Blue's Poseidon is the world's first underwater microphone.
According to Blue, it will "take your recording to new lows!"
The Poseidon was announced on April 1, 2013, with availability limited to Blue dealers located in Atlantis.
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This profile of the Blue Microphones Poseidon is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The "C1000 S" is a third-generation version of the "C 1000 S," a popular cardioid condenser microphone that can be powered by batteries for field use.
The microphone uses a small-diameter electret condenser capsule. It has a relatively high self-noise level of 21dBA, and a relatively low sensitivity of 6mV/Pa.
Prior generations of this microphone could be powered by an internal 9V battery. The 2012 edition, which we believe was the first offered in black, has been changed to use two AA/UM3 batteries rather than a single 9V.
The 2012 edition is the first to offer a switchable high-pass filter (80Hz) and a switchable pad (-10dB); these switches appear to be inside the microphone, but the documentation is unclear.
The battery status LED, at least for the 9V version of the microphone, would light up to indicate that less than 45 minutes of power remain. We presume the same is true of the black AA-battery edition.
The pickup pattern can be switched from the mic's native pattern, cardioid, to hypercardioid simply by attaching the included PPC 1000 Polar Pattern Converter to the top of the microphone capsule.
The mic's native frequency-response curve can be modified via the PB1000 Presence Boost Adapter which effectively adds 3 to 5 dB of high-end enhancement between 5 and 9 kHz, improving clarity of speech and adding definition to instrument sounds. This part can be purchased via retailers for about $3.
Both the PPC1000 and PB1000 are little plastic widgets that can be installed (one or the other, but not both simultaneously) on the mic capsule. The installation requires no tools and takes only a few minutes. The mic capsule is easily exposed by unscrewing the top half of the microphone body; this also reveals the battery compartment.
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This profile of the AKG Acoustics C1000 S is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The C3000 is AKG's 2nd rebranding, or 3rd version of the "C 3000 B" microphone. The C 3000 B, later renamed the C 3000 (in 1999), has been relaunched in 2012 as the C3000 (no space in the name), as part of AKG's revamped line of project studio microphones.
The C3000 is internally identical to the C 3000 B; both use a one-inch, edge-terminated, large diaphragm electret capsule. Both use transformerless electronics. Both offer a pad (-10dB) and high-pass filter (-6dB/octave below 500Hz).
The mic's self-noise is a respectable 14dBA.
The C3000 includes the H85 shockmount and a metal carrying case.
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This profile of the AKG Acoustics C3000 is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The Ela M 570 is the world's first "Surround Sound Tube Microphone." It was announced on April 1, 2013.
It uses a "linear array" of five of the company's CK-12 style large-diaphragm, edge-terminated capsules. The impedance converter circuitry includes an internal 5.1 surround matrix using "micro-tube technology" that can produce multiple stereo techniques: AB, XY, MS, X/Y/X/Y/X, Quad-MS+, and others that you've never heard of.
Dr. Alfred E. Neumann
Our new 5-channel C12 capsule array is incredibly detailed, capturing all the subtle nuances of a performance and transferring them back to the listener in a manner that is so realistic, you'll think you're listening in five directions at once. Its silky smooth top end provides plenty of air without sounding harsh or zippy. Its midrange speaks clearly and articulately, capturing the sources with a natural presence. Its low end is tight and big-bottom, perfectly balanced with the rest of the frequency range. These qualities make the ELA M 570 surround mic a fantastic choice for all types of instruments, lending itself well to bagpipes, harmonica, electric drums, cowbell, and large organs.
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This profile of the Telefunken Ela M 570 is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The i16 is the world's first 16-channel surround sound microphone for the iPhone. It was announced on April 1, 2013.
It uses 16 of the half-inch electret condenser capsules found on its 2-channel sibling, the iXY, and comes in both Lightning and Apple 30-pin connector versions for compatibility with iPhones 3–5.
Philip Bloom
It sounded better than my ears could hear!
One thing people say, is that it's too big. Well, I don't agree. Get a manbag! I have a manbag.
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This profile of the RØDE i16 is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The black C4000 is a repackaged version of AKG's C 4000 B. The specs for these two mics are identical.
Both mics are multipattern FET condensers with switchable pads and filters. Both use a one-inch edge-terminated electret capsule, and transformerless electronics.
Like the rest of AKG's "project studio series" mics, the new C4000 is finished in a matte dark gray. It ships with the H85 elastic shockmount and the W4000 windscreen. The SA61 mic clip is available separately.
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This profile of the AKG Acoustics C4000 is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The I50d is an all-purpose stage dynamic microphone, intended for close-miked drums, amplifiers, and brass instruments.
The mic has a flat response from 200Hz through 2kHz, with presence peaks at 5kHz and 10kHz. The high and low frequency responses fall off fairly sharply below 150Hz and above 10kHz.
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This profile of the beyerdynamic I50d is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The TG D50d is a dynamic microphone intended for drums and bass instruments. It contains a passive switchable EQ mode that introduces a significant change in the microphone's sound and behavior:
| Mode | Sensitivity | Freq. Resp. (-3dB) | Impedance |
| Linear | 2.4 mV/Pa | 55–15,000 Hz | 600 Ω |
| EQ | 0.9 mV/Pa | ~20–13,000 Hz | 200 Ω |
In "Linear" mode, the microphone has a broad, ~4dB boost in the bass frequencies, centered around 150Hz, and a two-peak presence boost, +4dB @ 5kHz and +6dB at 9–10kHz. The high-frequency response falls off rapidly above 10kHz.
In "EQ" mode, designed for bass drums, the mid scoop is significantly more pronounced: -4dB @ 500Hz, +6dB @ 70–100Hz, +12dB @ 4kHz.
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This profile of the beyerdynamic TG D50d is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The ATM350 is a clip-mounted instrument condenser with a miniature electret capsule. The 12mm x 38mm capsule head is mounted to a short gooseneck and clamp, facilitating placement on a drum rim or the bell of a horn.
The capsule head is wired to a separate powering module, which could be strapped to the performer or elsewhere on larger instruments. The power module measures 93mm x 19mm, and weighs 81g (2.9oz).
A switch on the power module enables a high-pass filter, -12dB/octave at 80Hz.
The ATM350 comes with a Cardioid capsule, which can be changed for Omni or Hypercardioid capsules (available separately).
The mic ships with a soft storage pouch, the AT8542 power module, the AT8418 UniMount clip ,and the AT8468 violin mount.
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This profile of the Audio-Technica ATM350 is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The t.bone SCT 700 is a large-diaphragm tube microphone with a fixed Cardioid polar pattern.
It uses a very similar circuit and components as numerous other inexpensive tube microphones: a 12AX7 dual triode tube, a CCDA circuit design, a 32mm K67 capsule. Its circuit is the same as is found in the Apex 460, with the exception of the 460's pattern control feature.
The SCT 700 is somewhat less attractive as a modification platform than other models, because its 12AX7 tube is soldered in place.
The mic ships with an elastic shockmount in a foam-lined flightcase.
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This profile of the t.bone SCT 700 is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The Sanken CU-55 is a small-diaphragm FET condenser microphone in a compact, side-address form factor. It uses a 16mm capsule with extremely high sensitivity, and includes a pad switch for high-SPL applications.
The mic's specifications are somewhat remarkable. The stated sensitivity figure of 50.1 mV/Pa puts it among the most sensitive mics we've seen. The switchable -10dB pad drops the mic's effective sensitivity to 15.8mV/Pa, which is comparable to typical studio condensers.
Its self-noise figure of 15dBA is excellent for a small-diaphragm capsule.
The mic includes a vinyl storage pouch. The pictured shockmount is available as an optional accessory.
The CU-55 was released in 2013, and announced initially at NAB in Las Vegas.
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This profile of the Sanken Microphone Company, Ltd. CU-55 is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The Pearl Priority is a large-diaphragm FET condenser with a rectangular capsule. It is billed as an all-purpose condenser, with a subtle 5kHz presence boost to aid in vocal clarity.
The capsule design is new. The "Model 2900" capsule is a single-diaphragm version of the 2800 capsule found in many of PML's microphones. It was designed to be produced at a lower cost, which allows the Priority to meet a retail price point under $799 USD while retaining the sonic benefits of Pearl's rectangular-capsule technology.
The capsule dimensions are 35x20mm, with a diaphragm size of 28x15mm. The diaphragm material is polyester film, metallized with aluminum.
The Priority has a stainless-steel housing with an open, single-layer mesh grille (also made of stainless steel). The mic will ship with a hard mount.
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This profile of the Pearl Microphone Laboratory Priority is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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The Pulsar was a small-diaphragm FET condenser with a fixed Cardioid polar pattern.
The Pulsar shipped with a hard mount, a pop filter, and a storage pouch.
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The Luna was a large-diaphragm FET condenser with a transformer-coupled output.
It was replaced in the M-Audio product line in 2008 by the Luna II, which added a switchable pad and high-pass filter.
Sound on Sound, 2004
In sonic terms it sits just on the flattering side of neutral. It suits most vocal types and delivers a well-balanced combination of warmth and clarity, with minimal noise and more than enough sensitivity for all normal studio applications.
The Luna shipped with a shockmount (p/n SM-4) and an aluminum flightcase.
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The Cr30 is a transformerless FET condenser mic with a fixed Cardioid polar pattern and a large-diaphragm capsule. It is MXL's "Black Widow" microphone, rebranded as part of the black chrome product line.
The circuit uses a mix of through-hole and surface mount components, including 3 integrated circuits.
A 3-position switch on the rear of the microphone enables a pad: 0dB (disabled), -10dB, -20dB.
The capsule is MXL's 32mm K67 variant, presumably with a clear rear diaphragm.
It ships with a polishing cloth, an elastic shockmount, and a flightcase.
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This profile of the MXL CR30 is part of the microphone database and search engine at RecordingHacks.com. All content is ©2013 matthew mcglynn.
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