American ribbon microphone maker Crowley and Tripp are unveiling their new Recordist and Recordist Ensemble Stereo Kit at AES in San Francisco this October, adding a new voice to their established line of highest quality U.S. ribbon mics, and raising the bar for Blumlein ribbon recording.

The company’s newest ribbon microphone – The Recordist – is voiced for realistic reproduction of classical and jazz performances where a full-range, natural sound is desired. As with other Crowley and Tripp products, the Recordist’s high output, low noise design excels with location recording devices and digital audio interfaces, without the need for special high gain ribbon mic preamps. The Recordist is priced at $1,295 each, and comes with its own low diffraction rotary mount for exact placement, a durable Pelican™ case for location gigs, and a three-year warranty.

The Recordist Ensemble Stereo Kit fills the need for those who want to record in realistic Blumlein stereo, but need the tracking flexibility not offered by integrated stereo ribbon microphones. The Recordist Ensemble Stereo Kit consists of two matched Recordist microphones, extender bar, two low diffraction rotary mounts, and is offered at an introductory price of $1,995. Recordist mics come with a three-year warranty, a durable Pelican™ case and a stage-appropriate gunmetal gray finish.

In addition to the Recordist, Crowley and Tripp manufactures the Studio Vocalist, Soundstage Image, Proscenium, SPLx Custom, and Naked Eye ribbon microphones completely in the U.S. Each microphone is an original design carefully voiced for a variety of applications in recording studios and on location. See and hear the full line of highest output, lowest noise Crowley and Tripp microphones at booth #1431 at AES.

For more information, visit their web site at www.soundwaveresearch.com.

Posted in Microphones, Recording, Technology

Royer Labs is pleased to announce the R-122V Vacuum Tube Ribbon Microphone, the company’s newest addition to the venerable R-Series microphone line, is now shipping. The R-122V is a compact, monaural, bi-directional microphone, and is the first commercially produced vacuum tube ribbon microphone available.

A limited production vacuum tube studio ribbon microphone, the R-122V utilizes the same patented large-ribbon transducer assembly that is found in the R-121 and R-122 Active Ribbon microphones—providing a familiarity of sonic performance associated with the R-Series microphones. The R-122V exhibits a flat frequency response and a well-balanced soundfield, and provides an output of -37dB, which is approximately 13dB hotter than an R-121. Like its predecessors, the R-122V’s ability to withstand high SPL levels makes it well suited for applications that were previously considered off limits to ribbon microphones.

The R-122V’s offset-ribbon design positions the ribbon element toward the front of the microphone body. This design enables high SPL handling on the front (logo) side of the instrument, with the option of a slightly brighter response when recording via the microphone’s back side (3 feet and closer; phase reversed in this position).

The R-122V’s active electronics utilize a NOS (new old stock) U.S. built, military 5840 triode-connected vacuum tube and Royer’s proprietary toroidal ribbon matching transformer (patent pending). A Jensen® 8:1 ratio output transformer provides an electrically isolated, fully-balanced output signal. The R-122V can drive virtually any preamplifier and long cable runs (from power supply to preamp) with ease. The active circuitry provides optimum impedance to the ribbon element at all times, preventing over-damping of the ribbon element and assuring consistent microphone performance. The R-122V receives an extensive burning in procedure to assure proper settling of the vacuum tube.

The R-122V employs a pure (99.99%), low mass, 2.5-micron thick aluminum ribbon. The R122V’s unique, patented offset-ribbon transducer assembly incorporates rare earth Neodymium magnets in a specially designed flux frame, which forms a powerful magnetic field while reducing unwanted stray magnetic radiation. The smooth frequency response and phase linearity of the R-122V, coupled with its classic triode-connected vacuum tube circuitry, enable the R-122V to deliver a consistent acoustic performance with stunning realism. Frequency response is excellent, regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible.

With a satin nickel body finish and black transducer finish (18-carat gold finish is optional), the new Royer Labs R-122V is a visually striking microphone. This superb microphone comes in a camera style case with a dedicated power supply, a shock mount, and the included cable set is equipped with military grade locking type XLR connectors.

John Jennings, Royer’s VP of Sales and Marketing commented on the company’s new offering, “There is quite a bit of history behind this microphone. We actually developed vacuum tube ribbon microphones, including the R-122V, about a year before the release of the company’s phantom-powered active series. The vacuum tube ribbon mic designs were created specifically to establish an internal standard to compare the solid-state active mics against. With the introduction of the R-122V, we’ve now come full circle.”

Jennings also states, “The R-122V’s low end is extended and there is tremendous detail and depth in the midrange. It’s very lush sounding. It will perform well on a variety of applications, and it has the headroom to handle extremely loud sound sources, but we feel it is best utilized in classical and acoustic applications where capturing the subtleties, nuance, and depth of performances is most desired.”

The new R-122V Vacuum Tube Ribbon Microphone carries a suggested retail price of $2,995.00 and is available now.

For more information, visit their web site at www.royerlabs.com.

Posted in Microphones

Sennheiser is introducing three new microphone stands with a cable connection at its base rather than at the microphone itself.

This new system means that plug-on wireless transmitters can now be attached to the bottom of the stand or, if preferred, cables can be connected at the base eliminating the necessity to run the mic cable up the stand itself.

While the 60cm and 80cm variants are ideal for use as “wireless” floor stands at large events, the 30cm version is designed for TV and panel discussions. The stands can be combined with a choice of Sennheiser MZH goosenecks and ME microphone heads, and can be converted to wireless operation using an SKP 3000 or SKP 500 plug-on transmitter.

The floor stands are fitted with a female XLR-3 connector and locking screw at their top to accommodate the gooseneck, and a right-angled male XLR-3 connector at the bottom.

For more information, visit their web site at www.sennheiser.com.

Posted in Accessories, Microphones

Neumann is building on the legacy of its well-known KM series of miniature microphones with the introduction of three new digital models with integrated DSP. The modular KM 183 D, KM 184 D and KM 185 D combine omnidirectional, cardioid and supercardioid capsules with the KM D output stage to offer three different directional characteristics.

The proven Neumann A-to-D converter is located immediately next to the capsule in the new microphone models. The converter supports a dynamic range far exceeding that of the capsule, with no coloration and absolute transparency.

Two versions of the new digital miniature microphones are available in classic nickel and black Nextel finish. All standard sampling frequencies, from 44.1kHz to 192kHz, are supported.

The integrated DSP functions – including gain, a compressor/limiter with de-esser and a peak limiter – can be configured and controlled remotely via the DMI-2 digital microphone interface and the RCS remote control software. The fully digital system permits the peak limiter to operate across the entire available dynamic range even in stressful recording situations.

Neumann is additionally offering attractively priced “Connection Kits” to permit easy connection of the digital KM series microphones to S/PDIF and AES/EBU interfaces without the DMI-2. An upgrade to the DMI-2, with its configuration capabilities and DSP functions, is possible at any time. A plug-in power supply is included as a standard feature. A battery pack to permit outdoor operation is available as an option.

The DMI-2 digital microphone interface has recently been updated with discreet visual enhancements, support for the 192kHz sampling rate, AES 11 synchronization capability and greatly improved jitter performance. Data exchange with the microphone in accordance with the AES 42 standard and the supply of the data stream from the microphone in AES/EBU format remains a key feature of the DMI-2.

Two budget-oriented starter sets that package a Neumann KM 184 D microphone with a Connection Kit for S/PDIF or AES/EBU connection offer a straightforward introduction to digital microphone technology at a very attractive U.S. retail price of $3,495. Since the microphone includes an A-to-D converter and does not require a preamplifier, these starter sets provide all of the necessary components for capturing the Neumann microphone sound onto the digital recording medium with no coloration.

For more information, visit their web site at www.neumann.com.

Posted in Microphones, Technology

Advanced tube technology enables musicians to capture the full range of their sound.

Sterling Audio — working closely with Aspen Pittman of Groove Tubes fame, legendary researcher and designer of audio tubes and microphones — has announced recent additions to Sterling Audio’s line of professional microphones:

ST66 (Class-A tube, large diaphragm condenser mic)
ST55 (Class-A FET, large diaphragm condenser mic)
ST44 (Class-A tube, mid-size diaphragm condenser mic)
ST33 (Class-A FET, mid-size diaphragm condenser mic)
ST31 (low-noise FET, mid-sized condenser mic) With the exception of the ST31, all models feature an attenuation switch (ST55/ST66 -10dB; ST33/ST44 -15dB), a 75Hz, 12dB/octave low frequency roll-off switch, cardioid polar pattern, and transformer-isolated output. The ST31 uses a hypercardioid polar pattern and transformerless output design.

All Sterling microphones feature high-SPL handling. Available accessories are the STSM3 and STSM4 shockmounts and the STPF1 professional pop filter.

One of the features of Sterling Audio’s large capsules is the exclusive Disk Resonator™ system. With it, they have been able to compensate for the 14kHz frequency roll-off that is inherent in large diaphragm mics. This deficiency translates to a lack of sparkle from high-frequency sound sources.

Other manufacturers have typically solved this problem with corrective EQ circuits after the capsule; “boosting” the high frequency which unfortunately results in increased noise and other negative sonic artifacts from this band aid circuit approach.

Disk Resonator Technology incorporates a gold-plated brass “umbrella” that protrudes from the center of the diaphragm in Sterling Audio’s ST55 and ST66 mics. It gently boosts the diaphragm sensitivity to shorter sound waves, allowing it to respond more accurately to those all-important higher frequencies. The result is optimal sensitivity, full frequency response, and a low signal-to-noise ratio.

While most modern condenser diaphragms are 6 to 12 microns in thickness, Sterling Audio, in association with Dupont, has produced a highly resilient Mylar that measures a mere 3 microns. This allows the ST55 and ST66 to deliver a degree of sensitivity unparalleled in the industry.

The ST66 and ST44 use triode wiring on specially selected pentode tubes to yield low noise and a more realistic dynamic response than their competitors. Its power supply is designed with a load-balancing circuitry that allows cable runs of more than 200 feet with no deviation from optimal performance.

For more information, visit their web site at www.sterlingaudio.net.

Posted in Microphones, Technology

Available immediately, Grooveboxmusic.com has released the first group of training videos in their new “Studio Series” collection. The Studio Series takes a completely different approach than their acclaimed software training videos and utilizes real video footage of actual engineers, producers and artists using the tools found in today’s recording studios.

The first group of videos focuses on Mic’ing and Recording Drums, and feature engineer Andy Sharp who has worked with groups such as Blue October and Sheryl Crow.

Currently the videos are only viewable online with the “G-Pass” which gives instant access to hundreds of video tutorials for one low price. Groovebox is currently working on many more titles for this exciting new series as well.

“We have decided to present the other side of recording as we have the software training aspect covered. Now it’s time to bring real life footage and content on common studio technologies and practices,” says Groovebox Corp. President Asa Doyle.

Titles and descriptions in the current Studio Series “Mic and Record Drums” category are:

• Intro and Setup – Get the lowdown on the basic setup for working with drums in the studio, and some things to remember before you start.
• Kick Drum – Learn about mic selection, placement and setting levels for the kick drum and getting the right sound for your style of music.
• Snare Drum – Discover several popular mic techniques for the snare drum and the different sounds they create. This tutorial guides you through placement, audio examples and much more.
• Hi Hat – The hi-hat can be hard to capture or very easy. This tutorial covers the basics that make the job easy and the results versatile. Mic selection, placement and audio examples are all explained.
• Toms – Get the studio engineer perspective of setting up and recording toms. Tons of great insight for capturing the tom tone you want and need.
• Overheads – The secrets of overhead mics are revealed. Learn to choose the right mics, about popular placements, phase cancellation and more.
• Room Mic – The all important “room” mic can really help capture the natural sound of the drums and create a lot of space, character and feel. This tutorial shows you how to set it up and get it.

For more information, visit their web site at www.grooveboxmusic.com.

Posted in Education, Microphones, Mixers, Recording, Studio, Technology

Nady Systems recently announced the introduction of a new addition to their Headmic Series—the HM-10 Mini Headworn Condenser Microphone.

The HM-10 joins Nady’s 2 other headmics, the HM-1 uni-directional dynamic microphone and the HM-3 omni-directional condenser microphone. Together, these 3 complementary headmics provide exceptional audio and overall performance for virtually all singing and speaking applications.

The HM-10 is a wide bandwidth, omni-directional electret condenser mic featuring clean, transparent audio and enhanced vocal pickup with improved gain before feedback. It has a durable thin-metal frame that can be easily molded to any user and features an ergonomic design for a comfortable fit with or without eyeglasses, hats, or headphones.

The HM-10 is available with a Mini-XLR or 3.5mm phone plug for wired and wireless use and fits most standard wireless bodypack transmitters. The unit requires low voltage phantom power as supplied by most wireless bodypack transmitters and is supplied with a 9~52V adaptor for wired applications. It’s available in black or beige.

The HM-10 is now shipping.

For more information, visit their web site at www.nady.com.

Posted in Live Sound, Microphones, Recording, Vocals