|
Your
Sound Source.com and Muzeek World now United. Much Bigger discounts,
and outstanding service- Now serving the Nation with the right gear
at the right price-
CHOOSE
YOUR LIVE MICROPHONE
  
The highest-quality professional sound products...
Audix offers a broad product base of high-quality
professional sound equipment including live and studio microphones
as well as a complete line of powered speakers and passive monitors.
Focusing for the past decade on product
technology, research and development, Audix has continually pushed
the frontiers of audio development engineering to their maximum
limits. The result is a well-earned reputation for consistently
achieving levels of quality and clarity in sound reproduction previously
unimagined.
This reputation is affirmed in the
superior sonic quality represented by the complete family of Audix
microphones.
The choice of today's professionals...
THE PERFORMANCE MICROPHONE
Performance is everything in a microphone. Audix microphones are
rapidly becoming recognized by the industry as the world's best
performing mics.
It's why Audix has become the microphone
of choice for today's hottest performers. From Country to Jazz...
Pop to Alternative... performers are finding Audix mics simply outperform
all others.
From television shows including The
Tonight Show and The Late Show to classic rock artists like Crosby,
Stills and Nash, Audix has become the standard for quality and performance.
For those performers who may not be at top yet, Audix microphones
represent the best value in the industry!!
AN OBSESSION WITH SOUND
The Audix family of dynamic microphones offer exceptional sound
quality, fine craftsmanship and a dedication to detail you just
won't find in other brands.
It's because Audix is a company driven
by technology and an obsession to create and market the world's
finest pro-audio products.
THE IMPORTANCE OF A MICROPHONE
A part of that obsession is inherently focused on microphones. For,
in fact, next to the orginal sound, the microphone is the most important
ingredient in any sound system. The function of the microphone,
quite simply, is to precisely and correctly sample the incoming
acoustic waves and their harmonics and convert them to electrical
signals.
Regardless of the quality of the
other audio-system components, the true attributes of the original
sound not captured by a microphone are forever lost and cannot be
recovered. That's why Audix is dedicated to making the very finest
microphones in the industry.
Audix
M1290 |
 The
Audix M1290-CV 90MM Micro, High Output with Mic Clip, 25' cable
& a pouch.
The Audio M1290 is one of the latest MICROS innovation from
Audix. Audio M 1290 is a small condenser microphone with an
integrated preamp and detachable cable. M1290 is 3.5 inches
in length (90 mm) and weighs in at 1 oz.
Audio M1290 is characterized with precision
machined brass body and black E-coat finish, laser etched
with model and serial number. Audix M1290 model include a
variety of polar patterns to choose from including caridoid,
hypercardioid, omni-directional and shotgun capsules.
|
 |
ADX-20i |
 ADX-20i
miniature condenser mic, which features a smooth response over
a 40-20k Hz range, and includes a flexible gooseneck clip for
clamping the mic to a saxophone, trombone, trumpet or other
brass instruments. The ADX-20i operates on 9-52VDC phantom power
supplied by the APS-910 preamp module or can be battery powered.
Machined from solid brass, the ADX-20i features Audix's hallmark
E-coat finish |
|
ADX-60 |
 The
ADX-60 is a pre-polarized condenser microphone designed to handle
a wide variety of recording and live sound applications as well
as permanent installations. Ideal for podium, room ambience,
theatre, plays, choirs, video, teleconferencing and musical
applications such as piano and kick drum. Available in 3 models,
the stock ADX-60 is equipped with a cardioid element. There
is a choice of two other interchangeable capsules: Omni-directional
(ADX60-om), or Hypercardioid (ADX60-hc). With a smooth uniform
response over a frequency range of 50Hz - 18 kHz, the ADX-60
is provides a warm, full-bodied sound not typical of microphones
this size. Housed in a heavy-duty zinc die-cast base with a
low reflective black e-coat finish. Operating on phantom power
(9-52 volts), the ADX-60 is supplied with an in-line preamplifier
(APS-910) and 25' of detachable shielded microphone cable. If
phantom power is not available, there is an optional power supply
(APS-911) that operates in phantom or battery mode. Low noise
electronic circuitry and balanced output allow interference-free
performance even with long cable runs.
Applications:
Meetings, presentations, conferences
Low profile podium mic
Video / teleconferencing
Theatre / school plays
Kick drum, piano
Sporting events
|
|
ADX112 and ADX118
Gooseneck microphone
UEM81-c |
 Gooseneck
microphone
This pre-polarized condenser gooseneck microphone
is well suited for professional installations including conferencing,
houses of worship, meetings, and public address.
This 18" model is designed with flexible
gooseneck extensions in order that the microphone be easily
and quickly adjusted for height and distance. Available in
both cardioid and hypercardioid models. Phantom Power of 9-52
volts is required.
Audix ATS10 Microphone Retail
$89.00
Call for price
why do I call?
--------------------------------------------------------------------------------
Heavy duty, shock absorbent table stand for ADX112 and ADX118
Gooseneck microphones with lighted on-off switch.
The UEM81-c is a "AA" battery operated
cardioid condenser that can be used for a wide variety of live
sound and studio applications including speech, choirs, plays,
drum overheads, and acoustic instruments. Other features include
on-off switch, and a bass roll-off switch to help minimize boominess
and add clarity. Mic cable, windscreen and stand adapter are
provided accessories.
Specifications
Application: Video, distance miking
Features: AA battery operated, on-off switch, bass roll-off
switch, interchangeable capsules
Transducer Type: Condenser (pre-polarized)
Frequency Response: 40 Hz – 20 kHz
Polar Pattern: SuperCardioid
Output Impedance: 250 Ohms
Open Circuit Sensitivity: 10 mV
(1Pa=94 dB SPL)
Power Requirements: AA battery only
Maximum SPL: 128 dB
Off-axis rejection: >15 dB
Housing: Black E-coat
Weight: 8.5 oz
|
|
Audix ADX 10 |
 Audix
ADX 10 |
|
D6 Kick Drum Mic |
 AUDIX'
The Leader In Drum and Percussion Microphones, Introduces
The D6 Kick Drum Mic. This Model Is About Twice The Size Of
A Standard Microphone, and Yet Extremely Easy To Use and Position.
Pre-Emphasized Bass Response For Ground-Shaking Lows. Recommended
For Today's Live Stages and Professional Recording Studios.
The D6 is a dynamic cardioid mic with pre-emphasized
bass response for ground-shaking lows. Made for kick drums
(or any other instrument requiring precise low frequency reproduction),
the D6 has a frequency response of 30Hz-15kHz and is designed
to sound good in any position and it is not dependent on finding
the "sweet spot" of the drum. The D6 capsule features
the same VLM technology that has made the D series percussion
and instrument microphones very popular for today's live stages
and recording studios.
Specifications:
Transducer Type: Dynamic
Frequency Response: 30 Hz - 15 kHz
Polar Pattern: Cardioid
Output Impedance: 200 Ohms
Sensitivity: 2.2 mV @ 80Hz
Capsule Technology: VLM Type E
Off Axis Rejection: >20 db
Maximum SPL: 144 db
Cable/Connector: 3 pin gold plated male XLR connector
Polarity: Positive voltage on pin 2, relative to pin 3 of
output XLR connector
Housing: Machined Aluminum
Weight: 7.7 oz / 217 grams
Finish: Black Anodiz
|
|
Micropod 18 |
 Micropod
18
Features:
M1245 with 18 inch gooseneck, includes flange
Excellent for both recording and live applications
Miniaturized integrated preamplifier
No additional external power adapter needed
Mini-XLR connector
12 mm gold vapor diaphragm
Fully balanced for long cable runs (up to 150’)
Extremely low noise
Hi-SPL handling (over 144 dB with M1244)
Lightweight
Applications:
Acoustic instruments
Ambient room miking
Symphonic area miking
Overhead mic for choir, group vocal
Specs:
M1244 / M1245
Transducer Type Condenser
Frequency Response 80 Hz - 20 kHz
Polar Pattern Cardioid
(M1245-hc) Hypercardioid
Output Impedance 250 Ohms
Sensitivity (M1244) 4 mV/Pascal @ 1k
(M1245) 14 mV/Pascal @ 1k
Equivalent Noise Level 19 dBA
Signal to Noise Ratio 75 db
Power Requirements 48-52v phantom
Maximum SPL (M1244) > 144 dB
(M1245) > 138 dB
Cable/Connector Shielded
12’ mini XLR–XLR
Housing Machined Brass
Weight .6 oz/17 grams
Length 1.7 inches/45mm
|
|
M1290 |
 Excellent
for both recording and live applications
Miniaturized integrated preamplifier
No additional external power adapter needed
Mini-XLR connector
12 mm gold vapor diaphragm
Fully balanced for long cable runs (up to 150’)
Extremely low noise
Hi-SPL handling (over 144 dB with M1244)
Lightweight
Applications:
Acoustic instruments
Ambient room miking
Symphonic area miking
Overhead mic for choir, group vocal
M1290
Transducer Type Condenser
Frequency Response 40 Hz - 20 kHz
Polar Pattern Cardioid
(M1290-hc) Hypercardioid
(M1290-o) Omni
Output Impedance 250 Ohms
Sensitivity 14 mV/Pascal @ 1k
Equivalent Noise Level 19 dBA
Signal to Noise Ratio 75 db
Power Requirements 48-52v phantom
Maximum SPL > 138 dB
Cable/Connector Shielded
12’ mini XLR–XLR
Housing Machined Brass
Weight 1 oz/28 grams
Length 3.5 inches/90mm
Supplied Accessories
12’ high quality 3.3mm cable with mini-XLR (f) –XLR (m) connectors
(CBL-M12)
Mic stand adapter (MC-MICRO)
Rosewood case
|
|
|
 |
|
OM-5 , OM-6 |
 The
design of the OM-5 was in response to the market's demand for
a super high-output mic with natural, undistorted sound. Unlike
other brands using neodymium magnets, which results in unnatural
sound and excessive feedback, the OM-5 does not sacrifice sonic
quality or feedback rejection to achieve its high levels of
gain.
Features
Dynamic hypercardioid element
High output with gentle presence rise and
smooth proximity response
VLM equipped offers unmatched noise and feedback
rejection
48Hz to 19kHz frequency response
144db SPL handling
Durable zinc alloy construction
Electronically cut blast filter with black
E-coat finish
Comes with carry pouch and nylon mic clip
|
|
SCX-1 |
SCX-1 Audix Condenser Mic Preamp
132dB Max SPL
Premium Condenser Mic That Consists of A Preamp Section and
a Selection of Caplsules (SCX-c thru SCX-op)
Clip and Case Included
Ultra-Low Noise SMT Preamp |
|
Audix SCX-25 |
 In
a market awash with lowball Neumann wannabe lookalikes, the
Audix SCX-25 is a refreshing sight and looks like no mic I've
ever seen. With its two identical head grilles attached to either
side of a central, threaded brass ring, it has a distinctive,
stylish look.
The Audix SCX-25 is a large-diaphragm, cardioid
condenser mic, priced at $799, with standard mic clip in a
padded wooden box. The mic does not have a pad or roll-off.
As with all Audix dynamic mics, the SCX-25 is now manufactured
and built in the USA.
The smaller size of the SCX-25 allows it
to be snugged into tight spaces. I'd suggest using it around
drum kits, but away from flailing drumsticks. The SCX-25 head
grille is single-ply metal mesh, thin enough to be easily
moved with the tip of a finger. A solid whack with a drumstick
could permanently dent the grille and possibly contact the
diaphragm. Should the head grille become dented, it can easily
be removed for repair or replacement.
These minimalist head grilles result in the
SCX-25 having a very open sound, because the capsule is more
accessible to fragile transients. Also, because sound doesn't
get trapped inside the housing as much as with more formidable
head grilles, the off-axis response is nowhere near as phase-y
as many other large-diameter condensers. The head grilles
are so light that they ping slightly when the mic body is
tapped, but having used the mic for a while, I doubt this
amount of resonance would cause a problem.
The 1-inch, gold-sputtered, center-tapped
diaphragm is suspended by elastic from four points around
the inside of the central brass ring. It's a fairly effective
suspension mount, but you might need additional isolation
if you presently have problems with mic boom resonance.
THE SPECS
The SCX-25 has an output impedance of 200 ohms, shows a sensitivity
of 29 mV (ref. 1 kHz @ 1 Pa), and has a 14dBA self-noise and
an 80dB S/N ratio. The mic requires a 48VDC phantom supply
and handles 138dB max SPL. It's pin #3 hot.
To get a sense of the 14dBA self-noise and
sensitivity, I compared the SCX-25 with a Neumann U89i (17
dBA). The SCX-25 is about 8 dB more sensitive than the U89i.
After I adjusted a pair of GML preamp levels to achieve equal
output, the self-noise levels were almost identical, although
slightly different in spectra. The U89i was flatter, and the
SCX-25 had a rise in the 5 to 7kHz range (by ear), giving
it a brighter sound. For another perspective on self-noise
and sensitivity, I swapped the U89i for a Neumann TLM103,
which has a 7dBA self-noise. The SCX-25 was about 3 dB hotter
than the TLM103. If you've had a TLM103 overdrive your preamp,
then you could expect the same with the SCX-25.
The SCX-25 had noticeably more self-noise
when adjusted for equal gain. At close range, the frequency
responses of the SCX-25 and TLM103 were very similar, with
the TLM103 having a bit more upper bass or low mids. I could
hear a bit more room with the SCX-25, although there were
times when I could only tell the two apart by the increased
self-noise of the SCX-25.
I plugged both mics into two channels of
an Aphex 1100 preamp and fed both via the AES/EBU digital
output, through a Graham-Patten 110-to-75-ohm converter to
the S/PDIF input of a Pro Tools Digi 001. Carefully positioning
the mics equidistantly about four inches from my mouth, trimmed
for equal level, I recorded narration with each mic on a separate
track. The TLM103 was smoother. Again, the SCX-25 seemed brighter
with less upper bass/low mids.
I moved the SCX-25 and TLM103 to a Mackie
1604 VLZ/XDR and found that they, again, sounded similar at
close range. Moving the mics back about two feet, where the
low-frequency increase from proximity effect was less of a
factor, the SCX-25 was somewhat scooped in the upper bass/low
mids and sounded a bit edgy. Next, I used the Dreaded Key
Jangle Test. Both mics “splatted” about equally, and their
frequency responses remained consistent with my findings.
Audix also plans to build a double-mic mount,
allowing a pair of SCX-25s to be attached to the internal
crossbars of a piano. The mount will permit the piano lid
to be open or closed. [Note: Although the mic mount is not
shipping yet, I tried the SCX-25s on a studio grand with conventional
stands. The mic's slim side-profile simplified placement even
at half-stick, and their smooth pickup with a rising top end
and lack of off-axis coloration added a nice sparkle for a
natural piano sound that worked well in solo or ensemble tracks.
— George Petersen]
ACOUSTIC GUITAR
My next session was back at my studio with a D28S Martin,
which has old but not dead strings, and a Millennia Media
STT-1 preamp. With the SCX-25 at my usual spot — about six
inches out from where the neck meets the body — the fifth
and sixth strings were too boomy. I was surprised to find
that aiming the mic at the lower bout, from slightly below
the center and up at the bridge about 10 to 14 inches away,
sounded much better. I've never put a mic there with good
results, but that's where I liked the SCX-25.
I tried stereo-miking with a pair of SCX-25s,
close-spacing the capsules, with the lower mic angled slightly
up and the upper angled slightly down, both pointed at the
rear bout. That worked! I found that I could get the mics
aimed at my original “off-the-neck” position if I positioned
the mics 16 to 18 inches from the body, with capsules cross-aimed
at the upper bout.
SECRET SOUND OVERHEADS
I took the pair of SCX-25s to Secret Sound near Baltimore
for a drum tracking session. Studio owner John Grant used
the mic pre's in a Mackie D8B. His usual drum setup has an
AKG D12 on kick, Beta 57 on snare, two 421s on toms, Sony
ECM10 for hi-hat, AKG 451s on overheads and CAD E100 for room.
The studio has a fairly low hard ceiling,
and the room is moderately damped. We positioned an SCX-25
overhead next to each AKG 451, about seven feet above the
floor, and splayed them out slightly. Drummer Jamie Wilson
(drummer for Baltimore Mayor Martin O'Malley's band) played
while we set levels.
The SCX-25s were 4 to 5 dB more sensitive
than the 451s. The 451s were very smooth with a more conservative
bottom, to the degree that the kick and snare sounded as though
they were further away. The SCX-25s were brighter on top,
less midrange-y, with a more present kick and snare. Grant
felt that the SCX-25s also had a tighter pattern than the
AKG 451s. Moving the SCX-25s a little more than a foot higher
to just below the ceiling made their stereo spread similar
to that of the lower 451s. I felt that the 451s sounded drier,
flatter and more isolated, while the SCX-25s sounded brighter,
without being harsh, and with a wider stereo spectrum.
IN CONCLUSION
On harsh sources like banjo, fiddle or sax, the SCX-25 may
be too bright, but the pair of SCX-25s worked nicely as drum
overheads. While the Audix SCX-25 is not as quiet as a Neumann
TLM 103, the proximity effect makes the two mics more similar
in sound when used close-in. The SCX-25 would also be a good
choice on louder vocals with darker voices or other darker
sources, especially in the din of a small practice space or
club where everyone is playing, and where there's frequently
too much upper bass/low-mid energy. Try 'em there as well.
|
|
|
D-1 |
 the
D-1 features VLM noise rejection capsule, high
dynamic range, and compact design for easy, discrete placement.
What this means for you is crisp, clean sound reproduction for
recording snares, all types of cymbals, and even wind instruments
like flute.
•Instrument
Dynamic
•Hypercardioid
•144dB SPL
•Proprietary anti-feedback design
•Durable scratch resistant spring steel grille
•Black Hard-coat Finish
•Isolates each instrument's "sweet" spot
•Gold plated contacts
•VLM™ Very low mass diphragm
•Reduced phase shift
•Superior transient response
•Pouch & clip included
•Application specific microphones
•Individually tested & hand assembled
•Highest levels of gain before feedback
•Exceptional off-axis rejection
•Built to last a lifetime
|
|
|
Audix D3 |
Audix D3 This finely tuned low-gain, low noise
is designed for critical instrument and percussion applications.
It handles extreme dynamics without coloration or distortion.
It's ideal for electric guitars, drums and a variety of high
SPL instruments such as the trumpet and coronet.
•Instrument
Dynamic
•Hypercardioid
•144dB SPL
•Proprietary anti-feedback design
•Durable scratch resistant spring steel grille
•Black Hard-coat Finish
•Isolates each instrument's "sweet" spot
•Gold plated contacts
•VLM™ Very low mass diphragm
•Reduced phase shift
•Superior transient response
•Pouch & clip included
•Application specific microphones
•Individually tested & hand assembled
•Highest levels of gain before feedback
•Exceptional off-axis rejection
•Built to last a lifetime
|
|
|
VX-10 |
 the
VX-10 has exactly what you need to get the
most from your vocals during performance. The detail and realism
you get from the VX-10 is amazing. You never have to worry about
excess boom rendering a singer indistinct! In fact, it's just
as good for non-singing vocals like on-air broadcast. Low noise
electronic circuitry, low impedance, and balanced output allow
interference-free performance even with long cable runs. |
|
| SCX-25 |
SCX-25
delivers a sound quality found in classic mics that are much
larger and many times more expensive. Uniquely shock-mounted
within an intricate machined brass ring, the capsule is isolated
from the microphone body and the electronics. By successfully
minimizing acoustic reflections and diffractions, SCX-25 delivers
a pure, open-air sound unlike any other mic.
•
Transducer Type Condenser
• Frequency Response 20 Hz - 20 kHz
• Polar Pattern Cardioid
• Output Impedance 200 Ohms balanced
• Sensitivity 29 mV
• Equivalent Noise Level 14 dB (A weighted)
• Signal to Noise Ratio 80 dB
• Power Requirements 48 - 52v phantom
• Maximum SPL 138 dB
• Dynamic Range 124 dB
• Cable/Connector 3 pin gold plated male XLR connector
• Polarity Positive voltage on pin
• 3 relative to pin 2 of output XLR connector
|
|
|
OM6 |
 the
OM6, a broad hypercardioid dynamic mic that
delivers a full-bodied, rich vocal sound! You also get extended
low end response - without boominess - and high SPL levels without
distortion; low handling noise, superior off axis rejection.
•Hypercardioid
pattern
•144dB SPL
•Proprietary anti-feedback design
•Durable scratch resistant spring steel grille
•Black E-coat Finish
•Less strain to be heard above the band
•Gold plated contacts
•VLM™ Very low mass diphragm
•Reduced phase shift
•Superior transient response
•Pouch & clip included
•Application specific microphones
•Individually tested & hand assembled
•Highest levels of gain before feedback
•Exceptioanl off-axis rejection
•Built to last a lifetime
|
|
|
Audix OM5 |
Audix OM5 microphone is great for lead and
background vocals. It features an extremely tight hypercardioid
pattern and a specially designed VLM type-C capsule that delivers
very high output, unsurpassed gain before feedback and smooth
response with exceptional vocal clarity.
•Hypercardioid
pattern
•144dB SPL
•Proprietary anti-feedback design
•Durable scratch resistant spring steel grille
•Black E-coat Finish
•Less strain to be heard above the band
•Gold plated contacts
•VLM™ Very low mass diphragm
•Reduced phase shift
•Superior transient response
•Pouch & clip included
•Application specific microphones
•Individually tested & hand assembled
•Highest levels of gain before feedback
•Exceptioanl off-axis rejection
•Built to last a lifetime
|
|
|
OM-2 |
 the
OM-2 handheld dynamic mic features a VLM type-B capsule
which gives you warmth in the lower mid-bass and a slight boost
in the mid-range. Features a proprietary anti-feedback design
for great handling, and it's built to last!
Features:
- Hand
Held Dynamic
- Hypercardioid
pattern
- 140dB
SPL
- Proprietary
anti-feedback design
- Durable
scratch resistant spring steel grille
- Black
E-coat Finish
- Gold
plated contacts
- VLM™
Very low mass diphragm
- Reduced
phase shift
- Superior
transient response
- Pouch
& clip included
- Application
specific microphones
- Individually
tested & hand assembled
- Highest
levels of gain before feedback
- Exceptioanl
off-axis rejection
|
|
|
M1245 |
the
M1245 offers an integrated preamp and detachable
cable for the ultimate in convenience!
While
we're sure you'll find plenty of places and situations that
take advantage of this ultra-small mic, scenarios such as
recording Acoustic instruments, ambient room miking, symphonic
area miking and overheads for just about everything from choirs
and group vocals to drums and more come to mind. The M1245
is an excellent choice for both recording and live applicatons
- especially when you're concerned with line of sight. Obviously,
the M1245 is lightweight, but it also features high SPLs,
needs no additional external power and is extremely quiet.
This is
the Cardioid version. A Hypercardioid version (M1245hc) is
also available.
|
|
|
Elite Drum |
 The
Elite Drum Pack!
Putting mics on percussion used to be fraught with potential
hazards. Not anymore! Audix's convenient, economical Drum Packs
from Audix ensure your drums are heard loud and clear on stage
or in the studio! Featuring the D Series mics - Audix's finest
instrument microphones - they're a great resource for any musician
or sound engineer who needs a simple, dependable solution to
miking percussion.
The Elite Pack contains
- (1)
D1Snare
- (2)
D2 Toms
- (1)
D4 Floor Tom
- (1)
D6 Kick Drum
- (2)
SCX1 Drum Overhead
- (1)
SCX-HC
- (4)
D-Vice Drum Microphone Clip
- (4)
MC2
|
|
| Audix
DP3 |
Audix
Drum DP3 Pack #3!
Putting mics on percussion used to be fraught potential hazards.
Not anymore! These convenient, economical Drum Packs from Audix
ensure your drums are heard loud and clear on stage or in the
studio! Featuring the D Series mics - Audix's finest instrument
microphones - they're a great resource for any musician or sound
engineer who needs a simple, dependable solution to mic'ing
percussion.
Drum Pack
#3 includes:
• (1) D1 Snare
• (2) D2 Toms
• (1) D4 Kick Drum
• (2) ADX-50 Overheads
• (4) Dflex
• (1) Sturdy Road Case
|
|
| Audix
DP2 |
Audix
Drum Pack DP2 #2!
Putting mics on percussion used to be fraught with potential
hazards. Not anymore! These convenient, economical Drum Packs
from Audix ensure your drums are heard loud and clear on stage
or in the studio! Featuring the D Series mics - Audix's finest
instrument microphones - they're a great resource for any musician
or sound engineer who needs a simple, dependable solution to
mic'ing percussion.
Includes:
- (1)
D-1 Snare
- (2)
D-2 Toms
- (1)
D-4 Kick Drum
- (4)
Dflex
- (1)
Sturdy Road Case
|
|
|
M1290 |
the
M1290 offers an integrated preamp and detachable
cable for the ulitmate in convenience!
While
we're sure you'll find plenty of places and situations that
take advantage of this ultra-small mic, scenarios such as
recording Acoustic instruments, ambient room miking, symphonic
area miking and overheads for just about everything from choirs
and group vocals to drums and more come to mind. The M1290
is an excellent choice for both recording and live applicatons
- especially when you're concerned with line of sight. Obviously,
the M1290 is lightweight, but it also features high SPLs,
needs no additional external power and is extremely quiet.
|
|
HOT AUDIO & VIDEO DEALS EVERY DAY
|
