Instrument Microphones

Notes: The Audix ADX10-FL is a miniature lavalier microphone with a cardioid polar pattern. The microphone itself is engineered for use in a wide array of applications, however the included mounting hardware allows the lavalier to be placed on the heads of flutes. The frequency and sensitivity response is more than suitable to accurately reproduce the audio character of flute instruments with great detail and minimal noise.

The condenser microphone features a mini XLR connector for Audix RAD series bodypack transmitters. The cardioid polar pattern effectively minimizes noise and audio at the off-axis sections of the microphone and the tailored frequency response maximizes intelligibility of vocals.

Notes: The Audix D6 Provides huge kick drum sound. Ground shaking low end combined with exceptional clarity and attack.

The D6 is used for stage, studio and broadcast applications. Designed with a cardioid pickup pattern for isolation and feedback control, the D6 is equipped with a VLM diaphragm for natural, accurate sound reproduction.

Lightweight, compact and easy to position, the D6 is an excellent choice for miking instruments requiring extended low frequency reproduction such as kick drums, large toms and bass cabinets. The D6s transformer less design, low impedance and balanced output allow for interference-free performance.

Designed, assembled, and tested by Audix in the USA.

Notes: Designed and made in Australia, the M5 is a compact 1/2" cardioid condenser microphone with low noise and a full frequency response. A result of many years' experience building the award-winning NT5 microphone, RODE has succeeded in making a high quality "pencil" style permanently polarized condenser that will impress even the most demanding of artists and engineers.

Ideal for studio recording and live on stage, the M5 is equally at home on a range of acoustic instruments, choirs, or anywhere you would employ a small diaphragm condenser microphone, either individually or as a stereo array.

This matched pair has been carefully selected to ensure a variation of no more than 1dB sensitivity between the microphones. A premium foiled certificate is supplied to verify the authenticity of the pair.

The M5 is finished with RODE's proprietary ceramic coating which offers a sleek matt black finish, and is supplied with WS5 windshields and RM5 stand mounts.

Notes: Stylish and modern, the NT3 is a studio and location workhorse. With both 48V phantom and internal 9V battery operation, this Rode is at home anywhere.

Intended for studio, stage and location work, this versatile handheld or stand mounted microphone incorporates a true externally polarized condenser transducer with an internal capsule shock mounting system, and an ultra-low noise electronic circuit that has a high immunity to R.F. interference.

The NT3 incorporates a rugged welded and heat-treated mesh head and all metal body.

Notes: The NT5 matched pairs are a masterpiece of small-diaphragm cardioid-condenser microphone design.

Intended for recording acoustic instruments, drum overheads, cymbals and live performances, the compact externally polarized mic employs a 1/2" capsule, an active J-FET impedance converter with bipolar output buffer.

Finished in durable satin nickel, the NT5 is intended for either single or stereo X/Y mic set-ups. The NT5 matched pairs comesupplied in a custom carry case with windshields and mounts.

As of 2022, the updated packaging is made from engineered cardboard instead of foam or plastic blister, making it more environmentally friendly, and they all share a unified look to further enhance brand consistency.

RODE have also made a change to the box contents removing the hard cases and including a zip case instead. This has meant that the new dimensions of the packaging are significantly smaller than the original packaging.

NT5 Box Contains:

1 x NT5
1 x RM5 (mic clip)
1 x WS5 (windshield)
1 x ZP1 (zip pouch)

Notes: The ML-2 microphone is the second model in our award-winning Virtual Microphone System. This small diaphragm microphone is capable of recreating the tone of an entire mic locker of instrument mics - including dynamics like the 57 and 421, cardioid models of classic ribbons like the 121, other famous small diaphragm mics like the 451 and 222, and even large diaphragm mics like the famous 414 and tube 67.

S-47F

This famous German FET microphone model is known for round highs, fat mids, and huge low end. It's a standard on kick drum and bass cab, but also sounds great on toms.

S-67

This is actually a model of a large diaphragm tube mic! It has smooth and slightly dark highs, thick mids, and big lows. Great on room mics, overheads, toms, snare, guitars, basses, and everything else!

S-7

This is a dynamic mic that became famous as a broadcasting microphone, but its present mids make it ideal for all sorts of instruments such as kick, toms, snare, guitars, bass, and more.

S-E20

This is a model of a dynamic microphone that became popular in the seventies. It has a very even frequency response while remaining fat-sounding, so it can be useful on all sort of different sources - from vocals and electric guitar to kick drum.

S-57 Vintage

This model is a recreation of an early 80's dynamic 57, perhaps one of the most famous dynamic microphones in audio history. It's known for its punchy midrange and smooth top end, which is why it is a top choice on guitar and snare drum.

S-Custom Snare

This is a modified version of the S-57, with added curves from famous EQ's to enhance the sound, producing the ultimate polished snare sound.

S-57 Modern

A brand new dynamic 57, this mic sounds very similar to the vintage model but with slightly smoother mids and more sizzly highs.

S-112

This is a model of a famous modern kick drum microphone. It has a classic "bouncy" midrange and fat low end.

S-112B

This is the same emulated mic as the S-112 captured from inside the kick drum itself.

S-421

Another classic dynamic mic, this model is perfect on toms, kick, guitar cab, bass cab, and horns. It has thick low mids and punchy lows.

S-Custom Tom

This is a modified version of the S-421 that adds more highs and lows, and has less low mid, creating the ultimate tom sound for both rack and floor.

S-414 Normal

This is a model of one of the most famous FET large diaphragm mics. It has clear punchy mids, slightly extended highs, and a very fat low end. It's perfect on overheads, guitar cabs, bass cabs, toms, and horns.

S-414 Dynamic

This emulation is the same as the S-414 Normal, only it has been optimized for use with the ML-2 when it's in Dynamic mode. Use this model and the ML-2's Dynamic mode when micing very loud sources.

S-12
This is a model of a vintage kick drum microphone. It has a crisp top, fat low mid, and warm bottom end.

S-Custom Kick

This is a modified version of the S-12 that adds more attack and punch, with less low mids and more defined lows.

S-121 Normal

This is a cardioid model of the classic ribbon mic, and like the real thing, it has fat lows and slightly dark highs, making it perfect on horns, strings, room mics, guitar cabs, and overheads.

S-121 Dynamic

This emulation is the same source microphone as the S-121 Normal, only it has been optimized for use with the ML-2 when it's in Dynamic mode. Use this model and the ML-2's Dynamic mode when micing very loud sources.

S-222

This is a model of a famous small diaphragm tube mic. It's bright but not harsh, with a smooth midrange and flat low end. It's ideal for drum overheads, acoustic guitars, and string instruments.

S-451

This is a model of a famous small diaphragm condenser that is smooth and clear, with a beautiful high end. It's great on snare, overheads, hi hat, toms, and guitar cabs if paired with one of the dynamic models.

ML-2

Like its big brother the ML-1, the ML-2 microphone was designed to have an ultra linear response with no distortion, so that it can serve as a blank canvas for Slate Digital's modeling software.

Slate Digital tested a large number of mics during the development of the ML-2, and they found that even the most expensive small diaphragm microphone designs saturate when micing very loud and transient-rich sources like close mic'd drums. Therefore, Slate Digital added a proprietary switch on the ML-2 called "Dynamic" which attenuates the mic's output and repolarizes the capsule, allowing the ML-2 to be used in extremely high SPL situations without overloading or saturating. As a result, it can be used just like a dynamic mic on drums, guitar cabs, and more.

Latency Free Processing

The Virtual Microphone System software consists of the Classic Tubes microphone module, which contains eight classic tube microphone models. None of these processing blocks add any latency to the audio signal, so if you use a low latency interface with VMS you can track through the VMS software without any audible monitoring delay.

Specifications

Platform: Mac (macOS 11+), PC (Windows 10 or 11)
Pads: Dynamic attenuation switch
Authorisation: iLok 2
Format: AAX, AU, VST2, VST3
Power: 48V phantom power

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?