Lotta New Mics At Winter NAMM
New mics for every app were on display at Winter NAMM this year, including noteworthy new products by Audio-Technica, Mojave, Telefunken, Earthworks and more.
Audio-Technica's (l-r) AT4080 and AT4081 ribbon mics
Audio-Technica introduced its first-ever ribbon microphones — the AT4080 and AT4081 Bidirectional Active Ribbons mics. The AT4080, whose footprint is that of a classic “suspension cradled” side-address condenser, is recommended for vocals, horns, strings, acoustic instruments, drum overheads, orchestras, ensembles and guitar cabinets. The AT4081, with an appearance more like that of a pencil condenser, is optimized for strings, saxophones and other horns, acoustic instruments, drum overheads, orchestras, ensembles and guitar cabinets; its low-profile stick design maximizes placement options.
According to Audio-Technica, both mics excel in recording studios as well as in live-sound settings. N50 rare-earth neodymium magnets provide high output levels, and the mics’ dual ribbon construction offers increased sensitivity and SPL handling capability. The bidirectional polar pattern of the mics makes them equally sensitive to sounds originating in front and back of the mic. Both feature extended frequency response for natural audio reproduction, and the AT4080 utilizes an acoustic baffle system and an extra-large output transformer, providing extended low-frequency response and dynamic range.
The AT4080 and AT4081 Bidirectional Active Ribbon Microphones are now available with respective MSRPs of $1,245 and $895.
Mojave's MA-101fet
Mojave Audio introduced its new MA-101fet condenser microphone. Mojave mics are designed by David Royer (yeah, that Royer), and the MA-101fet is reportedly “an ideal choice for recording acoustic instruments such as guitar, piano and wind instruments, as well as percussion and drum overheads. Though the pencil-condenser mic was also designed with “exceptionally high headroom,” making it a great choice for loud sources — i.e. guitar amps, snares, toms and even sound effects such as “gunshots, dragsters, and explosions.”
The MA-101fet features both omni and cardioid polar patterns by way of interchangeable capsules and with its 3-micron thick, .8-inch diameter gold sputtered diaphragm, this new microphone is a truly versatile recording instrument.
With a MSRP of $595, the Mojave Audio MA-101fet will become widely available in Q1, 2009.
Meanwhile, Blue Microphones exhibited its new live mics: the en•CORE 300 live stage vocal microphone and its en•CORE 100i live instrument microphone
The en•CORE 300 is built with Blue’s proprietary, custom-tuned condenser capsule, which is mounted on a rubber suspension system and coupled with a matched, phantom powered preamp circuit.
The reported result is: “vocal clarity and vibrancy with consistent tone and low noise, regardless of the cable length on stage.”
Blue's En•CORE 300
The en•CORE 300’s “Arched Airways” are comfortable to grip while maximizing air volume in the capsule chamber, reducing the harsh or unpleasant sound quality often resulting from gripping the microphone at different locations. Allowing more “open air” or volume that surrounds the top and bottom of the capsule reduces in-chamber resonances, is said to result in a more natural, present, and open sound.
The en•CORE 300 will be available in February 2010 for $199 MSRP at authorized Blue Microphone retailers.
Based on the en•CORE 100 dynamic vocal microphone, Blue’s new 100i is designed with a wider and flatter frequency response to capture a variety of instruments and tighter polar pattern to reduce off-axis noise.
The mic is built around Blue’s proprietary dynamic capsule with a custom-designed diaphragm and coil windings that are matched to a tuned acoustic circuit, custom-built transformer for low noise, and high-pass filter to reduce stage rumble. These matched components provide an accurate and consistent sound even at high volume levels on stage.
The en•CORE 100i will be available in February 2010 for $89 MSRP at authorized Blue Microphone retailers.
As previously reported, Telefunken Elektroakustik introduced its new AR-51 large diaphragm tube condenser microphone, the latest addition to Telefunken’s affordably priced R-F-T line of tube mics.
Telefunken Elektroakustik's new AR-51 large diaphragm tube mic
The AR-51 utilizes the same circuit design as the classic Telefunken ELA M 251E and employs new cost-efficient manufacturing methods to hit a sweet-spot price point (TBA) for customers ranging from major commercial studios to voiceover rooms and home project studios.
According to Telefunken, the new R-F-T AR-51 utilizes only premium components, including a vintage New Old Stock (NOS) tube that has been rigidly tested for noise and microphonics, as in the ELA M 251E. The AR-51 also features a globally-sourced power supply and capsule, both rigorously tested prior to installation.
Audio engineers at the Telefunken studios in South Windsor, CT, tested a wide range of applications for this new large diaphragm microphone, and found that the AR-51 is especially suitable for recording acoustic and electric guitars, piano, percussion, for drum overheads and close miked drums, as well as for both male and female vocals.
Neumann TLM-102
Neumann exhibited its new TLM-102 (TransformerLess Microphone) at NAMM, a large-diaphragm studio condenser microphone with broad applications and a price point friendly to the home recording, project studio and broadcast customer.
The TLM-102 features a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB, which permits the recording of percussion, drums, amps and other very loud sound sources. According to Neumann, instruments that are not especially loud also benefit from the very fast transient response of the TLM 102.
However its most important applications are in the realm of vocals and speech: “a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording.”
The TLM-102 is going for $699 at retail: http://www.guitarcenter.com/Neumann-TLM-102-Condenser-Microphone-584192-i1500538.gc
And, Earthworks introduced its PM40T Touring PianoMic system. A collapsible mic rig featuring two omnidirectional 40kHz High Definition Microphones, the PM40T is made for the road, designed for quick and easy setup and to fit in an airline carry-on sized case.
Earthworks PM40T Touring PianoMic
According to Earthworks, with the new PM40T, musicians and audio engineers can achieve pristine sound quality regardless of whether the piano lid is up or down. With a frequency response ranging from 4 Hz to 40 kHz, the Earthworks omnidirectional mics reportedly deliver “extraordinary impulse response and extremely short diaphragm setting times.”
These microphones are also said to exhibit no proximity effect (change in LF levels), regardless of their distance from the piano strings or soundboard, resulting in a consistent piano sound across the entire range of the instrument.
For more information, visit http://www.EarthworksAudio.com.
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