Blue Microphones

Yeti Features:

• The first USB mic to offer Blue’s condenser capsules in a  triple capsule array for the highest quality, most versatile audio recording capability
• Four patterns (Omni, Cardioid, Stereo, Bidirectional) for  versatility and superior results
• THX certification
• Studio quality performance and features, with zero latency, amplified headphone monitoring, microphone mute, and hardware-based gain adjustment
• Driverless installation and works with both PC and Mac.
• The Yeti’s angle can be adjusted on its custom-designed desk stand.

The Yeti microphone is designed to offer quality recordings in a wide range of situations, including podcasts, vocals, live or event recording, interviews, broadcasts, instruments, bands and more.

“THX testing and certification ensures the fidelity of the recording always remains true to its source” according to Matthew Chrispen, director of certification at THX, “allowing artists to accurately capture voice-overs, interviews and other sound elements with confidence.”

The Yeti, MSRP $149.99, will be available beginning December 2009.

If you’ve used the Yeti microphone, leave a comment with your thoughts on it!

Shure SM58 & SM57 mics have a reputation for being reliable to the point of being indestructible. 

Mats Stålbröst, editor of the Stockholm-based Studio, took that as a challenge and subjected a SM58 to a year of sadistic torture.

And here it is in all its awesome glory. 

He used the SM58 mic to hammer nails, dropped it from heights, submerged it in water, drove a car over it and nuked it.

And the thing still worked. 

So they buried it underground for a year.

Here are the results:

Click here to view the embedded video.

It still works – but I’m not using that thing.

You can get SM58’s for $80-90 and they are as indestructible as these video suggests. The SM58 is typically used for vocals because it has a built-in wind screen/pop filter. The SM57 is basically the same mic, but without the wind screen, so it’s more appropriate for instruments. Both are great first mics.

via CDM, SM58 info

The MXL USB.009-24 features 24-bit A/D and D/A converters with up to 96 kHz recording capability. They recommend the mic for home recording, podcasting, as well as adding dialog to business presentations and other multimedia projects. They also recommend the mic for re-recording voice tracks to accompany video shot in the field.

Compatible with both USB 2.0 high speed and USB 1.1 protocols, the MXL USB.009-24 is a plug and play device.

The MXL USB.009-24 ships with a desktop microphone stand, a mounting clip, a flight case, cleaning cloth, one USB cable, an owner’s manual and an applications guide.

The MXL USB.009-24 carries a MAP of $399.95. The product is expected to be available Spring of 2008.

Details:

The MXL USB.009-24 is designed as a general purpose studio condenser microphone. It is equally suited for voice applications (both vocals and dialog) and makes a compelling choice for recording acoustic instruments as well as amp miking. The MXL USB.009-24 features a 32 mm pressure gradient condenser capsule with a gold sputtered diaphragm. Combined with its 24-bit A/D and D/A converters, this versatile new microphone delivers a full bodied sound with pristine highs, a smooth and silky midrange, and a rich low-end presence. The microphone supports recording with sampling frequencies up to 96 kHz.

MXL’s new USB.009-24 offers a comprehensive set of controls that enable the microphone to integrate into any audio environment. With its 1/8th-inch stereo headphone jack and adjustable level control, the USB.009-24 provides a convenient means to monitor during recording—with zero latency, bypassing the computer entirely. For added convenience, the MXL USB.009-24 even has a mix control for adjusting the balance between playback (the audio stream from one’s computer, for example) and the source signal via the microphone’s capsule—providing a fully self-contained monitoring solution for multitrack recording. Capping the microphone’s feature set is an analog gain control, for adjusting the level of signal from the capsule that feeds into the computer. With its blue LED capsule illumination, the MXL USB.009-24 provides visual confirmation that the microphone is powered and active.

Wayne Freeman, MXL’s Global Sales Manager, commented on the company’s latest microphone offering. “The new MXL USB.009-24 is unquestionably the most advanced USB microphone our industry has encountered. With first-class sound quality and a comprehensive assortment of features and accessories, everything one needs to start recording with a computer is included in this package. The latest advances in digital technology, along with years of research, have enabled us at MXL to produce the audio quality normally associated with expensive multi-channel computer interfaces within the body of this microphone. What this means for the end user is a simple, elegant, all-in-one recording solution that is completely professional.”

Audio-Technica has introduced a couple of stereo shotgun microphones aimed at the high-end broadcast and production environment.

The new BP4027 and BP4029 Stereo Shotgun models are based on models that A-T originally developed for the Sydney Olympics in 2000. Designed for broadcasters, sound recordists and videographers, these phantom-powered models feature independent line-cardioid and figure-of-eight elements configured in an M-S (Mid-Side) arrangement. Each provides a switch-selectable internal matrixing system offering a selection of wide and narrow stereo (L/R) output or M-S output. A switchable low frequency roll-off filter helps minimize the pickup of unwanted low frequency noise. The models differ from one another primarily in length (BP4027 15″ long and BP4029 9″ long); they both feature a lightweight rugged design, ideal for on-camera use.

The BP4027 and BP4029 Stereo Shotguns offer an alternative to conventional stereo microphone techniques in applications such as field acquisition, sound effect recording, live events and news gathering. The microphones allow sound recordists the choice of selecting a left-right stereo output (wide or narrow) via the microphone’s internal matrixing system or choosing discreet Mid-Side signals for later manipulation, a flexibility not available from any other manufacturer.

Part of Audio-Technica’s newly revamped Broadcast & Production line, the BP4027 and BP4029 are fully RoHS-compliant — free from all substances specified in the EU directive on the reduction of hazardous substances (RoHS).

These new stereo shotgun microphones will be available Summer 2007. The U.S. MSRP is $1,100.00 each for the BP4027 and BP4029.

Description:

Not only the name Phanthera relates to the big wild cats. It appears dynamic, powerful, ductile and charming. It is hard to put its sonic character into simple words. Therefore Brauner emphatically recommends prospective buyers give the Phanthera a serious try within their well-known studio environment.

All microphones are entirely manufactured in Germany.

Technical Data:

• Acoustical Principle pressure gradient transducer
• Equivalent Noise 11 dB A (IEC651)
• Signal to Noise 83 dB (1Pa/1KHz-Cardioid)
• Sensitivity 33mV/Pa-Cardioid
• Polar Pattern Cardioid
• Frequency Range 20 Hz-22 KHz
• Circuit Design Solid State ( FET )
• Maximum SPL 142 dB SPL @ 0.3 % THD
• Power Supply 48V Phantom Power
• Accessories Suspension, aluminium case, Vovox Sound Conductor

The mic uses low noise electronics and the latest in enhanced digital conversion techniques for pristine audio quality. The mic uses MOGAMI cable for the internal analog wiring to bring out the maximum definition.

The MXL USB.008 ships with a rugged tote bag, a desktop mic stand, mic stand adaptor, a 10-foot USB cable, wind screen, owners manual and an applications guide. The MXL USB.008 carries an MSRP of $199.00 and is now shipping. A stereo version will also be available.

The USB-24M is designed for recording vocal tracks or voice-overs on your computer or for online communication. The mic features a dynamic neodymium element with cardioid pick-up, and the AD converter has 24-bit, 96KHz sampling rate. The mic features a heavy gauge mesh grill and sturdy construction.

The USB-24M is shipping now and lists for $69.95.

The new MXL.008 features a large diaphragm that delivers a big, rich sound characteristic of studio and broadcast microphones. Unlike most studio condenser microphones, however, the MXL.008 is a USB (Universal Serial Bus) instrument that connects directly to a computer without the need for external mic preamps.

Featuring support for USB 1.1 and 2.0, this easy-to-use microphone includes gain adjustment settings via the built-in three position attenuation switch.

As a plug and play device for both Windows and Macintosh, it requires no special drivers whatsoever. Simply connect the microphone’s USB cable to a computer’s USB port, and installation is quick and effortless. In addition to recording instruments or voice for home recording applications, the new MXL.008 is ideal for podcasting or adding dialog to presentations and other multimedia projects. It is also capable of opening new possibilities for radio and news broadcasters and for location recording.

Unlike electrets or dynamic microphones typically used for computer work, the MXL.008 has an extremely smooth, natural sound typical of what one would hear on a professionally produced CD or radio show. The MXL USB.008 is a professional, large capsule (35 mm) pressure-gradient condenser studio microphone featuring a 20 Hz-20 kHz frequency response, plus a 3-position, switchable attenuation pad with settings for Hi (0 dB), Medium (-5 dB), and Lo (-10 dB), making it easy to configure the microphone to virtually any sound source. The digital section of the microphone features a 16-bit Delta Sigma A/D converter with a sampling rate of 44.1 kHz and 48 kHz. Protecting the instrument’s capsule is a heavy-duty wire mesh grill with an integrated pop filter.

In addition to the protective grill that guards the microphone’s capsule, the new MXL.008 ships with a travel case, a desktop microphone stand, a 10-foot USB cable, windscreen, an owner’s manual, and an applications guide.

The MXL.008 USB / Cardioid Condenser Microphone carries an MSRP of $199.00 and is available now.

Designed for computer-based field and studio broadcast and recording applications, the SPS200 offers software plug-in A-Format to B-Format conversion, plus stereo and surround sound decoding and manipulation in place of an outboard control unit.

The most affordable of the SoundField Technology product range, the relatively lightweight SPS200 A-Format microphone uses the same established SoundField multi-capsule technology as the high-end models and offers many of the mpressive features of the company’s more expensive microphones. The SPS200 provides the ability to capture 5.1, 6.1, 7.1-channel audio and simultaneous stereo with variable width and to continuously vary the effective polar pickup pattern and orientation without moving the microphone.

The SPS200 comprises four low-noise, studio grade condenser capsules and weighs-in at less than 8 ounces (220 grams). Offering standard 48V phantom power, compatibility with all equipment is ensured through a provided short breakout cable that offers four line level outputs on balanced XLR connectors.

The first SoundField microphone to not require an accompanying outboard control unit, the SPS200 A-Format microphone relies on software for all format conversion, decoding and manipulation. The SoundField Conversion Lounge plug-in handles A to B-Format conversion and the SoundField Surround Zone plug-in looks after all aspects associated with stereo and surround sound decoding and manipulation. The software is compatible with Digidesign Pro Tools|HD and all PC and Mac DAW platforms that support VST Multichannel, including Nuendo, Cubase and Soundscape.

In addition to A-Format to B-Format conversion, the software supports many other features, for example allowing for 360-degree rotation and ±45-degree tilt control. A Zoom function gives the effect of zooming in or out from the sound source while End Fire re-orients the mic for end fire use rather than the more standard side address. An Invert function maintains the correct three-dimensional perspective in both surround and stereo when the SPS200 is suspended upside down above the sound source.

The software offers six modes for surround sound applications, including three 5.1 presets plus 6.1, 7.1 and 8-channel presets, with variable control of the front and rear width and rear polar patterns. In stereo mode, the software offers adjustment of polar patterns, stereo width and a high-pass filter as well as a Mid/Side (M/S) encoder.

Soundfield did not include pricing in its announcement.

Unfortunately for the mere mortals among us, the mic lists for $6,000.

Designed to meet the needs of professional and semi-pro users in professional music and broadcast applications, the UM930 features two large (1″) diaphragms mounted on separate elements, allowing for individual control over the applied voltages. This allows for the 5 selectable polar patterns (omni, wide-cardioid, cardioid, hyper-cardioid, and figure-8) to be controlled with greater accuracy resulting in improved spatial imaging. The UM930 is self-muting when switching polar patterns, and is internally shock mounted to dampen vibrations.

The UM930 is powered via standard 48V phantom power, utilizing an optical DC to DC converter which results in 135dB of dynamic range, an incredible maximum SPL rating of 142dB, and reduces overall self-noise to 7dB-A.

Two models will be available: A standard 3 pin XLR version with on-board polar pattern selector (UM930), and a 5pin XLR version (M 930 Twin) featuring fixed dual channel operation, allowing the engineer to have true single point source control with unlimited pattern variations.

No special software or drivers are needed, just plug in to your portable or desktop computer, set your preferences and enjoy instant studio quality recordings.

The mic uses dual gold diaphragm capsules in a XY pattern together with low noise electronics and the latest in enhanced digital conversion techniques for pristine audio quality.

The new mic opens up new possibilities for direct stereo recording with a standard computer such as live performances in the professional, school and home environment. It’s also a very exciting tool for podcasts, multimedia, news and broadcast applications using portable computers for remote stereo recording of concerts, lectures, or even documenting outdoor sounds in stereo for film and TV backgrounds.

The MXL USB.007 ships with a carry bag, a desktop mic stand, mic stand adaptor, a 10-foot USB cable, wind screen, owners manual and an applications guide.

The MXL USB.007 carries an MSRP of $ 199.00.

Combining a Sennheiser capsule with a broadcast-quality Flash recorder, the HHB FlashMic has become established as a portable recording device of choice for international broadcasters.

Now HHB has expanded the FlashMic range with the introduction of a new cardioid version – the FlashMic DRM85-C – to accompany the original, omni-directional FlashMic DRM85.

Both FlashMic models share the same feature set, which includes 1GB Flash memory for up to 18+ hours recording, USB audio data transfer, a high-quality preamplifier with full manual or automatic gain control (AGC), an illuminated LCD display and nine user templates which can be configured externally using the FlashMic Manager software supplied.

As HHB Managing Director, Ian Jones explains, the DRM85-C was developed in direct response to customer requests. “Some of our broadcast users have been requesting a more directional FlashMic specifically for use in environments in which there are high ambient sound levels, such as press scrums and conflict zones. We’re delighted to respond with the cardioid FlashMic DRM85-C.”

Radio journalists cite rugged build quality, ease-of-use, fast file transfer and instant, one-button recording among the key reasons for the FlashMic’s success.

“When news breaks, the FlashMic provides a convenient, all-in-one, portable recording solution with no fiddly cables or connectors,” continues Jones. “And it’s every bit as easy to transfer audio files to a laptop for editing and onward transmission.”

With the Woodpecker, Blue continues its style of introducing attractive vintage-styled microphones that look as good as they sound.

The Woodpecker was designed to provide the smooth, intimate sound associated with the most sought-after (and expensive) vintage ribbon microphones. With its focused mid-range, and outstanding bass response, the Woodpecker captures the essence of any recorded sound. It also excels at ambient recording, capturing room tone with the most intimate detail – whether for rock drums, guitars or vocals – any application where some natural space in the recording is desired. The Woodpecker package includes a custom made, solid brass shockmount and wood storage box.

Woodpecker specifications:

• Acoustical Operating Principal: Pressure Gradient
• Directional Pattern: figure 8, bidirectional
• Frequency Response: 20Hz – 20kHz
• Sensitivity (1kHz into 2.5k ohm): 26mV/Pa
• Rated Impedance: 50 ohm
• Rated Load Impedance: Not less than 1k ohm
• Noise Level A-weighted (IEC 651): Not more than 22dB
• Max Output (1% THD into 2.5k ohm): 10dBU = 2.5V
• Max SPL (0.5% THD into 2.5k ohm): 136dB
• Dynamic Range (2.5k ohm load): 114dB
• Supply Voltage (IEC 268-15): +48V phantom power (+35V min.)
• Current Draw (typical ai +48V): 2.4mA
• Weight: 1.6lbs

Price: $1299
Availability: Q1, 2007

2007 Winter NAMM Show: Blue balls are cheaper than ever, along with all the other unique microphones in Blue Microphone’s ball line.

Blue announced a new $99 price point on their popular Ball Series microphones: the Snowball, the 8-Ball, the Kickball, and the original Ball microphone.

Designed for desktop recording applications, the Snowball USB microphone’s universal Mac/PC driver and plug & play USB compatibility make recording into your laptop or DAW quick and easy. Its unique dual-capsule design, one capsule tailored for vocals and the other for instruments, and a 3-position selector switch on the back of the mic let you dial in the desired sound.

The 8-Ball is a cardioid condenser microphone designed with the needs of the professional recordist in mind. Featuring Blue’s highly regarded Class A discrete low-noise amplifier circuit, the 8-Ball’s smooth frequency response is designed to please even the most discerning professional ear.

The Kickball is a specially designed low-frequency microphone from Blue. The back of the mic features a 3-position bass frequency switch allowing three distinct low-frequency equalization curves. This circuit is based on a unique active RC filter that attenuates sub-bass (below 20Hz) frequencies and contours the low end without any noticeable phase distortion. On stage or in the studio, the Kickball’s punchy and detailed sound is ideal for kick drum, tom toms, electric bass, and bass cabinets.

The world’s first phantom power dynamic microphone, the original blue Ball is capable of handling extremely high sound pressure levels without distortion, making it ideal for stage and studio. With its unique mid-range presence, the Ball comes alive in high volume situations — drums, guitar amps, bass cabinets, screaming vocalists, horns, and anything else that punishes lesser dynamic mics.

Features:

• High-resolution 2 In / 2 Out USB audio interface with plug-and-play for Windows XP and Mac OS X operating systems
• Studio-class 5-input 2-bus mixer with premium mic preamp and 2-band “British” EQ
• Dynamic broadcast-style microphone with 2-stage pop filter
• High-performance studio headphones with ultra-wide frequency response
• Table microphone stand, XLR microphone cable and 2 stereo RCA cables
• Powerful DAW software (Kristal Audio Engine multi-track sequencer and Audacity audio editor)
• Comprehensive podcasting software (Podifier, Juice, PodNova, Golden Ear)

The Podcastudio is expected to ship in 2nd quarter for US $149.99.

2007 Winter NAMM Show: Alesis introduced their USB Mic Podcasting Kit.

According to the company, the USB Mic Podcasting Kit allows even the most inexperienced users to quickly record audio into the computer and have their podcast heard on the Internet. Just plug the USB microphone into your computer – the microphone is a plug-and-play device, so there are no drivers to install.

The kit includes Audacity for recording your audio and is compatible with both Windows and Mac operating systems. Once you have finished recording your podcast, the custom Alesis Podcast website allows you to upload your audio and will host your podcasts for free for 30 days.

The USB Mic Podcasting Kit provides 16 bit / 44.1-48kHz audio. A desktop microphone stand and headphones are also included in the kit.

The USB2200a is a USB2 microphone based on the studio standard sE2200a capsule. It records CD quality audio (record path16 bit 48K, output 24 bit 48K) via USB directly to your DAW.

The mic has several features unique from USB mics currently on the market including, ultra-low latency headphone monitoring (less than 1ms) with mix control to allow the user to set playback versus record path levels to monitor live takes, 10dB pad, Bass cut and an ‘analogue switch’ which enables the user to use the mic via an XLR connector with 48v phantom power where required. This feature adds flexibility of use to the mic, and means that whatever changes may occur to digital recording technology in years to come, the mic can still be used in ‘analogue mode’, unlike it’s competitors.

In addition, the USB2200a has proprietary chips, developed by sE Electronics International, which deal with both noise and software driver problems faced by competitor products. One chip helps with transforming the 5v power supplied via the USB cable to power the capsule, by first removing ‘noise’ and undesirable spikes from the current. This ‘noise’ would normally be amplified, which is why USB mics have, until now, been largely too noisy to use in a professional environment. No other USB mic on the market offers this kind of specification, and it makes a huge difference to the performance for studio use.

Most manufacturers market their USB mics as ‘Podcasting mics’ for this reason. The second proprietary chip has all the appropriate software drivers embedded for use with any DAW, so the product really is ‘plug in and play’, automatically configuring to the host as it is connected.

The USB2200a will ship in early January 2007 and will retail at £222 inc vat.

Micstasy features reference quality converters and combines a number of typical RME features with a number of groundbreaking innovations. With Micstasy, not only conventional analog microphone preamps and AD-converters are a thing of the past – a lot of applications will change. In short, Micstasy is a multi-analog-input device for live, studio or installation; right up to no-compromise mobile recordings – making also surround recordings a breeze!

Micstasy can be used as an 8-channel “state of the art” mic preamp (Mic/Line In to Line Out) and a digital preamp/converter (Mic/Line In to Digital Out), with both signal paths operating simultaneously. Just passing on the amplified signals replaces the need for a splitter box on stage. Micstasy’s impressive 85dB gain range, digitally controlled in steps of 0.5dB, allows connection of all conventional analog studio signals within a range of -55dBu up to +30dBu, be it line, instrument or microphone signals.

A TRS input on the front complements the rear XLR connector. The front input receives line level signals and can be switched to a Hi-Z mode for use with instruments. Micstasy uses RME’s renowned SteadyClock technology to guarantee perfect analog to digital conversion in any clock state and independent from the external clock’s quality. The AD-converters used excel with SNRs of 120 dBA and latencies as low as 26µs (0.026ms).

Usually preamps feature limiters in order to prevent an overload, especially of the AD-converter. This is not feasible for the Micstasy, as such a limiter would ruin the excellent technical specifications of the microphone front end. However, as the gain is controlled digitally, the Micstasy can set it automatically, with a user-definable headroom of -1, -3, -6, or -12dB. RME intentionally decided to not raise the gain, AutoSet only reduces it. In an orchestral recording session, the user sets all gains to a high value and asks the conductor to let the orchestra play fortissimo. AutoSet will automatically adjust the gains by reducing them whenever the pre-defined headroom is exceeded.

Micstasy is fully remote-controllable via MIDI or MADI, allowing the device to be placed anywhere on stage or in the studio, with full control from the studio or FOH mixer. This means that microphone cables can be relatively short, ensuring high quality signals without interference.

The Micstasy is also MIDI remote compatible to Digidesign’s Pro Tools system. Supported commands from within Pro Tools: Gain, PAD, +48V, Phase, Low Cut, input front or rear, Hi Z for front.

RME´s new I64 Option Slot enables total integration of the unit in a MADI environment in combination with the I64 MADI card. More interface options are under development enabling direct connection to other interface standards.

With the new Micstasy, designing a front end system becomes easier while heavy trouble-prone analog multicores are history. A single MADI cable can transfer up to 64 channels of AES/EBU audio. Multiple Micstasys equipped with I64 MADI cards can be serially connected with one MADI cable per unit and configured to use their individual channels within the MADI stream. AutoID and Delay Compensation ensure sample-aligned operation and easy setup when designing such setups. Up to 8 Micstasys or RME´s new ADI-8 QS line converter units can thus be combined into one single 64-channel MADI stream.

Micstasy is available as the standard Micstasy version with all A/D features or also as the Micstasy M “MADI ready loaded” version with full MADI functionality on top – ready bundled with the I64 MADI card – with an attractive price advantage.

Features Overview:

• 8 high-end mic preamps with digitally controlled gain of 85dB in steps of 0.5dB allow connection of all conventional analog studio signals. Micstasy reaches full scale level at -55dBu, but can also handle a maximum input level of +30dBu!
• 8-channel high-end line amplifier, XLR and TRS input, with digital gain control (0.5dB steps).
• 8-channel AD-converter with lowest latency and high SNR, thanks to CS5381 converters. The digital outputs deliver the same signal as the line outputs.
• Flexible multi-group ganging for multiple stereo up to surround usage
• Analog outputs: max. level approx +27 dBu
• Digital outputs: D-sub connector for 4 x AES/EBU up to 192 kHz (plus one AES input as sync source). Double ADAT for 8 channels@96 kHz
• Remote control via MIDI and MADI
• All settings are stored permanently. 8 more user presets available
• I64 Option slot

Micstasy is available worldwide.

Prices:

Micstasy: Europe net retail price € 3050.- ; US retail price $ 4199

I64 MADI Card: Europe net retail price € 540.- ; US retail price $ 748

Micstasy M (MADI Version): Europe net retail price € 3330.-; US retail price $ 4599.

The podcasting kit comes with a studio-grade FireWire audio interface which includes the Behringer Edition of Ableton Live Lite 4 music production software for PC and Mac computers. The package also includes an 8-input mixer, high-quality headphones and a studio microphone plus cable.

Pricing is expected to be $269.99.

The Type A vacuum tube microphone system is a high quality innovative and unique solution for virtually any critical recording need. Combining low noise and superb transient response along with a choice of nine different interchangeable capsules called “The Redheads” the Type A is a microphone system that is as versatile as it is dependable. The bayonet-mount capsules can quickly be changed for a stunning variety of sounds and pickup patterns without having to shut off the included “PowerStream” power supply.

“The Type A represents a breakthrough in quality and price for a tube microphone,” stated Ariel Soudak, Persident of Red Microphones. “Its interchangeable capsules make it several mics in one to cover virtually any recording situation. And with the free R7, it’s a great time to experience the sound of a high-end tube microphone.”

The transformer-less Class A discrete amplifier circuit of the Type A is a thoroughly modern design with a nod to the classic circuits of yesterday. Utilizing a single hand-selected ECC88 vacuum tube, the Type A can reproduce musical detail and subtlety previously only heard in mics costing thousands more. The Type A includes a custom-built flight case, Red’s high-definition tube mic cable, a shock mount and the innovative PowerStream power supply, which not only insures ultra-stable performance but features a soft-start feature that maximizes tube life and minimizes startup time.

For a limited time, purchase the new Type A Tube Microphone along with any one of the R0-R7 capsules and get a R7 Capsule for FREE ($650 Value). Complete your purchase by September 31, 2006, send in proof of purchase along with the Type A Intro Offer redemption coupon, and Red will send the R7 Capsule directly to you free of charge.

The Type A is available now for $1345. The Redhead Capsules are available now and range in prince from $249 to $849.

More information is available at the Red Microphone site.