One of my least favorite mics of all time. Embarrassed to have this on our gear list. The "S" stands for "sucks".
With CK-1 cardioid capsules (x3), CK-22 omni capsules (x2), A-50 -20 dB pads (x2) and A-51 "knuckle" adaptors (x2). One of my favorite mics. Good on almost everything. Excels as drum overheads and close mics (using pads) on drums. Very high output and low noise. EB versions feature 2 position high pass filter switch. Transformer coupled output.
Dual element dynamic/condenser coincident microphone designed for use on kick drums. Each capsule has its own discrete output. Great for lazy engineers who can't be bothered setting up a 2nd mic stand. What a chore!
Small diaphragm condenser mics with high pass filter switch. Very bright and detailed. High output and low self noise.
Small diaphragm transformerless output design. Very detailed.
General purpose large diaphragm condenser microphone with built-in pad and high pass filter. Fixed cardioid pattern.
Large diaphragm cardioid condenser microphone.
Stereo microphone switchable between X-Y and M-S stereo modes. Width of stereo image can be adjusted by turning set screw which changes the angle of the outer 2 elements. Excellent sound quality and sleek modern design.
Small diaphragm condenser microphone with interchangeable capsules. We have 3x cardioid capsules and 1x omni. Very bright. Good for drum overheads or where brightness is desired.
Fixed cardioid pattern large diaphragm condenser microphone. Works well on guitar cabinets.
General purpose side address large diaphragm continuously variable multi-pattern condenser microphone with switchable -20 dB pad and HPF. High output. We currently have these (semi) permanently installed as room mics.
Small diaphragm cardioid condenser mics from England. Modular capsule design. Transformer coupled output. Excellent sound quality. Good enough for the BBC!
Small diaphragm tube condenser mic with interchangeable cardioid and omni small diaphragm capsules and one multipattern large diaphragm capsule.
Hand made in Oakland. K67-style capsule made in Russia. Output transformer made in Kansas. NOS Telefunken EF86 tube. Copy of the Neumann U67 tube mic.
Matched stereo pair of small diaphragm tube condenser microphones. Tube circuit utilize a 'cathode follower' design which allows the mic's output transformer to be installed in the power supply. That way, a much larger and more robust transformer can be used which equals a mic with very high SPL handling capacity. These mics excel at close miking drums or as drum overheads. Stock cardioid capsules have a +6 dB presence peak at 6 kHz - a similar frequency response to a Shure SM57. We had Michael Joly of OktavaMod build custom cardioid capsules which exhibit a much flatter frequency response than the stock capsules. Both capsule sets have their uses and sound great!
Custom electronics and 3 micron MJE-K47 capsule. Non sibilant. Very detailed sounding microphone without being harsh. Great as drum overheads or on voice.
Fixed cardioid pattern large diaphragm condenser mic. I modified these to be tube mics based on the David Royer mod published in Tape Op. Sound of modified mic is vastly improved from stock.
Large diaphragm tube condenser microphone with M-7S (cardioid) and M-55 (omni) capsules.
Excellent example of an early 70's vintage Neumann U87. Industry standard large diaphragm condenser microphone. Excels in almost any application.
Large diaphragm fixed cardioid pattern condenser mic made in Russia.
Radio Shack's version of a Crown PZM.
Blue microphones had a separate line of mics under the label Red for about 5 minutes. This is a solid state amplifier body with modular capsules similar to the Neumann CMV “lollipop” capsule system. This is a very high quality mic/capsule combination with lot of detail and plenty of low end. Great on acoustic guitar and voice. B-2 capsule is a figure-8 pattern.
Large diaphragm fixed cardioid pattern tube condenser mic.
Finest in German microphone design and manufacturing.
Shure’s most popular pressure zone microphone, the Beta 91 is most commonly used inside kick drums for that “...And Justice For All” clickity-click kick drum sound. Often used in conjunction with a dynamic mic.