Voted “Best Microphone” by Sound On Stage Magazine. The U 87 presents a wide range of features and versatility that make it to one of the most desirable mics available. Our users are recognizing the microphone immediately by its distinctive design. Well-known for its warm and well balanced characteristics – your perfect choice as vocal microphone for all types of music and speech. (more…)
The KM 183 omnidirectional and KM 185 hypercardioid microphones are based on the tremendously successful KM 184 cardioid microphone, which has become a standard within the global studio community in just a very short time. All “Series 180” microphones are available with either matte black or nickel finish. (more…)
The C 451 EB came out a year later in 1969, and is very similar to the C451E, but also included a switchable high-pass filter that provides a 14 dB/octave cut at either 75Hz or 150Hz. Brilliant on acoustic guitars and most stringed instruments, piano, etc., it was designed for use with 12 volt phantom power, but could handle up to 52 volt (more…)
The C391 B high-performance small-diaphragm condenser microphone is a combination of the Blue Line Series CK91 and the SE300 pre-amplifier. The microphone has a cardioid polar pattern, a low self-noise and very good transient response for a bright and brilliant sound. It also features the ability to quickly interchange its capsule with one of the other capsules of the Blue Line Series, making it an excellent mic for demanding broadcast applications. (more…)
One of Sennheiser’s most popular microphones! It’s the MD 421 II’s versatility that has made this mic so widely-acclaimed. Its ability to handle high pressure levels makes it a natural for guitars and drums, but that’s just the beginning. The MD 421 II’s full-bodied cardioid pattern and five-position bass control means it’s an excellent choice for most instruments, as well as group vocals, or radio broadcast announcers.
The Shure BETA®91A is designed for use with kick drums, as well as other traditional low-frequency applications including piano. Featuring an updated microphone capsule, integrated preamplifier, and XLR connection, Beta 91A offers a strong low-frequency response and is specifically tailored for bass frequency applications. The Beta 91A combines superior attack and punch for studio-quality sound, even at extremely high sound pressure levels (SPL)
The PCC160 is a professional boundary layer microphone and an industry standard stage floor microphone. It´s capable of withstanding up to 120dB SPL without distortion. A bass-tilt switch allows the user to tailor the low-end response for particular applications.