Support & Advice | Professional Microphones

Support
& Advice

Whether you need advice about your Sontronics product, you want to learn a bit more about microphones and recording or you need some specific support, you've come to the right place...

Support
& Services

What to do if you need help with your mic

contact us

Lifetime
warranty

Find out more about our unique warranty

WARRANTY

Questions
& TROUBLESHOOTING

Find quick answers to your support queries

fAQs

ADVICE
& TOP TIPS

All you need to know about recording & microphones

MORE InFO

FAQs

How do I activate the Lifetime Warranty on my microphone?

Click here to go to our Warranty Registration form and enter your purchase details and microphone serial number. We'll email you back with your warranty activation within 48 hours. Welcome to the family!

Where do I find the tech specs and frequency response graphs for each microphone?

From our products page, choose the mic you're interested in. Scroll down the page to the tech specs section where there is also a button to download the full Technical Data sheet, which includes the frequency response graph.

I've accidentally damaged my microphone, what can I do?"

First of all, don't panic! We've only once had to deal with a mic beyond repair, and that had been submerged in flood water for two weeks. Everything else, we are confident to say, is fixable.

We totally understand that accidents happen, and we'll always do what we can to keep your microphones working for as long as humanly possible.

Even though accidental damage isn't covered by warranty, we are always happy to check over, service and repair broken microphones.

Contact us via our online form to confirm what's happened to your microphone, including as much info as possible. We'll usually give you the details for sending your mic in to Sontronics HQ and we will give it a thorough check and give you a full diagnosis along with any costs involved before carrying out any work.

Why am I getting no sound from my microphone?

Our condenser and ribbon microphones require phantom power to operate, so ensure that this is activated (usually via a "48V" or "phantom" switch) either on the front panel of your interface, soundcard or mixer, or in the control software.

If you've already ensured that phantom is switched on, check that you are monitoring from the correct channel and that you haven't accidentally muted a channel on your mixer or in your recording or broadcasting software.

Are your gain and volume settings set correctly?

Is it a ribbon microphone? If so, it's possible that the delicate ribbon inside has been damaged or broken but don't worry, we can replace the ribbon motor for you.

If you've tried all of the above, then use our

to send us an email, and include as much detail as possible about your mic (date purchased and serial number), your set-up (what other bits of equipment you have in the audio chain) and we'll do what we can to help.

My ribbon mic has gone silent / is making a strange sound. Could the ribbon inside be damaged or broken?

If you are getting a buzzy sound from your ribbon mic or if it has gone completely silent, it's very likely to be down to a damaged or broken ribbon motor. This can happen if the extremely delicate element inside has been placed too close to a loud sound source or if the mic has taken a knock.

The ribbon element of the microphone is not covered by our lifetime warranty but it is easy for us to put right; for just £100 (plus VAT and shipping costs) we will replace your complete ribbon motor and magnets and give the microphone a full serivce too.

Contact us via our online form and we'll give you the details of how to get the mic sent back to us here at Sontronics HQ or to one of our international service centres.

My mic is a few years old and the signal occasionally drops out. Can it be fixed or is this goodbye?

Don't worry, you won't have to part with your microphone just yet! An intermittent signal or muffled sound in an older mic is usually a symptom of dried moisture/saliva and/or dust build-up on the capsule which stops the signal being as clear as it used to be.

As the capsule surface is extremely delicate, it can't be cleaned, but we can replace the capsule for you. The job can usually be turned around in a few days. Just send us a message and we'll let you know the costs.

Could my mic be picking up interference/buzz/hum?

Some microphones, ribbons in particular, are very sensitive to electrical interference, so if you are hearing a low hum or buzz in your recordings, check to see if there's anything in the space that could be affecting the mic.

This could be overhead fluorescent lighting, a laptop charger, the fan in a computer hard drive, a fridge, extension leads or even overhead power cables. Check to see if any of these things can be switched off or the microphone repositioned to avoid the interference and your mic should work absolutely perfectly.

Also, if you're using a microphone with a power supply (Aria or Mercury), then ensure this is plugged into its own socket and not sharing a multi-plug socket.

How do I get hold of spare accessories for my mic? (shockmount, clips, elastics, valves, etc)"

Some of our larger stockists have these accessories available, but use our online form to contact us and we'll help you out directly if you can't find what you need online.

The lever arm of my shockmount won't tighten. What can I do?

All our mic shockmounts are now fitted with lever arms as this gives a more secure fix on the mic stand and reduces the need for constant screwing and unscrewing which can damage the thread.

As the lever arm is of a ratchet design, occasionally the lever can be turned fully and touch the shockmount frame while still being loose (although we check every mount before it leaves the warehouse to make sure this doesn't happen).

If you find this is the case, simply pull the ratchet arm out from the socket and, while pulled out, turn it backwards on itself and then let it snap back into the socket. Turn the lever to tighten and repeat the above as many times as you need to until the lever arm tightens correctly. Click here for full shockmount tightening instructions.

What is the difference between Halo and Corona?

Sontronics Halo dynamic microphone was launched in 2012 and had been specifically designed by Sontronics' founder Trevor Coley for guitar amps. As a guitarist, Trevor was fed up with using (and seeing) handheld dynamics in front of a guitar cab, so set about creating something that looked visually interesting and worked much better than the other options out there.

Halo immediately became a favourite with guitarists for live and studio use thanks to its hot output, clear signal, superb definition and depth. When paired with a Delta 2 ribbon mic, it sounds amazing. However, it wasn't long before the vintage-inspired design of Halo started appealing to vocalists who were looking for a retro-looking mic for live gigs, videos and stage shows.

Although Halo is a dynamic mic and therefore might be thought of as a vocalist's tool, it is designed specifically to handle the output of a guitar amp so on some voices it can overload or pop. After a few years of increasing equests for a 'vocalist's Halo', Trevor got to work on a new mic, attempting to keep the vintage feel of Halo, but experimenting with different body shapes and designs that would handle voices... and in 2018 Corona (no, not that one) was released to the world.

Retaining the Art Deco-inspired look and feel of Halo, Sontronics Corona has extra porting in the front, rear and sides of the central body and is finished in a space grey colour to set it apart from its sibling. Using the same capsule as found in our Halo, Solo and Podcast Pro mics, Corona gives you all the clarity, presence and depth you need for vocals or spoken word, on stage and in the studio. In the past year it has become a favourite for online teaching, streamed performances and vlogging too.

"Sontronics is one of those rare companies that actually treats all its users like members of an extended family and nothing is too much trouble for the support team. They're amazing!"

Ed Harcourt, Artist/Composer/Producer

Technical Advice & Top Tips

Whether you need advice about your Sontronics product, you want to learn a bit more about microphones and recording or you need some specific support, you've come to the right place...

Microphone types

Quick Guide to Condenser Microphones

Some of the most commonly used microphones for recording vocals and instruments are condenser (also known as capacitor) microphones, which working by converting energy from soundwaves into an electrical signal.

In the head of the microphone is a capsule that is made up of a front diaphragm (or transducer) and a back plate with an attached electrical wire, usually in the centre, as found in our Mercury, but sometimes at the edge, known as ‘edge-terminated’, as with our Aria.

The diaphragm is made from a disc of very thin film, usually Mylar, covered in a layer of gold. When sound pressure from an audio source reaches the capsule, the thin diaphragm moves. The resulting changes in electrical value or capacitance are transmitted through the wire from the capsule to the electronics inside the microphone. At this point, the very weak signal from the capsule is amplified by components in the microphones internal circuit.

Condenser microphones are extremely sensitive and therefore able to capture their subjects quickly and accurately. Their wide frequency response enables them to produce very natural recordings that are true to the original sound. For these reasons, condenser microphones are most often used in recording studios and other professional applications where absolute accuracy is critical.

Some condenser microphones employ two capsules, back-to-back, to allow the microphone to pick up sound from 360° around it. By changing the way that the combination of the two capsules pick up sound from all around means that multiple polar patterns such as omnidirectional and figure-of-eight can be employed.

Find out more about polar patterns here.

Sontronics condenser mics: Aria • DM-1B • DM-1S & DM-1T • Orpheus • STC-1 • STC-1S • STC-10 • STC-2 • STC-20 • STC-3X

Quick Guide to Dynamic Microphones

The capsule inside the head of a dynamic microphone also employs a diaphragm, but rather than being mounted on a backplate with a connecting wire, the diaphragm in a dynamic mic is attached to a tiny copper coil set within the field of a permanent magnet.

When sound waves reach the diaphragm, it vibrates and therefore moves the coil, so creating a varying current in the electromagnetic field.

Although the coil is tiny, its mass means that the capsule in a dynamic mic responds more slowly than that of a condenser mic, and therefore it does not capture as much subtle detail, especially in the highest and lowest frequencies.

Some dynamic microphones use low-strength magnets which means they have poor sensitivity and a low output level, and therefore can sound dull. You will also need a lot of additional gain to obtain a useful signal. However, all of our Sontronics dynamic mic capsules use high-power neodymium magnets, which improve not only output sensitivity but also frequency response.

Dynamic microphones tend to be more sturdily constructed than condenser or ribbon microphones, making them far less prone to accidental damage. They are often designed to provide high signal levels before feedback occurs, and these factors have led to dynamic microphones being used for stage vocal performance and many other live sound reinforcement applications.

Sontronics dynamic mics: Corona • Halo • Podcast Pro • Solo

Quick Guide to Ribbon Microphones

A ribbon mic is another type of dynamic microphone, but instead of a coil attached to a diaphragm it features a microscopically thin, corrugated aluminium ribbon suspended in a magnetic field. Commonly a ribbon microphone is open to sound at the front and back, giving a figure-of-eight or bi-directional pattern (See more on polar patterns here.)

Ribbon microphones have a very specific frequency response directly related to the mass of the aluminium ribbon and its inability to oscillate at very high frequencies. As such, the high-frequency response tends to roll-off quite early in the audio spectrum, usually around 7kHz. This character makes ribbon mics excellent for use on acoustic instruments (such as violin or flute) due to the microphone’s limited ability to reproduce many ambient or reflected frequencies, delivering a very authentic, 'natural' result.

Ribbon microphones are particularly good for miking electric guitar amplifiers, since the speakers’ output and the microphone’s frequency response are closely matched.

Over time ribbon microphones have earned a reputation for being extremely fragile and historically it was inadvisable to use them with very loud or low sound sources. Their low sensitivity and poor output levels meant that high levels of gain were required to reach a reasonable output level, and this led to difficulties in achieving a respectable signal-to-noise ratio. However, our Sigma 2, Delta 2 and Apollo 2 ribbon microphones solve and avoid these problems through the addition of a 48V preamplified circuit, giving them a significant boost in sensitivity and the ability to reproduce stable and consistent results without the noise problems of ribbon microphones from history. The aluminium ribbon used to make each capsule, or ‘motor’, is made from some of the lowest-mass material available, delivering both a class-leading frequency response and a very high output sensitivity.

Furthermore, these three microphones, particularly Delta 2, have been engineered to withstand everyday use in both studio and live sound applications. It is important to note that that the ribbon element itself, much like the tyres on a car, will experience gradual wear and tear over time, eventually stretching beyond useable limits and requiring necessary replacement.

You can find out more about ribbon servicing and replacement here.

Sontronics ribbon microphones: Apollo 2 • Delta 2 • Sigma 2

Quick Guide to Valve/Tube Microphones

A valve/tube microphone most commonly refers to a condenser microphone which uses a small vacuum-tube in its amplification electronics.

The vacuum tube is an antiquated electronic component which was superseded in the 1950s by the ‘solid-state’ transistor. Compared to the outdated tube, the transistor was developed to be a far more reliable device which could be consistently and accurately mass produced in huge numbers. However, despite the improvements and efficiencies brought on by the transistor, the vacuum tube continues to hold its place in the hearts of many an audiophile, thanks to some very specific and some non-specific characteristics.

One of the key characteristics of a vacuum tube is that is adds harmonic distortion to the signal. This is not a ‘heavy-metal overdrive’ type of distortion, but something very subtle and delicate and very pleasant to the human ear.

When subjected to high sound pressure levels (SPLs), vacuum tubes exhibit natural compression, resulting in an output signal full of energy and tonal balance. The low-frequency response can often appear to sound stronger than the high-frequencies, leading to valve/tube microphones being described as sounding ‘warm’.

It’s worth noting that the majority of the iconic and most coveted vintage studio condenser microphones were all valve/tube models, and therefore there can be no doubt that there is also a degree of nostalgia which continues to influence the popularity of the vacuum tube to this day.

Since vacuum tubes require high-voltage power supplies to operate, this naturally increases the level of the microphone’s ’self-noise’, a very common issue associated with vintage valve/tube mics. However, the high-quality modern electronic circuits we use in both Aria and Mercury are expertly designed to provide you with the classic vacuum tube tone but with a minimum of self-noise.

A vacuum tube has a finite lifespan and will need to be replaced if the microphone begins to exhibit noise or if its sound response changes in any way, often indicated by a loss of low-frequency output. Find out more about this in the *Valve Mics section* [hyperlink to this section] of our Support pages.

Sontronics valve mics: Aria • Mercury • Mercury Vintage Edition

Polar patterns

Cardioid pattern

Title

A cardioid pattern picks up sound
from the source it is pointed at but
also offers a graduated rejection of sounds from the side and very
little input from the rear.

When shown on a graph, the pickup response resembles a heart shape,
hence 'cardioid'.

Cardioid mics are also referred to as 'pressure-gradient' and are ideal for recording vocals and spoken word, guitar, piano, guitar amp, strings and other instruments.

Cardioid mics exhibit the proximity effect (more on this below).

OMNI-DIRECTIONAL

Title

An omni-directional pattern picks
up sound equally from all directions,
like a large sphere around the head of the microphone.

This pattern is useful for recording groups, ensembles and choirs, for using overhead on a large instrument such as piano or drumkit as well as for capturing the natural ambience of a room or performance space.

Omni-directional mics can also be referred to 'pressure-sensitive'.

Mics in omni mode do not exhibit the proximity effect.

Figure-of-fight

Title

Another common polar pattern is
figure-of-eight, which picks up an
equal response from the front and the rear of the microphone with complete rejection at the sides.

A single figure-of-eight microphone can give a very intimate reproduction of sung vocals or solo instruments, and also for use in stereo applications where rejection of sound and noise from the off-axis is critical.

A figure-of-eight mic can be used in combination with a cardioid mic for mid-side stereo technique.

By controlling the voltage and phase cancellation to a capsule, it is possible to create other kinds of directional polar pattern, such as subcardioid, hypercardioid and supercardioid.

Hypercardioid

Title

Sitting between cardioid and figure-of-eight, HYPERCARDIOID offers good side rejection and a flatter frequency response (compared to regular cardioid) while having a low sensitivity to sounds coming from the rear of the microphone.

Use this pattern if you need greater focus on a particular source, such as recording hi-hat within a drumkit or a violin in a string quartet.

SUBCARDIOID

Title

Sitting somewhere between cardioid and omnidirectional, a subcardioid pattern reduces the level of proximity effect (see below) while maintaining excellent

off-axis rejection.

This pattern is useful if a vocalist has a habit of moving while singing, keeping the signal as focused and uninterrupted as possible.

SUPERCARDIOID

Title

This pattern is related to both cardioid and hypercardioid, but has an even tighter pickup with more rejection on the sides and a slight pickup from the rear.

It’s ideal for use on stage as it offers superior feedback rejection too. You’ll find this pattern in the capsule used for our best-selling Podcast Pro, Solo, Halo and Corona dynamic mics.

Proximity Effect

Often, when talking about microphone placement, you'll hear the term 'proximity effect'.

This describes the phenomenon you experience when a cardioid (or 'pressure-gradient') microphone is moved closer to its sound source (or the source moves closer to the mic) and its bass response increases.

When recording vocals, the singer can move closer to the microphone and achieve a richer, more intense sound.

It's also a classic technique for voiceover artists to sound deeper and more intimate.

If you're experiencing too much proximity effect but don't want to change your mic positioning, you can take advantage of the mic's low-cut filter (see below), which can be found on most of our condenser microphones.

Polar patterns

As instruments and voices can vary wildly in character (as can the methods by which they can be captured), you need to be flexible. In order to make our mics as versatile as possible and to help you get the best possible recording every time, most of our mics feature filter and attenuation or pad controls.

LOW-CUT FILTER

The low-cut (or high-pass) filter reduces the output of lower frequencies captured by the microphone.

As mentioned above, this is particularly useful when the proximity effect may not be desired or where low-frequency sounds such as vibrations or distant traffic rumble are being picked up.

It is also very useful when your sound source exhibits little or no low-frequency output. In this case, the filter can be switched in to add definition to your recording while limiting unwanted noise.

ATTENUATION/PAD CONTROLS

The pad switch is used to attenuate (or reduce) the sensitivity of the microphone by a number of decibels (usually -10 or -20dB).

This is very useful when recording a loud sound source (for example, a trumpet played directly at the mic) which could overload the sensitive internal electronics and cause unpleasant distortion.

In this case, the pad can be switched in to reduce the level of sound being captured by the microphone while still allowing it to pick up and reproduce the characteristics of the instrument.

3 THINGS TO REMEMBER
ABOUT RIBBON MICROPHONES

1

OH SO
NATURAL

Ribbon microphones capture a beautifully natural picture of whatever you're recording. This can lead to incredibly intimate results, especially on vocals and wind instruments. You will love it!

2

IT'S A
TWO-WAY THING

The ribbon element suspended between the two magnets can only react to sound pressure coming from the front and back, hence its figure-of-eight bi-directional polar pattern.

3

PUT IT
DELICATELY

Our ribbon mics are more rugged than vintage ones but they're still delicate, and a blast of sound can stretch or completely disintegrate the delicate ribbon, so handle them with care.

PHANTOM POWER

Any microphone that has active electronic circuitry inside (this includes all Sontronics condenser and ribbon microphones) will require DC current to be sent into the microphone via the third pin of an XLR cable.

Most audio interfaces, soundcards and mixers offer an option to supply phantom power, usually via a switch labelled 48V (even though some interfaces don't even supply half of that voltage!).

If you are using a Sontronics condenser or ribbon mic, simply make sure phantom power is switched on so that the internal circuit of the microphone is powered up and the mic will work perfectly!

Our Aria and Mercury microphones are supplied with their own power unit and don't require phantom power. Ensure your device has the phantom power switched off when using these mics so no harm is done to their internal electronics.

CARE & CLEANING

Now matter how many microphones you have in your set-up, it's important to treat them with care so that they continue to operate to their full potential as long as possible.

Get into the habit of wiping down your microphone with a clean, dry cloth after each session.

Acid in your fingerprints can start to eat into the surface of the microphone body leading to corrosion, so regular cleaning each time you handle the microphone will prevent this from happening.

Dust and dirt can settle on the delicate capsule surface, which is so microscopically thin, it's impossible to clean. A build-up of dirt and dried moisture can stop the capsule reacting to the incoming soundwaves and lead to dull or fuzzy sound.

Keep your microphone covered between sessions to protect from dust in the air and always use a popshield when recording vocals to reduce the amount of moisture entering the microphone.

As with any electronic equipment, you should do what you can to protect your microphone from extremes of heat and humidity.

Using a cold microphone (either in a cold room or brought into the studio from a cold storage cupboard) to record vocals will cause condensation to gather on the mic body and the electronics inside, which can lead to corrosion, capsule damage and short circuiting.

INTERACTIVE PRODUCT TABLE

This handy table lists all our mics in alphabetical order, but can be rearranged to list mic by type, by polar pattern or by application simply by clicking on the header. Use the SEARCH box to find what you need.

PRODUCT NAME

MIC TYPE

POLAR PATTERN

application

APOLLO 2

RIBBON

FIGURE OF EIGHT

ACOUSTIC GUITAR, PIANO, CHOIR/ENSEMBLE, OVERHEAD/ROOM

ARIA

CONDENSER / VALVE/TUBE

CARDIOID

STUDIO VOCALS, SPOKEN WORD, ACOUSTIC GUITAR, DRUMS/PERCUSSION, SOLO STRINGS, SOLO WOODWIND, PIANO, OVERHEAD/ROOM

CORONA

DYNAMIC

SUPERCARDIOID

STUDIO VOCALS, LIVE VOCALS, SPOKEN WORD, GAMING/STREAMING, VIDEO/CONFERENCE, PODCAST

DELTA 2

RIBBON

FIGURE OF EIGHT

GUITAR AMPS, SAX/BRASS

DM-1B

CONDENSER

CARDIOID

DRUMS/PERCUSSION, GUITAR AMPS, BRASS/SAX, SOLO STRINGS, SOLO WOODWIND

DM-1S

CONDENSER

CARDIOID

DRUMS/PERCUSSION

DM-1T

CONDENSER

CARDIOID

DRUMS/PERCUSSION

DRUMPACK

CONDENSER

CARDIOID

DRUMS/PERCUSSION

DRUMPACK PLUS

CONDENSER

CARDIOID

DRUMS/PERCUSSION, OVERHEAD/ROOM

ELEVATE

ACCESSORIES

STUDIO VOCALS, SPOKEN WORD, GAMING/STREAMING, VIDEO/CONFERENCE, PODCAST

HALO

DYNAMIC

CARDIOID

GUITAR AMPS

HYPER CAPSULE

ACCESSORIES

HYPERCARDIOID

DRUMS/PERCUSSION

MERCURY

CONDENSER / VALVE/TUBE

OMNI / SUBCARDIOID / CARDIOID / HYPERCARDIOID / FIGURE OF EIGHT

STUDIO VOCALS, SPOKEN WORD, ACOUSTIC GUITAR, GUITAR AMPS, DRUMS/PERCUSSION, SOLO STRINGS, SOLO WOODWIND, PIANO, CHOIR/ENSEMBLE, OVERHEAD/ROOM

MERCURY VINTAGE EDITION

CONDENSER / VALVE/TUBE

OMNI / SUBCARDIOID / CARDIOID / HYPERCARDIOID / FIGURE OF EIGHT

STUDIO VOCALS, SPOKEN WORD, ACOUSTIC GUITAR, GUITAR AMPS, DRUMS/PERCUSSION, SOLO STRINGS, SOLO WOODWIND, PIANO, CHOIR/ENSEMBLE, OVERHEAD/ROOM

OMNI CAPSULE

ACCESSORIES

OMNI

ACOUSTIC GUITAR, DRUMS/PERCUSSION, CHOIR/ENSEMBLE, OVERHEAD/ROOM

ORPHEUS

CONDENSER

CARDIOID / OMNI / FIGURE OF EIGHT

STUDIO VOCALS, SPOKEN WORD, ACOUSTIC GUITAR, GUITAR AMPS, DRUMS/PERCUSSION, SOLO STRINGS, SOLO WOODWIND, PIANO, CHOIR/ENSEMBLE, OVERHEAD/ROOM

PODCAST PRO

DYNAMIC

SUPERCARDIOID

STUDIO VOCALS, LIVE VOCALS, SPOKEN WORD, GAMING/STREAMING, VIDEO/CONFERENCE, PODCAST

SIGMA 2

RIBBON

FIGURE OF EIGHT

STUDIO VOCALS, SPOKEN WORD, ACOUSTIC GUITAR, SAX/BRASS, SOLO STRINGS, SOLO WOODWIND, PIANO

SOLO

DYNAMIC

SUPERCARDIOID

STUDIO VOCALS, LIVE VOCALS, SPOKEN WORD, DRUMS/PERCUSSION, SAX/BRASS, GAMING/STREAMING, VIDEO/CONFERENCE, PODCAST

STC-1

CONDENSER

CARDIOID

ACOUSTIC GUITAR, DRUMS/PERCUSSION, SOLO STRINGS, SOLO WOODWIND, PIANO

STC-1S

CONDENSER

CARDIOID

ACOUSTIC GUITAR, DRUMS/PERCUSSION, SOLO STRINGS, SOLO WOODWIND, PIANO, CHOIR/ENSEMBLE, OVERHEAD/ROOM

STC-10

CONDENSER

CARDIOID

ACOUSTIC GUITAR, DRUMS/PERCUSSION, SOLO STRINGS, SOLO WOODWIND, PIANO, OVERHEAD/ROOM

STC-2

CONDENSER

CARDIOID

STUDIO VOCALS, SPOKEN WORD, ACOUSTIC GUITAR, GUITAR AMPS, DRUMS/PERCUSSION, SAX/BRASS, SOLO STRINGS, SOLO WOODWIND, PIANO, CHOIR/ENSEMBLE

STC-20 PACK

CONDENSER

STUDIO VOCALS, SPOKEN WORD, ACOUSTIC GUITAR, GUITAR AMPS, DRUMS/PERCUSSION, SAX/BRASS, SOLO STRINGS, SOLO WOODWIND, PODCAST

STC-3X PACK

CONDENSER

CARDIOID / OMNI / FIGURE OF EIGHT

STUDIO VOCALS, SPOKEN WORD, ACOUSTIC GUITAR, GUITAR AMPS, DRUMS/PERCUSSION, SAX/BRASS, SOLO STRINGS, SOLO WOODWIND, PIANO, CHOIR/ENSEMBLE, OVERHEAD/ROOM

ST-POP

ACCESSORIES

STUDIO VOCALS, SPOKEN WORD, GUITAR AMPS, SAX/BRASS, SOLO WOODWIND

XLR-USB

ACCESSORIES

STUDIO VOCALS, SPOKEN WORD, GUITAR AMPS, SAX/BRASS, SOLO WOODWIND

Who are we?

We’re passionate about one thing: helping you capture your best sound.

Whether you’re laying down tracks in a legendary studio, sharing your voice with the world from your home setup, or performing live on stage, we’ve got a microphone that’s just right for you. Each of our mics is designed right here in the UK, and many are lovingly hand-built at our Poole headquarters to ensure they’re the best they can be.

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