Dolphin Music News Feed

New Models Added To Audio-Technica Studio Microphone Ranges

The new AT4021 and AT4022 are high-performing condenser microphones created to deliver a wide dynamic range and cope with high sound pressure levels.

Audio-Technica’s 20 and 40 Series studio microphone ranges have been extended with the addition of two new models apiece – the AT2035 and AT2050, and AT4021 and AT4022. The expansion of the affordable 20 Series and pro-oriented 40 Series coincides with the discontinuing of the mid-range 30 Series.

The AT2035 is a large diaphragm side-address condenser model designed to offer smooth, natural sound, low noise and high SPL handling. Featuring a cardioid polar pattern, the versatility of the AT2035 is enhanced by the presence of a switchable 80Hz high-pass filter and 10dB pad, making it suitable for a wide range of applications, particularly where the isolation of a sound source is important.

Further up the 20 Series ladder, the AT2050 is another large diaphragm side-address condenser, this time with three switchable polar patterns. Users can opt for omni, cardioid or figure-of-eight pickup, with the microphone’s dual-diaphragm capsule design ensuring pattern definition across the full frequency range. In addition, the AT2050’s diaphragms are gold-vaporized and aged for optimum tonal character over years of use.

The new AT4021 and AT4022 are high-performing condenser microphones created to deliver a wide dynamic range and cope with high sound pressure levels. With flat, extended frequency response and low self-noise, the new models are ideally suited to digital recording set-ups and for recording acoustic guitars, strings, percussion and other acoustic instruments where sensitivity and natural tone are of paramount importance.

The AT4021 features a cardioid polar pattern for the targeted pickup of the sound source while the AT4022 is an omnidirectional model for situations where ambient pickup is required.

Both the AT2035 and AT2050 are supplied with an AT8458 shock mount, threaded adapter (5/8” to 3/8”) and a soft protective carrying case. The new 40 Series models come with stand clamp and threaded adapter (5/8” to 3/8”) and protective carrying case.

The AT2035 Cardioid Condenser Microphone represents an exceptional value while offering all the performance advantages of a high-quality studio and stage microphone. Intended for a wide variety of miking applications, including overheads, acoustic instruments and guitar cabinets, it features a large diaphragm for smooth, natural sound and low noise. High SPL handling and a wide dynamic range offer unmatched versatility, and a custom shock mount provides superior isolation. The mic’s cardioid polar pattern reduces the pickup of sounds from the sides and rear, improving isolation of the desired sound source. Designed to provide versatility in the most demanding recording applications, the AT2035 has a fixed cardioid polar pattern and features excellent performance specifications, including: a flat, extended frequency response (20-20,000 Hz); high SPL handling capability (148 dB, 158 dB with the 10 dB pad); and an element yielding extremely low self-noise (12 dB SPL). Employing Audio-Technica’s modern engineering and manufacturing technology, every aspect of the AT2035 has been tailored for a very smooth, natural sound while ensuring maximum accuracy, making it a perfect complement for today’s digital recording equipment.

The AT2050 Multi-Pattern Condenser Microphone is ideal for studio use and live sound productions with vocals, piano, strings, overheads, guitar amps and more. It offers three switchable polar patterns: omni, cardioid and figure-eight. Its dual large diaphragm capsule design maintains precise polar pattern definition across its full frequency range (20-20,000 Hz). The AT2050 has the ability to handle high SPL’s (149 dB, 159 dB with the 10 dB pad) with extremely low self-noise (17 dB SPL). In addition, its dual diaphragms are gold-vaporized and aged to achieve optimum characteristics over years of use. Finally, its state-of-the-art surface-mount electronics ensure compliance with A-T’s stringent consistency and reliability standards.

The AT2035 has an RRP of €149 (ex VAT) in Europe and £129.95 (inc VAT) in the UK

The AT2050 has an RRP of €229 (ex VAT) in Europe and £199.95 (inc VAT) in the UK

The AT4021 has an RRP of €299 (ex VAT) in Europe and £249.95 (inc VAT) in the UK

The AT4022 has an RRP of €329 (ex VAT) in Europe and £269.95 (inc VAT) in the UK

Top Dance Producer Stuart Crichton and sE in Dance Floor Heaven!

Whether tracking for Kylie, Pet Shop Boys or Sugababes, Stuart Crichton uses sE mics “on every production I do”…

Stuart with his sE gear

For producer and engineer Stuart Crichton, making records that move the dance floor is a passion that can be charted back to the very beginnings of Progressive House. With hundreds of releases to his name, Stuart has not only released tracks on seminal labels (FFRR, Epic, ZTT, Mushroom, Nettwerk, React), but was also instrumental in making Limbo Records a leading light on the early ’90s progressive scene.

Since those early days he has immersed himself in the world of music production. And with over 15 years production experience he’s forgotten more about making dance floor bombs than most producers will ever know – how else do you get to work on tracks for Jamelia and Kylie (Parlophone), Simon Webbe (Innocent), Delta Goodrem (SonyBMG), Jonas (Universal) and Brian McFadden (Sony/BMG).

He’s also just returned from a successful writing trip in Nashville and won The Miami Best Pop Award in 2005 for his artist project Narcotic Thrust (not in any way a reference to ‘disco beans’, but rather an anagram of Stuart Crichton!), with “I Like It” (UK No.7).

Stuart may have his roots in dance but vocals play a huge part in his productions, and he can easily turn his hand to most styles of music, as previous successes with Kylie, Charlotte Church, Pet Shop Boys, Bond and The Sugababes will testify.

His back catalogue reads like a who’s who list of dance and pop heavyweights, and this experience has led him to experiment with practically every type of microphone going…and from all of them one brand sits on top of them all for Stuart – sE Electronics.

“I’m using a few sE mics in the studio right now,” Stuart reports from his Hastings-based studio. “I particularly like the Z5600aII [multi-pattern tube condenser], the SE1a [small diaphragm condenser] stereo pair, and the new GM10 [guitar mic]. The Z5600aIII use on every vocal production I do.
…and having just got the GM10, well, I’m using that absolutely every time I record acoustic guitar… it’s just amazing!”

As is often the way when deciding on new microphones, it was a suggestion from a fellow engineer that got Stuart into the sE mics in the first place. “My friend Javier Weyler recommended the Z5600aII to me when he was an assistant engineer at Sahara Studios. He told me that sE mics offered amazing quality for a great price – and he wasn’t wrong! He’s now the drummer in the Stereophonics… clever chap!”

“Sure, with microphones it’s all about the sound, but sE mics make my life easier. These mics are just so flexible. I don’t think I’m being overly dramatic when I tell you that I couldn’t live without my sE mics now. These mics can handle all of my recording needs – period!”

“When you’re capturing a performance there’s one rule that I use to decide if I’ve got the recording I need: if it sounds right, it is right. And with sE mics I can be really confident that they’re giving me exactly the results I need.”

AKG Releases C 214 Single Capsule Condenser Microphone!

The new AKG C214 offers a single-capsule, cardioid-only design that delivers class-leading performance with the same dual-capsule as the C 414, but using only one diaphragm instead of two.

Thanks to its 20-dB attenuation pad and AKG’s ultra-low noise electronic design, the C 214 can be used in sound fields as high as 156 dB SPL.

The AKG C214 features an integrated capsule suspension system that minimizes chassis-born noise and resonances for even greater sonic accuracy.

“The AKG C 414 has been successful for more than 30 years due to continuous improvement of technical specifications, useful features, and ease-of-use. The evolution of the C 414 has been informed by feedback from recording studios, broadcast stations, and live sound engineers,” explains Thomas Stubics, Product Manager at AKG.

“Our new C 214 was designed as a budget-friendly alternative to the leading-edge C 414 family. Because the C214 uses the same one-inch diaphragm as the C414, the essence of that heralded C 414 sound has been captured in this newest model.”

The AKG C214’s double mesh, all-metal grill protects the capsule and ensures high RF immunity without affecting acoustical performance.

The C214 has road-tough construction quality with a modern scratch-resistant finish, a dent-resistant, metal grille and a gold-plated XLR-type output. It comes complete with a spider-type shock mount, windscreen, and metal carrying case.

If the popularity of the AKG C 414 is anything to go by, then the AKG C 214 is certain to follow on its steps, as it can be seen as a more affordable version of the C 414, but with all the great sound quality and warmth you’d expect from a member of the C 414 family!

If you want to be amongst the first ones to own this new exciting mic from AKG, you can find it on Dolphin Music.

Main features include:

• Integrated suspension to reduce mechanical noise
• Rugged double mesh grill for unaffected acoustics and high RF immunity
• Switchable 150Hz, 6dB/octave low cut filter
• 143 dB of dynamic range
• Same capsule as the legendary C 414
• Gold plated XLR output
• Switchable 20dB Attenuation Pad
• All metal die-cast body
• Sensitivity: 20 mV/Pa
• Equivalent noise level 13 dB-A (IEC 60268-4)
• Attenuation Pad 20 dB, switchable
• Frequency Response: 20-20.000 Hz
• Polar Pattern: cardioid
• Max SPL 136/156 dB
• Phantom Power: 12-52V
• Dimensions (mm): 160 X 55

The official launch of the AKG C214 is 17th May 2008. The UK MSRP will be £499 inc.vat.

Neumann TLM 103 D – Digital version of a classic

The Neumann TLM 103 D, available immediately, is the digital version of a well established microphone for home recording and project studios.Particularly when used with digital workstations, which are very widespread in this sector, digital Solution-D microphone technology makes life easier for users. The integrated, extremely fast peak limiter guarantees optimal recording levels at all times. Likewise, the Neumann A/D converter built into the microphone eliminates the necessity of tedious experimentation with external converters and pre-amps. This ensures that the legendary Neumann sound is captured unchanged on the user’s hard disk, with optimal quality.

The TLM 103 D is available in nickel and black, with a stand mount. Starter kits are also available, consisting of the microphone, an elastic suspension and a connection kit for direct connection to an AES/EBU or S/PDIF interface.

sE Electronics and Rupert Neve Designs join forces for new Signature series sE microphones

In one of the most exciting partnerships in manufacturing, the sE Electronics International group is producing a brand new range of Rupert Neve signature series mics under the sE stable for 2008.

The first of several mics being readied for production in this new sE series will be a state-of-the-art active Ribbon mic with revolutionary performance, provided by discrete circuits and purpose designed transformers by Mr. Rupert Neve. The capsule and manufacturing are being controlled by sE, whilst the electronics, and of course the transformer, are being taken care of by Mr. Neve.

The combination of a custom designed transformer and circuits from the man who has become legend in the world of solid state electronics, and a microphone and Ribbon from Siwei Zou, who in the relatively short history of sE has designed such industry standards as the multiple award-winning sE2200a and Gemini (not to mention the hugely successful Reflexion Filter), has given rise to a product which will surpass everyone’s expectations of what recording excellence can be achieved with a Ribbon mic. Following hot on the heels of the release of the sE and Mr. Neve Ribbon will be a large diaphragm tube mic, and a solid state condenser.

The first three mics will all share a common look which both gives a nod to ‘retro’ whilst still driving forward with sE’s modernistic ‘industrial chic’. In a word, the mics are BEAUTIFUL, the packaging will be second to none, and their performance will set new standards in the high end microphone market. 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 utilizing 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 opamps and the delicate microphone elements.”

“This association with Siwei Zou and sE 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 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 achieve 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, which from early tests are already proving to surpass anything I have ever heard before, means we are now able to produce high end mics, at a fraction of the cost of other high end brand models, but which have a sound and performance quality the likes of which this market has never seen before.

This is a truly exciting time for sE and me personally” Josh Thomas, of Rupert Neve Designs, says “We are extremely pleased to be working so closely with sE Electronics. Rupert has been studying the mic market for some years with the intention of working on a project like this. After putting a number of big brand names, and countless mics, through rigorous testing, and looking at the manufacturing techniques, build quality, and work ethic of these companies, it quickly became clear that the partnership with sE would be extremely interesting from both a design standpoint and for the market.”

He continues: “Where most manufacturers we looked into seem to be cutting corners in manufacturing, packaging etc, or subcontracting to OEM to save money, and blindly copy what has been done before, sE have consistently shown us a complete commitment to pushing the design envelope with hand crafted quality in all their products, and continual efforts to improve every detail possible in their product. sE’s ethos is less about making as much profit as possible, and more about making the best product they can, and frankly, that is precisely what Mr Neve is all about.”

sE Electronics’ James Young says: “It’s a huge honor for us that Rupert even considered us among the big players as a company he might like to work with. In the end there was no way we could ever compete with the kind of money that a large corporation could throw around to secure a deal, so it’s a testament to Mr Neve’s principles and dedication to his art that he chose to work with the company that he thought would build the best product, plain and simple.”

“We are all so excited about where this collaboration will take us and focused now on getting the first three products to market by Summer 2008 and then… Well, you’ll see!”

Not just improved – truly bigger and better!

The new OctaMic II Preamp – replacing the OctaMic D – provides a completely new electronic design with increased features. The new Preamp features 8-channel 192 kHz/24 bit AD conversion, hi-class microphone and line pre-amplification and includes some significant enhancements compared to his predecessors, like a maximum input level of +21 dBu with a convenient gain range from 0 dB up to 50 dB, an improved signal to noise ratio ADC of 107.5 dB, improved THD, especially at high gains and much more.

The new Focusrite ISA 828

This August sees the unveiling of Focusrite’s new ISA 828 eight channel microphone pre-amplifier. The ISA 828 features eight original ISA transformer-based pre amps in a single robust 2U chassis, and offers the Focusrite signature sound at the lowest cost per channel to date.

The eight ISA-series transformer-based microphone pre amps feature exactly the same vintage microphone pre-amplifier design as the original ISA110 module from Focusrite’s critically acclaimed Forte console (including the original Lundahl L1538 transformer and bespoke zobel network).

The pre-amps are complemented by eight line inputs, four instrument inputs and an optional eight channel 192kHz ADC that outperforms every other converter yet devised. Thanks to its convenient 25 pin D-Type connectors, the ISA 828 also integrates quickly and seamlessly with ProTools HD, as well as other popular hard disk recorders and mixing desks.

The microphone input stage includes a variable impedance circuit, allowing the user to switch between four carefully selected input impedance settings. The original ISA 110 setting is supplemented by three further impedance settings to perfectly match/creatively mismatch the pre amp with any microphone collection.

The four front panel instrument inputs also feature high and low impedance options to provide a comprehensive and accessible DI solution. Insert switches are also featured on every channel, should the need arise to place extra processing between the pre amp and converter. Vintage design high-pass filters are also provided on every channel.

Focusrite’s optional eight-channel 192kHz ADC embodies cutting-edge conversion technology, seated within Focusrite custom analogue circuitry. This provides eight channels of A/D conversion, delivering unparalleled performance; noise at -122dBF and jitter < 250 picoseconds.

Finally, every channel features a six LED input meter, complete with precise meter trim. The meter displays and meter trim calibrations utilise the same reference points as Digidesign’s HD system and provide clear and accurate input metering, independent of the DAW.

AES Launch for RME’s new DMC-842 Digital Microphone Interface

The AES 2007 Vienna sees the launch of RME’s DMC-842 – the first multi-channel interface for digital microphones. The introduction of digital microphone technology into the pro audio sector has afforded sound engineers a greater degree of flexibility. At the same time, it has created a demand for interfaces that can control and handle digital microphones.

Price wise the DMC-842 digital microphone interface is comparable with conventional preamp/converter units such as RME’s Micstasy. In addition to its role as an interface, the DMC-842 also acts as a power supply and control device for digital microphones, supporting the worldwide AES 42 standard.

Supporters of the Mode 1 and Mode 2 operating systems specified in the AES 42 standard currently include, among others, Neumann and Schoeps. Mode 1 permits an asynchronous operating system in which the microphone is supplied with Digital Phantom Power (DPP), but no control data can be transmitted “upstream”. Working with several Mode 1 microphones requires the use of sample rate converters, which have already been implemented in the DMC-842. Mode 2 allows microphones to be synchronized and control data for adjusting gain, polar patterns, hi-pass filter and compression settings to be sent. Further functions are already specified in the AES 42 standard and availability depends on the individual microphone.

The cost of running digital microphones with a DMC-842 is comparable with that of many standard analog microphone-preamp/converter set ups. What’s more, it affords greater ease of use, with better quality and enhanced functionality – depending on the application.

In many respects, the DMC-842 is an ideal companion to RME’s Micstasy. Using the same interface connections as Micstasy (ADATSMUX and AES/EBU in series, MADI and other optional formats) it ensures problem-free assembly of combined systems for both analog and digital microphones. The DMC-842 even includes analog line level outputs, so there are no problems if pure analog devices are included in the chain, for example when monitoring.

The ability to switch the Digital Phantom Power on or off on individual channels means that the DMC-842 can handle “normal” AES/EBU signals at the same time. Thanks to the built-in SRC (sample rate converters), these can also be asynchronous.

To adjust the various microphone parameters, RME has produced a free Windows-based software application that communicates with the DMC-842 via MIDI. As with Micstasy, the DMC-842 also supports the transfer of MIDI data over MADI as well as over AES/EBU-Signals. All the main microphone parameters are also directly accessible from the unit itself.

Audio-Technica Provides UniGuard® RFI Protection for New Engineered Sound® Integrator Mic Series

Audio-Technica has completely re-engineered its premier Engineered Sound® integrator microphone line, introducing over 30 new models featuring the company’s unique UniGuard® RFI protection technology.

Since its introduction, the Engineering Sound series has been a first choice among leading contractors and system integrators. The re-engineered ES series, comprises a truly comprehensive assortment of 21 gooseneck, six hanging, two boundary, a lavalier and a handheld microphone, and utilises breakthrough audio and mechanical design improvements, to set new standards for signal quality, reliability, and ease of installation. Chief among these is the inclusion of UniGuard RFI-shielding, providing unsurpassed immunity from radio frequency interference; hugely important in today’s increasingly hostile RF environment.

Redesign of the series has also allowed for removal of substances specified in the EU’s RoHS directive, making the series fully compliant. Other new features include superior off-axis rejection for improved gain before feedback, and 80 Hz UniSteep® filter for removal of unwanted low frequencies without affecting vocal signal quality. Four new interchangeable elements lend additional flexibility, with cardioid, hypercardioid and omnidirectional elements offered, as well as the MicroLine™ (90º pickup pattern).

ES gooseneck microphones are designed for a full range of conferencing and presentation applications. The improved, easy-to-adjust, small-diameter gooseneck with virtually no “memory” permits smooth, quiet and quick positioning into the desired shape. The goosenecks’ super-robust design also resists inadvertent repositioning. Boundary models offer outstanding speech intelligibility, with superior off-axis rejection and maximum gain-before-feedback, for conference tables and a whole host of discrete, challenging reinforcement applications.

The new overhead microphones are ideal for speech, theater, orchestral and choir sound reinforcement or recording. With robust construction, unobtrusive appearance, and unsurpassed immunity to radio frequency interference, these hanging mics offer advanced, versatile sound-reinforcement solutions. The ES973 hypercardioid condenser microphone offers smooth, accurate audio reproduction for handheld and fixed-mount applications. The microphone’s special internal shock mounting eliminates virtually all handling and cable noise. The discreet-design ES943 cardioid, condenser clip microphone offers maximum intelligibility and minimum visibility for quality sound reinforcement, professional recording, television and other demanding sound pickup applications.

UniGuard® RFI protection technology

Audio-Technica’s proprietary UniGuard Radio Frequency Interference protection comprises 13 separate patents, providing a total system for RFI protection, that impacts on every aspect of the design of the new Engineered Sound microphone series. The increasing proliferation of RF emissions, from cellphones, computers, monitors and the like, in everyday commercial and enterprise environments, increasingly presents a challenge for installation sound and integrated AV systems. Likewise, in broadcast and other reinforcement applications, the effects of lighting and effects, video screens, and the various remote control and automation systems, can produce many forms of interference in microphones. Each UniGuard protected microphone is a completely shielded enclosure, offering paint-free connection points, custom RFI-shielding, and filtering on all input and output connectors. Audio-Technica has also improved each microphone’s shield termination to solve the pin 1 problem, a common source of RF interference in condenser microphones.

For added flexibility, Audio-Technica has developed a dedicated crimp tool and special RFI shields for TA3F, TA5F and XLR connectors, to enable contractors to shorten cables and correctly reinstall connectors while maintaining the highest level of RFI immunity.