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AKG, Sennheizer, & others |
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AKG D 24 same capsule of BK 19D
Krundaal Mod. 607
Made in Italy by A. Davoli - Parma
Umschaltung: Music - Voice
Technologie: Dynamic Cardioid
Ausgang: 60 Ohm
Anschluß: 3-pol. Amphenol
MEAZZI M12 (same of AKG D 12)
Meazzi M 12
AKG D 12
The AKG D12 was the world's first dynamic cardioid mic with a "unidirectional" design intended to reduce the pick up of extraneous sound and the production of feedback. It was based on new developments in microphone technology at the time which eliminated much of the shrillness characteristic in earlier microphones and extended the frequency response deeper into the bass range. It's a large diaphragm, dynamic, cardioid pattern mic and the transducer has a special "bass chamber" that boosts the lower frequencies in the 60-120 Hz range giving it a full, round bass end whilst the slight peak in the 60 to 120 Hz range enables the microphone to do full justice to a range of brass instruments and vocals and the mic was an immediate success at radio stations, recording studios, and movie sets throughout the world.
AKG D30
They were made in limited production in the early years of AKG, from 1958 to the early 1960's. The selector switch located on the bottom of the mic is for bass rolloff at 50Hz. A D-30 is (2) D-12's with (4) selectable pickup patterns and switchable bass rolloff. The first multi-pattern dynamic mic, internally shockmounted.
A number of other AKG microphones would be based on the D12, including the D20B, D25, D30, D36, and the D45.
AKG D 17
AKG D45
with S-36 Pattern Control box for D-36 or D-45
Schumann MDS 3N dynamisches Mikrofon
Made in Germany by F.&H. Schumann G.M.B.H., Hinsbeck, Rheinland
Ibanez TH800
Senn MD509 BF
Sennheizer MD 509 BF
MD 409 U3
Electro Voice PL10
MD 421 U4
Philips EL 6030b
DYNAMIC MICROPHONES
AKG D125E cardioid — slightly bright but clear. Perfect for guitar, woodwinds, cello, viol da
gamba.
AKG D190E cardioid — sweet yet very natural sounding. Excellent for use with the Nakamichi 500,
550 and 610! All around good general purpose microphone. Perfect for guitar, harpsichord, clavichord,
woodwinds, cello, viol da gamba. Fragile windscreen, meager rumble suppression. The
fragile windscreen isn’t a big negative. Just be aware of it and don't drop the mic. Ideal for M/S,
ORTF, Nakamichi 3-point, and KVG Labs Bird Foot microphone arrays. In fact, it was used to
develop the Bird Foot array.
AKG D200E two-way supercardioid — smooth yet sweet, very natural sounding, sounds like a
condenser! Excellent for use with the Nakamichi 500, 550 and 610! Perfect for piano, saxophone,
and just about everything. Ideal for M/S, ORTF, Nakamichi 3-point, and KVG Labs Bird Foot
microphone arrays.
AKG D202E two-way supercardioid — very natural sounding, sounds like a condenser!, darker
sounding than D200E, bass rolloff switch. Fragile windscreen. The fragile windscreen isn’t a big
negative. Just be aware of it and don't drop the mic.
AKG D224E two-way supercardioid — very natural sounding, sounds like a condenser!, bass rolloff
switch. Excellent for use with the Nakamichi 500, 550 and 610! Perfect for pipe organ and just
about everything. Ideal for M/S, ORTF, Nakamichi 3-point, and KVG Labs Bird Foot microphone
arrays.
AKG D1000E cardioid — sweet yet very natural sounding, bass rolloff switch. Same sound otherwise
as D190E. Fragile windscreen. The fragile windscreen isn’t a big negative. Just be aware of it
and don't drop the mic. Ideal for M/S, ORTF, Nakamichi 3-point, and KVG Labs Bird Foot microphone
arrays.
AKG D1200E cardioid — sweet yet very natural sounding, bass rolloff switch. Basically a restyled
D1000E. Fragile windscreen. The fragile windscreen isn’t a big negative. Just be aware of it and
don't drop the mic. Ideal for M/S, ORTF, Nakamichi 3-point, and KVG Labs Bird Foot microphone
arrays.
Altec 683B cardioid — slightly dark but clear and detailed. Perfect for guitar, woodwinds, cello, viol
da gamba, piano.
Beyerdynamic M201 dynamic supercardioid (also sold as Revox M3500) — a very detailed microphone,
wide dynamic range, extremely flat, detailed and rugged. Ideally suited for all acoustic
instruments, including those with difficult transients. Ideal for M/S, ORTF, Nakamichi 3-point,
and KVG Labs Bird Foot microphone arrays.
ElectroVoice 635A omnidirectional — recommended more for folk, bluegrass, non-orchestal acoustic;
bass rolls off below 80 cps, treble above 13 k/c; yet very smooth and natural. Built like a tank.
ElectroVoice 660 cardioid variable-D — recommended more for folk, bluegrass, non-orchestal
acoustic; bass rolls off below 80 cps, treble above 13 k/c; yet very smooth and natural. Built like a
tank.
ElectroVoice DS35 cardioid — recommended more for folk, bluegrass, non-orchestal acoustic; bass
rolls off below 60 cps, treble above 13 k/c; yet very smooth and natural. Built like a tank.
ElectroVoice PL5 omnidirectional (same as 635A).
ElectroVoice PL6 cardioid variable-D (same as 660).
ElectroVoice PL95 cardioid (same as DS35).
Sennheiser MD421U-II supercardioid dynamic — Has 150+ dB SPL capability and 40 - 18,000 Hz
response. Excellent for all instruments, including classical guitar, kick drum, snare drum, toms,
percussion, harpsichord, clavichord and some Asian string instruments. It is ideal for M/S, ORTF,
Nakamichi 3-point, and KVG Labs Bird Foot microphone arrays.
Sennheiser MD441U supercardioid dynamic — Has amazing 150+ dB SPL capability and nearly 20
- 20,000 Hz response. Excellent for all instruments, including classical guitar, kick drum, percussion,
harpsichord, clavichord and some Asian string instruments. It is ideal for M/S, ORTF, Nakamichi
3-point, and KVG Labs Bird Foot microphone arrays.
Shure 545 unidirectional — natural with presence peak. Contrary to rumors, it is not voiced the same
as SM57; it's more neutral and natural; BUT has lower output than most dynamics.
Shure SM53 or SM54 unidirectional — natural with presence peak. More for rock or country.
Shure SM57 unidirectional — punchy bass with presence peak. More for modern country, hard rock.
Snare, toms, vocals, electric guitar amplifier. At one time, the SM57 was widely preferred over the
SM58, and is the official mike of the Office of the President of the United States since Nixon.
Shure SM58 unidirectional — punchy bass with presence peak. More for modern country, hard rock.
ACTUALLY it has the SAME frequency response as the SM57! Alas the ball windscreen robs it
of quite a bit of low-level clarity, so the SM57 has the edge.
Shure SM59 unidirectional — very natural sounding, with no presence peak. Excellent for use with
the Nakamichi 500, 550 and 610! One of the most accurate microphones ever made yet often
overlooked or ridiculed as a "televangelist mic." Perfect for piano, guitar, all string instruments,
woodwinds and jazz combos; also as overheads. Ideal for M/S, ORTF, Nakamichi 3-point, and
KVG Labs Bird Foot microphone arrays.
Shure SM60 omnidirectional — very natural sounding. Excellent for use with the Nakamichi 500,
550 and 610! Perfect for piano, guitar, all string instruments, woodwinds and jazz combos; also as
overheads. Try it on kick drums and it'll change the way you record drum kits forever.
Turner 510 cardioid — very natural sounding, but almost dark. Perfect for piano, guitar, all string
instruments, woodwinds.
Turner S500 cardioid — very natural sounding, but almost dark. Perfect for piano, guitar, all string
instruments, woodwinds.
OLD MICROPHONE SENNEHIZER PDF R
Monday, 26-Feb-2024 7:59 PM
