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The Microphones
Choosing the correct microphone for a specific task can be a challenge. That is why we have a vast array of microphones available. Each has it's own character and sweet spot frequencies making it perfect for a specific job. Our engineers are constantly experimenting to find the best techniques and combinations to give you exactly the sound you want.
Below are our studio specific microphones that are available as standard, however you can also access to our entire live sound microphone collection by prior arrangement. |
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Technical information |
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Blue Woodpecker |
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The Blue Woodpecker active ribbon microphone is one of the most beautifully crafted microphones we have seen. It's internal workings are no different, as expected from a quality microphone manufacture. Ribbon microphones in general exhibit a unique tonal character with extended bass boost (below 500hz), reduced mid (at 1Khz) and boosted highs (6Khz). It makes this microphone ideal for bringing warmth whilst retaining presence in a vocal track. We have also found them particularly good on acoustic guitars and drum overheads. |
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Blue Blueberry |
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The Blue Blueberry is a solid state condenser microphone with exceptionally smooth frequency response. It features an extremely detailed high end with a rounded boost at 12Khz. This makes it a very open sounding microphone with exceptional presence. Vocals are always crystal clear when recorded with this microphone making them really stand out from the crowd. |
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Rode NT2000 |
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The Rode NT2000 is a unique microphone in that it features a completely variable polar pattern, high pass filter & pad. The circular dials on the microphone front allows for precise setting of the options. The microphone itself also gives a great open sound with plenty of presence. When set to omni directional this makes an almost perfect microphone for the female vocalist. |
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Rode NT1A |
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The NT1A is one of the best selling microphones from Rode. This is because it is one of the quietest microphones on the market, making it great for intimate vocal tracks. Although it has no selectable option such as other microphones it does feature a top class diaphragm consistent high performance in all conditions. |
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AKG C414 |
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The C414 from AKG is one of the most respected recording and stage microphones in the industry and with good reason. The quality of sound that it captures is far of ahead of many other microphones in its class. Three switches in the microphones body gives you precise control of polar pickup patterns, high pass filter frequencies and pad attenuations, making it quick and easy to setup. A highly recommended microphone for many applications. |
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AKG C4000 |
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The AKG C4000 is a condenser microphone specifically designed for studio recording. It features an open airy sound with wide frequency boosts at 3Khz & 10Khz. The casing is of high quality with rugged design and therefore ideal for location recording. As with the C414 there are also a number of selectable parameters on the microphone body including polar pattern, high pass filter and pad. Great for vocals and instruments alike. |
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AKG C418 |
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The AKG C418 is one of our favorite microphones for drums. It is easy to attach with just a single clip and the capsules twin axis can allow for very quick positioning. It has excellent headroom for the high sound pressure levels of a drum and a great smooth frequency response even at close range. It's cardioid polar pickup pattern also helps to get the sound of the instrument and not the surroundings. Also works great in trumpets and other horned instruments. |
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AKG C1000S |
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The AKG C1000S is a workhorse microphone. It contains an electret condenser capsule with additional caps for changing polar pickup patterns and frequency response. It also features high sound pressure level handling and extended frequencies at both the treble and bass end. The addition of a 9v PPC battery slot providing internal power should a +48v supply be unavailable makes this one of the most flexible microphones around. |
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AKG D112 |
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The AKG D112 is a excellent microphone for bass applications. It has a large dynamic capsule that can take both high SPL and retain a warm bottom end. We use these microphones as our bass drums but they are also good with other low frequency instruments. |
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Shure SM58 |
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The Shure SM58 debuted in 1966 and since then has become a well trusted and truly industry standard microphone. It is commonly used for vocal applications but can also be used other tasks. They are extremely well built and can easily survive even the harshest of conditions. |
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Shure SM57
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The SM57 is another fine microphone from Shure. It debuted in 1965 as a Studio Microphone (SM) but has since become a standard choice for live engineers. These microphones are commonly used for instruments that have a high sound pressure level (SPL). The capsule used the SM57 is identical to the SM58 but it's windshield differences give each microphone their own unique character sound. Note: Although this microphone is often used on drums we would recommend considering the Beta57 due to it's stronger windshield. |
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LD LDI02 |
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The LDI02 is an active direct input box from LD systems. They are used to convert the unbalanced signal from electric guitars, basses or line output devices to a balanced XLR connector. Balancing an audio signal is important when you intend to send the signal over long distances (e.g. to a front of house mix position), these boxes do just that. |
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