The Auralex MudGuard v2 Microphone Shield isolates mics, eliminating external noise bleed and filtering out external overtones. Its unique, multi-radii convex shape is designed to direct unwanted and off-axis acoustic energy away from the mic, eliminating unwanted colorations. The 16-inch wide, 10-inch deep, and 14-inch tall MudGuard is made of Auralex Studiofoam to reduce excessive room ambience and off-axis sound. It mounts easily to most microphone stands with the included hardware.
The Sennheiser Digital 6000 microphone system was designed to address the challenges of the shrinking UHF spectrum in live performance settings. The two-channel system incorporates Sennheiser’s Long Range transmission mode. The receiver is available in two versions, a bodypack and handheld transmitter, and a 19-inch rack-mount charging unit. Up to eight receiver units can be daisy-chained without the need for an additional antenna splitter.
Audio-Technica ATM350a microphone systems offer crisp, clear, balanced response in high SPL applications. It’s available in six different discreet, solid mounting solutions for woodwinds, strings, brass, percussion, drums, and piano. Able to cope with a wide range of powerful, dynamic sound sources, the ATM350 cardioid polar pattern reduces side and rear pickup and protects against feedback. Available systems include: ATM350U (pictured) clip-on with five-inch gooseneck, ATM350UL clip-on with nine-inch gooseneck, ATM350PL piano mounting system with nine-inch goose-neck, ATM350D drum mounting system with five-inch gooseneck, ATM350W woodwind mounting system with five-inch gooseneck, and ATMUcW with universal clip-on mounting system and five-inch gooseneck.
Lewitt LCT 640 TS revolutionizes the recording process by allowing you to change your recording setup after the fact. When the large diaphragm condenser microphone is set to Dual Output Mode, its front and rear diaphragms use two independent circuits. Any desired polar pattern such as omni, wide cardioid, cardioid, supercardioid, figure-eight, or anything in between, can be created before and after recording. You can even rotate the microphone’s directivity by 180° after recording. Plus, Dual Output Mode allows recording in stereo with just one LCT 640 TS.
Soundelux USA U195 cardioid FET P48 microphone, featuring a
one-inch dual symmetrical backplate K67 capsule, is capable of
handling a wide range of studio chores. It provides fullness, presence, and low background noise for everything from acoustic instruments to guitar cabinets and drums. It features a pad switch, lo-cut switch, and “fat” switch low-frequency control and comes with a metal threaded stand mount.
Rediscover your mic locker! Cloudlifter unleashes your microphone’s true potential by adding up to +25dB of ultra-clean gain, loading the mic with the proper impedance, and improving the overall sound quality with an elegant gain stage prior to the preamp, while drastically reducing noise. The Cloudlifter’s patented circuit is ideal for dynamic, tube, wireless, headset, and ribbon mics. Powered by phantom power from your microphone input device, the Cloudlifter does not pass phantom to the mic, making it a great solution for passive ribbons. Cloudlifters are available in one-, two-, and four-channel configurations. Additionally, the pictured the CL-Z adds continuously variable input impedance (150-15kohm), and a variable HPF, giving you total control over the microphone’s tone and character.
The d:vote 4099 instrument microphone with stand mount gives users the option of mounting the mike on a regular stand, instead of directly to a specific instrument. The mike’s supercardioid polar pattern for high rejection and superior gain-before-feedback makes it highly uniform. The mount has a 3/8-inch thread and the ability to swivel 360 degrees with a ball joint. Known for discreet size and elegance, d:vote mikes also have a rugged shock mount design. A versatile 5.5-inch gooseneck (plus optional extension unit) and removable cables provide stable repositioning. Its flexible adapter system is compatible with most professional wireless systems.
Sennheiser and Apogee combined technologies to offer the new MK 4 digital microphone. With high-quality Apogee A/D conversion and mic preamp technology, it’s the ideal partner for mobile recording that requires great sound quality and the warmth and detail of a true condenser mic. MK 4 connects via the included USB and Lightning (for iPad/iPhone) iOS cables. It also comes with a handy microphone clamp and protective pouch.
The Audio-Technica ATM230 Hypercardioid Dynamic Instrument Microphone is ideally suited for miking toms, snare, and other percussion instruments. Its proprietary capsule is designed to excel in high SPL applications and deliver full, well-rounded audio with an exceptional low-end. The hypercardioid polar pattern and low profile design reduce pickup of sounds from the sides and the rear, improving sound source isolation. ATM230 comes in a rugged, all-metal design for durability. They are available individually or packaged in a money-saving three-pack for less than $350 street.
The LDM-94W compact wireless dynamic high power mic for wind and brass instruments comes with an almost invisible HQ transmitter goose clamp. It transmits pure natural sounds with eight easily programmable frequencies for eight different players. Its lithium battery allows six hours of performance time, and can be charged for an extra hour’s use in just 10 minutes. The easily programmable 515 series receiver has dual-tuner, true-diversity circuitry, and a backlit LCD display in a metal chassis.