Microphones in Audio Studio

Audio Studio Checkout is available for limited access to students working in intermediate to advanced audio curriculum. If you are enrolled in Audio Recording, Multitrack Composition, Advanced Audio Production or have an approved individual contract with facilities clearance you may use these resources. The equipment is for use in the campus studios only. You must reserve these items through the audio production work order system in Electronic Media. Equipment List Microphones

   1 AUDIO TECHNICA AT4060 tube cardioid
   1 AKG 414 condenser multi-pattern
   1 AKG C414 XLS Reference Multi-Pattern Condenser Microphone (Matched Pair Stereo Set)
   2 AKG C 460B condenser cardioid
   2 AKG D112 dynamic cardioid
   2 AKG D202 & 1 D200e dynamic cardioid
   1 AKG D224E dynamic cardioid
   1 AKG D1000E dynamic cardioid
   1 Avantone CK multi-pattern
   1 BEYER M160 ribbon hyper cardioid
   Cascade Fathead (2 Single Kits, 1 Double Kit)
   4 Chameleon Labs TS-1 Tube Condenser
   2 Chameleon Labs TS-2 lTube Condenser
   2 Coles 4038 Ribbon
   2 CROWN PZM condenser pressure zone
   2 Earthworks TC20 small-diaphragm omnidirectional condenser
   2 EV 635A dynamic omni
   6 EV CS15 condenser cardioid; 1 with omni cap
   5 EV N/D 308B dynamic cardioid
   2 EV N/D 408B dynamic super-cardioid
   3 EV RE15 dynamic cardioid
   3 EV RE16 dynamic super-cardioid
   1 EV RE18 dynamic cardioid
   1 EV RE20 dynamic cardioid
   2 EV RE55 dynamic omni
   2 MARSHAL MXL2003 condenser cardioid
   2 NEUMANN KM83 condenser omni
   4 NEUMANN KM84 condenser cardioid
   1 NEUMANN U47 condenser cardioid
   3 NEUMANN U87 condenser variable pattern
   2 PPA LD-ONE condenser cardioid
   2 RCA 77DX ribbon variable pattern
   1 RODE NT4 Stereo Condenser
   1 ROYER R-121 ribbon bi-directional
   2 SE ELECTRONICS SE 5000 tube cardioid
   2 SE ELECTRONICS SE 5600 tube multi-pattern
   4 SENNHEISER 421 dynamic cardioid
   2 SENNHEISER 441 dynamic super cardioid
   1 SENNHEISER BINAURAL HEAD (Dr. Normar)
   1 SENNHEISER Combo electret condenser
   2 SHURE BETA 87A condenser super-cardioid
   2 SHURE KSM32 condenser cardioid
   2 SHURE KSM137 condenser cardioid
   1 SHURE SM7B dynamic cardioid
   1 SHURE SM53 dynamic cardioid
   7 SHURE SM57 dynamic cardioid
   5 SHURE SM58 dynamic cardioid
   2 SHURE SM81 condenser cardioid
   1 SHURE VP88 (Viper) condenser stereo
   2 STUDIO PROJECTS C4 condenser cardioid/omni
   1 SONY ECM22P electret condenser cardioid
   4 SONY ECM50 lavalier omni
   MISCELLANEOUS
   5 DIRECT BOXES
   2 MACKIE 1202 MIXERS
   2 EV CS15 power supplies
   1 Moviola amp

Microphone Descriptions and Uses

• AUDIO TECHNICA AT4060: Tube preamp condenser. Nice transparent sound, not too bright. Includes power supply and shockmount.
• AKG 414: Very nice, flat sensitive condenser. It has variable pick-up patterns of cardioid, hyper-cardioid, omni, or bi-directional. It also features bass

roll-off and a pad.

• AKG C414 XLS Reference Multi-Pattern Condenser Microphone (Matched Pair Stereo Set): designed for detailed pickup of acoustic instruments. They offer five selectable polar patterns, providing a suitable solution for a wide range of recording situations. There is a high SPL capability, wide dynamic range, and low self-noise to produce clean, lifelike audio with a minimum of overloads or distortion.
• AKG D112: Dynamic. Good for kick drums and lower end stuff.
• AKG D202: Dynamic. These can be used in a pinch for kick drum.
• AKG D224E: Dynamic. A bright, clean sound, great for acoustic guitar and strings. Has bass roll-off.
• AKG 460B: Condenser. Requires phantom power. Has roll off and pad settings. Extremely sensitive.
• Avantone CK – 40 Multi-Pattern Stereo FET Microphone. Good for group vocals, acoustic guitar, mandolin, drum overheads, piano, room mic, etc…
• BEYER M160: Hyper-cardioid. This is a warm sounding ribbon microphone. Good for vocals, sax, mellower instruments. NOTE! There are two red dots on either side of the mic head. These must be aligned vertically, i.e.. up and down so you could draw a line through them to the floor. This is so the ribbon is properly positioned. Put the mic back in its case properly aligned.
• Cascade Fathead: Similar to other ribbon mics with a relatively smooth frequency response. The Fathead boosts a bit in the upper mids. Less clarity and definition than the Coles. Handles high SPL. As with all ribbon microphones, the Fatheads are very fragile and will break if put close too large blasts of air like a kick drum or loud guitar speaker.
• Chameleon Labs TS-1 – 1 Tube condenser microphone. Can be used as an omni or cardiod mic. Great for instruments. Use a pop filter if using for vocals.
• Chameleon Labs TS-2 –Large diaphragm multipattern tube condenser microphone. Great used as a warm vocal microphone as well a providing the necessary detail for the human voice. Equally precise when recording guitar. Three different variable patterns: omni, cardiod, and figure eight.
• Coles 4038: Clear and smooth wide range frequency response, absent of transient distortion. Above average sensitivity for a ribbon microphone. As with all ribbon microphones, the Coles are very fragile and will break if put close to large blasts of air like a kick drum or loud guitar speaker.
• CROWN PZM: Pressure Zone Microphone, hemispherical. Tape it on a wall, a table, whatever. Great for choral or orchestra recording, also for ambient sound. This mic can be used with phantom power or batteries.
• Earthworks TC20: small-diaphragm omnidirectional condenserIts careful construction makes it an excellent microphone for drums, guitar amps, piano, and much more.
• EV N/D 308B: Dynamic. Here we have a pivoting head for maximum flexibility and placement, with the neodymium alloy magnet. Popular on toms.
• EV N/D 408B: Dynamic, super cardioid. Used best with instruments.
• EV 635A: Dynamic, omni. A basic mic. Smooth response pattern, no proximity effect.
• EV RE15: Dynamic. Good basic mic for percussion, guitar, etc. No proximity effect if the razor back (the slots on the back) are uncovered.
• EV RE16: Dynamic. Basically the same as the RE15 but super-cardioid with a windscreen. EV RE18: Dynamic, super cardioid. No proximity effect if the razor back (the slots on the back) are uncovered
• EV RE20: Dynamic. Everybody’s favorite kick drum mic. Also used for sax and vocals. EV RE55: Dynamic, omni. These mics have the flattest response around, which means you get very accurate sound reproduction.
• EV CS15: Condenser. Good for drum overheads and whatever. One of these mics comes equipped with a capsule that can be put on to change the mic to omni-directional. NOTE! There are also two power supplies available that enable you to use the microphones in situations where you normally couldn’t due to lack of phantom power.
• MARSHAL MXL2003: Condenser. Large diaphragm condenser with bass roll off or pad. Includes shock mount. Requires phantom power.
• NEUMANN U47: Condenser. Nice for acoustic guitar, vocals. Has bass roll off. Requires phantom power.
• NEUMANN U87: Condenser. Variable pick-up pattern, pad, and roll off. Good for just about everything, excluding drums and other loud things. Requires phantom power.
• NEUMANN KM83: Condenser, omni. A sweet little mic, good for whatever you’d use a nice omni condenser for. Requires phantom power.
• NEUMANN KM84: Condenser. Same as the 83, only cardioid. Used often for drum overheads. Requires phantom power.
• PPA LD-ONE Condenser. Large diaphragm condenser. Includes shock mount. Requires phantom power.
• RCA 77DX: Ribbon mic, with that great old radio days look. Variable pick-up pattern. This is an especially delicate microphone, with the warmth and mellowness characteristic of ribbon mics. Be gentle. NOTE! It comes with a mic stand adapter, as it was made in the days when stands were bulkier. Make sure you receive the adapter when checking the microphone out, and don’t forget to return it with the mic. The adapter should be screwed into the clamp at the base of the mic.
• RODE NT4: Designed for field or studio use. Transparent sound reproduction. Provides and accurate representation of stereo field. Good for room micing, live performances, choirs and field recording.
• ROYER R-121: Ribbon, bi-directional. The Royer logo is on the front side of the mic. It is very sensitive to bursts of air. Use a windscreen when close micing vocals and wind instruments.
• SE ELECTRONICS SE 5000 Tube. Large diaphragm tube condenser. Includes shockmount, power supply and multi-pin cable.
• SE ELECTRONICS SE 5600 Tube multi-pattern. Large diaphragm tube condenser. It has nine different pick-up patterns. Includes shockmount, power supply and multi-pin cable.
• SENNHEISER 421: Dynamic. Roll off switch on barrel by the XLR jack. M=Music (flat) S=Speech (maximum roll off) This is an ideal mic for just about anything, including kick drum.
• SENNHEISER 441: Dynamic super-cardioid. A little bigger than the 421, also an excellent microphone. Has the roll off and a presence boost switch under the clamp on the bottom.
• SENNHEISER BINAURAL HEAD: More affectionately known as Dr. Normar. It enables you to record sounds the way your ears hear them, and consists of the head and a set of microphones. You can either wear the mics, or put them on the head and carry it around. Binaural recordings must be played back on headphones to receive the full impact of this technique.
• SENNHEISER COMBO: Condenser, multi-capsule. This mic comes with three interchangeable capsules; shotgun, cardioid, and omni. Requires phantom power or batteries (which are supplied).
• SHURE BETA87A: Condenser, super-cardioid. Vocal mic designed for live sound use. Requires phantom power.
• SHURE KSM32: Condenser. Large diaphragm condenser. It has a 2 position bass roll-off and a -15 dB pad. Requires phantom power.
• SHURE KSM137: Condenser. It has a 2 position bass roll off and a 2 position pad. Requires phantom power.
• SHURE SM7: Dynamic. Vocal mic often used for radio announcers. It has a bass roll off and a mid boost switch on the bottom.
• SHURE SM53: Dynamic.
• SHURE SM57: Dynamic. A good basic mic, used a lot for snare drums and guitars.
• SHURE SM58: Dynamic. A very dependable mic. Same as the 57 except for the addition of a windscreen. Good for vocals.
• SHURE SM81: Condenser. Excellent overhead mic. This mic can be run off the CS15’s portable power supply or requires phantom power. Bass roll off, pad.
• SHURE VP88 (Viper): Condenser, stereo. The width of the stereo field can be adjusted and the two pickup elements can also be recorded separated. Requires phantom power or batteries.
• SONY ECM50: Condenser (electret), omni. Requires a battery in the XLR plug body. This is a lavelier, i.e. small lapel mic. Some people use it for hi-hat. Can be used inside acoustic instruments like harps, bass, etc.
• SONY ECM22P: Condenser (electret). Good for an overhead pair. Power switch has roll off settings M=flat V= roll off.
• STUDIO PROJECTS C4: Condenser. These mics come in a case as a pair. There is a cardioid and an omni capsule for each mic. The cardioid capsules have circular ports around the base of the capsule. Includes shockmounts.

The above suggestions for which mics to use on certain instruments are just that, suggestions. Audio is a subjective field. Use your ears and good judgement to find out which mics you like for the different applications. The only thing that is not subjective is the fact that both ribbon and condenser microphones are more delicate and sensitive than the dynamics, and thus easier to damage if treated carelessly or used to mic kick drums.

In addition to all those great mics and signal processing devices, we have some other fun and useful things.

• KEYS: We have the keys to the studios, which come in handy.
• JUNCTION BOXES: These let you split the signal from a headphone-out jack into five more headphone jacks.
• DIRECT BOXES: Enable you to take the output of an electric guitar, synth, bass, etc., and split the signal so you can simultaneously take the direct signal to the mixing board AND run it to an amp .
• TRANSFORMERS and BARRELS: All the barrel adapters are officially General Access Media Loan. We have hi-lows and medium-lows, bridging transformers, phase reverse barrels, line to mic (60dB) pads, presence boosters, and high and low pass filters.
• MOVIOLA AMP - Originally used in editing film audio it is also a good low wattage tube guitar amp and has been described as a stripped down Fender Champ. It has a small speaker or the headphone jack can be used to hook up an external speaker cabinet with a 1/4” speaker cable.

Other Stuff That's Good to Know