PHANTOM-POWERED VERSION OF THE R84 RIBBON MIC The A840 is different from other microphones. One listen and the A840 stands out with its big, clean sound. It s an ideal spot mic with its tight pattern, smooth extended top, and less proximity bass boost than the R44 and A440. The A840 effortlessly handles a broad range of applications from accent to ensemble. The A840 and other AEA Big Ribbon mics are excellent digital recording tools. Digital has different limitations than analog. The digital recording process is capable of preserving razor sharp details for generations. So it makes sense to use microphones that fit well into the final mix from the start. AEA Big Ribbon mics with their smooth, natural and easy-to-EQ sound have enjoyed a rebirth as digital recording has blossomed. Over 30 years of servicing ribbon mics taught us what users like, and they all like the big sound of the RCA 44. Preserving and reintroducing that sound became an AEA mission. The AEA R44 and A440s, robust, heavy, and expensive to manufacture, are now in daily use worldwide. But that s just the beginning of the story. FEATURES - Phantom powered R84 with 12 dB more sensitivity - Custom German toroidal transformer and JFET electronics - Optimal for soft sound sources and classical recording - Same award-winning sound as the passive R84 - High output - Compatibility with any preamp and input impedance - Low self noise of 17.5 dB (A) - Fast, accurate transient reproduction - Single-diaphragm with well-controlled, native figure-8 polar pattern - High SPL capability of 141 dB - Wide-band response from below 20 Hz to beyond 20 kHz

The Big Ribbon sound in a smaller package The R84 is different from other microphones. One listen and the R84 will stand out with its big, clean sound, quick natural transients, articulate midrange, and effortless bass. The R84 is ideal as a spot mic, but with its reduced bass proximity effect and extended high end compared to the R44, the R84 has a broad range of applications. The R84 is an excellent digital recording tool, as digital processing has different limitations than analog. The digital recording process is more exacting. It s capable of preserving razor sharp details for generations. So it makes sense to use microphones that fit well into the final mix. Thus studio ribbon mics with their smooth, natural, and easy-to-EQ sound have enjoyed a rebirth as digital recording has blossomed. Over 30 years of servicing ribbon mics taught us what users like, and they like the big sound of the RCA 44. Preserving and reintroducing that sound became an AEA mission. The R44, robust, heavy, and expensive to manufacture, is now in daily use worldwide. But that s just the beginning of the story. Could we preserve and update this Big Ribbon sound in a more affordable package Using new technologies, how much could we simplify The R84 uses the same big ribbon as the 44, is 5 pounds lighter, and less bulky. Designed for accent and solo work, its bass proximity effect is less pronounced and the upper 10 to 20 kHz octave is stronger than the R44. Output sensitivity is good, being 2 dB to a Shure SM57. The R84 is now a standard in large and small studios around the world. Why does the R84 sound so different when compared to a condenser microphone Classic condenser diaphragms are radially stretched. They typically have sharp, narrow resonances in the 8 to 12 kHz range, the sound quality we refer to as tizz. The R84 and 44 use a long rectangular diaphragm that is clamped at the ends and tensioned lightly with a fundamental resonance below 20 Hz. Less than 80 millionths of an inch thick, this ultra low mass transducer has an excellent transient response with few resonances. It s one of the most sensitive and accurate transducers possible. Many have commented that the R84 records what your ear hears in the studio. Extreme high frequency headroom and low distortion allows close micing with an R84 without it sounding brittle. Additionally the smooth, nonresonant high end provides engineers considerable EQ flexibility. Try it, you ll enjoy it. FEATURES - Single-diaphragm with well-controlled, native figure-8 polar pattern - Wide-band response from 20 Hz to 20 kHz - High null-axis rejection and gain before feedback - High SPL capability, 165 dB above 1 kHz - Effortless lows and smooth natural highs - Fast, accurate transient reproduction - Low self noise - Excellent off-axis frequency response - Same Big Ribbon , tuning, and transformer as the R44 series - Classic look, but with milder proximity effect than the R44 - Easy to use and affordable - Versatile for close-up and ambient mic applications

You may only need a couple of mic preamps, but they need to be the very best. The ISA Two dual-mono mic pre is the ideal solution: two independent channels of the highest quality classic Focusrite mic pres, with line in and front-panel instrument inputs no DI box required. Based on the legendary designs found in the Focusrite Forte and Studio Consoles, ISA Two is the ideal front-end for your rack.Superb sound spanning four different decadesFocusrites microphone preamplifiers go back to the original Focusrite ISA 110 modules, when Rupert Neve was commissioned by George Martin in 1985 to create a no-compromise channel strip for his Neve console. Combining the very best solid-state electronics with transformer coupling, Focusrite mic pres have played a key part in the recording of hundreds of hit records and theyre the choice of leading artists, producers and engineers around the world.Lundahl TransformersAt the heart of the ISA Two is a pair of Lundahl LL1538 transformers. ISA products have relied on Lundahl from the beginning, since their components were originally specified in 1985. The LL1538 features a 3-section winding, resulting in very low leakage inductance and, as a result, an extended frequency response. Theyre encapsulated in mu-metal cans to shield them from stray magnetism.Variable input impedance and up to 80 dB of gainISA Two features two classic Focusrite mic preamps, with four impedance settings including the original ISA 110 setting. Variable input impedance allows you to go for an accurate, transparent sound or choose to highlight the character of your favourite vintage mic and anywhere in between. With up to 80 dB of low-noise gain, ISA Two can perform in the most demanding situations - really bringing your ribbon, condenser or moving coil mics to life.Insert your choice of processorsEach channel has a fully-balanced insert point accessed via TRS sockets on the rear panel and activated with a front-panel button, so its easy to use outboard processors with the ISA Two. Just plug in your choice of EQ, compressor or limiter.Two channel classic Focusrite ISA transformer-based preampFront panel, per channel:1/4 instrument inputVariable input impedance - Low, ISA 110, Medium, HighInput selection - Mic, Line, Instrument0 - 30 dB/30 - 60 dB gain switchPhantom power switchPhase invert switch0 - 60 dB gain in 10 dB steps0 - 20 dB continuously variable trimVariable high-pass filter with on/off switchInsert point on/off switchEight-LED user-calibrated level metersSingle power switchRear panel, per channel:XLR-F mic inputs1/4 TRS line inputs1/4 TRS Sends1/4 TRS ReturnsXLR-M line outputSingle peak meter calibration dialSingle IEC power socketNoise at main output with gain at unity (0 dB) measured with 50 source impedance and a 22Hz - 22 kHz band pass filterW x D x H 480 mm x 280 mm x 44 mmWeight 3.7 kg

The ISA428 MkII provides four of Focusrites prestigious transformer-based microphone preamps. It features the same classic circuitry and renowned audio quality found in the original at a new level of affordability. With selectable input impedance, direct instrument inputs and an optional eight channels of high-quality analogue to digital conversion, the ISA428 MkII creates the perfect front end for the discerning recording professional. First introduced in 1985, the ISA microphone preamp holds a reputation for outstanding transparency along with subtle warmth contributed by transformer core saturation. The addition of a variable impedance circuit allows ISA users to perfectly match the preamp with any microphone, or to use different settings creatively to shape the sound of the microphone. Unchanged for decades, the ISA microphone preamp topology offers incredible clarity and the signature Focusrite sound that makes it the top choice among many audio professionals today.Four instrument inputs, instantly accessible on the front panel, allow quick and easy connection without the need for a separate DI box. Extra processing can be placed between preamp and conversion via the units dedicated insert points, featured on every channel. Finally, accurate six-segment LED metering is designed to catch even the fastest transients on every channel. Over 25 years, Focusrite has earned a reputation for bringing superb audio quality and engineering excellence to an array of audio professionals. Whether youre looking to preserve the sound of your classic microphones, or searching for the perfect front end for your digital studio, the ISA428 MkII brings legendary tools to your studio at an exceptional new price.Front and rear connectivityAnalogue Channel Inputs (Inputs 1-4)-4 instrument 1/4 TS jack inputs on front panel -4 microphone XLR inputs on rear panel -4 line 1/4 TRS jacks on rear panel -4 insert return 1/4 TRS jacks on rear panel-4 ADC XLR inputs on rear panelAnalogue Audio Outputs (Outputs 1-4)-4 line XLR outputs on rear panel -4 insert send 1/4 TRS jacks on rear panelOther I/O-IEC power input connector 100Vac 240VacFront Panel Indicators-8 output meters, 6 segment -4 30-60 mic gain range selection indicator -4 48V phantom power indicator -4 Phase indicator -4 Insert In indicator -4 Filter In indicator -4 Input selection indicators (Mic, Line, Inst) -4 Z In microphone input impedance selection indicators (Low, ISA110, Med, High) Clock select indicators (44.1, 48, 88.2, 96, 176.4, 192) -Ext clock indicators (Lock, Word clock, 256X)Weight5.5kg12.2lbsDimensions (W x H x D)480mm (W) x 88mm (H) x 280mm (D)19 (W) x 3.5 (H) x 11 (D)

A complete stereo pair; two handpicked cardioid condenser microphones, selected on sensitivity within ±1.5 dB. Makes several stereo principles like XY and ORTF easy to obtain. The compact design and controlled directionality of these mics make them an excellent choice for spot mics for classical recording and on-stage close mics for live sound. The foam design in the heavy-duty transportation box allows for fast and easy exchange of the microphone/accessory inlays. These condenser microphones are acclaimed for its close-miking excellence and hi-SPL handling. Optimized for onstage use, it has been used on many stages as well as recording sessions. It exhibits a previously unheard blend of clarity, richness and dynamic range. The off-axis response is linear but in a smaller frequency bandwidth. This makes stage separation and gain-to-feedback higher. The mic level is easier to control. Features: - Sensitivity-selected pair - Blends clarity, richness and dynamics - Twin diaphragm capsule and interference tube technologies - Superb stage separation and level control - Low-profile mounting options - Modular flexibility - Peli Case transportation and protection - x2 Clips and x2 Foam windscreens included Specifications: - Directional characteristics: Cardioid - Principle of operation: Pressure gradient, with interference tube - Cartridge type: Pre-polarized condenser, Twin Diaphragm Capsule - Frequency range: 20 Hz - 20 kHz - Frequency range, ± 2 dB: 50 Hz - 17 kHz with 3 dB soft boost at 12 kHz - Sensitivity, nominal, ± 2 dB at 1 kHz: 10 mV/Pa; -40 dB re. 1 V/Pa - Equivalent noise level, A-weighted: Typ. 20 dB(A) re. 20 µPa (max. 23 dB(A)) - Equivalent noise level, A-weighted: Typ. 33 dB (max. 36 dB) - S/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL): Typ. 74 dB(A) - Total Harmonic Distortion (THD): 50 dB - Power supply: 48 V Phantom power (± 4 V) - Current consumption: 2.8 mA - Connector : XLR-3M. Pin 1: shield, Pin 2: signal phase, Pin 3: - phase - Color: Matte black - Weight: 64 g (2.3 oz) - Microphone diameter: 19 mm (0.75 in) - Microphone length: 92 mm (3.6 in) - Output voltage, RMS: 4.5 V - Polarity: V at pin 2 for positive sound pressure - Temperature range: -40 to 45°C (-40 to 113°F) - Relative Humidity (RH): Up to 90% - Matching tolerance (frequency response and sensitivity): ±1.5 dB

SLAM! stands for Stereo Limiter And Micpre and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending– it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym. When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, it just works quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM! GET IN: The SLAM! starts with tube Mic Preamps on both channels with selectable phase reverse, high pass filter, and switchable phantom power (on the back panel). We’ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter– plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ‘n’ rollers won’t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. The DI inputs have selectable input impedance, depending on how far you plug the 1/4 cable into the jack: push it in all the way and the input impedance is 100KOhms, pull it out half way and it becomes 20 megOhms which reduces pickup loading and allows all the highs to get through. Come on in! Get it LOUD... two different and distinct limiters per channel: The ELOP® LIMITER: Our beloved Electro-Optical Levelling Amplifier circuit, the ELOP®, still the favorite for vocal tracking, shows up here with its new switchable side-chain high pass filter making it much more useful for mixes and other tracks as well. One of the most appreciated aspects of our original ELOP® is the simplicity of a two knob limiter, which is optimum for demanding pro recording pressures. You can still grab two knobs and have complete control of level and dynamics and be ready to hit that record button. Intuitive controls and a straight ahead signal path through quality components simply work. The ELOP® limiter implementation is done like we did in our VOXBOX® which pioneered the idea of limiting the mic signal before it hits any active stage. The ELOP limiter moves to the line stage when LINE is selected. The ELOP sidechain provides different HP filters on a toggle. The 200 Hz setting has been tailored for vocals and adds a touch of de-essing.The FET LIMITER: Here’s a new fast FET based brick wall limiter that spans the range of clean predictable limiting to the grunge and gravel that other FET based limiters are desired for. The FET RELEASE control allows you to dial up a variety of colors. There is even a CLIP setting that provides as round a shape as has ever been available. (Read more below about the CLIP settings.) We aimed at sound first, then experimented with circuits until we heard what we wanted discovering fresh approaches that provide a very wide range of useful dynamic control. For example, you can set up for a fast brick wall limiter with slower releases for minimum artifacts, or go with the faster releases to get some crunch and then get extreme loudness. The Attack control is unusual too providing the sonic control common with its historic brothers but very unusually retaining the zero overshoot “none-shall-pass” brick wall that defines a real limiter. And it’s punchy! As the saying goes, “Louder is better.” The SLAM! optimizes levels to analog to digital converters with ballz, warmth and loudness verging on silly or just clean and safe. What is especially nifty is the ability to use the ELOP® and FET limiters together at the same time dialing in whatever amounts of each effect you like. Every limiter has its own character or sound and here we have combined two powerful world-class tools that can be uniquely blended and mixed to taste and purpose. Even the metering is appropriate for each limiter so you can easily see how each is contributing. Metering on the SLAM! is exceptional. The two full size real VU meters show you the raw input levels, the final output levels, and the ELOP® Limiter gain reduction in the traditionally preferred format for visually displaying apparent loudness. VU’s are cool. Noticing how mastering engineers often need a switchable pad on their VU's because the optimised levels tend to pin the needles in the red, the SLAM! VU’s also have a 0, -3dB, -6dB switch to help with this situation. There are also very fast and super accurate multi-color LED ladder peak meters that display the input and output levels and the FET gain reduction, and some combinations. They will do Peak, Peak Hold timed, and Peak Hold until reset, and also allow you to manually set where the individual bars change colors to match your other gear. And with maximum clean I/O levels of +30 dBu, it is a lot more likely you will use these meters to see what’s clipping downstream. It probably won’t be the Manley tube line drivers inside!The back panel should keep everybody happy. In the sea of jacks including the big power supply connector, you'll find all the usual XLR’s for transformer balanced I/O and 1/4 phone jacks for direct unbalanced I/O. Eight Bantam jacks in a mini-patchbay configuration handle the side-chain inserts and linking functions. You can insert EQs into the ELOP® and FET limiters, and there are more jacks for you to mix in an external signal into the side chains. Another pair of jacks provides for easy linking for 5.1 surround work if you have three or four SLAM!'s. It’s all here.Speaking of Linking... all previous Manley dynamics units require both channels to be setup fornear identical settings rather than the more common just set the Left side. The SLAM! lets you do it both ways. The L Side method is the STEREO LINK mode and is quick and convenient but, like others, uses a mono mix for the side-chain. The BOTH & EXT adds the rear panel link jacks to the link buss so you could chain up several SLAM!s for linked surround work. Both or all 6 channels should be set similarly. This mode is usually better for mastering as it responds to the true peak level of the channels rather than an artificial mono mix.Outside the Box, that's where the power supply is. The illuminated power switch turns on the external power supply. Keeping the power supply far away also keeps additional heat and magneticfields away from the precious audio. The power supply is housed in a sturdy cast aluminum 7 x 4 x 5 box that is easy to mount to or place in the bottom of a rack. A seriously humongous 16 pin connector, and 6' multicore cable connects the two boxes.The SLAM! also seems a natural as a mastering tool. The FET limiter works great on mixes, and the ELOP® now has a high pass filter switch that is spot-on for mastering. We offer a dedicated mastering version which eliminates the mic preamps, adds detented controls replacing the pots, and provides extra metering options. Manley compressors and EQs seem to be the most popular pieces of gear ever when it comes to mastering. The ultimate analog rack for the final important touches to the mix would have include the SLAM!, The Variable Mu® and The Massive Passive. Combine this with some digital processors of similar calibre and one has a respectable and very effective set of mastering tools. That Manley rack plus some Manley Microphones would make an ultimate stereo recording chain too. This is gear you’ll want to keep for a lifetime.

The kit will consist of: - a pair of N8s. - a laser-engraved template bar with all the hardware needed to set up Blumlein or other stereo configurations. - two custom windscreens. - the highest quality SKB carrying case with foam inserts. PHANTOM-POWERED RIBBON MICROPHONE How is the N8 different from other ribbon microphones The AEA N8 was designed to be the most open and natural sounding ribbon microphone we could make. Conceived to render acoustic spaces as faithfully as possible, the new N8 microphone excels in capturing drum overheads, strings, classical ensembles, orchestras, and rooms. As such, it is the ideal complement to the N22 microphone. But even when used up close, such as on guitar and bass amps, the N8 delivers exceptional clarity and warmth, while also taking EQ extremely well. Additionally, the N8 s unobtrusive size and black finish is ideal for orchestral and TV work, where microphones need to be easy to position and more or less invisible. What is under the hood Featuring the same Big Ribbon technology that has earned AEA its reputation, the N8 offers an incredible sound in distant-miking applications like drum overheads, strings, brass, and rooms. With phantom-powered JFET electronics and a custom German transformer the N8 achieves optimal performance with a wide range of preamps including USB audio interfaces in home studio setups. By employing a similar design philosophy as used on the popular R88 stereo ribbon microphone, the N8 achieves an astonishingly open and natural sound that lets AEA s famed Big Ribbon truly shine. At a $1098 street price, the N8 is a handcrafted US-made microphone built to last a lifetime. About the NUVO series The N8 is the second member of AEA s NUVO series. Rooted in the RCA tradition just like other AEA ribbons, all NUVO microphones are designed to offer a fresh approach to the ribbon transducer and represent Wes Dooley s take on the evolution of the ribbon microphone. FEATURES - Designed for drum overheads, strings, and room miking - Open and natural with unobstructed response - Phantom-powered electronics for optimal performance with any preamp - Low profile and black finish for discreet placement - Featuring the same Big RibbonTM technology as the AEA R44 microphones - 100% handcrafted in Pasadena, CA

PHANTOM-POWERED RIBBON MICROPHONE How is the N8 different from other ribbon microphones The AEA N8 was designed to be the most open and natural sounding ribbon microphone we could make. Conceived to render acoustic spaces as faithfully as possible, the new N8 microphone excels in capturing drum overheads, strings, classical ensembles, orchestras, and rooms. As such, it is the ideal complement to the N22 microphone. But even when used up close, such as on guitar and bass amps, the N8 delivers exceptional clarity and warmth, while also taking EQ extremely well. Additionally, the N8 s unobtrusive size and black finish is ideal for orchestral and TV work, where microphones need to be easy to position and more or less invisible. What is under the hood Featuring the same Big Ribbon technology that has earned AEA its reputation, the N8 offers an incredible sound in distant-miking applications like drum overheads, strings, brass, and rooms. With phantom-powered JFET electronics and a custom German transformer the N8 achieves optimal performance with a wide range of preamps including USB audio interfaces in home studio setups. By employing a similar design philosophy as used on the popular R88 stereo ribbon microphone, the N8 achieves an astonishingly open and natural sound that lets AEA s famed Big Ribbon truly shine. At a $1098 street price, the N8 is a handcrafted US-made microphone built to last a lifetime. About the NUVO series The N8 is the second member of AEA s NUVO series. Rooted in the RCA tradition just like other AEA ribbons, all NUVO microphones are designed to offer a fresh approach to the ribbon transducer and represent Wes Dooley s take on the evolution of the ribbon microphone. FEATURES - Designed for drum overheads, strings, and room miking - Open and natural with unobstructed response - Phantom-powered electronics for optimal performance with any preamp - Low profile and black finish for discreet placement - Featuring the same Big RibbonTM technology as the AEA R44 microphones - 100% handcrafted in Pasadena, CA

For the last decade, the world s leading live sound engineers have chosen Rupert Neve Designs as some of the only analog equipment to accompany their digital touring rigs. With mastering-grade 24-bit 192kHz converters and full Dante integration, the RMP-D8 finally offers the live sound world something that studios have always coveted: the sound of Rupert Neve Designs. The heart of the RMP-D8 lies in the modular mic preamp cards featuring Mr. Rupert Neve s custom transformer designs. Unlike other integrated Dante mic preamp designs that rely primarily on a single IC for gain and tone, each channel on the RMP-D8 has a fully-realized class-A microphone preamplifier feeding a custom transformer, maintaining the high standards of Rupert Neve Designs standalone preamplifiers. The RMP-D8 s audio signal will work with any Dante device across settings ranging from concert halls to arenas, clubs, studios, houses of worship, and educational facilities. All in all, the RMP-D8 brings the classic sound of Rupert Neve Designs into the Dante-connected world. Features 8 mic / line inputs with 48V phantom power, polarity reverse, input pad and high-pass filter controls 1dB-stepped class-A mic preamplifiers with 60dB gain and remote control capability Custom Rupert Neve Designs transformers for the larger-than-life tone of Rupert s classic modules 24-bit / 192kHz Mastering-Grade Converters with precision-controlled internal clocking and enhanced jitter reduction Ultra-reliable, redundant power supplies capable of operating anywhere in the world Dante integration with redundant network ports for reliability Gain-compensated secondary output 4 dual-channel AES outputs on XLR connectors Large OLED display with full local control,· accurate and easy-to-read meters Compatible with Dante Virtual Soundcard and Dante Via for direct computer integration Reinforced steel chassis for enhanced RF shielding and rugged touring use in challenging environments

The new star in your show! The avant-garde, one-hand microphone stand is setting new standards in design and function. The elegant combination of triangular-shaped sections and the new design of the slender one-hand adjustment mechanism go harmoniously with standard microphone clips and microphones. The integrated knurled screw is impossible to lose and makes tightening and positioning the microphone clip easy. The stand's simple elegance loses nothing by the addition of König and Meyer's classic swivel arm. The height of the stand can be adjusted soundlessly, simply and easily using the unique one-hand clutch. The stand is significantly lightweight, but nonetheless stable due to the ingenious round base with an integrated steel plate with an attractive plastic cover. The base's circumferential rubber profile reduces undesirable vibration and footfall noise even when the stand is tilted far over to the side. Damage to flooring (e.g. parquet) is also prevented. Specifications: - 3/8 threaded bolt. - Weight: 3 kg - H: 1055/11735 mm - Round base diameter 275 mm. - Black

Shure SM7B Vocal MicrophoneExtremely popular radio and TV mic that features excellent shielding against electromagnetic hum. Includes a mounting bracket for precise control of mic position. Cardioid, Dynamic. SM7B Vocal MicrophoneThe SM7B dynamic microphone has a smooth, flat, wide-range frequency response appropriate for music and speech in all professional audio applications. It features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices. The SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to it's standard windscreen, it also includes the A7WS windscreen for close-talk applications.SM7B Includes foam winscreen, close-talk windscreen, locking yoke mount. Extremely popular radio and TV mic that features excellent shielding against electromagnetic hum. Includes a mounting bracket for precise control of mic position. Cardioid, Dynamic. * Flat, wide-range frequency response for exceptionally clean and natural reproduction of both music and speech * Bass rolloff and mid-range emphasis (presence boost) controls with graphic display of response setting * Improved rejection of electromagnetic hum, optimized for shielding against broadband interference emitted by computer monitors * Internal air suspension shock isolation virtually eliminates mechanical noise transmission * Highly effective pop filter eliminates need for any add-on protection against explosive breath sounds, even for close-up vocals or narration * Now shipping with the A7WS detachable windscreen, designed to reduce plosive sounds and gives a warmer tone for close-talk vocals * Yoke mounting with captive stand nut for easy mounting and dismounting provides precise control of microphone position * Classic cardioid polar pattern, uniform with frequency and symmetrical about axis, to provide maximum rejection and minimum coloration of off-axis sound * Rugged construction and excellent cartridge protection for outstanding reliability * Replacement cartridge: RPM106Type DynamicFrequency Response 50 to 20,000 HzPolar Pattern Cardioid (unidirectional)Impedance Microphone impedance rating is 150 ohms (150 ohms actual) for connection to microphone inputs rated at 19 to 300 ohms.Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3.Output Level (at 1,000 Hz)Open Circuit Voltage*: -59.0 dB (1.12 mV)*0 dB = 1 volt per Pascal Electromagnetic Hum Sensitivity (Typical, Equivalent SPL/milliOersted) 60 Hz: 11 dB 500 Hz: 24 dB 1 kHz: 33 dB SwitchesBass rolloff and mid-range emphasis: Slotted response selector switches. See Figure 3 in User Guide for bass rolloff and mid-range emphasis (presence boost) response.Cartridge Shock Mount Internal air-suspension shock and vibration isolator.Microphone Connector Three-pin professional audio (XLR)Swivel Assembly Integrated, captive nut for ease of attachment to stand, fits 5/8 in.-27 thread.Case Dark gray enamel aluminum and steel case with dark gray foam windscreen.Dimensions See User GuideNet Weight 765.4 grams (1 lb, 11 oz)

Classic tow-piece telescopic boom arm with 3/8 thread. Silent, scratchless swivel joint for adjustment of angle, easy tightening with T-bar locking screw. Specifications: - Wt: 0.8 kg - BL: 470/770 mm. - Black