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Beyerdynamic
Beyerdynamic MC 900 small-diaphragm condenser microphone series features a tremendous diversity due to the sound neutrality and painstaking construction of its models. Designed for both the studio and stage, the models MC 910 (omnidirectional), MC 930 (cardioid) and MC 950 (supercardioid) are ideal for all applications where high-quality pickup or transmission of acoustic signals is crucial. The MC 900 microphones are particularly suitable for natural pickup of choirs, orchestras (as main microphone in various stereo arrangements or as a spot microphone) and solo instruments (e.g. guitar, wind instruments, drums). With the WS 101 wind screen, the models MC 930 and MC 950 can be used as microphones for speech and vocals.
Special features of this series include a high open-circuit voltage and a wide balanced transmission range without a narrow-band resonance rise. In the MC 930 and MC 950 models, the switchable bass roll-off filter (6 dB/octave below 250 Hz) compensates for the proximity effect. All models operate from a phantom power supply of 11-52 V and can hence be used with nearly any microphone amplifier for studio and live applications.
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Electrovoice
The RE20 is a professional-quality dynamic cardioid microphone created specially for recording, broadcast and sound-reinforcement applications requiring essentially flat response over a very wide frequency range. The wide frequency response, coupled with excellent transient response, make the RE20 easily comparable to fine condenser cardioid microphones and an easily operated “bass tilt down” switch corrects spectrum balance for use in longreach situations or other applications where bass attenuation is needed.
The RE20 offers greatest rejection at 180º off axis - directly to the rear of the microphone.
Pattern control is so consistent that the frequency response is nearly independent of angular location of the sound source, creating virtually no off-axis coloration, yet providing greatest possible rejection of unwanted sounds. An integral blast and wind filter covers each acoustic opening on the RE20. In recording sessions or on stage, singers can “close talk” the microphone, singing with their lips almost touching the grille screen with no worry of “P-pops” or excessive sibilance. Part of the filter also shock mounts the internal microphone element, reducing the transfer of vibrations from external sources. The exceptional performance of the RE20 is achieved by using a large Acoustalloy diaphragm in combination with an exceptionally low-mass aluminum voice coil. Using this diaphragm assembly, the RE20 is capable of reproducing extremely high sound pressure levels with no fear of the overload and distortion often experienced with phantom-powered condensers. The RE20 will also continue to function flawlessly in high humidity and elevated temperatures that would seriously degrade competitive condenser microphones.
Shure
Shure has enhanced its KSM series of microphones with two new ribbon models – the KSM353 and KSM313, two ribbon microphones intended for capturing vocal and instrumental performances, both in the studio and on stage.
The new KSM353 and KSM313 use a patented ribbon material known as RoswelliteTM, which offers higher tensile strength and more resilient shape-memory properties than a traditional foil ribbon. While conventional ribbon microphones can be damaged by loud sounds, the ‘shape memory’ of Roswellite ribbons enables it to withstand very high sound pressure levels over extended periods of time without damage.
Hand assembled in the USA from state-of-the art transducers, transformers, and metals, the KSM353’s ribbon assembly provides rich low frequency response, natural midrange, and a rising response in the upper range for superior presence. And, it’s bi-directional polar pattern is extremely uniform and symmetrical.
The KSM313 uses a “Dual-Voice” ribbon assembly, which enables the user to choose from two different sound signatures – addressing the front of the microphone delivers a warm, full sound that is ideal for many instruments while addressing the rear of the microphone results in a bright, articulate sound that compliments vocals.
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