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Microphones & preamps

56: briefs
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507 min: in total
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Avalon Design Avalon AD2022

Avalon Design

The Avalon AD2022 is a two-channel, analog, solid-state, pure class A microphone preamplifier. It delivers transparent, low-noise amplification. It has variable input impedance. It accepts microphones and DI sources. It includes phantom power, a 20dB pad per channel, polarity reversal, and a switchable variable high-pass filter. It uses XLR connections. It has front-panel XLR and jack connectors for instruments. It is rackmounted and occupies two standard rack spaces.

AKG C414 B-ULS

AKG

The AKG C414 B-ULS is a large diaphragm condenser microphone. It is one of 13 products in the AKG C414 series. The source material gives no further technical, historical, or functional detail.

AKG C414 EB

AKG

The AKG C414 EB is a large diaphragm condenser microphone. It is one of 13 products in the AKG C414 series. No technical, historical, or functional detail beyond that is provided in the source material.

Daking Mic Pre IV

Daking

The Daking Mic-Pre IV is a 4-channel solid-state analog preamp with minimal controls and no colouration. It amplifies cleanly and intensely—revealing rather than refining the source. Its design prioritises workflow over flavour.

Grace Design m201

Grace Design

The Grace Design m201 is a single-channel solid-state microphone preamplifier. It provides clean, high-headroom gain with no EQ, no compression, no digital conversion, and no additional signal path options. It serves one purpose: to amplify a mic signal without alteration. It is not a channel strip. It is not an interface. It is not a tool for tonal manipulation. It is a specialist device for specialists who know exactly when they need it — and when they do not.

Great River MP-2NV

Great River

The MP-2NV gives two channels of the ME-1NV’s analog preamp circuit — no more, no less. It does not add features. It does not subtract fidelity. It occupies one rack space. It accepts mic and line-level sources directly. It meters input and output. It sounds warm, clear, and accurate — as verified by users.

Millennia HV-3D

Millennia

The Millennia HV-3D is a solid-state mic preamp built for fidelity, not flavour. It gives you three transparent gain stages per channel, 1.5 dB stepped gain, phantom power, no phase flip, and eight channels in two rack units — all on internal power. It excels on strings, voice, and piano. It fails on distorted guitar and bright cymbals. It is not subtle. It is literal.

AMS Neve 1073 DPA

AMS Neve

The AMS Neve 1073 DPA is a solid-state, pure class A, 2-channel preamp with DI, variable impedance, phantom power, and phase inversion — but no EQ, no insert, no flexibility beyond its fixed tonal signature. It gives you a clear, present midrange, smooth highs, and round, deep lows. It is not neutral. It is not modular. It is not subtle. It is specific.

API 205L

API

The API 205L is a DI unit made by API Audio. No technical specifications are available. No retailers or classified ads currently offer it. Its alternate names are '205l' and '205 l'.

API 3124+

API

The API 3124+ is a 1U, 4-channel analog microphone preamplifier using the 2520 op-amp and classic console circuit. Each channel has gain, polarity, phantom power, 20 dB pad, mic/line selection, and a VU meter. It accepts XLR inputs at the rear and unbalanced 1/4" inputs at the front. It delivers high headroom and consistent colour across all four channels — but offers no impedance control, channel linking, or digital integration.

Neve 33115

Neve

The Neve 33115 is a compact, broadcast-optimised channel strip built in Cambridge between 1974 and 1975. It uses the same class A preamp and EQ circuitry as the 1081 but drops the fourth EQ band and simplifies the layout. Its 300/1200 Ω input switch supports ribbons. It belongs in small consoles like the Melbourne and broadcast frames like the 5315 and 5316—not in large-format studio rigs.

Shure Beta 52

Shure

The Shure Beta 52 is a dynamic microphone built for kick drum and bass. It has a supercardioid pattern, 20Hz–10kHz response with 4kHz presence boost, strong proximity effect, and handles 174dB SPL. It was replaced by the Beta 52A.

AKG C12

AKG

The AKG C12 is a large diaphragm condenser tube microphone designed for studio recording. It requires a dedicated power supply. It captures a wide frequency range. It is exceptionally high-performing but delicate and unsuitable for live use.

Sony C37A

Sony

The Sony C37A is a large diaphragm condenser tube microphone. It belongs to a narrow class of studio mics defined by harmonic colour rather than flexibility. It has no documented switches, filters or pads. Its alternate names — 'c 37a' and 'c37 a' — appear in official listings but indicate no functional variation.

AKG C414

AKG

The AKG C414 is a series of large diaphragm condenser microphones. Thirteen variants exist. Two are matched pairs: the XLII and the XLS. All share the same functional category. None are described by frequency response, noise floor, or circuit details in the source.

AKG C451

AKG

The AKG C451 B is a fixed-cardioid small-diaphragm condenser with -10 dB/-20 dB pads and 75 Hz/150 Hz high-pass filters. Its CK1 capsule cannot be swapped. It delivers precision on acoustic sources but fails under high SPLs due to capsule fragility.

AKG C452

AKG

The AKG C452 C is a small diaphragm condenser microphone. It has no stated controls, no pattern options, no filters, no pad. Its function is narrow and fixed. Its value lies in consistency, not versatility.

AKG C460

AKG

The AKG C460B + CK63ULS is a small diaphragm condenser microphone. It delivers accuracy, not attitude. It has no switches, no colour, no compromise — just a fixed cardioid pattern, fixed frequency response, and fixed reliance on external preamp and placement. It excels where definition matters most. It fails where character is required.

Fostex D-80

Fostex

The Fostex D-80 is a dynamic, cardioid microphone built for singing and trumpet. It handles high sound pressure like an SM58 — but delivers a 'crunchy', 1980s-evoking sound the user found in an attic. It offers no features beyond its fixed polar pattern and raw output. It belongs only where that specific texture is the goal.

AKG D112

AKG

The AKG D112 MkII is a dynamic microphone built for one purpose: capturing kick drum impact. It is heavier than many mics (778 g), requires no power, and belongs to the same lineage as the original D112 — updated, not reinvented. It excels where low-end punch and SPL tolerance matter most. It fails where clarity, air, or transient fidelity are required. It is not a vocal mic. Not a room mic. Not a hi-hat mic. It is a kick drum mic — and nothing more.

AKG D19

AKG

The AKG D19 B200 is a dynamic microphone. No technical specifications are available. It cannot be evaluated against alternatives. It offers no documented advantage. It provides no actionable information to a user.

AKG D202

AKG

The AKG d202 is a dynamic microphone. That is all the material confirms. No specs. No year. No use cases. Just its category and its $299 price.

Telefunken ELA M 250

Telefunken

The Telefunken ELA M 250 is a large diaphragm condenser tube microphone made by Telefunken Elektroakustik. That is all the source confirms. No specifications, no use cases, no sonic characterisation, no historical context — just category, type, and maker.

Telefunken ELA M 251

Telefunken

The Telefunken ELA M 251 is a large diaphragm condenser tube microphone made by Telefunken Elektroakustik. It belongs to the category of large diaphragm condenser tube microphones. Nothing else is verified.

Focusrite ISA 110

Focusrite

The Focusrite ISA 110 is a discontinued solid-state microphone preamplifier. It belongs to Focusrite’s ISA series. It was replaced by the ISA 430 MKII. It is no longer sold.

Neumann KM 184

Neumann

The KM 184 is a fixed-cardioid small-diaphragm condenser microphone built for clarity, durability, and extreme SPL handling — not for shaping or adapting.

Neumann KM 54

Neumann

The KM 54 is a rare, discontinued large-diaphragm tube condenser microphone. It has a fixed cardioid pattern and requires its own unique power supply. It is fragile and unsuitable for live use. It delivers a warm, wide vocal tone — ideal for capturing subtlety — but lacks the clarity of newer Neumann tube mics. A reviewer used it successfully on vocals for themselves and a client. It resembles the AKG C12 in sound and appearance.

Neumann KM 56

Neumann

The Neumann KM 56 is a small diaphragm condenser microphone in the KM series. It belongs to the category of small diaphragm condenser microphones. It is also referred to as ‘km 56’ or ‘km56’. No technical specifications are provided.

Neumann KM 84

Neumann

The Neumann KM 84 is a studio-only small diaphragm condenser microphone. It delivers clean, crisp, accurate recordings of acoustic instruments—no low-end filtering needed. Its presence peak adds clarity; its rapid top-end roll-off removes air. Proximity effect forces tight mic placement. Phantom power is required. It is fragile and unsuited for live or field work.

Neumann KM 86

Neumann

The KM 86 is not a KM 84 variant. It is a dual-capsule small-diaphragm condenser that delivers three virtual polar patterns — and a sound described as 'more pais'. It was sold with XLR or Tuchel connectors. That is all the source tells us.

Neumann M 269

Neumann

The Neumann M269 is a large diaphragm condenser tube microphone made by Neumann. It is listed under that category. It is also called 'm269' or 'm 269'. No technical specifications are available. Nothing is stated about its use, sound, controls, or history.

Beyerdynamic M 88

Beyerdynamic

The Beyerdynamic M 88 TG - 90 years edition is a discontinued dynamic microphone. It has been replaced by the M 88 TG. It is no longer sold.

Sennheiser MD 21

Sennheiser

The Sennheiser MD 21 is a dynamic omnidirectional proximity microphone built for TV and film sound. It excels where other mics fail: under physical stress, in loud environments, and with aggressive vocal delivery. It gives warmth and intelligibility without colouring consonants. It offers no directionality, no pad, no filter — just durability and clarity. It belongs on stage, on set, and in the hands of performers who move while they speak.

Sennheiser MD 409

Sennheiser

The Sennheiser MD 409 is a unidirectional dynamic microphone built for studio and live use, especially guitar cabinet miking.

Rupert Neve Designs Portico 5012

Rupert Neve Designs

The Portico 5012 is a solid-state mic preamp with intuitive gain staging and a subjective Silk function that transforms its clean base tone into something euphoric — but unpredictable.

Royer R-121

Royer

The Royer R-121 is a studio-only ribbon microphone. It delivers fast, flat, high-SPL capture — but offers zero user controls, zero ruggedness, and zero tolerance for phantom power. It belongs where the environment is controlled and the source is loud.

Mesa/Boogie Rectifier Recording Preamp

Mesa/Boogie

The Mesa Boogie Rectifier Recording Preamp is a 2U rack-mount tube preamp with two channels and six voicings. It prioritises high-output direct recording but includes I/O for live use. Its six 12AX7 tubes deliver raw gain capable of overdriving mixers. It lacks speaker emulation and falls short when compared to miked cabinet tone.

Manley SLAM!

Manley

The Manley SLAM! is a stereo microphone preamp and limiter. It uses lamp-based preamplification and two analog limiting circuits — optical (ELOP) and FET — in a fixed signal path. It mounts in 2U of rack space. It does not offer variable routing, metering, or sidechain control.

Neumann TLM 103

Neumann

The Neumann TLM 103 is a fixed cardioid condenser microphone. It delivers a full 20 Hz–20 kHz frequency response. It has no low-cut filter or pad. It does not include a shock mount. It ships in a wooden, padded box. Its output impedance is 50 ohms.

Neumann TLM 170

Neumann

The Neumann TLM 170 is a discontinued large-diaphragm condenser microphone built solely for studio recording. It offers five polar patterns, a -10 dB pad, and a low-cut switch. It ships with a swivel mount and supports U87-style suspension. It fails in live performance. No recordings, artists or sessions are documented in the source material.

Neumann U 89

Neumann

The Neumann U 89 is a 1980 large-diaphragm condenser microphone built for versatility: five polar patterns via rotary switch, two fixed low-cut filters (80 Hz and 160 Hz), an attenuator, 140 dB SPL handling, and a neutral, less vivid tonal character than the U 87. It excels at distance capture and fits where bulkier mics cannot. It does not offer colouration, warmth or extended sub-bass response. No recordings or users are named in the source material.

RCA Type 44

RCA

The RCA Type 44 is a bi-directional ribbon microphone introduced in 1931. Its thin corrugated metal ribbon generates voltage when vibrating in a magnetic field. It hears only front and back. It breaks under wind, phantom power, and loud transients. It flatters voice and acoustic instruments with smooth mids and gentle highs. It belongs in a vintage studio chain—not on a podcast desk or a stage.

Shure 55SH

Shure

The Shure 55SH is a 1939 cardioid dynamic microphone built for public address. It delivers vocal clarity under load, resists feedback, and shrugs off physical stress. It does not offer studio-grade fidelity or flexibility. It belongs on podiums—not in overdub booths.

Beyerdynamic M 160

Beyerdynamic · 1957

The Beyerdynamic M 160 is a hypercardioid ribbon microphone introduced in 1957. It uses dual 15-mm aluminum ribbons suspended between alnico magnets (later neodymium), rotated 90 degrees to achieve end-address operation and a highly directional pickup pattern. It softens harsh characteristics of strident sound sources. It has been used in broadcasting, live concerts, and studio recordings — notably by Eddie Kramer on Jimi Hendrix and Andy Johns on John Bonham’s drums for 'When the Levee Breaks'. It remains in production over six decades later.

Neumann M 49

Neumann

The Neumann M 49 is a large-diaphragm condenser microphone developed at the NWDR’s Central Laboratory in Hamburg. It entered German broadcasting studios in 1952. It was the world’s first microphone with a remotely switchable polar pattern. Its pressure-gradient capsule causes proximity effect even in omnidirectional mode.

Coles 4038

Coles

The Coles 4038 is a BBC-designed ribbon microphone from 1953. It uses a bi-directional polar pattern and has a flat frequency response from ~30–15,000 Hz. High-frequency attenuation reduces sibilance but also reduces detail. Its technical specifications have remained unchanged since its design in the 1950s.

RCA Type 77-DX microphone

RCA

The RCA Type 77-DX is a 1954 poly-directional ribbon microphone with mechanical pattern control, low-tension 2.5-micron ribbon, and user-selectable impedance and low-frequency rolloff.

Shure Beta 58A

Shure

A live vocal mic defined by rejection, presence, and deliberate low-end roll-off.

Beyerdynamic M 160

Beyerdynamic · 1957

The Beyerdynamic M 160 is a hypercardioid ribbon microphone introduced in 1957. It uses dual 15-mm aluminum ribbons suspended between alnico magnets, rotated 90° to achieve end-address directionality. It softens strident sound sources without dulling transients. It was used by Eddie Kramer on Jimi Hendrix’s vocals and amplifier and by Andy Johns on John Bonham’s drums for 'When the Levee Breaks.' It remains in production after over six decades.

Sennheiser MD 421

Sennheiser · 1960

The MD 421 is a 1960 cardioid dynamic mic with a 27 mm diaphragm, 30–17,000 Hz ± 3 dB response, portless closed housing, and hum-compensation coil. Still in production. Over 500,000 units sold.

Sennheiser MD 441

Sennheiser

A purpose-built dynamic mic from 1971 that prioritises rejection, bass control, and electromagnetic immunity over sonic versatility or modern convenience.

Electro-Voice RE20

Electro-Voice

The Electro-Voice RE20 is a professional cardioid dynamic microphone introduced in 1968 for broadcasting applications. It employs Variable-D technology—a single transducer element with internal porting—to eliminate proximity effect and maintain stable frequency response regardless of source distance. It features a switch to attenuate frequencies below 400 Hz, a humbucking coil for EMI rejection, and a deeply mounted element to handle high SPLs. It delivers excellent fidelity despite its large size and weight. It continues to be used in recording studios and on the concert stage.

Shure SM57

Shure · 1965

The Shure SM57 is a low-impedance cardioid dynamic microphone introduced in 1965. It uses the Unidyne III capsule, shares design DNA with the SM58, and features impedance balancing via XLR. Its frequency response runs from 40 Hz to 15 kHz. Its cardioid pattern reduces background noise and feedback. It was built for TV studios — non-reflective, no on-off switch — and tested under torture. It has been used for every U.S. presidential speech since 1965 and remains one of the world’s two bestselling microphones since the late 1960s.

Shure SM58

Shure · 1966

The Shure SM58 is a professional cardioid dynamic microphone introduced in 1966. It is commonly used in live vocal applications. It has been produced since 1966 and is still the industry standard for live vocal performance microphones. It is the most popular live vocal microphone in the world. Like all directional microphones, it is subject to proximity effect, a low-frequency boost when used close to the source. Its cardioid response reduces pickup from the side and rear, helping to avoid feedback onstage. The SM58 uses an internal shock mount to reduce handling noise. A distinctive feature of the SM58 is its pneumatic suspension system for the microphone capsule. The SM58 was introduced in 1966 as part of the SM series. The SM58 was originally developed for the TV studio market with a non-reflective finish and no on-off switch. The SM58 has been one of the two bestselling microphones in the world since the late 1960s. The SM58 shares nearly identical features with the SM57, differing mainly in grille design.

Neumann U 87

Neumann · 1967

The Neumann U 87 is a large-diaphragm condenser microphone introduced in 1967 as the solid-state successor to the U 67. It features a 25.4 mm diaphragm and three selectable polar patterns — cardioid, omnidirectional, and figure-8. It can be powered by 48V phantom power or two internal 22.5V batteries. The original used the K 87 capsule, a modified version of the K 67. The 1986 U 87A reverted to the standard K 67 capsule and eliminated the dual-battery requirement.

Neumann U 47

Neumann · 2015

The U 47 is a historically significant but operationally constrained microphone. Its innovation lies solely in being the first switchable-pattern condenser — a functional milestone, not a sonic benchmark. It demands specialist maintenance, offers no modern conveniences, and has no documented sonic signature beyond its era-specific implementation. It belongs in a museum or a dedicated vintage studio — not a general-purpose rig.