The Chandler Limited EMI Abbey Road Studios TG Microphone ‘Type L’ is a solid-state large diaphragm condenser microphone and, as the name implies, the Type L is descended from the innovative TG Microphone. The TG Microphone Type L inherits the core circuitry, capsule and ‘Dual Tone System’ of the larger TG Microphone, however, with its own unique voicings. The Dual Tone System modifies the input stage of the Type L and extends the versatility of the microphone to accommodate a greater array of sources. System ‘A’ is TG mid forward and harmonically rich, whereas the ‘B’ voicing takes extreme SPLs and is more pristine. The TG Microphone Type L is a 48V phantom powered FET microphone that has a larger than solid-state sound. The Chandler Limited EMI Abbey Road Studios TG Microphone Type L kit includes: microphone, swivel mount and bamboo storage box.

The R-122 was the world’s first phantom-powered ribbon mic, delivering all of the warm, smooth performance of a world-class ribbon mic at a previously impossible sensitivity level. Its 2002 debut was explosive and the R-122 became our most popular mic behind the flagship R-121. In 2015 Royer updated the R-122 MKll with a high-pass filter and 15dB pad, making it the company’s single most versatile ribbon microphone. The R-122 MKll 25th Anniversary model celebrates the R-122’s legacy with a limited edition run of eighty R-122s crafted in Royer’s custom “Distressed Rose” finish. Depending on the lightning, the special Distressed Rose finish gives a variety of looks, from a dark bourbon color in lower studio lighting and on stage to a rich rose color in brighter light. The 25th Anniversary R-122 MKll is 100% original except for this once-in-a-lifetime 25th Anniversary finish. The R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. The R-122 MKll is recommended for drum overheads and rooms, electric and acoustic guitars, brass, piano, violin, cello, ukulele, and any other acoustic stringed instrument, percussion, vocals, and countless other applications. When less low-end or proximity effect is desired, the high pass switch is perfectly balanced, set at 100 Hz and rolling off 6dB per octave. On high SPL applications like electric guitars and brass, the 15dB pad lowers the R-122 MKll output to R-121 level, helping you maintain a clean signal path with no unwanted distortion. The R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The R-122 was the world’s first phantom-powered ribbon mic, delivering all of the warm, smooth performance of a world-class ribbon mic at a previously impossible sensitivity level. Its 2002 debut was explosive and the R-122 became our most popular mic behind the flagship R-121. In 2016 Royer updated the R-122 MKll with a high-pass filter and 15dB pad, making it the company’s single most versatile ribbon microphone. The R-122 MKll 25th Anniversary model celebrates the R-122’s legacy with a limited edition run of eighty R-122s crafted in Royer’s custom “Distressed Rose” finish. Depending on the lightning, the special Distressed Rose finish gives a variety of looks, from a dark bourbon color in lower studio lighting and on stage to a rich rose color in brighter light. The 25th Anniversary R-122 MKll is 100% original except for this once-in-a-lifetime 25th Anniversary finish. The R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. The R-122 MKll is recommended for drum overheads and rooms, electric and acoustic guitars, brass, piano, violin, cello, ukulele, and any other acoustic stringed instrument, percussion, vocals, and countless other applications. When less low-end or proximity effect is desired, the high pass switch is perfectly balanced, set at 100 Hz and rolling off 6dB per octave. On high SPL applications like electric guitars and brass, the 15dB pad lowers the R-122 MKll output to R-121 level, helping you maintain a clean signal path with no unwanted distortion. The R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The FlexBar is a universal microphone holder designed to hold two microphones on a single microphone stand, with additional flexibility far beyond traditional stereo bar capabilities. Constructed from aircraft-grade aluminum, the FlexBar is light and handles most microphone types. The finish is matte-black. Unlike traditional single-plain stereo bars, the FlexBar’s two movable bracket arms provide a wide range of mic placement options, from the traditional Blumlein and spaced pair positions to however creative the user wants to be. Each bracket has engraved gradient markers in centimeters, for precise repeatable distancing of the microphones. The FlexBar allows for traditional stereo bar positioning like Blumlein, ORTF and Spaced Pair (AB) and many other 2-microphone configurations. For example, it can be used to mic the top and bottom of a snare drum, utilizing a single stand in a typically tight area and for a singer/songwriter, the FlexBar can be configured to mic an acoustic guitar, ukulele or any other instrument with one microphone, and capture the vocal with another microphone. The FlexBar was designed in conjunction with Triad-Orbit and accepts all Triad-Orbit accessory items. For easy fine adjustments of the entire FlexBar unit, the Triad-Orbit ball-swivel adaptor added between the base of the FlexBar and a microphone stand works nicely.

The R-121 25th Anniversary model celebrates the R-121’s legacy with a unique, limited edition. The R-121 Distressed Rose offers all the characteristics and performance of the classic R-121, but adds a this stunning finish that R-121 fans and collectors will find as unique and cool as they come. Depending on the lightning, the special Distressed Rose finish gives a variety of looks, from a dark bourbon color in lower studio lighting and onstage to a rich rose color in brighter light. There will be 500 R-121 Distressed Roses made, no more. Released in 1998, the R-121 was the first radically different modern ribbon microphone, singlehandedly creating the great ribbon microphone resurgence that is still growing and going strong today. The R-121 is a staple on electric guitars around the world and is also one of the finest brass mics available, along with drum rooms, kick drums, piano, snare drum, acoustic guitar, violin, all percussion, harp, cello… the list goes on and on. To record an instrument as naturally as possible an R-121 is the perfect solution. The R-121 Distressed Rose is one of the coolest looking and best sounding mics, both for daily use, so as a collector's item.

The R-121 25th Anniversary model celebrates the R-121’s legacy with a unique, limited edition. The R-121 Distressed Rose offers all the characteristics and performance of the classic R-121, but adds a this stunning finish that R-121 fans and collectors will find as unique and cool as they come. Depending on the lightning, the special Distressed Rose finish gives a variety of looks, from a dark bourbon color in lower studio lighting and onstage to a rich rose color in brighter light. There will be 500 R-121 Distressed Roses made, no more. Released in 1998, the R-121 was the first radically different modern ribbon microphone, singlehandedly creating the great ribbon microphone resurgence that is still growing and going strong today. The R-121 is a staple on electric guitars around the world and is also one of the finest brass mics available, along with drum rooms, kick drums, piano, snare drum, acoustic guitar, violin, all percussion, harp, cello… the list goes on and on. To record an instrument as naturally as possible an R-121 is the perfect solution. The R-121 Distressed Rose is one of the coolest looking and best sounding mics, both for daily use, so as a collector's item.

The R-10 “Hot Rod” 25th Anniversary limited-edition ribbon mic is our popular R-10 on steroids! The R-10 Hot Rod is fitted with a custom Anniversary Edition transformer that gives this microphone 5dB more output than the standard R-10, with a punchier feel and increased low-midrange focus. The R-10 Hot Rod also sports a 25th Anniversary black-accented trim package that looks as cool as this mic sounds. Like our original R-10, the R-10 Hot Rod handles extremely high SPLs (160dB @ 1kHz), has an internally shock-mounted ribbon transducer & 3-layer wind screen system that combine to give the ribbon element excellent protection, features lowered proximity effect that make it an excellent for close miking instruments and singers, and carries a 5-year warranty with the first re-ribbon free. Like all Royer microphones, the R-10 Hot Rod is hand-built in Royer’s Burbank, CA facility. The R-10 Hot Rod’s compact size and mounting system allow for flexible, unobtrusive positioning. Its 2.5-micron aluminum ribbon element is formed with our patented direct-corrugation process and the ribbon transducer is wired for humbucking to reject electromagnetically induced noise. The R-10 Hot Rod’s built-in windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10 Hot Rod’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability. The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. The Sound Royer ribbon mics are legendary on electric guitar and the R-10 Hot Rod shows some of its best stuff on studio and live electrics, capturing all the low end, midrange warmth and punch guitarists and engineers have come to expect from a Royer. If you want more bite in the highs but don’t want to multi-mic (particularly on live stages where blending microphones can create phase-related problems), the R-10 Hot Rod takes EQ beautifully. Drums are full-bodied with realistic (not over-hyped) transients response, and the R-10 Hot Rod’s figure-8 pattern conveys superb ambience and depth when used for room miking applications. A compressed R-10 Hot Rod in front of the kit sounds huge and punchy. R-10 Hot Rod recordings of violins, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos, and other stringed instruments are warm and natural and fit into mixes easily. “Airing out” the recorded track by opening up a bit of 12K with an EQ often gives surprisingly good results. Vocals record warm and naturally on an R-10 Hot Rod, and the EQ-friendliness of the mic allows for dialing in completely different sounds with liberal use of EQ. Patented Offset Ribbon Technology The R-10 Hot Rod’s patented offset-ribbon design positions the ribbon element toward the front of the transducer, which allows for high SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources on the backside.

The R-10 “Hot Rod” 25th Anniversary limited-edition ribbon mic is our popular R-10 on steroids! The R-10 Hot Rod is fitted with a custom Anniversary Edition transformer that gives this microphone 5dB more output than the standard R-10, with a punchier feel and increased low-midrange focus. The R-10 Hot Rod also sports a 25th Anniversary black-accented trim package that looks as cool as this mic sounds. Like our original R-10, the R-10 Hot Rod handles extremely high SPLs (160dB @ 1kHz), has an internally shock-mounted ribbon transducer & 3-layer wind screen system that combine to give the ribbon element excellent protection, features lowered proximity effect that make it an excellent for close miking instruments and singers, and carries a 5-year warranty with the first re-ribbon free. Like all Royer microphones, the R-10 Hot Rod is hand-built in Royer’s Burbank, CA facility. The R-10 Hot Rod’s compact size and mounting system allow for flexible, unobtrusive positioning. Its 2.5-micron aluminum ribbon element is formed with our patented direct-corrugation process and the ribbon transducer is wired for humbucking to reject electromagnetically induced noise. The R-10 Hot Rod’s built-in windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10 Hot Rod’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability. The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. The Sound Royer ribbon mics are legendary on electric guitar and the R-10 Hot Rod shows some of its best stuff on studio and live electrics, capturing all the low end, midrange warmth and punch guitarists and engineers have come to expect from a Royer. If you want more bite in the highs but don’t want to multi-mic (particularly on live stages where blending microphones can create phase-related problems), the R-10 Hot Rod takes EQ beautifully. Drums are full-bodied with realistic (not over-hyped) transients response, and the R-10 Hot Rod’s figure-8 pattern conveys superb ambience and depth when used for room miking applications. A compressed R-10 Hot Rod in front of the kit sounds huge and punchy. R-10 Hot Rod recordings of violins, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos, and other stringed instruments are warm and natural and fit into mixes easily. “Airing out” the recorded track by opening up a bit of 12K with an EQ often gives surprisingly good results. Vocals record warm and naturally on an R-10 Hot Rod, and the EQ-friendliness of the mic allows for dialing in completely different sounds with liberal use of EQ. Patented Offset Ribbon Technology The R-10 Hot Rod’s patented offset-ribbon design positions the ribbon element toward the front of the transducer, which allows for high SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources on the backside.

The Chandler Limited EMI Abbey Road Studios ‘TG Microphone’ is a solid-state large diaphragm condenser microphone. Continuing the rich tradition of innovation, the TG Microphone is unique in its feature-set and as the name implies, the sound is TG. The TG Microphone’s unique on-board EMI ‘Tape Equalizer’ section combined with its ‘Dual Tone System’, dedicated PSU and other features create an extremely flexible microphone capable of rivaling scenarios where the FET47, C414, U87, and U47 traditionally have found favor. The Tape Equalizer is adapted from the NAB/IEC tape equalizer facility found on vintage EMI TG mastering desks, and applied to great effect in the TG Microphone. Historically used to compensate for tapes played back on machines of the opposite standard, the repurposed tape equalizer allows the engineer to sculpt the sound at the source in lieu of external processing. The microphones shaping possibilities are further expanded when the Tape Equalizer is combined with the selectable 90/50 Hz Low-Cut filter. The ‘Dual Tone System’ modifies TG Microphone’s input and extends its flexibility to capture a wide range of sources. System ‘A’ is TG mid forward, while the alternate ‘B’ voicing takes extreme SPLs and is at home wherever a FET47 would be the choice. The TG Microphone relies on a dedicated power supply (PSU). The use of a dedicated PSU, rather than 48V phantom power is integral to the TG Microphone’s larger than solid-state sound. Other features include: cardioid and omni patterns, and 10 dB pad. Shockmount, 25’ Mogami 4-pin mic cable, dedicated PSU, and wooden case are included. TG HISTORY In 1968 EMI and Abbey Road Studios changed their recording and mixing consoles from the valve-driven REDD to the transistorized TG12345 desk. The remarkable sonic quality of the new EMI TG12345 transistor recording console with expanded EQ, and for the first time ever, a compressor/limiter on every channel would forever leave its mark on the Beatles “Abbey Road” and Pink Floyd’s “Dark Side of the Moon” albums, as well as recordings by Paul McCartney, John Lennon, George Harrison, and the Rolling Stones. Retired from service in 1983, the TG desks were built by EMI for their studios and were never commercially available.

The Earthworks SR3314 is designed from the ground up to meet and exceed the goals and expectations of the modern live performance environment. Its stainless steel body is expertly sculpted through precision machining to yield an instrument that is beautiful to look at and sensibly engineered for life on the road. Its studio quality small diaphragm cardioid condenser element coupled with a Class A amplifier circuit leverages Earthworks patented and proprietary technologies to make the SR3314 the most responsive and fastest microphone capsule on the market. An extended flat frequency response and a focus on fast clean impulse response sets the SR3314 apart. By systematically eliminating the many layers of distortion and noise normally added by each acoustic and electronic component, the SR3314 doesn’t sound like a traditional microphone- it pulls back the veil to reveal the true voice of the artist. SR3314 democratizes exceptional live music experiences, making them accessible to everyone. Quicker soundchecks and better monitor and in-ear mixes let artists focus on what matters most – the music. Engineers are unencumbered from the necessities of heavy corrective EQ, compression and de-essing, and constant vigilance against feedback. Audiences experience vocals that sit comfortably and easily in the mix, with every detail and nuance bridging the gap that so often separates live music from recordings.

The Earthworks SR314 is designed from the ground up to meet both the expectations and desires of a modern live performance environment. Stainless steel is expertly sculpted through precision machining yielding an instrument that is beautiful to look at, balanced in the hand, and sensibly engineered for life on the road. Protected within its steel exoskeleton is a studio quality small diaphragm cardioid condenser capsule coupled with a Class A amplifier circuit that leverages Earthworks patented and proprietary technologies to deliver one of the fastest mics on the planet. An extended flat frequency response and a focus on time coherence (fast clean impulse response) sets the Earthworks SR314 apart. By systematically eliminating the many layers of distortion and noise normally added by each acoustic and electronic component, the Earthworks SR314 doesn’t sound like a traditional microphone – it pulls back the veil to reveal the true voice of the artist. The SR314 democratizes exceptional live music experiences, making them accessible to everyone. Quicker soundchecks and better monitor and in-ear mixes let artists focus on what matters most – the music. Engineers are unencumbered from the necessities of corrective EQ, heavy compression, de-essing and constant vigilance against feedback. Audiences reap the benefits of vocals that sit comfortably and easily in the mix, with every detail and nuance bridging the gap that so often separates the audio experience of live music from recordings.

The SF-2 ribbon microphone is a phantom powered version of our original SF-1 ribbon microphone. Designed primarily for classical applications and acoustic instruments, the SF-2 combines high-quality audio performance with our exclusive active electronics for ribbon microphones. The SF-2's output of -38 dB puts its sensitivity on par with that of phantom powered condenser microphones, allowing it to be used with a wide variety of mic pre's regardless of gain characteristics. The unique electronics and custom designed FET's used in the SF-2 deliver ultra-quiet operation, with self-noise of lower than 18 dB. The SF-2's magnet/pole piece transducer structure gives a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbon element delivers superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbon and off-axis coloration is negligible.

Blending an R-121 ribbon with a dynamic mic is a legendary method for capturing electric guitars. The AxeMount microphone clip positions an R-121 right next to a 57-style dynamic mic, phase-aligned and ready to record, for the ultimate electric guitar microphone package. Making small position adjustments on a speaker or switching both mics to another cabinet is as easy as moving only one mic stand. The natural, full bodied sound of the R-121, blended to taste with the fist-forward pointedness of a 57-styled dynamic microphone, allows for phenomenal tailoring of recorded and live guitar tones. In the past, that required using two mic stands, two clips, and patience to get the mics lined up properly and in-phase with each other. The AxeMount does away with all that and makes this classic method easy to achieve. The AxeMount is built tough and comes with a lifetime warranty.

The SF-24V vacuum tube stereo ribbon microphone is the pinnacle of our SF-series stereo microphones. The sound pickup is lush, smooth and natural, with outstanding stereo imaging and superb transient response. The tube electronics provide increased midrange reach, unmatched clarity and detail, and an airiness previously unheard of in ribbon mics. Utilizing the same proprietary tube electronics as in our TEC Award winning R-122V ribbon microphones, the SF-24V delivers the ultimate in stereo ribbon miking for the true connoisseur of recorded sound. The SF-24V's independent tube circuits provide an output level of -38 dB, suitable for use with any professional preamplifier. With self-noise of lower than 18 dB, the SF-24V's ultra-quiet operation is suitable for the most demanding classical and acoustic recording applications. Like an SF-12, the SF-24V is actually two matched ribbon microphones, placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.

The SF-2 ribbon microphone is a phantom powered version of our original SF-1 ribbon microphone. Designed primarily for classical applications and acoustic instruments, the SF-2 combines high-quality audio performance with our exclusive active electronics for ribbon microphones. The SF-2's output of -38 dB puts its sensitivity on par with that of phantom powered condenser microphones, allowing it to be used with a wide variety of mic pre's regardless of gain characteristics. The unique electronics and custom designed FET's used in the SF-2 deliver ultra-quiet operation, with self-noise of lower than 18 dB. The SF-2's magnet/pole piece transducer structure gives a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbon element delivers superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbon and off-axis coloration is negligible.

The SF-24 stereo ribbon microphone is a phantom powered version of our popular SF-12 stereo ribbon microphone. It combines the SF-12's high quality audio performance, outstanding stereo separation and imaging with our exclusive active electronics system for ribbon microphones. The SF-24's output of -38 dB is a full 14 dB more sensitive than our non-powered SF-12, putting its sensitivity on par with that of phantom powered condenser microphones. The unique electronics and custom designed FET's used in the SF-24 allow for ultra-quiet operation, with self-noise of lower than 18 dB. Like an SF-12, the SF-24 is actually two matched ribbon microphones placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible. The SF-24's extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled Upper and Lower for the upper and lower capsules of the microphone (when held vertically).

The SF-12 stereo coincident ribbon microphone combines high quality audio performance with outstanding stereo separation and imaging. It is a modern ribbon design with no audible diffraction effects or cavity resonance. An SF-12 is actually two matched ribbon microphones placed one above the other; each aimed 45 degrees from center in the classic Blumlein configuration. The frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible. The SF-12 utilizes two 1.8-micron ribbons, each weighing approximately 1/3 milligram and producing superb transient response. The two ribbon transducers are magnet/pole piece structures that produce a wide, uniform frequency response with no substantial peaks or dips. The case is ingot iron and forms part of the magnetic return circuit, an effective system with low leakage flux which accounts for the relatively high sensitivity in a trim package. The SF-12's extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled Upper and Lower, for the upper and lower capsules of the microphone (when held vertically).

Manley's GOLD REFERENCE MULTI-PATTERN microphone is simply one of the finest microphones that money can buy. The Gold Reference Series employs Manley's own design of large capsules measuring 1.25 overall, with a 1 diameter diaphragm. These are manufactured to precise tolerances by micro-milling machinery. Its capsule rings and back-plates are milled from solid brass. The gold diaphragm film is of German origin and tensioned using proprietary techniques by David Josephson to ensure capsule-to-capsule consistency. These production techniques, coupled with design flair and attention detail give Manley's Gold Reference Mic a response, speed, air, and superb ultra-high frequency performance for wonderfully accurate musical sounding recordings. The all-tube electronics in the Manley Gold Reference microphones are built around two triodes (12AX7WA) in cascade forming an entire gain-block. Output is coupled through a Manley output transformer of unparalleled quality and substantial physical size employing nickel laminations with hum bucking bi-filar windings, encased in mu-metal. The polar pattern control is continuously variable between the OMNI, CARDIOID, and FIGURE 8 positions vastly increasing versatility. It's possible to exactly tailor proximity effect to achieve a desired character. A very open weave stainless-steel grille for the capsule window allows all highs to reach the capsule unimpaired, so an engineer can choose if, when, and how much pop screen is appropriate. As a result, the Reference Gold reaches to the furthest extremes of highs and lows with gorgeous natural acoustic smoothness. A locking 6-pin XLR connector for the 9 meter power supply cable carries the stringently filtered B+ and regulated heater voltages from the separate dedicated power supply. The microphone body is machined from brass providing excellent shielding properties, polished to a high lustre, then plated with 24 karat gold for an impressive finish. A precision suspension system is provided with each unit (the capsule itself is mounted onto a neoprene-rubber shock-mount.) As the entire working body of the microphone can be removed for service in one piece from the housing, it is envisaged that the microphone need not be removed from its mount. The unit has a very useful swivel too, its T-bar handle and locking clutch action require no tools to adjust. Each Manley Gold Ref microphone is supplied with a leather capsule protector with soft velour lining which slips (and ties) onto the end of the microphone to protect the capsule when not in use. Each REFERENCE MICROPHONE is packaged complete in a strong locking carrying-case.

Manley's Reference Cardioid Microphone shares the same electronic attributes as the Gold Reference Series, but has a center-fixed cardioid-only capsule with a thicker gauge (6 micron) gold sputtered diaphragm. With similar film thickness and construction, similar high frequency resonance (a little edge) similar proximity effect and good immunity from pops and sibilance problems, the Reference Cardioid closely emulates the sound of many vintage European tube mics such as the beloved Neuman U47. Its rich tonal balance and liquid character is consistently admired for instruments such as guitars, drum overheads, saxophone, and especially vocals. With your present mic, if you find yourself relying on compression or perhaps boosting 5 or 10K to score a bit more testosterone, then the Manley Labs Reference Cardioid could just be the mic you have been looking for. Each REFERENCE MICROPHONE is packaged complete in a strong locking carrying-case including the external power supply, a 6-Pin micophone cable, a neoprene-rubber shock-mount and a leather capsule protector.

The Chandler Limited REDD Microphone is a large diaphragm tube condenser microphone, combining mic and preamp into a single, beautifully handcrafted professional recording device. Featuring the vacuum tube based REDD.47 Mic Amplifier circuit directly coupled to a custom handmade premium platinum membrane capsule, the REDD Microphone can be used with or without an external preamplifier. This unique microphone design provides the shortest possible distance between the two most important elements in the recording chain – delivering a larger than life full-bodied sound, with silky smooth top-end. The Chandler Limited REDD Microphone was designed to handle a variety of source materials, including: vocals, strings, piano, drums, bass guitar, electric and acoustic guitars. Features available from the microphone body, include: REDD.47 Mic Amplifier, providing nine gain selections, from +4 to +33db in the ʻ NORMʼ position, extended gain and punch in ʻ DRIVEʼ mode for more tonal and coloration possibilities, switchable Cardioid/Omni patterns, 10db Pad, and Phase reverse. Continuous output control and low-contour feature are accessible from the high-quality external power supply. Shockmount, 25ʼ Mogami microphone cable, PSU, and custom molded flight case, featuring high-density rigid foam, are included. Continuing in the rich tradition of innovation at EMI, dating back to the early 1930s with Alan Blumlein, the father of ʻ Stereoʼ , the companyʼ s first coil microphones, velocity ʻ ribbonʼ mics and the “Blumlein pair” technique, Chandler Limited and Abbey Road Studios introduce the first EMI badged microphone in over a half century, the REDD Microphone. Designed by Chandler Limited Founder and Chief Designer, Wade Goeke, the patent pending REDD Microphone represents a shift in traditional microphone design, bringing together historic circuitry and the heralded EMI REDD.47 preamplifier sound in a new and unique way. Visually, the aesthetic is unmistakably classic, an ode to a gilded age of audio; however, the REDD Microphone is not a U-Type clone or derivative of any other microphone. Rigorously tested at Abbey Road Studios on a variety of sources and against some of the most famous and classic microphones in recording industry history, the REDD microphone excelled.

The R-122V is the pinnacle of our R-Series line, a world class tube ribbon microphone exhibiting unparalleled richness, depth and detail, particularly in the midrange frequencies. With a lushness that has to be heard to be truly appreciated, the R-122V offers the ultimate in ribbon microphone performance for those who insist on the very best. The R-122V takes the Royer-pioneered concept of active ribbon microphone technology to an unprecedented level by incorporating vacuum tube electronics into the same proven transducer system used in the venerable R-121 and R-122 ribbon microphones. The high operating voltage of the vacuum tube provides headroom far beyond that available from a standard phantom power supply. Sonically this translates into unmatched clarity, detail and airiness, along with the ability to handle brute SPL levels without flinching.

The R-122 MKII Live is a road-optimized version of our phantom powered R-122 MKII ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications. The R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble. The R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent microphone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs. The R-122 MKIIL utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKIIL, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The R-122 MKII Live is a road-optimized version of our phantom powered R-122 MKII ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications. The R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble. The R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent microphone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs. The R-122 MKIIL utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKIIL, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

Released in 1998, the award-winning R-121 is our flagship microphone; the world's first radically reengineered ribbon microphone and the model that reintroduced ribbon mics to engineers around the world. We did away with the large, heavy, fragile classic approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warmth and natural sound that experienced engineers have long turned to ribbon mics for, but in a compact, light-weight, high output and tough-as-nails package that was unheard of in a ribbon mic before the R-121. Like many of the best classic ribbon mics, the R-121 has a figure-8 pattern, output level comparable to a dynamic mic, and a warm, realistic tone and flat frequency response. But that's where the similarities end. By using advanced materials and a blend of cutting edge and old-school, hand-build construction techniques, the R-121 is an extremely versatile and user-friendly ribbon mic that can stand up to the most demanding tasks. Cranked up electric guitars, close up brass, drums - you name it, the R-121 will help you record it with realism you have to hear to believe. We build the R-121 solid enough to give it a lifetime warranty. We expect you to own it for as long as you record, and we'll stand behind it the whole way.