones

The evolution series of microphones provides a complete microphone set-up for vocals and the entire backline. It comprises 600 Series instrument microphones, 800 Series vocal microphones, and the top-of-the-range 900 Series of vocal and instrument mics, with such acclaimed models as the e 935 dynamic vocal mic and the e 965 large-diaphragm, true condenser vocal microphone.

The MD Range of Dynamic Microphones

Sennheiser’s rugged, easy-to-use dynamic microphones include all-time classics as the MD 21, MD 421, and MD 441, but also reporters’ microphones like the MD 42 and MD 46.

Permanently Polarised Condenser Microphones

Everything from professional subminiature clip-on microphones for use with Sennheiser’s wireless technology to headset microphones and small camcorder microphones. Among the classics are the legendary MKE 2 clip-on, and the K6 Series, where the user can tailor the microphone to the recording situation by adding microphone heads of varying directivity to the basic power module. The portfolio also comprises the award-winning HSP 2 and HSP 4 headset microphones, the MKE 400 camcorder microphone, and Sennheiser’s smallest clip-on, the MKE 1. The latest additions are the single-sided Earset 1 and Earset 4 mics for stage and broadcast use.

True Condenser Microphones

With the new MK 4,

Sennheiser has launched an extraordinary studio microphone whose shock-mounted capsule is based on that of the e 965. The affordable side-address mic has a warm and direct sound, ideal for vocals and speech but also for guitars,

guitar amps, string, and wind instruments, as well as drums and percussion.

MKH Microphones

The choice for recording, broadcast, and filming

specialists, Sennheiser’s MKH microphones are a sophisticated class of condenser microphones, operating according to the RF

principle and using a unique symmetrical push-pull transducer. They offer an unchanging acoustic impedance, extremely low distortion figures, a higher capsule output with much lower noise, and thus a very clear signal. They are uniquely insensitive to unfavourable climatic conditions, have a wide dynamic range and an excellent low frequency response even with small capsules. Although their capsule is grounded, they possess a genuine fully floating, balanced output without the need to use a transformer. The line comprises the MKH 8020 (omni), MKH 8040 (cardioid), MKH 8050 (super-cardioid), the new MKH 8060 (short gun) and MKH 8070 (long gun), as well as the MKH 800 Twin, a double-capsule microphone whose

pick-up pattern can be remotely controlled at the mixing desk and modified during post-production.

Wireless Microphone Systems

Thanks to the outstanding RF properties of Sennheiser’s wireless technology, sound engineers were able to create systems with more than 140 microphone channels operating simultaneously. The top-of-the-range

3000 and 5000 Series include such industry standards as the SKM 5200-II handheld and SK 5212-II bodypack transmitters, as well as the EM 3732-II twin receiver. As the entry line to the professional segment, the 2000 Series offers Sennheiser’s renowned audio and RF quality at a very attractive price point.

For more than one million users worldwide, evolution wireless is their no.1 choice for stage and live use. Whether wireless instrument transmitters or acclaimed vocal mics – this series contains wireless solutions for almost every application. Great sound, quality workmanship, and exciting extras for up-and-coming bands, established performers, presenters, musicians, reporting teams, and PA companies.

Digital Microphones…

…are a sound investment in the future of audio. Simply by adding a digital module, the renowned MKH 8000 series can be turned into digital microphones. Perfectly matched to the MKH microphone heads, the MZD 8000 digital module directly ‘translates’ the clear, warm, and responsive sound of the microphones into the digital world, avoiding the losses or signal disruptions to which cables are prone. The microphones can be remotely controlled, allowing parameter settings such as the low-cut filter and attenuation to be adjusted via a suitable mixing desk, a portable AES 42 interface, or a standard AES 42 interface and a PC.

microphone, and Sennheiser’s pick-up pattern can be remotely controlled at the mixing desk and modified during post-production.

Wireless Microphone Systems

Thanks to the outstanding RF properties of Sennheiser’s wireless technology, sound engineers were able to create systems with more than 140 microphone channels operating simultaneously. The top-of-the-range

The Microphone Portfolio

complete microphone set-up for vocals and the entire

Sennheiser has launched an extraordinary studio microphone whose shock-mounted capsule is based on that of the e 965. The affordable side-address mic has a warm and direct sound, ideal for vocals and speech but also for guitars,

guitar amps, string, and wind instruments, as well as drums and percussion.

MKH Microphones

The choice for recording, broadcast, and filming

specialists, Sennheiser’s MKH microphones are a sophisticated evolution wireless is

Sennheiser’s most successful RF wireless series.

The MKH 8000 Series can be used in analogue and digital environments, simply by exchanging a mic module.

CONTACT DETAILS

Sennheiser electronic GmbH & Co. KGAm Labor 1, 30900 Wedemark, Germany

t +49 (0) 5130 6000

f +49 (0) 5130 600 300

e [email protected]

w www.sennheiser.com

A complete list of Sennheiser subsidiaries and

partners around the globe can be found at www.sennheiser.com.

22-sennheiser-mics-2011.indd 2 21/07/2011 11:15


Schoeps has been innovating in the field of microphones for over sixty years. It started out in around 1948 by serving the recording and PA markets. As well as a prototype tube microphone, tape recorders were amongst the early products. By 1949 the first Schoeps condenser microphone came into existence – the CMV 50/2, with bayonet coupled capsules. In 1951, possibly the most iconic Schoeps, the CM 51/3 was released, its smaller dimensions made possible by a new tube – the Telefunken EF 94. Schoeps tube mics continued to improve and get smaller,

until the CMT 200 – the world’s first phantom powered microphone. Fast forward to 1973, and the launch of the Colette range of microphones and pre-amps – a modular system that continues to be updated and augmented to this day. Schoeps microphones are some of the most respected devices available to

the professional audio engineer. Here are a few highlights...

SuperCMITThe SuperCMIT redefined the directional microphone when it was launched in 2010, and is enjoying enormous success in all its applications. Unlike other digital microphones, the SuperCMIT actually uses two capsules and DSP inside the unit. This enables a higher order of directivity across a wider frequency range than conventional shotguns without a change in sound colour. The higher suppression of unwanted noise is highly desired in film and documentary, sports and theatre.

The SuperCMIT has been winning awards and accolades since its launch, including the 7th Annual Cinema Audio Society Technical Achievement Award for Production.

CMIT 5 UThe other shotgun in the Schoeps catalogue is the all-analogue CMIT 5. Otherwise known as ‘The Blue’, this mic has become well known for an incredibly smooth-sounding directionality

and a balanced sonic character. Because of this, as well as being ideal for all of the traditional shotgun applications, the CMIT 5 also finds itself relied upon for critical music recording applications.

Colette SeriesThe Colette series has been the flagship modular microphone range for Schoeps for over 35 years, and the company continues to innovate and add to the range. For example the digital module, the CMD 2, has made a big impact in the digital microphone market. And there’s also the MK 22 capsule with the new ‘Open Cardioid’ polar pattern. Now there are more than 20 capsule types and six amplifier types in the Colette range.

CCM SeriesThe CCM Series of microphones is just as capable as the Colette range, but in this case it’s not a modular series. It appeals to customers who want exceptional quality in a small size, making it ideal for intricate positions, surround arrays, conference pick-up, and so on.

Quality & InnovationSchoeps is a name that brings visions of detail, technical superiority, pristine recordings, and a commitment to its customers that is second to none. What makes a company like Schoeps tick?

+ + + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + +

CM 51/3

The CM 51/3 has become one of the most iconic images for Schoeps microphones, and still plucks at the heart strings of many veteran audio pros. The mic was introduced in 1951, after innovations in tube design allowed Schoeps to reduce the size of the body to an amazingly slim 35mm in diameter and 240mm in length.

The SuperCMIT is a big step forward for the digital microphone – two capsules combine with

DSP to create a super-shotgun.

mics continued to improve and get smaller,

CM 51/3

The CM 51/3 has become one of the most iconic images for Schoeps microphones, and still plucks at the heart strings of many veteran audio pros. The mic was introduced in 1951, after innovations in tube design allowed Schoeps to reduce the size of the body to an amazingly slim 35mm in diameter and 240mm in length.

The Schoeps Colette MK 22.

24-schoeps-mics-2011.indd 1 22/07/2011 15:53


CONTACT DETAILS

Schalltechnik Dr.-Ing. Schoeps GmbHSpitalstr. 20, 76227 Karlsruhe, Germany

t +49 721 94 32 00

w www.schoeps.de

e [email protected]

US: Redding Audio, LLCw www.reddingaudio.com

UK: ioCo Limitedw www.ioco.ltd.uk

Q: What drives Schoeps and informs its approach to products – what is the philosophy behind Schoeps designs?Wittek: My colleagues and I, and also my predecessor, have always been very close to our users, and very close to their ideas and experiences. We are not dictated to by shareholders, and this can be seen in our broader product philosophy. We want to realise a perfect sound in the perfect recording. We don’t want to simply sell as much as we can – we want to sell quality; we want to sell the correct tools for the job.

For example, for surround sound we offer a number of different solutions, and we advise people on what to use in which application. We do the same with digital mics; we offer both digital and analogue microphones and so we can make an informed and neutral recommendation on the best solution for an application. This is a good way of selling mics and has always been a part of the Schoeps philosophy and its reputation. Q: Where do you see product and technology development going at Schoeps in the future?Wittek: The strengths of Schoeps have always been in innovation, and that we are eager to realise new ideas in the company. For example, there have been a number of new surround sound techniques and solutions, the open cardioid, the SuperCMIT and a bunch of new mechanical accessories. We will continue to work on new ideas, and bring them to the market when possible. The SuperCMIT is a good example – signal processing inside a microphone hadn’t been used in that way until we developed that

product, and since then it has been accepted by the market much more readily than even we had expected. It could be that there will be more of this technology in the future.We are also now a partner in the Ravenna project – a joint development project for an IP-based audio and media distribution centred around ALC Networx. We are amongst the first partners in that project and we are researching a networked microphone that could be a future standard. We are also heavily involved in the development of suitable microphone setups for multichannel formats. My background includes work on wave field synthesis and stereophony, so we are developing stereo, surround sound, and Auro3D techniques here at Schoeps and we will be the right partner when it comes to realising these techniques in a practical recording. Often new products evolve from custom built products which we realise also in smaller numbers. We are very flexible in that regard – we can be very close to and react to what is needed in our customers’ applications.


+ + + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + + S C H O E P S + + + +

The Schoeps Secret

Its reputation for quality, reliability, and service has been hard-won over sixty years, and Schoeps is not about to relax its commitment to its customers any time soon. Dr. Helmut Wittek, Managing Director (Engineering), is well-placed to explain the Schoeps outlook...

Helmut Wittek in action with the SuperCMIT.

Stereo RecordingSchoeps has a large selection of microphones and accessories for M/S, X/Y, Blumlein, ORTF, and A/B stereo recording, which allows the user to find the right setup for any stereo recording situation. Its M/S solutions are particularly respected, as are its stereo microphones such as the MSTC 64 U for ORFT recording or the CMXY 4V for X/Y. The recently introduced stereo sets are particularly successful. Schoeps stereo setups are a standard in music, film, and sports recording.

Multi-Channel ArraysSchoeps offers a wide selection of practical multi-channel arrays and arrangements for the professional recordist including the Double M/S, ORTF Surround, IRT Cross, and OCT Surround systems. Due to this large variety, any application can be optimally targeted. The Schoeps engineers share their experience and competence for any music, film, documentary, sports, ambience, or live application and help to find the proper setup.

Schoeps is committed to a comprehensive range of multi-channel arrays for

every eventuality.

24-schoeps-mics-2011.indd 2 22/07/2011 15:53


In our role as industry leader, partnering with other important industry voices. Our collective and constant efforts helped make the government aware of how proposed legislation would negatively impact countless microphone users. The importance of wireless microphones and the need to protect users was acknowledged, resulting in the allocation of Channel 38 frequency band for wireless microphones. We have introduced breakthrough products – unavailable anywhere else on the planet – that protect users from RF interference, which are as reliable and easy to use as any audio product made by Shure. We have already launched 2012 DSO (Digital Switch Over)-compliant wireless products that are available to use now and beyond 2012 in Channel 38 frequency bands. Plus, in June 2011 we introduced a new range of premium broadcast and production microphones and audio products.

Shure will continue to keep focused on the future while honouring the legendary performance promises of our past, introducing innovative products that set new standards for the audio industry

and provide you with more choices, creative freedom, and unsurpassed quality in sound reproduction.

Microphones For Broadcast – VP A new range of microphones for broadcast and portable production applications was launched

in June. The VP68 omni-directional condenser capsule features

Shure quality audio, a robust design, and can be used with all Shure wireless handheld microphones. It is ideal for interview and broadcast applications.

The VP89 is a premium shotgun

microphone. Its sound is neutral and precise, its off-axis rejection unmatched,

and a recessed low cut filter delivers additional control. It is available in three modular lengths (S, M, L) offering maximum flexibility for all broadcast environments including TV, field recording, theatre, and sport events. Also new is the VP82 short shotgun, an economical choice for a compact, lightweight small footprint

microphone that delivers a natural off-axis rejection.

For Studio & Premium Live Performance – KSMShure KSM microphones deliver world-class mastery of sound reproduction from exquisite electro-acoustical design and technology. Crafted from premium components, each KSM microphone is designed to capture and control the detailed sonic nuance of critical studio performance, while withstanding the punishment of the most accomplished and demanding live sound reinforcement.

The latest introductions to the KSM range include the KSM42, a premium side-address, cardioid condenser microphone, and the KSM44A, a premium, large-diaphragm, side-address condenser microphone with multiple polar pattern options. The KSM44A features Prethos™ Advanced Preamplifier Technology for a ground-breaking low level of self-noise.

For Demanding Environments – BetaConsistently excellent performance has made Beta the choice of top performers worldwide. Renowned for their warmth, presence, and sensitivity to fine detail, Beta cartridge configurations and carefully tailored response curves are as distinctive as the artists who prefer them. All models feature maximum isolation and minimum off-axis colouration.

The most recent additions to the Shure Beta microphone range include a number of drum and instrument microphones. The Beta 181 features interchangeable capsules with different polar patterns for a truly diverse and multi-purpose instrument microphone. The Beta 98AMP/C drum microphone combines an integrated preamplifier with a miniature

In our role as industry leader, partnering with other important industry voices. Our collective and constant efforts helped make the government aware of how proposed legislation would negatively impact countless

and provide you with more choices, creative freedom, and unsurpassed quality in sound reproduction.

Microphones

Shure is Focused on the Future

+ + + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + +

Throughout history, the success and reputation of the Shure brand has been defined by our continued commitment to quality, and it shows in every Shure product. However, it is a never-ending challenge to stay ahead of the curve. Therefore our research and development efforts never end.

PROMOTIONAL FEATURE

microphone users. The importance of wireless microphones and the need to protect users was acknowledged, resulting in the allocation of Channel 38 frequency band for wireless microphones.

breakthrough products – unavailable anywhere else on the planet – that protect users from RF interference, which are

product made by Shure. We have already launched 2012 DSO (Digital Switch Over)-compliant wireless products that are available to use now and beyond 2012 in Channel 38 frequency bands. Plus, in June 2011 we introduced a new range of premium broadcast and production microphones

Shure will continue to keep focused on the future while honouring the legendary performance promises of our past, introducing innovative products that set new standards for the audio industry

For Broadcast – VP A new range of microphones for broadcast and portable production applications was launched

in June. The VP68 omni-directional condenser capsule features

Shure quality audio, a robust design, and can be used with all Shure wireless handheld microphones. It is ideal for interview and broadcast applications.

premium shotgun microphone. Its sound is

neutral and precise, its off-axis rejection unmatched,

and a recessed low cut filter delivers additional control. It is available in three modular lengths (S, M, L) offering maximum flexibility for all broadcast environments including TV, field recording, theatre, and sport events. Also new is the VP82 short shotgun, an economical choice for a compact, lightweight small footprint

microphone that delivers a natural off-axis rejection.

26-shure-2011.indd 1 21/07/2011 11:15


CONTACT DETAILS

Shure Distribution UKUnit 2,The I.O Centre, Lea Road,

Waltham Abbey, EN9 1AS, UK

t +44 (0) 1992 703058

f +44 (0) 1992 703057

w www.shure.co.uk

e [email protected]

Shure is Focused on the Future

cardioid condenser capsule to provide a smooth, natural tailored response for drums and percussion. It has a flexible gooseneck and the A75M universal microphone mount for accurate and secure positioning in any configuration. Also new is the Beta 91A, which is optimised for kick drums, as well as traditional low end applications including piano.

For Legendary Performance – SMThe renowned sound and construction of the SM Microphone line has remained the metric by which all other microphone performance has been judged, setting standards for ruggedness, reduced handling noise, and improved gain-before-feedback. In live performance and recording applications, SM Microphones are legendary – virtually indestructible professional utility.

The SM58 and SM57 – the #1 and #2 bestselling microphones worldwide for decades – possess a consistency and familiarity that takes some of the guesswork out of setting up an unfamiliar sound system in an unfamiliar venue.

For Entry to Shure Quality – Performance GearPerformance Gear Series microphones are designed to give access to Shure professional quality for artists and musicians on a more modest budget. Models include a complete set of vocal, instrument, and drum microphones. Ideal for everyday use and practice, they share many of the performance and construction details of other legendary Shure microphones. Performance Gear microphones come complete

with cables and accessories, so they easily fit into the beginner’s budget. New models in this range include the PG27 multi-purpose microphone, and the PG42 vocal microphone (both available in USB and XLR versions).

Wireless SystemsAll Shure wireless systems are shipping in Channel 38 versions for use now and beyond the 2012 DSO.

Axient – Zero Tolerance for Failure Axient Wireless microphone system

defines a new standard in audio and RF performance, it is also the first wireless system that not only detects interference but will automatically change frequencies, undetected by the user, to avoid interference.

With the Axient™ Wireless Management Network, Shure introduces a dramatic new threshold of control and confidence in RF applications with zero tolerance for failure. The foundation of the Axient system is a suite of inter-related spectrum management tools that integrate spectrum analysis, channel allocation, and device management in a seamless, network-based platform.

UHF-R – Premier Wireless for the Largest, Most Demanding Applications Shure UHF-R Wireless Microphone Systems deliver uncompromising Shure sound, and are the premium choice for the most demanding music, theatre, and broadcast applications. The latest frequency band (K4E) covers Channel 38 in line with the latest developments in UK spectrum regulation. The entire system can be networked together via USB or Ethernet connections with Wireless Workbench software providing full monitoring and set-up features for all parameters. The all-metal handheld and bodypack transmitters have switchable RF output power and a backlit LCD display. Shure’s breakthrough Audio Reference Companding delivers crystal-clear sound that matches a hard-wired microphone.


+ + + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + + S H U R E + + + +

Throughout history, the success and reputation of the Shure brand has been defined by our continued commitment to quality, and it shows in every Shure product. However, it is a never-ending challenge to stay ahead of the curve. Therefore our research and development efforts never end.

ULX – Full Featured UHF Choices for Experienced Engineers and Professional InstallationsShure ULX wireless systems deliver outstanding performance for working musicians and professional sound system installers. ULX is an excellent choice for larger performing groups, meeting facilities, and houses of worship; and is available in a DSO 2012 compatible version (K2E). Shure Predictive Diversity constantly monitors RF signal strength and silently switches antennas when it appears likely that a dropout will occur. Automatic Frequency Selection makes it easy to find an open frequency or lockable frequency, and volume adjustments prevent tampering once the system has been set; half-wave antennas that can be remote-mounted are standard equipment; and the receiver provides in-line power for antenna amplifiers.

SLX – UHF Out-of-the-Box Wireless Solution for Sound Installers and Working BandsShure SLX Series wireless systems are designed for working bands and sound system installers, available in a version (K3E) that covers Channel 38. Useful features like Automatic Frequency Selection and Infrared Auto Transmitter Setup make setup quick and easy, and Shure’s patented Audio Reference Companding delivers sound that matches a wired microphone.

PGX – Simple Powerful Systems for Reliable Performance, the Superior Entry into Agile WirelessShure PGX wireless systems offer Automatic Frequency Selection and Infrared Auto Transmitter Setup ensure quick and easy setup, while microprocessor-controlled diversity and Audio Reference Companding deliver great sound and reliable performance. PGX systems are available in a Channel 38 version (K5E) with the most popular Shure handheld, lavalier, headworn, and instrument microphones, providing a stage-ready option for almost any application. The popular Beta 87 is now available on PGX for the first time.

26-shure-2011.indd 2 21/07/2011 11:15

2828 MICROPHONE MANUFACTURERS DIRECTORY

ADK MICROPHONES

www.adkmicrophones.com

+1 503 296 9400

AEA MICROPHONES

www.wesdooley.com

+1 626 798 9128

AEVOX AUDIO

www.aevox.be

+32 473 34 38 80

AKG

www.akg.com

+43 1 866540

AMBIENT RECORDING

www.ambientaudio.com

+49 0 89 360 55 100

AMG ELECTRONICS

www.c-ducer.com

+44 0 1428 658775

AMT

www.appliedmic.com

+1 908 665 2727

AUDIO LTD

www.audioltd.com

+44 0 1494 511711

AUDIO TECHNICA

www.audio-technica.com

+44 (0) 113 277 1441

AUDIX

www.audixusa.com

+1 503 682 6933

AVLEX

www.avlex.com

+1 816 581 9103

AZDEN CORPORATION

www.azdencorp.com

+1.516.328.7500

BEHRINGER

www.behringer.com

+49 2154 9206 0

BEIJING 797 AUDIO

www.797audio.com

+86 10 5978 9246

BERLINER AUDIO

www.berlineraudio.com

+1 888 642 8447

BEYERDYNAMIC

www.beyerdynamic.com

+49 7131 6170

BLUE MICROPHONES

www.bluemic.com

+1 818 879 5200

BOCK AUDIO DESIGNS

www.bockaudiodesigns.com

+1 702 365-5155

BRAUNER MICROPHONES

www.brauner-microphones.com

+49 (0)2851 588 98 68

CAD MICROPHONES

www.cadmics.com

+1 440 349 4900

CASCADE MICROPHONES

www.cascademicrophones.com

+1 360 867 1799

CHAMELEON LABS

www.chameleonlabs.com

+1 206 264 7602

CHARTEROAK ACOUSTICS

www.charteroakacoustics.com

+1 860 698 9794

CLOUD MICROPHONES

www.cloudmicrophones.com

+1 973 728 242

COLES ELECTROACOUSTICS

www.coleselectroacoustics.com

+44 (0) 1992 4466 685

COUNTRYMAN ASSOCIATES

www.countryman.com

+1 650 364 9988

DPA MICROPHONES

www.dpamicrophones.com

+45 4814 2828

EARTHWORKS AUDIO

www.earthworksaudio.com

+1 603 654 6427

ELATION

www.elation-mics.com

ELECTROVOICE

www.electrovoice.com

+49 9421 706-0

FOSTEX INTERNATIONAL

www.fostex.com

+81 42546 4974

GROOVE TUBES

www.groovetubes.com

+1 480 596 9690

HHB COMMUNICATIONS

www.hhb.co.uk

+44 (0)20 8962 5000

HEBDEN SOUND

www.hebdensound.com

+44 (0)114 201 3687

HEIL SOUND

www.heilsound.com

+1 618 257 3000

HOLOPHONE

www.holophone.com

+1 416 362 7790

HORCH AUDIO

www.horchaudio.de

+49 81242 53980

ISK MICROPHONES

www.iskmic.com

+44 (0)1342 841 637

JJLABS

www.jjlabs.se

+46 8 410 510 88

JOEMEEK

www.joemeek.com

+1 877 563 6335

JOSEPHSON ENGINEERING

www.josephson.com

+1 831 420 0888

JZ MICROPHONES

www.jzmic.com

+371 298 39708

KATAMOUNT ENTERPRISES

www.katamount.com

+1 (416) 259-3527

LAUTEN AUDIO

www.lautenaudio.com

+1 877 721 7018

LAWSON MICROPHONES

www.lawsonmicrophones.com

+1 877 438 2642

LINE 6

www.line6.com

+44 (0) 1327 302 700

MANLEY LABORATORIES

www.manleylabs.com

+1 909 627 4256

M-AUDIO

www.m-audio.com

+1 626 633 9050

MBHO

www.mbho.de

+49 6261 7970

MERCENARY AUDIO

www.mercenary.com

+1 508 543 0069

MICROTECH GEFELL

www.microtechgefell.de

+49 0 36649 8820

MICW

www.mic-w.com

+86 10 5128 5118

MILAB MICROPHONES

www.milabmic.com

+46 0 42 38 16 20

MOJAVE AUDIO

www.mojaveaudio.com

+1 818 847 0222

MXL MICROPHONES

www.mxlmics.com

+1 310 333 0606

NADY SYSTEMS INC

www.nady.com

+1 510 652 2411

NEUMANN

www.neumann.com

+49 30 41 77 240

OKTAVA

www.oktava-online.com

+7 0872 362 359

PEARL MICROPHONES

www.pearl.se

+46 42 588 10

PEAVEY

www.peavey.com

+44 0 1536 461234

PELUSO MICROPHONE LAB

www.pelusomicrophonelab.com

+1 540 789 4100

PRISM SOUND

www.prismsound.com

+44 0 1353 648888

RICSONIX

www.ricsonix.com

RODE MICROPHONES

www.rodemic.com

+61 2 9648 5855

ROXDON

www.wilddistribution.com

Microphone Manufacturers Directory

28-mics-mic-index-2011.indd 1 22/07/2011 15:21

2928 MICROPHONE MANUFACTURERS DIRECTORY THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 29

ROYER LABS

www.royerlabs.com

+1 818 847 0121

SAGE ELECTRONICS

www.sageelectronics.com

+1 613 228 0449

SAMSON

www.samsontech.com

+1 631 784 2200

SANKEN MICROPHONES

www.sanken-mic.com

+81 03 3392 6581

SCHERTLER

www.schertler.com

+41 0 91 630 0710

SCHOEPS

www.schoeps.de

+49 0 721 943 200

SD SYSTEMS

www.sdsystems.com

+31 20 692 6413

SE ELECTRONICS

www.seelectronics.com

+44 0 1582 470269

SENNHEISER

www.sennheiser.co.uk

+49 5130 6000

SHURE

www.shure.com

+1 847 600 2000

SONTRONICS

www.sontronics.com

+44 0 1202 236862

SONY

www.sonybiz.net

+1 608 256 3133

SOUNDFIELD

www.soundfield.com

+44 0 1924 201089

SOUNDKING

www.soundking.com

+86 574 8823 5195

SOUNDMAN

www.soundman.de

+49 0 30 28 59 81 16

STUDIO PROJECTS

www.studioprojectsusa.com

+1 310 323 9050

SYMPHOTEC

www.symphotec.de

+49 0 2623 929 5880

TELEFUNKEN

www.telefunken.com

+1 860 882 5919

T.H.E

www.theaudio.com

+1 860 821 5414

TRAM LAVALIERS

www.tram-usa.com

TRANTEC

www.trantec.co.uk

+44 0 208 330 3111

TRINNOV AUDIO

www.trinnov.com

+33 0 147 066137

VIOLET DESIGN

www.violet-design.com

+372 645 5007

VOICE TECHNOLOGIES

www.voicetechnologies.net

+41 44 432 32 30

WUNDER AUDIO

www.wunderaudio.com

+1 512 338 6777

XXL INSIDE

www.xxlinside.com

+39 02 9822 1244

ZAXCOM

www.zaxcom.com

+1 973 835 5000

Microphone Manufacturers Directory microphones 2011microphones 2011microphones 2011microphones 2011

Where It All Beg

TASCAM has been p

recording business for qu

of years. Having started

portable recording

with the Portastudio, TA

has had continuous

in bring recording solu

a modest price. The TASC

DAP1 portable DAT record

set a standard for high

recording with a re

opening fi eld recording to

With vast experience a

of this industry, this a

+ + + + TASCAM+ + + + TA

SCAM+ + + + TASCAM+ + + + TA

SCAM+ + + + ++ + TASC

AM+

+ + + + TASCAM+ + + + TA


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+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

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Where It All Beg

TASCAM has been p

recording business for qu

of years. Having started

portable recording

with the Portastudio, TA

has had continuous

in bring recording solu

a modest price. The TASC

DAP1 portable DAT record

set a standard for high

recording with a re

opening fi eld recording to

With vast experience a

of this industry, this a

to bring to market many

can give high quality results

point to suit most pockets

crunch times!

Today’s Offerings

+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

AM+

+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

AM+

+ + + + TASCAM+ + + + TA


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AM+

Where It All Began

TASCAM has been part of the fi eld

recording business for quite a number

of years. Having started the revolution of

portable recording 30 years ago

with the Portastudio, TASCAM

has had continuous presence

in bring recording solutions at

a modest price. The TASCAM

DAP1 portable DAT recorder

set a standard for high quality portable

recording with a reasonable price tag,

opening fi eld recording to everybody.

With vast experience and knowledge

of this industry, this allows TASCAM

to bring to market many devices that

can give high quality results at a price

point to suit most pockets even in credit

crunch times!

Today’s Offerings

Following on from the DA-P1 success

came TASCAM’s High Defi nition

came TASCAM’s High Defi nition

came TASCAM’s High Defi

Portable two track recorder, the HD-

P2. This introduced up to 24-bit 192k

recording on to Compact Flash media.

The added benefi t of going to Compact

Flash media was non-linear transfer

to and from PC or Mac, higher sampling

rates, and embedded time code.

Since the HD-P2’s introduction over

three years ago, it has had many pro

users and has gained a reputation for

setting a high standard in the lower/

affordable end of the fi eld recording

market. Although the HD-P2 was

designed with video shoots and live

concerts in mind, it will happily

live within a classroom

home studio, and has the

of use for even the lea

Once again this used so

state media, and allow

for high quality 24-bit 48

recordings to be made

the onboard condenser microphones

or plugging in some separat

This small hand held recor

for recordings to be

card (Secure Digital)

MP3. This DR1 offered not only basic

recording, but a

host of features

that would appeal

to musicians such

as overdubbing,

on-board effects,

and various

playback controls.

The on-board

microphones

can be moved 90

degrees, and left-

right swapped depending

recorder is positioned.

TASCAM didn’t stop at fo

musicians as a whole, an

one step further introduc

This recorder offers g

features such as a buil

guitar impedance inp

and a rhythm loop play

22

TASCAM

+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

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+ + + + TASCAM+ + + + TA


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AM+

+ + + + TASCAM+ + + + TA


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Why Compromise On Quality?

Whether its high quality recording at up to 1

compressed recording of MP3, portability, m

recording, or syncing to code, TASCAM ha

in 2003 by Stanislav Rubintsik.

dwide

d sales

et and

ophones.

The factory started to

manufacture microphone capsules

in late 1994. Its fi rst capsules were

placed in legendary vintage microphones:

U47, M49, M50, C12, and the 414. In 1997, a

new generation of capsule was born. Today

e perfect, original sound

and an expressive design with the Violet™

line of microphones.

Violet’s main philosophy is to offer

handcrafted microphones with a unique

style and excellent sound quality, using

innovative solutions in microphone

manufacturing without losing the best

details of vintage sound.

We believe that in the process of

music recording, the most important

things are passion and inspiration, and

nothing should get in the way of these.

So in our ideology of microphones, we

trust in three simple points:

It must sound good

It must look nice

It must be as simple as possible

do its job as well a

possible. To improve its

microphones sonically,

Violet has been

investing a lot in its

research laboratories

Capsule

The heart of the

microphone

is its capsule – Violet’s

hand crafted highest quality

electrostatic transducers provide

high output of the best quality

audio signal, and can handle

extremely high SPL at the same

time. Internal Class-A

transformer-less discrete

electronics quality is

adequate, providing hard

to measure noise and

distortion parameters.

However, Violet’s

microphone housing designs are

primarily based on acoustic ideas.

After a large number of experimental

jobs in its laboratory, in September

2005 Violet announced its latest capsule

diaphragm technology. We introduced the

new mixed gold-aluminum composite

coating material, layered diaphragm

sputtering, and variable coating thickness,

adding transparency, better sound

generation of universal-w

application studio micro

providing perfect audio recording

quality for an affordable price.

The microphone has a cardioid

polar pattern, high output, very

low self-noise, distortion, and a

full audio spectrum of sound.

The newly designed VD21 true

electrostatic single diaphragm

capsule uses Violet’s

latest technologies,

and is damped from

vibrations and resonances.

Acoustically open long

double mesh head

provides the highest

sound transparence and

naturalness.

The Wedge comes with

a stand holder, but can

be mounted on different

optional (VSM-WD, PSM,

or GSM) studio shockmounts

for additional protection from external

subsonic interference.

The Garnet

The Garnet is a tube microphone with a large

dual diaphragm capsule. The VD47 capsule

in combination with tube and custom-made

VIOLET

nge

• Solid state or tube Class

A discrete preamplifi er

• An attractive design

• All mics are hand

crafted and have 5-year

warranty.

The WedgeThe WedgeThe Wedge

All over the world, TV companies are All over the world, TV companies are gearing up for the move from Standargearing up for the move from StandarDefi nition (SD) to High Defi nition (HD) Defi nition (SD) to High Defi nition (HD) broadcasting, for which 5.1 surround is broadcasting, for which 5.1 surround is main required audio standard. As a resumain required audio standard. As a resuthe number of broadcasters that requthe number of broadcasters that reququick and easy method of capturingquick and easy method of capturingin 5.1 whilst maintaining compatibility for

in 5.1 whilst maintaining compatibility for stereo SD transmissions is increasing fast.

stereo SD transmissions is increasing fast. Using SoundField technology there’sUsing SoundField technology there’sneed for costly multi-microphone arrneed for costly multi-microphone arrays, spaced-capsule ‘dummy heads’ or compl

spaced-capsule ‘dummy heads’ or complex recording techniques – and unlike that from

recording techniques – and unlike that from spaced arrays, the multi-channel aspaced arrays, the multi-channel audio that SoundField generates is complthat SoundField generates is completely phase-coherent.phase-coherent.

SoundField DigitalSoundField DigitalSince 2006, when its DSF-2 digital Since 2006, when its DSF-2 digital microphone systems were fi rst released

microphone systems were fi rst released

designed for: its all-digital design offers ahigh-quality, accurate signal path, and the microphone can be used to generate stereo and surround audio for simultaneous SD and HD transmissions at up to 300 metres from its associated processor. The processor, in turn, can be situated up to a kilometre from the associated OB vehicle, providing a reliable operating distance of up to 1.3 kilometres from the microphone head. This offers a further unique advantage in outside broadcast situations where the remote vehicle is situated a long way fromthe action being fi lmed.The 1U-rack DSF-2 controller unit offers live decoding to stereo, M/S, and SoundField B-Format (which can be further decoded into any existing or future multi-channel audio format if required). The stereo signal may be output directly from the DSF-2 in the analogue or digital domain via rear-panel XLRs or AES/75Ω BNC connectors respectively, while the M/S and B-Format signals are output digitally. From here, thedigital B-Format signals may be decoded to5.1 surround by SoundField’s DSF-3 Digital Surround Processor, or by the company’s Surround Zone decoding software plug-in,

in Germany, satellite broadcaster Sky subsequently began using DSF-2 systems on the majority of their live HD sports broadcasts, including international golf,rugby, cricket, and darts, and in 2008 a DSF-2 was used during the BBC’s HD coverage of Wimbledon for the fi rst time. Now it has begun to see use outside the realms of sport; 2009 has seen a DSF-2 being used on ITV’s The X-Factor, and to capture the reactions of the live audience in 5.1 during Harry Hill’s BAFTA-winning TV Burp.SoundField PortableThe company’s most affordable products are also their most portable. Like all SoundField systems, the ST350 generates SoundFieldB-Format and consists of a multi-capsule microphone and an associated processor unit. However, in this system, the mic is about half the size and weight of other SoundField mics, and the decoder/processor can be powered from the mains or batteries. This makes the ST350 ideal for use inthe fi eld: Sound Designer Wayne Pashley (pictured above right) recently made it his mic of choice whilst travelling around the far reaches of the outback capturing Austral

The SoundField DSF-2 in use d DSF-2 in use capturing the ambience on Cambience on Centre Court for a BBC HD broadcast during the 2008 Wiing the 2008 Wimbledon Tennis ChampionshipsChampionships

All of the product

of our knowledge

the most coherent sound and design

between all our mod

At the core of our s

an electronic design b

concepts – CPR and A

enables us to sh

more than a black bo

CPR

The CPR system

pass fi lters, each of wh

frequency range in

area of Compensated Phase Response,

generating a constant group delay.

Thanks to the CPR system, the position o surround soun

perfectly accurate

will the PSI Audio surround system sound

much more accurate, and therefore provi

a superior working tool, but it can also

introduce signifi cant cost and space savings

when investing in a new monitoring system.

AOI

The AOI system detects movement of

the membrane and the moving coil, and

processes them using counter reaction

fi ltering. The damping rate is continuously

Full PSI Audio monitors range. A225-M, A25-M, A21-M, A17-M, A14-M

ew monitoring system.

e moving coil, and

sing counter reaction

rate is continuously

sing counter reaction

rate is continuously

K+H products are designed to be used in music, broadcast, and post production studios for tracking, mixing, and mastering.

They can be mixed freely to make large multi-channel systems. Klein + Hummel specialise in three-way systems, but have recently launched a range of subwoofers. Below we explain some of the thoughts behind our designs.

The Goal: Accurate, Absolutely Uncoloured SoundOur aim with the O 300 was to strive for nothing less than perfection in developing the best compact active reference monitor possible, with accurate, uncoloured sound, superb transient response, and ideally shaped waveguides. The O 300 is a monitor that draws upon all of Klein + Hummel’s years of experience in monitor design (see “Progress built on tradition” box-out), and has been fi ne-tuned through extensive computer simulations and countless listening tests. The three-way design makes this loudspeaker system extremely precise and revealing of detail, thereby enabling the mixing engineer to make critical judgments with supreme confi dence.

Exact Localisation And Extraordinary Sense Of SpaceA dense, low-resonanc

The elliptical shape reduces the early refl ections off the console surface, which would otherwise interfere with the direct sound from the loudspeaker. At the same time, the effective horizontal listening area is made wider, giving the recording engineer greater freedom of movement along the console. The use of LRIM™ has also made it possible to align the acoustic centres of the two drivers exactly on one plane, thereby preventing time and phase coherency problems at the crossover frequencies. This allows the individual drivers to work

together perfectly to produce a precisely detailed soundstage.

Superb Sonic QualitiesThe three magnetically shielded drivers use

across all formats and industries. Bypassable 80Hz tries. Bypassable 80Hz forth-order crossovers offer compatibility

compatibility with consumer replay systems,

with consumer replay systems, and fl exible acoustical controls (consisting of output ing of output level, low cut, a parametric equaliser, and

ic equaliser, and an eight-position phase conan eight-position phase control) allow trol) allow for seamless system integfor seamless system integration. Built-in

ration. Built-in volume control and a hardwvolume control and a hardware remote are remote control allows for centralised scontrol allows for centralised system ystem control independent of the control independent of the source, and source, and the electronics can be rthe electronics can be remote located to

emote located to reduce cabling. Finally, there is integrated re is integrated electronic limiter for amplifi er, driver

mplifi er, driver protection, low heat dissipation amplifi ers,

O 300, Compact 3-way active monitor

live within a classroom, church, or

home studio, and has the

of use for even the least technically

minded person.

Early 2008 saw the

introduction of the DR-1

portable hand held reco


+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

AM+

+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

AM+

+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

AM+





recording solution. With no compromise

price and quality TASCAM has made a reputa

for quality at an affordable price.

When it comes to professional audio recorders for the audio, movie, and broadcast industries, no-one can match Fostex’s pedigree, product line up, and its unique understanding of the tasks at hand.

PD606 DVD/HD Location Recorder:Audio Aquisition That’s As Versatile As You Are.Designed from the ground up to excel in ‘real-world’ applications, wherever you happen to be in the world.

The PD606 8-track location recorder The PD606 8-track location recorder The PD606 8-track location recorder offers spectacular audio quality, fl exible offers spectacular audio quality, fl exible offers spectacular audio quality, fl exible offers spectacular audio quality, fl exible recording to 12cm DVD-RAM, hard disk, recording to 12cm DVD-RAM, hard disk, recording to 12cm DVD-RAM, hard disk, recording to 12cm DVD-RAM, hard disk, or a combination of both, rock solid or a combination of both, rock solid or a combination of both, rock solid timecode implementation, extended timecode implementation, extended timecode implementation, extended

battery life, loads of ‘instant access’ knobs, buttons, and switches, plus a whole battery of interface options.

But impressive features are only part of the script. Fostex’s only part of the script. Fostex’s unrivalled pedigree in designing and unrivalled pedigree in designing and unrivalled pedigree in designing and manufacturing world class location manufacturing world class location manufacturing world class location recorders for over 16 years, and our recorders for over 16 years, and our recorders for over 16 years, and our recorders for over 16 years, and our unique understanding of the broadcast, unique understanding of the broadcast, unique understanding of the broadcast, unique understanding of the broadcast, fi lm, TV, and audio acquisition fi lm, TV, and audio acquisition fi lm, TV, and audio acquisition fi lm, TV, and audio acquisition environments means that the PD606 environments means that the PD606 environments means that the PD606 environments means that the PD606

recorder isn’t just the best PD recorder ever, it’s simply the best professional location recorder available today.

Digital Mixing And 8-Track RecordingFollowing Fostex’s philosophy of ‘real knobs and buttons are better’, recording, mixing, and routing is an intuitive experience. No multiple button pushes and complex menus to change a level, just turn a knob. Yet don’t confuse ease of use with a lack of features, as the PD606 offers a multitude of mixing options and recording sophistication: fl exible 8-track simultaneous recording via AES/EBU (six channels when using the analogue XLR inputs), full 8-channel the analogue XLR inputs), full 8-channel analogue outputs, and the ability to analogue outputs, and the ability to digitally store monitor mix settings.

FR2-LE CF-Based Field Recorder

Here is a compact audio recorder

10

+ + ++ + + FOSTEXFOSTEXFOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ ++ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ ++ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ +

+ + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ ++ + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ ++ + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ ++ + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ +

+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

AM+

+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

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+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

AM+








PD606 On Location With James BondChris Munro recently used the PD606 on the new James Bond fi lm. Quantum of Solace Quantum of Solace Quantum of Solace Quantum of Solace

+ + + + TASCAM+ + + + TA


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+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

AM+is Chris’s fi fth Bond movie, having worked on Casino Royale Casino Royale

+ + + + TASCAM+ + + + TA


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+ + + + TASCAM+ + + + TA


SCAM+ + + + ++ + TASC

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(for which he was awarded a (for which he was awarded a (for which he was awarded a (for which he was awarded a (for which he was awarded a

+ + + + TASCAM+ + + + TA


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(for which he was awarded a

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BAFTA), Tomorrow Never Dies, The World Is Not EnoughTomorrow Never Dies, The World Is Not Enough

+ + + + TASCAM+ + + + TA


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Tomorrow Never Dies, The World Is Not Enough

+ + + + TASCAM+ + + + TA


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+ + + + TASCAM+ + + + TA


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and

+ + + + TASCAM+ + + + TA


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Die Another Day.

+ + + + TASCAM+ + + + TA


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Die Another Day.

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Die Another Day.

+ + + + TASCAM+ + + + TA


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Fostex researched the entire production process, aFostex researched the entire production process, aFostex researched the entire production process, a

+ + + + TASCAM+ + + + TA


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Fostex researched the entire production process, a

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Fostex researched the entire production process, a

+ + + + TASCAM+ + + + TA


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nd gathered extensive user nd gathered extensive user comments when designing the PD606. The maccomments when designing the PD606. The maccomments when designing the PD606. The mac

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comments when designing the PD606. The mac

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comments when designing the PD606. The mac

+ + + + TASCAM+ + + + TA


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hine now takes full size DVD discs for hine now takes full size DVD discs for

Why Compromise On Quality? hine now takes full size DVD discs for

Why Compromise On Quality? greater recording time, and has been redesigned for sim

+ + + + TASCAM+ + + + TA


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greater recording time, and has been redesigned for sim

+ + + + TASCAM+ + + + TA


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greater recording time, and has been redesigned for sim

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Why Compromise On Quality? greater recording time, and has been redesigned for sim

Why Compromise On Quality? pler operation. Chris explained, pler operation. Chris explained,

Why Compromise On Quality? pler operation. Chris explained,

Why Compromise On Quality? “Despite what the name suggests, the PD6

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“Despite what the name suggests, the PD6

+ + + + TASCAM+ + + + TA


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Why Compromise On Quality? 06 is

Why Compromise On Quality? effectively an 8-track machine. Whilst it has six



Why Compromise On Quality? inputs, there are also two mix tracks availabl

Why Compromise On Quality? In the same way that the PD6 was design-based on Why Compromise On Quality? In the same way that the PD6 was design-based on Why Compromise On Quality?

the DV40, the PD606 is design-based on an 8-track machine. What’s more, varying numbers

Whether its high quality recording at up to 1an 8-track machine. What’s more, varying numbers


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a real space and time bonus for editors.” recording, or syncing to code, TASCAM ha

recording solution. With no compromise a real space and time bonus for editors.”


I was confi dent inrecording solution. With no compromise


price and quality TASCAM has made a reputaI was confi dent in


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+ + + + TASCAM+ + + + TA


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Professional Audio Recording For Film, Music, And Broadcast


by incorrect settings, as

there will be a chance to

change them.

And most importantly,

a microphone must

do its job as well as

possible. To improve its

PRODUCTS

In 2008-2009, Violet in

microphones and accessories.

The Wedge

The Wedge is designed as Violet’s next

generation of universal-wide

application studio microphone,

recording All over the world, TV companies are

range takes advantage

, and we strive to deliver

ent sound and design

between all our models.

At the core of our speaker performance is

an electronic design based on two exclusiv

concepts – CPR and AOI. This technolo

enables us to show people that PSI Audio is

more than a black box.

The CPR system consists of multiple all-

pass fi lters, each of which acts in a specifi c

frequency range in order to obtain a wide

area of Compensated Phase Response,

ant group delay.

R system, the position of

the reproduction of th

The speaker system represents the

reference tool of every sound engineer.

An accurate transient response particularly

helps the sound engineer during the fi ne

tuning of the reverbs effects, or during the

design of a specifi c sound and its position in

the sound image.

As a sound recording passes through

the sound enginee

of the reasons why speak

strongly recommend using speakers of

the same type when creating a surround

sound system. The CPR system by PSI

Audio features an extremely accurate and

superior surround sound image and a

much improved working environment.

One of the big advantages of the CPR system

is also that for the fi rst time a user can mix

is also that for the fi rst time a user can mix

is also that for the fi

different types of PSA Audio speakers in a

surround sound system, whilst maintaining

perfectly accurate phase response. Not only

will the PSI Audio surround system sound

e, and therefore provide

l, but it can also

K+H products aremusic, broadcast, anstudios for tracking, They can be mixed multi-channel systespecialise in three-wayrecently launched aBelow we explain somebehind our designs.

The Goal: AccurAbsolutely UncoOur aim with the O nothing less than perfthe best compact acpossible, with accursound, superb tranand ideally shaped waveguThe O 300 is a monitor

ass Managemeass Management™ nition Bass Manager™

nition Bass Manager™ is compatible with all stais compatible with all standard consumer

to the latest 7.1 HD systems. Eight channels of analogue or an optional 8-channel, 24-bit, 192kHz digital input card ensures fl exible interconnectivity for modern studios. n studios. Four-mode LFE-channel processing cessing guarantees compatibility across all across all formats and indus

O 810, with 7.1 High O 810, with 7.1 High Defi nition Bass Ma

Defi nition Bass Manager™

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

The Swiss Precision Active Monitoring Series:

range takes advantage


peaker performance is

ased on two exclusive

OI. This technology

udio is

the sound image is hi

This technology allow

surround sound

of PSI Audio sp

accurate phas

Practical Advantage

and Impact on Ster

The ear is very sensitive to group delays

or phase irregularities of sounds. The

human brain detects such irregularities

easily and processes them into space related

information such as positioning a sound

source. All traditionally designed speaker

systems suffer to a certain degree with such

irregularities. These irregularities are the

reason why some speakers produce a wider

and deeper room perception that determines

the reproduction of the sound image.

The speaker system represents the

every sound engineer.

(recording, mixing

hich various people,

refore speaker systems,

corrections may be applied

gularities that

actual recording

kers feature our unique

CPR system that generates a Compensated

Phase Response, removing such

rating a stereo image

and projected room of extreme accuracy. PSI

Audio speakers provide a more accurate and

precise reference tool to the sound engineer.

CPR Impact on Surround Sound Applications

Traditional speaker designs have different

phase responses, and therefore the phase

inaccuracy phenomenon is worse in

surround sound applications where room

information and positioning have an even

higher priority and a more critical part of

the sound engineering process. This is one

of the reasons why speaker manufacturers

using speakers of

ur vision is to be

+ + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + ++ + + KLEIN + HUMMEL+ + +

7.1 High Defi nition Bass ManagemeThe 7.1 High Defi nition Bass Manager™

The 7.1 High Defi nition Bass Manager™

The 7.1 High Defiis compatible with all stais compatible with all staformats from

mono through to the latest 7.1

16and deeper room pe

16and deeper room pe

FOSTEXinformation and pos

FOSTEXinformation and pos

higher priority and a

FOSTEXhigher priority and a

+ + + + FOSTEX+ + + +

FOSTEX+ ++ + FOSTEX

+ + + + FOSTEX+ + +

+ + + + FOSTEX+ + + +

FOSTEX+ ++ + FOSTEX

+ + + + FOSTEX+ + +

+ + + + FOSTEX+ + + +

FOSTEX+ ++ + FOSTEX

+ + + + FOSTEX+ + +

r exceptional audio r exceptional audio

jaw-dropping good jaw-dropping good

e. Fostex strives to e. Fostex strives to

io monitoring systems

ience your unique

d through

elopment, endless

real-world listening

s have achieved

eautiful second

Capitalising on Fostex’s supr

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

eme

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

knowledge of acoustics and sknowledge of acoustics and s

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

knowledge of acoustics and s

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

peaker peaker

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

peaker

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

engineering, and now offering a brighter,

The Swiss Precision Active Monitoring Series: g a brighter,

The Swiss Precision Active Monitoring Series: studio monitors are



designed inside out to p

or phase irregula


or phase irregula

human brain detects designed inside out to p

human brain detects such irregularities

designed inside out to psuch irregularities

es them into space


es them into spacerovide the best

es them into spacerovide the best

es them into space related

rovide the best related

monitoring experience, with

human brain detects


human brain detects

easily and processmonitoring experience, with

easily and processes them into space

monitoring experience, withes them into space

positioning a sound


positioning a sound minimal

positioning a sound minimal

positioning a sound

resonance, sparkling highs

easily and process


easily and process

information such asresonance, sparkling highs

information such as positioning a sound

resonance, sparkling highs positioning a sound

ionally designed speak


ionally designed speakand rich, deep

ionally designed speakand rich, deep

ionally designed speaker and rich, deep er

ertain degree with sucand rich, deep

ertain degree with such and rich, deep h

lows. And, with new ‘h

information such as

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information such as

source. All traditlows. And, with new ‘h

source. All traditionally designed speak

lows. And, with new ‘hionally designed speak

ertain degree with suc

lows. And, with new ‘hertain degree with suc

igh-gloss’ front ionally designed speak

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ertain degree with sucigh-gloss’ front

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ese irregularities are thigh-gloss’ front

ese irregularities are the igh-gloss’ front e

baffl es, they look as stun

source. All tradit


source. All tradit

systems suffer to a cbaffl es, they look as stun

systems suffer to a certain degree with suc

baffl es, they look as stunertain degree with suc

ese irregularities are th


ese irregularities are thning as they sound.

ese irregularities are thning as they sound.

ese irregularities are the ning as they sound.e

wider ning as they sound.wider

phase response

ning as they sound.phase response

PM-2 MkIIPM-2 MkII

Created for larger roCreated for larger roCreated for larger rooms, the PM-2 has

oms, the PM-2 has oms, the PM-2 has oms, the PM-2 has

the power (240 watts of the power (240 watts of the power (240 watts of bi-amped power

bi-amped power bi-amped power

actually) and sophistication actually) and sophistication actually) and sophistication actually) and sophistication and, most

importantly, the versatilimportantly, the versatility to handle the

ity to handle the ity to handle the

most demanding recording applications. rding applications. rding applications. rding applications.

Equipped with a 200mm lEquipped with a 200mm low frequency unit

ow frequency unit ow frequency unit

and remaining natural and transp



and remaining natural and transparent right

across the audio spectrum, even at high trum, even at high trum, even at high trum, even at high

sound pressure level

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

sound pressure level

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

s, the PM-2 is great for s, the PM-2 is great for s, the PM-2 is great for

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

s, the PM-2 is great for

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

today’s bass heavy musitoday’s bass heavy musi

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

today’s bass heavy musi

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

c. c. c.

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

c.

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

c.

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

PM-1 MkIIPM-1 MkII

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

PM-1 MkII

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

Perfectly proportioned an

The Swiss Precision Active Monitoring Series: Perfectly proportioned an

The Swiss Precision Active Monitoring Series: d offering the type d offering the type

The Swiss Precision Active Monitoring Series: d offering the type

The Swiss Precision Active Monitoring Series: of clear-transparent soun

The Swiss Precision Active Monitoring Series: of clear-transparent soun

The Swiss Precision Active Monitoring Series: d that singles d that singles

The Swiss Precision Active Monitoring Series: d that singles

The Swiss Precision Active Monitoring Series: out a great speaker, the

The Swiss Precision Active Monitoring Series: out a great speaker, the

The Swiss Precision Active Monitoring Series: PM-1 is capable PM-1 is capable

The Swiss Precision Active Monitoring Series: PM-1 is capable

The Swiss Precision Active Monitoring Series: of producing extremely high mely high

SPLs accurately across the SPLs accurately across the

full audio spectrum. With 120

full audio spectrum. With 120

watts of bi-amped power awatts of bi-amped power and

a bass response th

ur vision is to be a bass response th

ur vision is to be at’s full and at’s full and

dynamic, and a crisp high-dynamic, and a crisp high-

ur vision is to be dynamic, and a crisp high-

ur vision is to be end that sparkles with vitality,

end that sparkles with vitality,

the PM-1 delivers the type the PM-1 delivers the type of

sonic quality that’s usually the s usually the

domain of monitors

costing thousands.

(recording, mixing costing thousands.

(recording, mixing

PM0.5 MkIIhich various people,

PM0.5 MkIIhich various people,

refore speaker systems, PM0.5 MkII


The ideal choice for sma


The ideal choice for sma


corrections may be The ideal choice for sma

corrections may be applied The ideal choice for sma

applied ller

studios requiring nearfi eld

corrections may be

studios requiring nearfi eld

corrections may be

gularities that studios requiring nearfi eld

gularities that

monitoring, the perfectly gularities that

monitoring, the perfectly gularities that

actual recordingmonitoring, the perfectly

actual recording. monitoring, the perfectly .

formed PM0.5 MkII offers actual recording

formed PM0.5 MkII offers actual recording

kers feature our uniformed PM0.5 MkII offers

kers feature our unique formed PM0.5 MkII offers que

70watts of bi-amped power

kers feature our uni


kers feature our uni

tes a Compensated


tes a Compensated

and produces greates a Compensated

and produces greates a Compensated

ing such and produces grea

ing such t full range

performance with exceptional

Phase Response, removperformance with exceptional

Phase Response, removing such

performance with exceptional ing such

rating a stereo image performance with exceptional

rating a stereo image y. PSI performance with exceptional

y. PSI

neutrality even at high soun


neutrality even at high soun


of extreme accuracneutrality even at high soun

of extreme accuracy. PSI

neutrality even at high souny. PSI

urate and neutrality even at high soun

urate and d

pressure levels. of extreme accurac

pressure levels. of extreme accurac

provide a more accpressure levels.

provide a more accurate and

pressure levels. urate and

The compact dimensions also

provide a more acc


provide a more acc

tool to the sound engine


tool to the sound engineer.

The compact dimensions also er.

enable accurate placemetool to the sound engine

enable accurate placemetool to the sound engine

ationsenable accurate placeme

ationsnt

in confi ned or awkward space

precise reference


precise reference

und Sound Applic


und Sound Applics, with

und Sound Applics, with

und Sound Applicationss, with ations

nt s, with nt

the dispersion from the two w

CPR Impact on Surrothe dispersion from the two w

CPR Impact on Surround Sound Applic

the dispersion from the two wund Sound Applic

er designs have differe

the dispersion from the two w

er designs have differeay ported

er designs have differeay ported

er designs have different ay ported nt

ase ay ported ase

enclosure design tailored

CPR Impact on Surro


CPR Impact on Surro

Traditional speakenclosure design tailored

Traditional speaker designs have differe

enclosure design tailored er designs have differe

s, and therefore the ph


s, and therefore the phsuch that it will

s, and therefore the phsuch that it will

s, and therefore the phase such that it will ase

deliver a superb sound al

Traditional speak

deliver a superb sound al

Traditional speak

phase responsedeliver a superb sound al

phase responses, and therefore the ph

deliver a superb sound als, and therefore the ph

on is worse in

deliver a superb sound alon is worse in most regardless

on is worse in most regardless

on is worse in

ations where room most regardless

ations where room

of room acoustics. phase response

of room acoustics. phase response

inaccuracy phenomenof room acoustics.

inaccuracy phenomenon is worse in

of room acoustics. on is worse in

PM0.4

The ultra-compact PM0.4 noThe ultra-compact PM0.4 now completes

the lineup of the reputedthe lineup of the reputed PM-series ranging

PM-series ranging

from 4” to 8” woofer size. PM0.4 is naturally ze. PM0.4 is naturally

recommended for desktop use but its superb

audio performance in compact physical

size expands its applications to professional

console top studio monitoring, audio

installation, as well as portable

audio monitoring.

PM0.5-Sub MkII

Designed ideally for use witDesigned ideally for use with the PM0.5

MkII, the 110watt, 200mm driver PM0.5-

Sub produces precise, loSub produces precise, low frequency

reproduction and an excellent

reproduction and an excellent deep bass

output. Easy to set-up (justoutput. Easy to set-up (just a single gain

control and phase recontrol and phase reverse switch), the

combination of a pair of combination of a pair of PM0.5s and

PM0.5-Sub provides supePM0.5-Sub provides superb sonic quality

rb sonic quality + + + KLEIN + HUMMEL+ + +rb sonic quality + + + KLEIN + HUMMEL+ + +

+ + + KLEIN + HUMMEL+ + +rb sonic quality + + + KLEIN + HUMMEL+ + +

at an affordable price. Reat an affordable price. Recommended for

commended for

use with PM0.4.

NX Series

Want to take your recording eWant to take your recording eWant to take your recording experience to

xperience to

a whole new level? The NX-Se



a whole new level? The NX-Series Powered ries Powered

Nearfi eld Monitors for ProNearfi eld Monitors for ProNearfi eld Monitors for ProNearfi eld Monitors for Professional

Recording EnvironmRecording EnvironmRecording Environments are like nothing

ents are like nothing ents are like nothing

you’ve heard befyou’ve heard befyou’ve heard before. But don’t take our word

ore. But don’t take our word ore. But don’t take our word

for it. When choosing neafor it. When choosing neafor it. When choosing neafor it. When choosing nearfi eld monitors

rfi eld monitors rfi eld monitors rfi eld monitors

for your studio you reafor your studio you reafor your studio you reafor your studio you really ought to evaluate

lly ought to evaluate 7.1 High Defi nitiolly ought to evaluate 7.1 High Defi nitiolly ought to evaluate

as many different speaas many different speaas many different speaas many different speakers as you can

kers as you can The 7.1 High Defikers as you can The 7.1 High Defikers as you can

NX-5A


the sound image is highly accurate.

This technology allows the design of

surround sound systems with different types

of PSI Audio speakers that maintains an

accurate phase response.

Practical Advantages of CPR,

and Impact on Stereo Applications

The ear is very sensitive to group delays

rities of sounds. The

various processes (recording, mixing

and mastering) in which various people,

locations, and therefore speaker systems,

will be involved, corrections may be

due solely to phase irregularities that

are not present on the actual recording

The PSI Audio speakers feature our uni

CPR system that genera

Phase Response, remov

irregularities, generating a stereo image

and projected room of extreme accurac

provide a more acc

to Swiss watch designers. Our vision is to be

dio, combining innovation, creativity

Choosing Nearfi eld

Monitors Should Be Easy

PM Series Grare not present on the

PM Series Grare not present on the

The PSI Audio speaPM Series Gr

The PSI Audio speaoup

The PSI Audio speaoup

The PSI Audio spea

After all, they only have one job to do. The job of monitoring.

Not enhancing, not diminishing, not in any way altering

the source material.




recordings to be made using either

er microphones



made direct to SD

card (Secure Digital) in either WAV or

fered not only basic

that would appeal

to musicians such

on-board effects,

playback controls.

can be moved 90

degrees, and left-

right swapped depending


TASCAM didn’t stop at fo

musicians as a whole, an

one step further introduc

This recorder offers g

features such as a buil

guitar impedance inp

and a rhythm loop play

TASCAM

Early 2008 saw the




Here is a compact audio recorder designed from the ground-up to meet









Why Compromise On Quality? In the same way that the PD6 was design-based on Why Compromise On Quality?




using either

er microphones



made direct to SD

in either WAV or


right swapped depending on how the


TASCAM didn’t stop at focusing on

musicians as a whole, and decided to go

one step further introducing the GT-R1.

This recorder offers guitarist specifi c

features such as a built in guitar trainer,

guitar impedance input, guitar effects,

and a rhythm loop player.

quality of the DR1 a

affordable price. This new unit is ideal

for anyone wanting to record high

quality recordings, either using the

onboard mics, external mics, or line

inputs direct from a mixer. If you don’t

need the musicians’ features of the

DR1, then this makes the DR7 an

ideal purchase.

The second

offering is the

DR100, which is

a pro handheld

fi tting somewhere

between the DR1

and the HDP2. Four

sensitive onboard

microphones offer

a host of options,

an onboard

speaker to preview your recordings, and

more importantly, the option for 2 XLR

mic or line inputs allowing for phantom

powered microphones or balanced line

inputs to be connected. This would

make the DR100 ideal for anyone who

doesn’t need to synchronise to video,

but wants to use any of the hundreds

of microphones on the market.

, church, or

simplicity

st technically

Early 2008 saw the




Audio Media is prou

the addition of two new products

These new units complete the line for

TASCAM, providing a solution for every

instance of fi eld recording.

The DR07 is a slim-line stereo

handheld, offering the same high

quality of the DR1 at an even more


Here is a compact audio recorder designed from the ground-up to meet designed from the ground-up to meet and exceed the needs of professionals

second ‘pre-record’ buffer, meaning there should never be a missed take or there should never be a missed take or lost soundbite.

FOSTEX

Whether its high quality recording at up to 192k,











inputs, there are also two mix tracks available. In the same way that the PD6 was design-based on Why Compromise On Quality? In the same way that the PD6 was design-based on Why Compromise On Quality?

Whether its high quality recording at up to 1In the same way that the PD6 was design-based on

Whether its high quality recording at up to 192k, In the same way that the PD6 was design-based on 92k, the DV40, the PD606 is design-based on

Whether its high quality recording at up to 1the DV40, the PD606 is design-based on




of tracks can be recorded throughout a single d









a real space and time bonus for editors.”









for quality at an affordable price. so important to have a

for quality at an affordable price. away from home.”.”



and exceed the needs of professionals in the fi eld. It records to CompactFlash in BWF at 24-bit 96kHz quality, is equipped with two professional phantom powered XLR microphones, and is packed with useful features like a one take = one fi le recording system which eliminates overwrites, and a two second ‘pre-record’ buffer, meaning

Whether its high quality recording at up to 192k,

compressed recording of MP3, portability, music

recording, or syncing to code, TASCAM has a fi eld

recording solution. With no compromise between

price and quality TASCAM has made a reputation


In the same way that the PD6 was design-based on

Whether its high quality recording at up to 1In the same way that the PD6 was design-based on

Whether its high quality recording at up to 192k, In the same way that the PD6 was design-based on 92k, the DV40, the PD606 is design-based on

Whether its high quality recording at up to 1the DV40, the PD606 is design-based on


compressed recording of MP3, portability, mthe DV40, the PD606 is design-based on

compressed recording of MP3, portability, mthe DV824,

Whether its high quality recording at up to 1the DV824,


compressed recording of MP3, portability, mthe DV824,

compressed recording of MP3, portability, music the DV824, usic an 8-track machine. What’s more, varying numbers



compressed recording of MP3, portability, man 8-track machine. What’s more, varying numbers

compressed recording of MP3, portability, ms a fi eld

an 8-track machine. What’s more, varying numbers s a fi eld of tracks can be recorded throughout a single d



recording, or syncing to code, TASCAM haof tracks can be recorded throughout a single d

recording, or syncing to code, TASCAM has a fi eld of tracks can be recorded throughout a single ds a fi eld isc, s a fi eld isc, s a fi eld

and track confi guration can be changed at will. I



recording solution. With no compromise and track confi guration can be changed at will. I

recording solution. With no compromise between and track confi guration can be changed at will. Ibetween f between f between only two or four tracks are required, it doesn’t



recording solution. With no compromise only two or four tracks are required, it doesn’t


price and quality TASCAM has made a reputaonly two or four tracks are required, it doesn’t

price and quality TASCAM has made a reputafi ll the others with blank space, which is fi ll the others with blank space, which is

price and quality TASCAM has made a reputafi ll the others with blank space, which is

price and quality TASCAM has made a reputation fi ll the others with blank space, which is tion a real space and time bonus for editors.”



price and quality TASCAM has made a reputaa real space and time bonus for editors.”



price and quality TASCAM has made a reputa the PD606, and k

price and quality TASCAM has made a reputa the PD606, and k

price and quality TASCAM has made a reputanow the Fostex

price and quality TASCAM has made a reputanow the Fostex

price and quality TASCAM has made a reputa design quality won’t let me down. It’s et me down. It’s so important to have a



for quality at an affordable price. so important to have a

for quality at an affordable price. machine

for quality at an affordable price. machine

for quality at an affordable price. I can rely on when rec

for quality at an affordable price. I can rely on when rec

for quality at an affordable price. ording on location


s a fi eld

between

designed from the ground-up to meet designed from the ground-up to meet and exceed the needs of professionals and exceed the needs of professionals in the fi eld. It records to CompactFlash in the fi eld. It records to CompactFlash in BWF at 24-bit 96kHz quality, is equipped with two professional phantom powered XLR microphones, and is packed with useful features like and is packed with useful features like a one take = one fi le recording system which eliminates overwrites, and a two which eliminates overwrites, and a two

Ideal for for anyone wantingIdeal for for anyone wanting to record high

Ideal for to record high

musicians, quality recordingmusicians, quality recordings, either using the

musicians, s, either using the

journalists, and

onboard mics, exjournalists, and

onboard mics, external mics, or linjournalists, and ternal mics, or lin

a mixer. If you donjournalists, and

a mixer. If you donpodcasters, the

inputs direct frompodcasters, the

inputs direct from a mixer. If you donpodcasters, the a mixer. If you don

s’ features of thepodcasters, the

s’ features of theOlympus LS-

need the musicianOlympus LS-need the musicians’ features of the

Olympus LS-s’ features of the

10DR1, then this m10DR1, then this m enables the DR1, then this m enables the DR1, then this makes the DR7 an

enables the akes the DR7 an

spontaneous ideal purchase.spontaneous ideal purchase.

The secspontaneous The secspontaneous

capture of The seccapture of The seccapture of

anything from offering is the anything from offering is the

DR100, which is anything from DR100, which is anything from

an impromptu DR100, which is an impromptu DR100, which is

a pro handheld an impromptu a pro handheld an impromptu

jam session to a pro handheld jam session to a pro handheld

fi tting somewhere jam session to fi tting somewhere jam session to

an unexpected fi tting somewhere

an unexpected fi tting somewhere

between the DR1 an unexpected between the DR1 an unexpected

encounter with between the DR1

encounter with between the DR1

encounter with

a politician, and the HDP2. Four

a politician, and the HDP2. Four

a politician,

or even a nature soundscape – all in sensitive onboard

oundscape – all in sensitive onboard

oundscape – all in

superb 24-bit/96kHz quality. In additiomicrophones offer

quality. In additiomicrophones offer

a host of options, quality. In additioa host of options, quality. In addition microphones offer

n microphones offer

to extra long batto extra long battery life, there’s alsa host of options,

tery life, there’s alsa host of options,

tery life, there’s also a host of options, o a host of options,

a generous 2GB of internal memoryan onboard of internal memoryan onboard

,

plus an

on how the plus an

on how the SD cardspeaker to preview yourSD cardspeaker to preview your

slotspeaker to preview your

slotspeaker to preview your

for ample stospeaker to preview your

for ample stospeaker to preview yourrage speaker to preview yourrage speaker to preview your recordings, and

rage recordings, and

more importantly, the optirage

more importantly, the opti

with the potential on how the with the potential on how the speaker to preview your

with the potential speaker to preview your

more importantly, the opti

with the potential more importantly, the opti

to expand at any more importantly, the opti

to expand at any more importantly, the opti

time. The LS-10more importantly, the opti

LS-10more importantly, the opti

mic or line inputs allowingLS-10mic or line inputs allowing

cmic or line inputs allowing

cmic or line inputs allowing

omes equipped withmic or line inputs allowing

omes equipped withmic or line inputs allowing

everything you necusing on everything you necusing on

d decided to go everything you ne

d decided to go mic or line inputs allowing

everything you nemic or line inputs allowing

powered microphones everything you nepowered microphones

ed to create high-powered microphones

ed to create high-powered microphones

quality sound prd decided to go quality sound prd decided to go

ing the GT-R1. quality sound pr

ing the GT-R1.

powered microphones

quality sound prpowered microphones

inputs to be connected. T

quality sound prinputs to be connected. Tojects, from a largepowered microphones

ojects, from a largepowered microphones

inputs to be connected. Tojects, from a large


easy to view 1.8-incing the GT-R1. easy to view 1.8-incing the GT-R1.

uitarist specifi c easy to view 1.8-inc

uitarist specifi c


easy to view 1.8-incinputs to be connected. T

make the DR100 idealeasy to view 1.8-inc

make the DR100 idealh LCD panel, to hig

make the DR100 idealh LCD panel, to hig

make the DR100 ideal for anyone who

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doesn’t need to synchronh for anyone who h for anyone who

sensitive microphouitarist specifi c

sensitive microphouitarist specifi c

t in guitar trainer, sensitive micropho

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e. of microphones on the

High-Quality Audio In Compact Form

Whether you’re a musician hit by

a sudden wave of inspiration, or a f inspiration, or a

reporter caught inreporter caught in the midst of a

breaking story – the LS-10 Linear

PCM Recorder is the ideal tool for

high-quality audio capture on the

go. Boasting a high-sensitivity, noise

reduction stereo microphone, sampling

rates of up to 24-bit/96kHz and PCM

recording, this portable device delivers

very good sound quality. Users are

given additional fl exibility thanks to

to WMA and MP3MP3, the WAV format is

also on hand to also on hand to satisfy the demands of

even the most disceeven the most disce

a mixer. If you doneven the most disce

a mixer. If you don’t even the most disce’t

rning audiophiles.

High-Sensitivity MicroHigh-Sensitivity Micro

s’ features of theHigh-Sensitivity Micro

s’ features of the phones

And Amplifi er CircAnd Amplifi er Circ

ideal purchase.And Amplifi er Circ

ideal purchase.uitry

The ideal purchase.The ideal purchase.

ond The ond

LS-10 incorp incorporates built-in stereo

microphones withmicrophones withond microphones withond

offering is the microphones with

offering is the higher sensitivity

and lower noiseoffering is the

and lower noiseoffering is the

DR100, which is and lower noise

DR100, which is . A rigid microphon. A rigid microphone

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housing constructeDR100, which is

a pro handheld housing constructe

a pro handheld d of carving-

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processed aluminiua pro handheld

fi tting somewhere processed aluminiu

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possible high-prbetween the DR1 possible high-prbetween the DR1

and the HDP2. Four possible high-pr

and the HDP2. Four ecision alignment.ecision alignment.

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To derive the maximand the HDP2. Four

sensitive onboard To derive the maxim

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in terms of frequenin terms of frequensensitive onboard

in terms of frequensensitive onboard

microphones offer in terms of frequen

microphones offer cy response and

directivity, the micmicrophones offer directivity, the micmicrophones offer

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a host of options, rophone unit size rophone unit size

and the opening oa host of options, and the opening oa host of options,

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carefully designean onboard carefully designean onboard

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s s

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or balanced line the microphones u

or balanced line nits nits

with 90° outwardor balanced line with 90° outwardor balanced line

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orientation. The his would orientation. The his would

for anyone who orientation. The

for anyone who design design

makes it possibl for anyone who makes it possibl for anyone who

ise to video, makes it possiblise to video,

e

to record wider andise to video, to record wider andise to video,

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more natural steree hundreds more natural steree hundreds

market. more natural stere

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sound fi elds withomarket. sound fi elds withomarket. ut

worrying about centre entre

positioning.

The microphone The microphone

amp circuitry employs

discrete chips for

the left and right

channels to prevent

interference with the

signal between channels, assuring the

clearest possible signal transmission

with improved signal-to-noise ratio.

The analogue signal circuitry employs

an independent power supply to reduce

the interference form the power supply

subtle nuances of

the original sothe original sothe original sound are not affectedund are not affected

resulting in a superesulting in a supe

The integrity of thThe integrity of th

maintained by commaintained by com

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and the audio circuand the audio circu

possible noise.possible noise.

The LS-10LS-10 allow

adjust the recordinadjust the recordin

with switchable lwith switchable l

optimum level by choptimum level by ch

meter display on thmeter display on th

PEAK indicator. AnPEAK indicator. An

control function iscontrol function is

Stereo Speakers In A CoStereo Speakers In A Co

The LS-10LS-10

durable body. Asdurable body. As

the the LS-10

speakers that allospeakers that allo

high quality sounhigh quality soun

anywhere, anytimanywhere, anytim

The Reverb func

select the reverbeselect the reverbe

fi ve modes (NORfi ve modes (NOR

+ + +for quality at an affordable price.

+ + +for quality at an affordable price.

OLYMPUSOLYMPUSfor quality at an affordable price.

OLYMPUSfor quality at an affordable price.


OLYMPUSfor quality at an affordable price. I can rely on when rec

OLYMPUSI can rely on when rec



+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ buffer, meaning

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ buffer, meaning there should never be a missed take or + + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMthere should never be a missed take or + + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM away from home+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM away from home.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM

.”.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM

.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ buffer, meaning

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ buffer, meaning there should never be a missed take or + + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMthere should never be a missed take or + + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM design quality won’t l

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM design quality won’t let me down. It’s

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMet me down. It’s et me down. It’s

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMet me down. It’s I can rely on when rec

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMI can rely on when recording on location+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM

ording on location away from home+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM away from home.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM

.”.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM

.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM

which eliminates overwrites, and a two

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMwhich eliminates overwrites, and a two which eliminates overwrites, and a two

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMwhich eliminates overwrites, and a two second ‘pre-record’ buffer, meaning

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ buffer, meaning PUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + +

PUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + +

The Olympus LS-10: simplicity

The Olympus LS-10: simplicity

Tomorrow’s OfferingsThe Olympus LS-10: Tomorrow’s Offerings

Audio MediaThe Olympus LS-10: Audio Media is prouThe Olympus LS-10:

is proud to announce The Olympus LS-10: d to announce

w products The Olympus LS-10: w products The Olympus LS-10: The Olympus LS-10:

Tomorrow’s OfferingsThe Olympus LS-10: Tomorrow’s Offerings

d to announce The Olympus LS-10: d to announce

FOSTEX

The Olympus LS-10: FOSTEX

High-End Sound Recording On Demand High-End Sound Recording On Demand High-End Sound Recording On Demand

simplicity

High-End Sound Recording On Demandsimplicity

st technically High-End Sound Recording On Demandst technically the addition of two ne

High-End Sound Recording On Demandthe addition of two new products

High-End Sound Recording On Demandw products

from TASCAM, the DR07 High-End Sound Recording On Demandfrom TASCAM, the DR07 and DR100.

High-End Sound Recording On Demand and DR100.

These new units com High-End Sound Recording On Demand

These new units complete the line for High-End Sound Recording On Demandplete the line for

g a solution for every High-End Sound Recording On Demand

g a solution for every High-End Sound Recording On Demand High-End Sound Recording On Demand

Early 2008 saw the


These new units comThese new units com

TASCAM, providin

instance of fi eld record


state media, and allowed portable hand held recorder.

Once again this used solid

ed handheld, offering


instance of fi eld record

The DR07 is a sl

handheld, offering



for high quality 24-bit 48k

using either

er microphones


affordable price. This ne

for anyone wanting

quality recordinger microphones

or plugging in some separate mics.

This small hand held recorder allowed

made direct to SD

quality recording

onboard mics, ex

inputs direct from

need the musicianmade direct to SD

in either WAV or


inputs direct from

need the musician

DR1, then this m

from TASCAM, the DR07

These new units comfrom TASCAM, the DR07



These new units comfrom TASCAM, the DR07

Seize the moment in sound with the emSeize the moment in sound with the em

TASCAM, providinSeize the moment in sound with the em

TASCAM, providing a solution for every

Seize the moment in sound with the emg a solution for every powering ability to record

powering ability to record

high-end audio anywhere at anytimhigh-end audio anywhere at anytim

instance of fi eld recordhigh-end audio anywhere at anytim

instance of fi eld recording.high-end audio anywhere at anytiming.

The DR07 is a slhigh-end audio anywhere at anytim

The DR07 is a slim-line stereo high-end audio anywhere at anytimim-line stereo

e. The Olympus LS-10 Linear PCM e. The Olympus LS-10 Linear PCM

Recorder captures superior audioRecorder captures superior audio

handheld, offeringRecorder captures superior audio

handheld, offering the same hiRecorder captures superior audio the same high

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t an even more Recorder captures superior audio

t an even more

at the touch of a button – with an at the touch of a button – with an

exceptional design that fi ts comfortablexceptional design that fi ts comfortabl

quality of the DR1 aexceptional design that fi ts comfortabl


exceptional design that fi ts comfortablt an even more

affordable price. This neexceptional design that fi ts comfortabl

affordable price. This new unit is ideal exceptional design that fi ts comfortablw unit is ideal exceptional design that fi ts comfortabl

exceptional design that fi ts comfortabl

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exceptional design that fi ts comfortablt an even more

w unit is ideal exceptional design that fi ts comfortablw unit is ideal

y in the palm of your hand.y in the palm of your hand.

und are not affectedund are not affected

resulting in a superior S/N ratio.

The integrity of the signal is also

maintained by completing separatin

the system control (digital) circuitry

and the audio circuitry to reduce any

allows you to fi ne-

LS-10 incorp

speakers that allo

high quality soun

anywhere, anytim

The Reverb func

select the reverbe

powering ability to record

e. The Olympus LS-10 Linear PCM

at the touch of a button – with an

y in the palm of your hand.

Violet Design was fou

in 2003 by Stanislav Rubin

The company is a worldwide

distribution centre and sales

representative of Violet and

Flamingo brand microphones.

The factory started to

manufacture microphon

in late 1994. Its fi rst caps

placed in legendary vin

U47, M49, M50, C12, an

new generation of caps

you can get the same perfect, original soun

and an expressive des

line of microphones

Philosophy

Violet’s main philosoph

handcrafted micropho

style and excellent s

innovative solutions

manufacturing without l

details of vintage sound.

We believe that in th

music recording, the

things are passion an

nothing should get in

So in our ideology o

trust in three simple poin

• It must sound good

• It must look nice

• It must be as simple a

28


rior S/N ratio.

e signal is also

pleting separatin

ol (digital) circuitry

itry to reduce any

s you to fi ne-

any pocket, bag,

or backpack – and

back out again when

inspiration strikes

Despite its compact,

165-gram design,

incorporates built-in stereo

speakers that allow you to enjoy

high quality sound playback

anywhere, anytime.

The Reverb function allows you to

select the reverberation effect from

fi ve modes (NORMAL, STUDIO, CLUB,


at the touch of a button – with an


rior S/N ratio.

e signal is also

pleting separatin


questions you should questions you should ask before

a case that CF is a medium less easy to lose aany pocket, bag, less easy to lose aany pocket, bag,

or backpack – andless easy to lose a

or backpack – andnd more label friend more label friendly. Some machines offeor backpack – andSome machines offeor backpack – and r fi xed storage, either fi xed storage, either Flash or hard disback out again wFlash or hard disback out again when Flash or hard dishen k-based, with hard dk-based, with hard disk ushering in the prinspiration strikesushering in the prinspiration strikes. ushering in the pr. ofessional world for ofessional world for the most part. If spinn

inspiration strikesmost part. If spinn

inspiration strikes

Despite its compacmost part. If spinnDespite its compact, most part. If spinnt, ing silver disks are yoing silver disks are yot, ing silver disks are yot,

ur bag, then you can still soDespite its compac

then you can still soDespite its compac

165-gram desigthen you can still so165-gram design, then you can still son, urce a CD recorder urce a CD recorder or a direct to DVD mach165-gram desig

direct to DVD mach165-gram desig

orates built-in sterdirect to DVD machorates built-in stereo direct to DVD macheo ine, but these are ine, but these are not widely availableorates built-in ster

not widely availableorates built-in ster

w you to enjoy not widely available

w you to enjoy .

Post Recordd playback Post Recordd playback

The next question is cltion allows you to

The next question is cltion allows you to osely related to osely related to the fi rst one. What sotion allows you to the fi rst one. What sotion allows you to

ration effect from the fi rst one. What so

ration effect from rt of post recording rt of post recording workfl ow do you have?ration effect from workfl ow do you have?ration effect from

MAL, STUDIO, CLUworkfl ow do you have?

MAL, STUDIO, CLUB, workfl ow do you have?

B, Virtually every Virtually every machine can be connectMAL, STUDIO, CLUmachine can be connectMAL, STUDIO, CLUB, machine can be connectB,

ed over USB or ed over USB or Firewire to transfer the

card. To close this sectiocard. To close this section, consider if youwant some sort of autowant some sort of auto pre-record function where the audio input owhere the audio input of the machine is continuously routed continuously routed to a buffer so you never miss that quote. Anmiss that quote. And if you do want that feature, you’ll want feature, you’ll want to check the buffer time at all the data rates at all the data rates you’ll be using.

Question Of Quality Question Of Quality Data rate and audio quData rate and audio quality are related (though not exclusivel(though not exclusively) and your project will have parameters will have parameters you want to meet. Do you need 24-bit operDo you need 24-bit operation to ensure quality through subseququality through subsequent post production, or do you need to ror do you need to record in a compressed format to reduce uplformat to reduce upload times to your mediaserver? Some machserver? Some machines will offer high sample rates up to 1sample rates up to 192KHz, and even several MHz if you want a DSMHz if you want a DSD recorder, while otheroptions include mp3 aoptions include mp3 and mp2 recording to maximise storage anmaximise storage and compatibility withyour broadcast playouyour broadcast playout system.

I/OOnce you’ve sorted ouOnce you’ve sorted out the medium and thedata/audio formats yodata/audio formats you want to use for yourmessage, it’s time to thmessage, it’s time to think about inputs and outputs. If you wanand outputs. If you want professional mics then you’ll need XLR inthen you’ll need XLR inputs and phantompower. You’ll be looking power. You’ll be looking hard at the physicalrobustness of the mrobustness of the machine. Large XLR

recorder? Before leaving the subject of mg the subject of mics, it’s worth saying something about mic ampething about mic amps. Every machine has them, but not all micthem, but not all micamps are created equal. If you intend to ual. If you intend to use dynamic mics and want quiet recordnt quiet recordings, you’ll need low noise mic amps. Also if youmic amps. Also if youwant to record programme materimme material with a wide dynamic range, you need mic amps you need mic amps that offer plenty of head room. Are youd room. Are yourecording on the hoof? If you are, a good If you are, a good onboard limiter will often save the day. l often save the day. On the other hand, if you want bomb-proofif you want bomb-proofrecording without paying much attention toying much attention tolevel setting, you might want an AGC cit want an AGC circuit that produces a usable recording without ane recording without any manual tweaking. And if you’re doing serioud if you’re doing serious music, you may want M/S facilities alongsiM/S facilities alongside the more normal A/B format. Finally, how format. Finally, how many mic amps do you need? One is pl need? One is plenty for a reporter mic, but eight may only beight may only be just enough if you work in fi lm

InterfacingIt could be a sub section of I/O, but it’s n of I/O, but it’s worth talking interfaces. Do you need a es. Do you need a fi ve-pin XLR for a stereo mic? What about eo mic? What about a line input on a reporter’s machine to tap er’s machine to tap a phone or plug into a PA system. Some A system. Some machines offer digital outputs, will SPDIFal outputs, will SPDIF be enough or do you need AES/EBU? Becauseed AES/EBU? Becaus

ations and expressive

by Violet™

nes are

the last

t popularity

quality and

nded

in 2003 by Stanislav Rubintsik.

• Low distortions

• Wide dynamic range

• High output level

• Solid state or tube Class

A discrete preamplifi er


t popularity

The benefi ts of Violet

Design microphones are:

• High SPL level

• Very low self-noise

Low distortions

pro audio and recording industry without

technological innovations and expressive

designs introduced by Violet™

microphones. Microphones are

made in Latvia, in the same

factory that has within the last

decade achieved great popularity

worldwide with the quality and

design of its microphones.

Violet Design was founded

in 2003 by Stanislav Rubin

pro audio and recor

technological innov

designs introduced

microphones. Micropho

pro audio and recor

technological innov

designs introduced

microphones. Microphool (digital) circuitry

itry to reduce any

s you to fi ne-

pro audio and recor

technological innov

designs introduced

microphones. Micropho

und are not affectedund are not affected, ,

rior S/N ratio.

e signal is also

pleting separatin


Asking The Right QuestionsAsking The Right QuestionsAsking The Right Questions

Function GuideFunction Guidepleting separatinFunction Guidepleting separating Function Guideg





High-End Sound Recording On Demand

pro audio and recorpro audio and recor


It is almost impossibl

pro audio and recor


From the highly innovative R-0R-44, EDIROL offers a fi eld recperformances, recording interviEverest…EDIROL is a world-leading company that manufactures exceptional computer-based audio and video

presentation products, as well as a market-leading range of fi eld recorders that have won awards for

innovation and design excellence. Here we detail the professional four channel models plus the ultra compact and ultra-cool R-09HR…

EDIROL R-4The R-4 is the fi rst of EDIROL’s professional four-channel fi eld recorders. The ability to record up to

four channels simultaneou

four channels simultaneously gives you fl exibility in any recoryou fl exibility in any recording situation. Selecting four channelsSelecting four channels rather than two gives users the abilitygives users the ability to capture more ambient sounds at a conambient sounds at a concert as well as the main performance, the main performance, or it allows them to place mics on mult

them to place mics on multiple participants during, say, a

participants during, say, a recording for a video soundtrack.for a video soundtrack.The R-4 has a wide ran

The R-4 has a wide ranThe R-4 has a wide range of other

ge of other features including on bofeatures including on bofeatures including on bofeatures including on board waveform editing, superior sound qua

editing, superior sound qua

editing, superior sound quality, and

maximum 24-bit/9incredible 17 hours oan on-board limiter to ensrecordings and a Pre Reso help avoid missing vsensitive recordings –have missed that sound bibecause the R-4 will haveThere are comprehensive Ea noise gate, de-esser aplus connections for a wmedia including XLR/phjacks. Finally USB 2.0 sboard audio can be backekeys, memory cards, orof a connected PC or MThe R-4’s compact size,weight, rugged design anjust GB£878.88 have wonmany prestigious companiethe BBC, and it is being variety of industries anaround the world.

The EDIROL R-4 ProThe R-4 Pro is the next professional fi eld recorAgain it offers up to fousimultaneous recording, buexpanded feature-set capacity compared to the RPro accepts SMPTE time c

Pro accepts SMPTE time ceasily be sync’d to video eeasily be sync’d to video ethe slave device. It’s a grthe slave device. It’s a grthe slave device. It’s a grthe slave device. It’s a grthe slave device. It’s a grvideo production as up video production as up

+ + ++ + + EDIROLEDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIR

+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIR




The EDIROL R-4 offers four-

The EDIROL R-4 offers four-

The EDIROL R-4 offers four-channel fl exibility and high quality

channel fl exibility and high quality

channel fl exibility and high quality fi eld recording at a great price.

fi eld recording at a great price.




The Award-Winning Range Of EDIROL Field Recorders

8

EDIROL

All over the world, TV companies are gearing up for the move from Standard Defi nition (SD) to High Defi nition (HD) broadcasting, for which 5.1 surround is the main required audio standard. As a result, the number of broadcasters that require a quick and easy method of capturing audio in 5.1 whilst maintaining compatibility for stereo SD transmissions is increasing fast. Using SoundField technology there’s no need for costly multi-microphone arrays, spaced-capsule ‘dummy heads’ or compl

to the broadcast market, UK manufacturer SoundField has steadily become accepted amongst big-name European broadcasters as offering the tried-and-tested method of delivering broadcast-quality 5.1 surround sound – high-profi le users now include European satellite broadcaster Sky and UEFA’s exclusive media partner TEAM AG. This was exactly what the DSF-2 was designed for: its all-digital design offers ahigh-quality, accurate signal path, and t

all DAWs that support the VST multi-channel standard, such as Nuendo, Cubase, Sequoia, and Pyramix, on both PC and Mac platforms. Digital output is possible at 48, 96, and 192kHz for the best possible audio quality.In its fi rst year, the DSF-2 was used to originate simultaneous stereo and 5.1 ambience from the soccer World Cup in Germany, satellite broadcaster Sky subsequently began using DSF-2 systems

Designed and manufa

Designed and manufactured at our Yverdo

workshops in Swi

workshops in Switzerland, the latest

generation of PSI Audi

generation of PSI Audio speakers is the

culmination of 30 years of knowledge of

materials and treatments, guided by a

thorough understanding of acoustics.

The unique precision

monitors is a delicate mix between the

passion, experience a

electro-acoustic technology.

All of the product

of our knowledge, and we strive to deliver

The philosophy of PS

The philosophy of PS

globally recognised as

globally recognised as

and technology.

and technology.

ctured at our Yverdon

tzerland, the latest

o speakers is the

of knowledge of

nts, guided by a

tanding of acoustics.

The unique precision of PSI Audio

te mix between the

passion, experience and know-how of

hnology.

All of the product range takes advantage


ent sound and design

globally recognised as pioneers

the sound image is hi

This technology allow

surround sound

technology, it’s easy to see why SoundField systems are the products of choice for many HD broadcasters working in surround...

hy SoundField systems

Each Horch is a precious sound tool, that looks



great and sounds unique.

their surround-ready mic great and sounds unique.



their surround-ready mic 16

working in surround...HORCH AUDIO

working in surround...

l has been setting global standards

in sound reproduction. For over 40 years K+H has focused on the professional market by developing precise measuring

instruments – tools to analyse sound and detect the tiniest aural

+ KLEIN + HUMMEL+ + + + KLEIN + HUMMEL+ + + + KLEIN + HUMMELDecoding The DNA Of SoundSince 1945 Klein + Hummel has been setting global standain sound reproduction. For o

DYNAUDIO ACOUSTICS ASince 1945 Klein + HummeDYNAUDIO ACOUSTICS ASince 1945 Klein + Hummel has been setting global standa

DYNAUDIO ACOUSTICS Al has been setting global standa

UDIO

Decoding The DNA Of SoundUDIO

Decoding The DNA Of Sound

+ + ++ + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + +COUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + +COUSTICS+ + + + DYNAUDIO ACOUSTICS+ + + +

The Truth, The Whole Truth, And Nothing But...

Superior Tools For Critical MoFor Critical Monitoring

In fi lm, post, gaming, broadcaIn fi lm, post, gaming, broadcast, and music

productions, consistency, predictproductions, consistency, predictability, and

reliability are key. Add to this reliability are key. Add to this networkability

and central control, and you’ll know whand central control, and you’ll know why

studios throughout the world studios throughout the world rely on

Dynaudio Acoustics technologyDynaudio Acoustics technology.

Choosing Dynaudio Acoustics, yChoosing Dynaudio Acoustics, you not

only get 20 years of innovative speakonly get 20 years of innovative speaker

and driver technology thinking. You aand driver technology thinking. You also

get integrated TC Electronic digitaget integrated TC Electronic digital signal

processing. This combinationprocessing. This combination offers you

the best of both worlds, making the best of both worlds, making Dynaudio

support this. Contact your dealer or our

representative in your country to arrange

a demo.Bear in mind though, that an AIR System

is not really comparable to conventional

monitors. On top of ultimate precision

and sound, an AIR system offers fl exibility

and convenience previously unknown in

monitors. Achieving similar functionality

and features from conventional monitors

requires the addition of a number of external

boxes such as Monitor Matrix Controller,

Bass Management Crossover, external

EQs and Delays. This obviously adds to the

system price, and moreover often degrades

the signal path. With an AIR System

everything is integrated and matched – it’s

right there for you to use from the menu

on the front of a Master-Module speaker

via a 32-segment LCD display, or through

an optional dedicated hardware remote, or

an optional dedicated software application

(Mac and PC). The user interface allows

for storing and recall of factory and user

presets taking into account THX and Dolby

recommendations, reference levels, LFE

sensitivity, and so on.

AIR SoftThis MAC and PC compatible remote compatible remote

application allows central

real-time control of AIR

system parameters such as system parameters such as

volume control, reference volume control, reference volume control, reference

level, presets, and setup. AIR Soft islevel, presets, and setup. AIR Soft islevel, presets, and setup. AIR Soft is included included included

with all AIR monitors.

AIR Remote

AIR Remote provides instant access to the

AIR system volume, independent

of your DAW or computer.

Additionally, AIR Remote

features one-touch + KLEIN + HUMMEL+ + + + KLEIN +

features one-touch + KLEIN + HUMMEL+ + + + KLEIN +

operation of system operation of system

+ KLEIN + HUMMEL+ + + + KLEIN + operation of system

+ KLEIN + HUMMEL+ + + + KLEIN + reference levels, preset reference levels, preset

+ KLEIN + HUMMEL+ + + + KLEIN + reference levels, preset

+ KLEIN + HUMMEL+ + + + KLEIN + recall, and solo/mute Decoding The DNA Of Soundrecall, and solo/mute Decoding The DNA Of Sound

status for each monitor. Decoding The DNA Of Sound

status for each monitor. Decoding The DNA Of Sound

The calibrated volume knob of AIR Remote

allows accurate level setting, perfect

tracking, as well as calibrated loudness for

any AIR setup. The AIR remote is powered

through TC-Link of any AIR monitor.

AIR PC-IP

The optional PC compatible advanced Installer’s Package provides access to virtually any AIR system parameter. This includes 4-band parametric

EQ in each monitor, placemEQ in each monitor, placement delay, preset

control and more. PC-IP access control and more. PC-IP access to advanced to advanced

bass management features indepenbass management features indepenbass management features independent HP/dent HP/

LP crossover frequencies as well as phase as phase as phase

and polarity control of any AIR subwoofer. bwoofer. bwoofer.

Additionally, PC-IP allows the installer taller taller

to control system access via individual dividual dividual

parameter securing, preset protection, ection,

and UI locking.

THX Certifi ed

AIR monitor systems are AIR monitor systems are HUMMEL+ + + + KLEIN + HUMMEL

AIR monitor systems are HUMMEL+ + + + KLEIN + HUMMELTHX certifi ed for use in THX certifi ed for use in THX certifi ed for use in HUMMEL+ + + + KLEIN + HUMMELTHX certifi ed for use in HUMMEL+ + + + KLEIN + HUMMELPM3 rooms.

Dynaudio Acoustics monitors are Dynaudio Acoustics monitors are designed to speak the truth. You get exactly what you need

for your mixing – an exact reprodufor your mixing – an exact reproduction of your mix – no more, no less.

BMC-2 – How Pro Can You Go?

BMC-2 is TC Electronic’s latest digital

audio conversion and monitor controller.

With it you can enjoy the luxury of

controlling your audio

levels at all times and

during unexpected drops

or computer crashes.

It also offers digital inputs, iCheck (to

check audio compression), and calibrated

listening for headphones and active

speakers.

BMC-2: your pro DAC and monitor control!

+ KLEIN + HUMMEL+ + + + KLEIN +

+ KLEIN + HUMMEL+ + + + KLEIN + Decoding The DNA Of Sound

+ KLEIN + HUMMEL+ + + + KLEIN +

‘Golden Drops’, is used in

capsule microphones from 2008.

PRODUCTS

In 2008-2009, Violet introduced several new

essories.

+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+

communication with the

reduction of parasitic

and refl ections. New tech

‘Golden Drops’, is used inrom 2008.

+ + + + techno-physical+ + + + techno-physical+ +

Getting Techno-Physical

majority of users of microphones have very little engineering background and are far more familiar with the world of art, this should not be surprising. They have no other guidelines to follow.

Art and emotion do, without question, have a central position within music but, equally, the key to the successful recording of it is a technical understanding of the devices that need to be used. Trying to muddle up both approaches in some haphazard fashion is no help either. That leads to quaint notions, such as that tube (valve) microphones give ‘a warm sound’ because they become physically warm in use – or that large microphoyield a bigger ‘sound image’ (whatever that means) than smaller designs. This latter notion undoubtedly stems from folklore that has been fostered by those with vested interests in the promotion of large-diaphragm microphones. In purely physical terms there is, of course, no requirement terms there is, of course, no requirement for the diaphragm to be large in order to be for the diaphragm to be large in order to be able to respond to low frequencies.able to respond to low frequencies.

Making ComparisonsEvery innovation needs to be tested and proven – which leads us to the awkward problem that some of the steps forward are very small ones. To hear them requires controlled listening under good conditions and, above


all, with a proper reference; but


all too frequently a new product all too frequently a new product


all too frequently a new product


or design is assayed in splendid isolation. Expectation or fervent belief that it must be better strains judgement, and within a short time highly coloured

on attitudes to microphonor the mind?

getting techno-physicalreduction of parasitic getting techno-physicalreduction of parasitic

and refl ections. New techgetting techno-physicaland refl ections. New tech

from a single mic? With technology, it’s easy to see

+++HORCH AUDIO +++HORCH AUDIO + + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AU

The Sound Of Emotion: Horch

How Everything StartedThe founder of Horch, Gibbs Platen is very familiar with

the world of audio. His recording studio Zuckerfabrik

was famous for American Jazz and Rock productions,

and acoustic bands such as Colosseum, Wolfgang

Dauner, John Scofi eld, Alphonse Mouzon, The United

Jazz + Rock Ensemble, etc. He also freelanced for TV

and broadcast productions.

Horch was established in the 19audio experts, whose vision was tconvey emotion through soundtube microphones.

+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUSurround Recording From A Single Microphone

Surround Recording From A Single Microphone

Surround Recording

What other microphone syssimultaneous mono, stereofrom a single mic? With

Gibbs Platen, founderGibbs Platen, founder of Horch Audio. Audio.

‘Golden Drops’, is used inrom 2008.rom 2008.

tube (valve) microphones give ‘a warm

simultaneous mono, stereo

THE INTERNATIONAL BUYER’S GUIDE

A SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP



on attitudes to microphon selection, testing, and placem

‘Golden Drops’, is used inrom 2008.

communication with the membrane, and

reduction of parasitic internal resonances

and refl ections. New technology, named

‘Golden Drops’, is used in all our large

rom 2008.

are to be compared in are to be compared in are to be compared in are to be compared in an impartial way. AB

membrane, and an impartial way. AB

membrane, and an impartial way. AB an impartial way. AB an impartial way. AB an impartial way. AB tests are limited to membrane, and tests are limited to membrane, and tests are limited to tests are limited to

source. Low frequencies wisource. Low frequencies wisource. Low frequencies wisource. Low frequencies wiFor a microphone that will coin this situation a compensain this situation a compensa


and refl ections. New techgetting techno-physicaland refl ections. New technology, named

getting techno-physicalnology, named

all our large getting techno-physical all our large

majority of users of microphones have very little engineering background and are far more familiar with the world of art, this should not be surprising. They have no other guidelines to follow.

Art and emotion do, without question, have a central position within music but, equally, the key to the successful recording of it is a technical understanding of the devices that need to be used. Trying to muddle up both approaches in some haphazard fashion is no help either. That leads to quaint notions, such as that tube (valve) microphones give ‘a warm

distinguishing the better of two options, but they alone can reveal what differences there are and if, indeed, they actually exist. And ‘properly controlled’ should not be skimmed

on attitudes to microphon selection, testing, and placemor the mind?selection, testing, and placement.

+++HORCH AUDIO +++HORCH AUDIO

distinguishing the better of two options, but they alone can reveal what differences there are and if, indeed, they actually exist. And ‘properly controlled’ should not be skimmed

selection, testing, and placement.

a short time highly coloured a short time highly coloured a short time highly coloured opinions are circulating and opinions are circulating and opinions are circulating and opinions are circulating and opinions are circulating and opinions are circulating and a myth is built which is as a myth is built which is as a myth is built which is as a myth is built which is as a myth is built which is as a myth is built which is as baseless as it is hard to baseless as it is hard to baseless as it is hard to baseless as it is hard to eradicate.eradicate.

There really is no There really is no There really is no alternative to properly alternative to properly alternative to properly alternative to properly controlled listening controlled listening controlled listening controlled listening tests if audio devices tests if audio devices tests if audio devices tests if audio devices tests if audio devices

as a cardioid) will demoproximity effect when u

tube (valve) microphones give ‘a warm sound’ because they become physically warm in use – or that large microphoyield a bigger ‘sound image’ (whatever that means) than smaller designs. This latter notion undoubtedly stems from folklore that has been fostered by those with vested interests in the promotion of large-



Making ComparisonsEvery innovation needs to be tested and Every innovation needs to be tested and Every innovation needs to be tested and proven – which leads us to the awkward proven – which leads us to the awkward proven – which leads us to the awkward proven – which leads us to the awkward problem that some of the steps problem that some of the steps forward are very small ones. To hear forward are very small ones. To hear them requires controlled listening them requires controlled listening

+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+them requires controlled listening


+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+them requires controlled listening

+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+under good conditions and, above under good conditions and, above under good conditions and, above

+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+under good conditions and, above


+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+under good conditions and, above


all, with a proper reference; but all, with a proper reference; but





all, with a proper reference; but all, with a proper reference; but




all too frequently a new product all too frequently a new product all too frequently a new product or design is assayed in splendid or design is assayed in splendid or design is assayed in splendid or design is assayed in splendid isolation. Expectation or fervent isolation. Expectation or fervent isolation. Expectation or fervent isolation. Expectation or fervent belief that it must be better belief that it must be better belief that it must be better belief that it must be better belief that it must be better belief that it must be better strains judgement, and within strains judgement, and within strains judgement, and within strains judgement, and within strains judgement, and within strains judgement, and within strains judgement, and within a short time highly coloured a short time highly coloured a short time highly coloured a short time highly coloured

diaphragm microphones. In purely physical diaphragm microphones. In purely physical terms there is, of course, no requirement terms there is, of course, no requirement terms there is, of course, no requirement for the diaphragm to be large in order to be for the diaphragm to be large in order to be for the diaphragm to be large in order to be for the diaphragm to be large in order to be able to respond to low frequencies.able to respond to low frequencies.



tube microphones.

proximity effect when uproximity effect when u to a sound to a sound source. Low frequencies wisource. Low frequencies wisource. Low frequencies wi ccentuated. ccentuated. For a microphone that will coFor a microphone that will co only be used only be used in this situation a compensain this situation a compensating frequenting frequenting frequency

From A Single Microphone



Surround Recording

What other microphone syssimultaneous mono, stereo



Surround Recording

SOUNDFIELD



Surround Recording

+ + + SOUNDFIELD SOUNDFIELD

Surround Recording Surround Recording From A Single MicrophoneFrom A Single Microphone


Surround Recording Surround Recording From A Single Microphone

Surround Recording

designs approach the ideal designs approach the ideal designs approach the ideal ververy closely. Where you want to fWhere you want to fWhere you want to favour sound fravour sound from a single direction and excsingle direction and excsingle direction and exclude neighbourilude neighbouring ng instruments or unwanted soinstruments or unwanted soinstruments or unwanted soinstruments or unwanted sound, then of course you need a directicourse you need a directicourse you need a directicourse you need a directicourse you need a directional micronal microphone ophone which will be a little further which will be a little further which will be a little further which will be a little further from perffrom perfection. ection. For a start, any directional micropFor a start, any directional micropFor a start, any directional micropFor a start, any directional micropFor a start, any directional microphone (shone (such as a cardioid) will demoas a cardioid) will demoas a cardioid) will demoas a cardioid) will demonstrate the sonstrate the so-called -called proximity effect when uproximity effect when uproximity effect when used close to a sound to a sound

SOUNDFIELD



Surround Recording

SOUNDFIELD



Surround Recording

SOUNDFIELD



Surround Recording

of ears to hear everything, and common of ears to hear everything, and common sense dictates that if the microphone is sense dictates that if the microphone is an ideal one it transforms a sound into a an ideal one it transforms a sound into a perfectly corresponding electrical signal.That suggests that the closer a microphone That suggests that the closer a microphone is to the ideal, the more neutral it sounds, is to the ideal, the more neutral it sounds, and the more universally it can be used. and the more universally it can be used. and the more universally it can be used. There is certainly a wide variety of very There is certainly a wide variety of very There is certainly a wide variety of very different top-quality microphones, but it different top-quality microphones, but it different top-quality microphones, but it different top-quality microphones, but it different top-quality microphones, but it would be wiser to see these as physically would be wiser to see these as physically would be wiser to see these as physically suited to a particular application rather suited to a particular application rather suited to a particular application rather than a particular sound source.than a particular sound source.than a particular sound source.

As far as the ‘perfect’ micAs far as the ‘perfect’ microphone goes, goes, omni-directional capacitor (comni-directional capacitor (comni-directional capacitor (comni-directional capacitor (condenser) designs approach the ideal designs approach the ideal designs approach the ideal y closely.

the grounds of what the sound source is? the grounds of what the sound source is? We don’t, after all, have more than one sWe don’t, after all, have more than one sof ears to hear everything, and common of ears to hear everything, and common








of ears to hear everything, and common sense dictates that if the microphone is an ideal one it transforms a sound into a perfectly corresponding electrical signal.That suggests that the closer a microphone That suggests that the closer a microphone is to the ideal, the more neutral it sounds, is to the ideal, the more neutral it sounds, and the more universally it can be used. There is certainly a wide variety of very

the grounds of what the sound source is? We don’t, after all, have more than one set of ears to hear everything, and common

In associat ion with :


proximity effect when used close sed close to a sound source. Low frequencies will be all be accentuated. For a microphone that will coFor a microphone that will commonly be used in this situation a compensating frequenting frequen

proximity effect when used close sed close to a sound From A Single MicrophoneFrom A Single MicrophoneFrom A Single MicrophoneFrom A Single MicrophoneFrom A Single MicrophoneFrom A Single MicrophoneFrom A Single MicrophoneFrom A Single MicrophoneFrom A Single Microphone


Surround Recording Surround Recording From A Single Microphone


Surround Recording

should not be surprising. They have no other guidelines to follow.

Art and emotion do, without question, have a central position within music but, equally, the key to the successful recording of it is a technical understanding of the devices that need to be used. Trying to muddle up both approaches in some haphazard fashion is no help either. That leads to quaint notions, such as that tube (valve) microphones give ‘a warm

‘properly controlled’ should not be skimmed over lightly – for instance, adjusting levels needs to be carried out with great precision since, with signals of equally high quality, even an almost imperceptibly higher level on one will skew judgements in favour of it. Such experimental pernicketiness has to be refined even to the extent of intentionally adding a small imbalance of levels but on a reciprocal basis where, say, microphones

‘properly controlled’ should not be skimmed over lightly – for instance, adjusting levels needs to be carried out with great precision since, with signals of equally high quality, even an almost imperceptibly higher level on one will skew judgements in favour of it. Such experimental pernicketiness has to be refined even to the extent of intentionally adding a small imbalance of levels but on a reciprocal basis where, say, microphones tube (valve) microphones give ‘a warm

sound’ because they become physically warm in use – or that large microphones yield a bigger ‘sound image’ (whatever that means) than smaller designs. This latter notion undoubtedly stems from folklore that has been fostered by those with vested interests in the promotion of large-vested interests in the promotion of large-

a reciprocal basis where, say, microphones have different frequency responses that affect perceived loudness.

Microphones for a Particular Use?

a reciprocal basis where, say, microphones have different frequency responses that affect perceived loudness.

Microphones for a Particular Use?

vested interests in the promotion of large-vested interests in the promotion of large-diaphragm microphones. In purely physical diaphragm microphones. In purely physical diaphragm microphones. In purely physical terms there is, of course, no requirement terms there is, of course, no requirement terms there is, of course, no requirement terms there is, of course, no requirement

needs to be carried out with great precision since, with signals of equally high quality, even an almost imperceptibly higher level on one will skew judgements in favour of it. Such experimental pernicketiness has to be refined even to the extent of intentionally adding a small imbalance of levels but on a reciprocal basis where, say, microphones a reciprocal basis where, say, microphones have different frequency responses that affect perceived loudness.

Microphones for a Particular Use?Although it is extremely common to be told that such and such a microphone is good for, say, violins, this poses the question of why it should be considered to be so.

Microphones for a Particular Use?Although it is extremely common to be told that such and such a microphone is good for, say, violins, this poses the question of why it should be considered to be so. why it should be considered to be so. Should a microphone be chosen purely on Should a microphone be chosen purely on Should a microphone be chosen purely on Should a microphone be chosen purely on the grounds of what the sound source is? the grounds of what the sound source is?

for, say, violins, this poses the question of

Microphones for a Particular Use?Although it is extremely common to be told that such and such a microphone is good for, say, violins, this poses the question of for, say, violins, this poses the question of why it should be considered to be so. why it should be considered to be so. Should a microphone be chosen purely on

LIVE SOUND APPLICATION

2010 – 2011

01-live-sound-application-2010-cover.indd 1 1/9/10 10:07:09

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

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compared

in precision au

+ + + + FOSTEX+ + + +

FOSTEX+ ++ + FOSTEX

+ + + + FOSTEX+ + +

The PM-Series MkII offer exceptional audio r exceptional audio

performance matched to performance matched to jaw-dropping good

looks at an affordable priclooks at an affordable price. Fostex strives to

e. Fostex strives to

design and build studio monitoring systems

that enable you to experience your unique

sound in all its dimensions. And through

tireless research and development, endless

measurements and real-world listening

tests, Fostex’s engineers have achieved

this in the form of the beautiful second

generation PM-Series.


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

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+ + ++ PS

I+ + ++ PS

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I+ + ++ PS

I+ + ++ PS

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I+ + ++ PS


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

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+ + ++ PS

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engineering, and now offerinengineering, and now offerin

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

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engineering, and now offerin

+ + ++ PS

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tighter sound, these studio monitors are




ghly accurate.

compared to Swiss watch design

in precision audio, combining innovation

Choosing Nearfi eld

Monitors Should Be Easy


More Than A Black Box!


The philosophy of PSI Audio can be

I Audio can be

pioneers in precision au

I Audio can be compared

in precision au

tems can produce S and surround from a single mic? With their surround-ready mic technology, it’s easy to see hy SoundField systems


More Than A Black Box!tems can produce

S and surround their surround-ready mic





+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUThe Sound Of Emotion: Horch








The company is situated in the German high-



tech region of Stuttgart (Mercedes, Porsche),


tech region of Stuttgart (Mercedes, Porsche), which promotes high standards for mechanical

tems can produce which promotes high standards for mechanical

tems can produce which promotes high standards for mechanical

which promotes high standards for mechanical and electrical quality.

S and surround and electrical quality.



S and surround Each Horch is a precious sound tool, that looks

their surround-ready mic Each Horch is a precious sound tool, that looks





great and sounds unique.




their surround-ready mic




Surround Recording

What other microphone systems can produce simultaneous mono, stereo, M/S and surround from a single mic? With their surround-ready mic

from a single mic? With technology, it’s easy to see












Surround Recording

What other microphone syssimultaneous mono, stereofrom a single mic? With

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

The Swiss Precision Active Monitoring Series: measurements and

tests, Fostex’s engineer

this in the form of the b

generation PM-Series.


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

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engineering, and now offerinengineering, and now offerin

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

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tighter sound, these


to Swiss watch design

dio, combining innovation

+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AU

tube microphones.

+ + + + FOSTEX+ + + +

FOSTEX+ ++ + FOSTEX

+ + + + FOSTEX+ + +

The PM-Series MkII offe

performance matched to performance matched to

looks at an affordable pric

design and build stud

that enable you to exper

sound in all its dimensions. An

tireless research and dev





+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS





tireless research and devtireless research and dev

measurements andmeasurements and

tests, Fostex’s engineertests, Fostex’s engineer

this in the form of the bthis in the form of the b

generation PM-Series.generation PM-Series.

Capitalising on Fostex’s suprCapitalising on Fostex’s supr


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

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+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

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engineering, and now offerinengineering, and now offerinengineering, and now offerinengineering, and now offerin

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS


+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

tighter sound, thesetighter sound, thesetighter sound, thesetighter sound, these

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

tighter sound, these

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

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compared compared to Swiss watch design

to Swiss watch design

dio, combining innovation

dio, combining innovation+ + +

+ PSI+ + +

+ PSI+ + +

+ PSI+ + +

+ PSI+ + +

+ PSI+ + +

+ PSI+ + +

+ PSI+ + +

+ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS






More Than A Black Box!+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS




More Than A Black Box!+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS






The Swiss Precision Active Monitoring Series: + + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU

+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU

tems can produce tems can produce The Swiss Precision Active Monitoring Series:


+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUFrom A Single MicrophoneFrom A Single Microphone

tems can produce tems can produce







+ + ++ + ++ + ++ + +PSIPSI+

+ + +PSI+

+ + +PSI+

+ + +PSI+

+ + +PSI+

+ + +PSI+

+ + +PSI+

+ + +PSI+

+ + +PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS




on, Horch modifi ed the RM2 into the RM2J, with the






intention to move the sound more in direction of the










U47. The triode was replaced by a pentode, and a












new developed capsule and transformer were built in.
















The RM3 was released, harking back to the sound of




















the old ELA M251 and especially designed for female
















vocals and instruments. The RM4, recalling the

















vocals and instruments. The RM4, recalling the U47 U47

sound, launched in 2007/2008. It displayed a whole new
















concept – adjustable compression, and saturation of




































the microphone.the microphone.



the microphone.


+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUHorch’s VisionHorch’s VisionHorch’s VisionHorch’s VisionThe idea behind Horch’s vision is to build microphones

The idea behind Horch’s vision is to build microphones





with outstanding quality for a new listening experience.






That is why everything in a Horch microphone is




handmade in Germany. A lot of effort is spent on












+ + ++ + +


+ + ++ + +PSIPSI

handmade in Germany. A lot of effort is spent on PSIPSIresearch and listening, mechanical fi ne-tuning, and

research and listening, mechanical fi ne-tuning, and








research and listening, mechanical fi ne-tuning, and + + ++ + +research and listening, mechanical fi ne-tuning, and + + ++ + ++ + ++ + +research and listening, mechanical fi ne-tuning, and + + ++ + +research and listening, mechanical fi ne-tuning, and







research and listening, mechanical fi ne-tuning, and + + ++ + +research and listening, mechanical fi ne-tuning, and + + ++ + ++ + ++ + +research and listening, mechanical fi ne-tuning, and + + ++ + +keeping in contact with customers and artists.

keeping in contact with customers and artists.






keeping in contact with customers and artists. The company is situated in the German high-












tems can produce tems can produce tems can produce tems can produce which promotes high standards for mechanical





+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUFrom A Single MicrophoneFrom A Single Microphone

What other microphone sysWhat other microphone systems can produce

tems can produce



The Sound Of Emotion: HorchHorch was established in the 19

Horch was established in the 19audio experts, whose vision was t

audio experts, whose vision was tconvey emotion through sound

convey emotion through soundtube microphones.tube microphones.

design and build studdesign and build stud

that enable you to experthat enable you to experthat enable you to experthat enable you to exper



tireless research and devtireless research and dev

The MicrophonesThe MicrophonesIn the early nineties, Gibbs Platen and two friends

In the early nineties, Gibbs Platen and two friends



founded Horch Audio with the ambition to build a






microphone in the same vein as the M49, but impr







microphone in the same vein as the M49, but improved. oved. oved. oved.

That’s where the Horch RM2 came to life. In the








beginning, the RM2 was built using original parts










from Neumann. As a fi nishing touch, Platen placed






a 0.5-carat brilliant diamond into the front of the










RM2, which was illuminated from the inside. Later






































tube microphones.tube microphones.

The founder of Horch, Gibbs Platen is very familiar with

















excellence by this time. Here, Horch Audio’s

excellence by this time. Here, Horch Audio’s The MicrophonesThe MicrophonesIn the early nineties, Gibbs Platen and two friends













founded Horch Audio with the ambition to build a PM Series MkIIPM Series MkII

The PM-Series MkII offeThe PM-Series MkII offe

performance matched to performance matched to performance matched to performance matched to

looks at an affordable priclooks at an affordable priclooks at an affordable priclooks at an affordable pric

design and build studdesign and build studdesign and build studdesign and build stud

that enable you to experthat enable you to exper

PM Series MkIIPM Series MkII

The PM-Series MkII offeThe PM-Series MkII offe

+ + + + FOSTEX+ + + +

FOSTEX+ ++ + FOSTEX

+ + + + FOSTEX+ + +

+ + + + FOSTEX+ + + +

FOSTEX+ ++ + FOSTEX

+ + + + FOSTEX+ + +

In associat ion with :


PSIPSI












































handmade in Germany. A lot of effort is spent on + + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS



+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

I+ + ++ PS

Horch was established in the 19

Horch was established in the 1990s by a smal90s by a smal

audio experts, whose vision was t

audio experts, whose vision was to create a micro create a micr

convey emotion through sound

convey emotion through sound. All . All Horchs are large-diaphragm

Horchs are large-diaphragm


Jazz + Rock Ensemble, etc. He also freelanced for TV excellence by this time. Here, Horch Audio’s

excellence by this time. Here, Horch Audio’s story begins.story begins.















During this time, Platen became familiar with a


wide variety of microphones, but his all time favourite


for vocal recordings was the Neumann M49 tube


microphone. However, Platen felt that of these

microphone. However, Platen felt that of these old microphones had lost some of their expecte

old microphones had lost some of their expecteexcellence by this time. Here, Horch Audio’s





The Sound Of Emotion: Horch90s by a smal90s by a small team of dedicated

l team of dedicated o create a micro create a microphone able to

ophone able to Horchs are large-diaphragm


old microphones had lost some of their expecte

old microphones had lost some of their expected d





ophone able to ophone able to Horchs are large-diaphragm





















microphone. However, Platen felt that of these old microphones had lost some of their expecte



old microphones had lost some of their expecteexcellence by this time. Here, Horch Audio’s




FOSTEXFOSTEX+ ++ + FOSTEX

+ + + + FOSTEX+ + + +

FOSTEX+ ++ + FOSTEX

+ + +

+ + + + FOSTEX+ + + +

FOSTEX+ ++ + FOSTEX

+ + + + FOSTEX+ + +

FOSTEXFOSTEXFOSTEXFOSTEX+ + ++ + ++ + ++ + + FOSTEXFOSTEX

LIVE SOUND TECHNOLOGY

2011

01-live-sound-tech-2010-cover.indd 1 01/06/2011 17:11

THE INTERNATIONALBUYER’S GUIDE




RECORDERS2011


In associat ion with:


grab inspiration at the time of recording.

Simplicity grants the microphone a long life

and durability. After having recorded, you

will never be surprised

by incorrect settings, as

there will be a chance to



capsule microphones f

PRODUCTS


ophone a long life




techno-physical+ + + + techno-physical+ + + + techno-physical+ +

Getting Techno-Physicalsees the microphone

usical instrument – an he orchestra or an

such a view it crophone talgia,

n lead es little to

approach is easoned and

basic knowledge ions, the e a sound

ilored with

Despite what many would regard as the benefits of the techno-physical approach, a great deal of the literature and advice

apparently non-technical considerations. Often a microphone will be listed as best suited for vocals simply because it has, suited for vocals simply because it has, by chance, sounded pleasant on a previous by chance, sounded pleasant on a previous occasion or looks similar in shape to one

that has been fostered by those with vested interests in the promotion of large-diaphragm microphones. In purely physical terms there is, of course, no requirement terms there is, of course, no requirement for the diaphragm to be large in order to be able to respond to low frequencies.able to respond to low frequencies.

Jörg Wuttke offers his take on attitudes to microphonShould we trust the heart, or the mind?


phones Made in L

e to picture today’s

ding industry without


phones Made in Latvia

e to picture today’s

ding industry without


A nice look gives y

grab inspiration at th

Simplicity grants the micr

and durability. After hViolet Design – Microphones Made in L

It is almost impossible to picture today’s

pro audio and recording industry without

ations and expressive Violet Design – M

It is almost impossiblViolet Design – M

It is almost impossiblViolet Design – M

It is almost impossibl

Get back to what matters – get into Violet Microph

From the highly innovative R-09HR to thR-44, EDIROL offers a fi eld recorder for every performances, recording interviews, so

40GB of storage for up tquality. Looking beyond CDunit offers even greater because you can choosebit quantisation and a44.1kHz, 48kHz, or 96kHz.maximum 24-bit/9incredible 17 hours oOther features on the R-4an on-board limiter to ensrecordings and a Pre Reso help avoid missing vsensitive recordings –have missed that sound bibecause the R-4 will haveThere are comprehensive Ea noise gate, de-esser aplus connections for a wmedia including XLR/phjacks. Finally USB 2.0 sboard audio can be backekeys, memory cards, orof a connected PC or MThe R-4’s compact size,weight, rugged design anjust GB£878.88 have wonmany prestigious companiethe BBC, and it is being variety of industries anaround the world.

The EDIROL R-4 ProThe R-4 Pro is the next professional fi eld recorAgain it offers up to fousimultaneous recording, buexpanded feature-set and more storage capacity compared to the RPro accepts SMPTE time ceasily be sync’d to video ethe slave device. It’s a gr

the slave device. It’s a grthe slave device. It’s a grthe slave device. It’s a great function for

eat function for eat function for

video production as up video production as up to four channels

to four channels



The Award-Winning Range Of EDIROL Field Recorders


capsule microphones f

PRODUCTS





+ + + + techno-physical+ + + + techno-physical+ +

Getting Techno-Physical

more familiar with the world of art, this should not be surprising. They have no other guidelines to follow.

have a central position within music but, equally, the key to the successful recording of it is a technical understanding of the devices that need to be used. Trying to muddle up both approaches in some haphazard fashion is no help either. That leads to quaint notions, such as that tube (valve) microphones give ‘a warm sound’ because they become physically warm in use – or that large microphoyield a bigger ‘sound image’ (whatever that means) than smaller designs. This latter notion undoubtedly stems from folklore that has been fostered by those with vested interests in the promotion of large-diaphragm microphones. In purely physical terms there is, of course, no requirement terms there is, of course, no requirement for the diaphragm to be large in order to be able to respond to low frequencies.able to respond to low frequencies.

on attitudes to microphonor the mind?






9HR to thorder for every ews, so

40GB of storage for up tquality. Looking beyond CDunit offers even greater because you can choosebit quantisation and a44.1kHz, 48kHz, or 96kHz.maximum 24-bit/9incredible 17 hours oOther features on the R-4an on-board limiter to ensrecordings and a Pre Reso help avoid missing vsensitive recordings –have missed that sound bibecause the R-4 will haveThere are comprehensive Ea noise gate, de-esser aplus connections for a wmedia including XLR/phjacks. Finally USB 2.0 sboard audio can be backekeys, memory cards, orof a connected PC or MThe R-4’s compact size,weight, rugged design anjust GB£878.88 have wonmany prestigious companiethe BBC, and it is being variety of industries an

The R-4 Pro is the next professional fi eld recorAgain it offers up to fousimultaneous recording, buand more storage

capacity compared to the RPro accepts SMPTE time ceasily be sync’d to video eeat function for eat function for eat function for to four channels

to four channels

AUDIO CONSOLES

2011




01-consoles-cover-2011.indd 1 13/12/10 13:11:47





MICROPHONES2011




01-mic-buyers-cover-2011.indd 1 26/05/2011 12:24





MONITORING & HEADPHONES

2011




01-Monitors&Headphones-2011-editorial-cover.indd 1 05/05/2011 08:45

THE INTERNATIONALBUYER’S GUIDE




DAWS2011




Call now to be included in the next Guidecall Graham Kirk on +44 (0) 1480 461555 [email protected]

www.audiomedia.com

THE Buyer’s Guides for Professional Audio All you need to know for Monitors, Microphones, Recorders, Consoles and Live Sound.

All available to download as PDF’s from our website

28-mics-mic-index-2011.indd 2 22/07/2011 15:21

30 Microphone Basics

30 MICROPHONE BASICS

The foundation of good microphone practice is technical knowledge. Blažo Guzina provides a run-down of the basics for anybody just getting to grips with the wibbly bits...

Microphones have different overall physical and electrical characteristics and are classifiable

into three main groups, based on the physical principle of converting sound into an electrical signal: electrodynamic coil, electrodynamic ribbon, and electrostatic (or condenser) microphones.

Dynamic MicrophoneThe electrodynamic moving-coil microphone has a coil of finely wrapped wire precisely suspended between the poles of a magnet and attached to a diaphragm. Soundwaves drive the diaphragm, which vibrates in a high-level magnetic field. In the coil, this movement induces a voltage, which corresponds to the sound pressure.

Dynamic microphones are very rugged and handle high sound pressures without overloading. They are reliable and virtually never distort the sound signal. They are insensitive to extreme heat, cold, and high air humidity. Dynamic microphones can usually withstand extreme environmental conditions such as temperatures from -25°C to +70°C.

Ribbon MicrophoneThe electrodynamic ribbon mic has a thin metal foil in the form of a corrugated ribbon suspended in a magnetic field. Sound pressure variations displace the diaphragm, in which an electrical current is induced depending on the amplitude and frequency of sound. Due to the short length of the ribbon compared to the moving coil, its output electrical impedance is less than 1 Ω. This resistance is too low to directly connect to the microphone input of a mixing desk or recorder, so a step-up transformer is needed to increase the impedance up to the 150Ω to 600Ω range.

Due to constructional improvements, modern ribbon mics are suitable for outdoor and handheld use. They are prized for their warm, smooth, yet delicate sound quality.

Condenser MicrophoneThe electrostatic (condenser) microphone uses a transducer element consisting of a vibrating

diaphragm (very thin foil) and a fixed metal plate (back electrode).

These two electrodes make up a condenser (capacitor) charged by an externally applied voltage (polarization voltage) or carrying its own permanent electrical charge, as with an electret microphone.

When soundwaves vibrate the diaphragm, the capacitance of the condenser changes simultaneously, thus producing an output voltage that varies with the intensity and frequency of the sound.

Condenser microphones usually have a flat frequency response, high sensitivity and good ability to follow sudden, percussive sound events immediately. This is described as good transient response.

Condenser microphones require an impedance converter in the form of a preamplifier to match the very high output impedance to low impedance microphone inputs. This amplifier fits within the body of the microphone in order to prevent hum, noise pickup and the losses of the signal level due to the length of the circuit from the diaphragm to the amplifier.

Phantom PowerCondenser microphones need a DC supply voltage. Except for battery operated microphones, the voltage usually comes through the microphone cable. The positive (+) side of a DC voltage connects to both signal wires of a balanced line and the negative (ñ) side to the cable screen.

An exception is the electret condenser microphone. This type of microphone has the polarizing charge stored permanently within the diaphragm or on the backplate. No external power is required to charge the diaphragm.

Polar PatternsApart from the basic differences in the physical principle of operation, the main factor that influences the choice of a microphone is its polar pattern.

Polar pattern, also known also as polar

response, is a chart that graphically represents microphone sensitivity with respect to the direction of soundwaves arriving at its membrane.

A chart is usually plotted in the form of a 360° polar diagram, with the on-axis 0° direction clearly marked. It is possible to classify microphones into two main groups, based on their directional characteristics: non-directional and directional microphones.

In principle, a non-directional microphone is a pressure-operated electroacoustic transducer. Its response to acoustic sound pressure is omnidirectional, meaning that the diaphragm reacts equally to all soundwaves arriving at its surface, regardless of their direction.

A typical example of a directional microphone is a pressure-gradient transducer. This type has a bidirectional (or figure-of-eight) polar diagram. This means the microphone reacts to differences in pressure between the two sides of a diaphragm.

Ribbon microphones are the most common type with a bidirectional polar response. A metal ribbon diaphragm is equally sensitive to soundwaves arriving from front and rear axes.

All other known directional patterns are obtainable as a result of a combination of the aforementioned two main polar pattern types. The number of variations is practically unlimited.

When the outputs of an omnidirectional (pressure) and bidirectional (pressure-gradient) pickup pattern are combined, the best known resulting polar responses that are obtainable are cardioid, supercardioid, and hypercardioid. Their common name is unidirectional microphones.

A unidirectional microphone is most sensitive to soundwaves arriving from one direction, in front of the microphone, but softens sounds from the sides or rear.

The cardioid microphone is sensitive to sounds from a broad angle in front of the microphone. Generally, it is about 6dB less sensitive at the sides, at 90° and 270°, and 15 to 25dB less sensitive to the rear.

+ + + + + MICROPHONE BASICS + + + + MICROPHONE BASICS+ + + + MICROPHONE BASICS+ + + + MICROPHONE BASICS+ + + +

30-mic-basics-edit-2011.indd 1 21/07/2011 11:23

31A Truly Universal Vocal Mic Suspension & Pop Filter System

Rycote® InVision™ Studio Kit

Rycote Microphone Windshields Ltd For more information, please visit our website at

www.rycote.comLibby’s Drive, Slad Road, Stroud, Gloucestershire GL5 1RN, UKTel: +44 (0) 1453 759338 Fax: +44 (0) 1453 764249 Email: [email protected]

UK RRP £95.00 inc VAT

Rycote®. Sound solutions for studio recording.

Rycote’s InVisioninnovative Studio Kit combines the best-selling Universal Studio Mount (USM) with the new Universal Pop Filter, creating a versatile, long-lasting, universal vocal microphone system for under £100. It’s harder-wearing than other microphone

suspensions, more vibration-resistant and better at protecting your mic from vocal pops and thumpswithout high-frequency loss. If you record vocals, you owe it to yourself to try one. Go for the universal solution, and let the Studio Kit rock your vox!

REMOVE THE WEAK LINK FROM YOUR RECORDING CHAIN

• Fits virtually all large-diaphragm mics

• No need to change suspensions when you swap microphones

• Up to twice as resistant to unwanted vibrations as elasticated mic mounts

• Reduces vocal pops and thumps by up to 20dB — with no HF loss!

• Replaceable, hygenic foam mesh

C

M

Y

CM

MY

CY

CMY

K

AMMBG2011.pdf 1 13/07/2011 04:06

31-Mics-2011-Display-rycote.indd 1 21/07/2011 11:34

32www.neumann.com

Distribution in UK: Sennheiser UK Ltd. · 3 Century Point · High Wycombe · Buckinghamshire · HP12 3SL, Great Britain · Tel: 01494 551 551 · E-Mail: [email protected]

analogogdigitalg

KMS

105

D

TLM

103

D

KM 1

84 D

U 8

7

BCM

705

TLM

102

AAA_210x197_Hochformatversion_UK.indd 1 07.07.2011 14:57:1932-Mics-2011-Display-hhb.indd 1 21/07/2011 11:34

audiomedia microphone guide 2011

Technology

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microphone practise

microphone basics

audio media18 prism

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