Every stitch of these mics is designed to deliver beautiful sound. Beginning with the gold-plated 3-pin XLR connector, you get the highest signal integrity. Once they are connected to your sound system, you'll notice these twin pro-caliber microphones have exceptional frequency response (an average boost of 4dB between 1kHz- 8kHz). For those of you who are new to condenser mics, this basically means you'll get a slightly brighter sound that will give the perfect shape to cymbals and overhead miking. Acoustic pianos and choirs will also benefit greatly from this frequency response. The cardioid pickup pattern provides unparalleled sound source separation and feedback rejection. C4 mics contain ultra low-noise, transformerless FET input circuitry that can handle extreme dynamics (from 20 Hz to 20 kHz) and has a maximum sound pressure level of 136 dB. So even if the featured performer at your next recording session or live show happens to be a revved-up jet engine, this workhorse mic will not distort! C4 mics also feature a switchable low-frequency rolloff to eliminate infrasonics (rumble, mains hum and mic handling noise), as well as a switchable -10 dB input attenuation to accommodate for hot signals, such as a really loud vocalist or overzealous cellist.
The C4 mics not only sound great, but come packed with custom stand adapters, windscreens, a stereo bar for mounting both mics in stereo alignment, and a transport case. As soon as you break them out of the box, these mics are ready to become a mind-blowing addition to your sound arsenal.
iRig Acoustic Stage uses an ultra-compact MEMS microphone to capture your acoustic's sound from the soundhole. It can be quickly slid into place in the soundhole of the instrument and easily removed with zero modification to the instrument required. This lets you use iRig Acoustic Stage on all of your acoustic steel string guitars, classical nylon strings guitars and even ukuleles or other stringed instruments with a soundhole.
The CM-200 is a contact microphone that can be attached to the bell of a brass instrument, the bridge of a violin, or even to a guitar or ukulele. The microphone uses a piezo element to directly capture the vibrations and send them to your tuner. The CM-200 is an indispensable item in situations where the mic built into your tuner might have difficulty detecting the sound of your instrument, such as when you're practicing with an entire brass band.
Compared to its predecessor, the CM-200 features a fresh appearance with a sharper design.
The functionality of the microphone has also been improved. The cable now transmits sound more efficiently, and is more flexible. The connection between the mic and cable has been made more durable, reducing the possibility of breakage. The new clip opens up 7mm wider than the previous model, providing more space to attach to your instrument. The rubber inside the clip has been redesigned to provide a better fit so that it can be securely attached.
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.
The SM57 has an extremely effective cardioid pickup pattern that isolates the main sound source while minimizing background noise. In the studio, it is excellent for recording drums, guitar, and woodwinds.
Outstanding performance, reliability, and application diversity make this workhorse the choice of performers, producers, and sound engineers worldwide.
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?