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Instrument microphones

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Cat: 705141 Rel: 10 Oct 18
 
Precision reference microphone
Notes: The PRM1 Precision Reference Microphone is a special type of microphone that provides an accurate reproduction of a room's sound characteristics for use with audio-analysis tools. It employs a 1/4", pre-polarized electret-condenser capsule with an omnidirectional polar pattern, which allows the microphone to measure reflections, as well as direct signals up to 132 dB SPL. The PRM1 has an all-metal chassis and comes with a clip, foam windscreen, and hard case.

What makes the PRM1 different from most mics?

Unlike mics you use for recording and live sound, the PRM1 has a narrow dynamic range, since it is intended to receive test frequencies, such as pink noise, at a fixed level. As a result, it is not recommended for recording or performance - but it's the right mic for tuning a sound system to perform accurately in a venue. The PRM1 exhibits linear ("flat") frequency response between 20 Hz and 20 kHz, meaning it captures all frequencies equally within that range. Since it neither boosts nor cuts frequencies, it doesn't colour the sound, making it ideal for measuring what a room or speaker is doing to a sound system's outgoing signal.

Designed for use with Smaart and other audio analysis tools.

While the PRM1 can be used for a variety of measurement applications, such as MLSSA, Spectrafoo, and TEF, it is especially recommended for use with the Smaart System Check wizards that are integrated into PreSonus UC Surface control software for StudioLive AI and StudioLive RM mixers. With this combination, you can have a complete, powerful, and affordable, audio-analysis and correction system.
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 2 in stock $102.84
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Cat: 706885 Rel: 21 Feb 19
 
Matched pair of small-diaphragm cardioid condenser mics with innovative back-electret design
Notes: Convincing stereo recordings require microphones with high consistency and accurate localization from the pair of microphones. Therefore, at sE every pair is selected from hundreds of individual microphones to provide identical performance.

The result is the highest possible correlation over the whole frequency range, and virtually identical sensitivity for stunning three-dimensional recordings.

The sE7 is a high-quality back-electret small diaphragm condenser microphone intended for a wide range of studio and live sound applications, from acoustic guitars to pianos to drums and beyond.

With an optimized acoustic design, discrete class-A circuitry and a transformerless output, it delivers clear, natural sound quality at all frequencies, without suffering from fizzy highs or a lack of low-frequency punch.

The discrete electronics and the switchable attenuation pad ensure a high dynamic range, with high sound pressure level (SPL) handling capability and extremely low-noise components. The switchable low-cut filter helps eliminate rumble or footfall noise, and can also compensate for an excess of bass frequencies caused by the proximity effect. This enables the sE7 to close-mic many instruments including electric guitar speaker cabinets, brass instruments and drums.

Reliable operation even in demanding on-stage applications in difficult environments is ensured by the roadworthy all-metal design, robust construction, and high-quality manufacturing standards.

High-quality condenser capsule:

The sE7's specialized capsule is designed for natural, balanced sound quality, with an ultra-thin diaphragm for excellent transient response. Its cardioid polar pattern also makes it ideal for most studio or stage applications, delivering great sound for almost any source.

The quietest pencil mic in its class:

With a very short signal path and state of the art electronics, the sE7 is the quietest microphone in its class. The transformerless design ensures pristine sound quality, reproducing instruments with excellent clarity and depth.

Switchable pre-attenuation pad:

The switchable -20dB attenuation pad prevents overloading your preamp or mixer and provides extended dynamic range, enabling close-mic techniques for even the loudest sources like brass instruments and snare drums.
Switchable low-cut filter:

The integrated 80Hz low-cut filter helps to eliminate low-frequency rumble or footfall noise, or to compensate for excessive bass (proximity effect) with close-mic techniques.

All-metal housing with gold-plated XLR connector, premium finish & accessories:

The sE7's all-metal chassis provides efficient rejection of any electrical interference and noise, and its high-quality finish ensures a great look for years to come, and the corrosion-free gold-plated XLR contacts ensure a loss-free, reliable signal connection for years and years and years and...

The sE7 also comes standard with a custom mic clip that will securely attach it to any mic stand via the included thread adapter, plus a windscreen to avoid wind noise.
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 1 in stock $187.85
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Cat: 693613 Rel: 01 Jan 90
 
***B-STOCK: Box opened, product unused***
Notes: TM-DRUMS is a set of four microphones tailored for getting a good drum sound with ease using a Tascam multi-track recorder or audio interface with DAW software. Especially designed for beginners who cannot afford separate mics for each and every part of the drum kit, this mic set meets the minimum requirements for multi-microphone recordings and can even be handled by people who are not yet so familiar with creating a good sounding mix with many sources.

TM-DRUMS comprises of one dynamic mic designed for the bass or kick drum, another dynamic mic designed for the snare, and two condenser mics that can be used for hi-hat, toms and cymbals. Each of the three mic types has its own special characteristics to enhance the instrument it was made for.

The TM-50DB's frequency response delivers a thick bass thump with the right amount of punch, while the TM-50DS enhances the special character of the snare drum with attack and clarity. The TM-50C microphone can be used as an overhead microphone to capture the sound of your hi-hat and cymbals. As a condenser microphone, it handles high sound pressure levels and captures a wide frequency range. Since there are two of these in the set, you can also use that pair to easily create a stereo recording of the entire drum kit, supported by the two mics for kick and snare drum.

Creating a great-sounding drum sound is not hard to accomplish. With two overhead microphones and separate mics for the kick drum and snare drum, you'll get a wide stereo image with clear highs. Start with the overheads and try out different positions until you find that toms, cymbals and hi-hat build a balanced base sound. Then, add a thick kick drum and a well-defined snare drum to that base sound with their separate mics.

If a clear hi-hat is important to your music, you can emphasize it by placing one of the TM-50C over the hi-hat and use the second TM-50C as overhead on the other end of your drum kit. By going this way, you will have more influence on the basic instruments: kick, snare, and hi-hat. You will certainly find a good position for the overhead mic where it can capture the rest of your kit. This approach does not deliver a stereo image like with two overheads but it still gives you some amount of width when panning the hi-hat to one side and the overhead to the other side.

Tascam TM-80 Once you created your basic drum sound and you're familiar with multi-microphone recording, it is easy to add more mics. Is your drum kit located in a room with a nice ambient sound? Why not add that room ambience to make your sound more natural?
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 1 in stock $142.72
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