Professional Documents
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GUIDE TO
A Special Promotional Publication From Intent Media
Microphones
Guide 2014
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CONTENTS
>>> CONTENTS
THE
GUIDE TO
A Special Promotional Publication From Intent Media
Microphones
Guide 2014
>
>
aarstudio - Fotolia.com
Studio Microphone
Mecca
Produced By:
In association with:
8
Live Mic Guide
>
12
AKG
>
14
Audio-Technica
>
16
Audix
>
18
Blue Microphones
>
20
DPA
>
22
Funky Junk
>
24
Sennheiser
>
26
Sony Professional
>
28
RDE
>
30
Darrell Carter
darrell.carter@intentmedia.co.uk
Manufacturer Directory
> Editor
Jory MacKay
jory.mackay@intentmedia.co.uk
>
Advertiser
Page
AKG
Audio-Technica
Blue Microphones
32
DPA
Funky Junk
RDE
ADVERTISER INDEX
www.audiomedia.com
> Designer
Jat Garcha
jat.garcha@intentmedia.co.uk
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July 2014 3
Microphone Mecca
Marco Pasquariello, engineer and studio manager at the award-winning Snap Studios in London,
runs us through his top picks for studio microphones.
Snap Studios in North London is a special
place for anyone looking to combine the sound
and warmth of vintage kit with a modern
workflow. The heart of the studio is a vintage,
discrete Neve 5316 analogue recording
console with 48 inputs and custom Flying
Fader automation complemented by a droolworthy selection of classic outboard including
a Fairchild 670, two Pultec EQP1A-3s, a
Teletronix LA2A, and two blackface Urei
1176s.
A studio with this pedigree of kit is sure to
have an impressive selection of microphones
and Snap does not disappoint. Open the mic
cupboard and youll be presented with vintage
Neumann, AKG, Telefunken, Royer, and
more.
Here, studio manager and engineer Marco
Pasquariello runs us through his top picks for a
number of common studio micing situations
MALE VOCALS
My choice would always depend on the type of
voice and the context of the vocal within the
track, but I do tend to favour large-diaphragm
condensers for vocals.
I often use dynamics too, particularly if
the vocal is being recorded in the same room
as the band or in the control room. I really
like Neumann U47s on male voices since they
tend to sound full, and have a soft-ish top end.
Its a very flattering sounding mic, which can
sound really big on the right voice. They all
sound different though, and some are certainly
brighter than others.
We have a VF14 tube U47 at Snap, as well
as a Nu Vistor 47, which both sound very
different to each other. They are beautiful but
expensive mics!
I also really like U87s, with a preference
for the original version (although the newer
black version is still a really nice mic). 87s
never really seem to get all that much love
from people, but I find them to work great on
a variety of voices, and theyre really unfussy.
Theyre not overly bright, have a good amount
of bottom end, and they take EQ really well.
Despite having a pretty pronounced midrange I
find that they rarely get too hard sounding.
My third choice would probably be the
Shure SM7. They are really useful for keeping
a natural sounding vocal when used really
close, which also helps to keep spill out of the
4 July 2014
A vintage Neumann
(Telefunken) U47
KICK DRUM
Ill usually run two mics on kick
drum sometimes three if Im
taking a sub too. The AKG D20,
and D12 are two of my favourite
mics for inside the kick. I also
really like the D112 sometimes,
and the Audix D6.
For outside, a Neumann Fet
47 can sound great. Theres a
good amount of attack and solid
low end from these mics.
Other condensers can sound
great on the outside of the kick
drum too, or angled down at the
top of the kick shell. An NS10
speaker (or any speaker for that
matter) also works if you want to
capture the extreme low end of a
kick drum. On a jazz kit, a single
AKG D36 would be my first
choice at the studio, but any good
quality dynamic mic should do
the trick just for adding that bit of
weight.
SNARE DRUM
Pretty boring here but you cant
really go wrong with an SM57
on snare drum. Ill usually run
another one underneath for
brightness too.
The AKG D224e, and
Sennheiser MD441s are other
favourites of mine for top of snare.
Sometimes I like to use
condenser mics on snare drum,
particularly for more detailed
playing Neumann KM84s
are great for this, as are AKG
C414s, and Neumann KM86s.
Occasionally Ill use a condenser
and dynamic together on the top
and scrap the bottom mic.
If the drummer isnt playing
very hard (and theres no risk of
the mic being struck!), a single
small diaphragm/tube condenser
four or so inches above the drum
can be wonderful.
TOMS
I like Sennheiser 421s on toms
but other dynamics can work just
as well. I also quite like 414s on
toms in hypercardiod.
Floor toms can sound great
with a big condenser or a
dynamic. The SM7 works great
here.
6 July 2014
ROOM/AMBIENT MICS
For room mics a good pair of
condensers usually does the trick,
but for darker tracks or music with
a lot of cymbals, a pair of ribbons
can work wonders.
A pair of omni-directional
condensers in a good sounding
part of the room can be nice, as
can a pair of ribbons in Blumlein
a couple of meters in front of the
kit. Both are good, but with very
different results.
Compression can be your
friend here, but not always. I find
that parallel compression can work
very well on room mics.
I usually try to run an
additional mic much further away,
or in another room to catch a
different ambience on the kit for
bigger sounding recordings.
You can have loads of fun with
this kind of ambient micing, and
even the most bizarre places can
yield really cool results. Corners of
rooms, underneath/inside pianos,
etc can all sound really good.
TRASH/CHARACTER MICS
Unless Im going for a really
stripped back sound, I like to have
something extra to pick up some
life in the snare and the chunk of
the kick drum.
We have an RCA DX77 at
Snap, which works perfectly for
the snare crunch, and a good
LDC a few metres in front of the
ACOUSTIC GUITAR
My approach to recording acoustic
guitar always depends on the
type of playing, and how it will
sit in the track. If its loud-ish
strummed acoustic, I like a decent
large condenser a few feet away
from the body of the guitar, and
something like an SM7 or a 57
near the sound hole.
For detailed and picked stuff a
decent condenser to the side of the
sound hole, close to the fretboard
usually works nicely. C12s and
U67s are glamorous choices, but
most good condensers should
work. Ive had good results using
the Pearl ELM mics, as well as
Milab, DPA, and Schoeps. It
all depends on the tone youre
looking for.
I also like using a small
diaphragm condenser pointing
either towards the body or the
neck too, which allows a bit of
stereo in the mix. Beyer makes a
great affordable SDC called an
MC930, which I like very much
for this.
Occasionally Ill use ribbons
on acoustic guitar, especially if the
player is singing at the same time.
The Royer R122/R121 can works
great for this.
PIANO
I tend to mic acoustic pianos with
a pair inside around Middle C or a
little higher up the register. DPAs
in ORTF work great for this,
as do C414s as a close-ish pair
towards the front of the piano.
Ill sometimes use a pair of
LDCs on the top and bottom of
the instrument, and occasionally
mic up directly over the hammers
if I want a more direct sound. The
Milab VIP-50s are great for this,
as they can have a wide cardioid
pattern. Coles 4038s are another
favourite, but further away from
the piano near to the lid.
SF-2
SF-24
R-122
R-101
R-121
Ribbon
Royerlty
Flea 12
MA-301fet
MA-100fet
MA-100
MA-300
Flea 47
Edwina
Outstanding Quality,
Outstanding Price
Josephine
A FOH Engineers
Guide to Microphones
Ben Hammond, FOH engineer for Saxon, Deaf Havana, and Fozzy, runs us
through the best options of mics for any live situation.
Ben Hammond has quickly risen through the
ranks to become one of the most sought after
FOH engineers in the UK. But his plan wasnt
always to be on the road for most of the year
far from it. From his start in a small studio
in York, Ben progressed to in-house engineer
at The Chairworks Studios just outside Leeds.
When the rise of the home studio slowed down
his workload he took to the road and years later
has just returned home.
Here he tells us about his top picks for live
microphones and how his studio background
has informed his sensibility on stage
Is there a fundamental difference
between microphones for in a studio
and for on stage?
The obvious difference is the need for function
as well as sound. In the studio its 100% about
the exact sound we need, so trying out many
different mics on one instrument is common.
In a live scenario, many more factors come into
play than just sound: handling noise, feedback
rejection, polar pattern, and with some bands
the ability to take a battering! Also size plays a
big key. Certainly with Saxon I rely on many
smaller mics for the drums as Nigel [Glockler]
has a huge kit with a lot going on. Then at
the other end of the scale with things like
strings, we need the mic to be as invisible and
unobtrusive to the player as possible.
It seems like more acts are trying to
recreate their studio tracks in a live
environment. Has this changed the way
people use microphones, or the ways
they are designed?
Certainly more and more manufacturers known
mainly for studio mics are bringing out new
mics aimed at the stage, which is giving the
live engineer much more choice. With things
like in-ear monitoring being accessible to more
bands (with the advent of much lower priced
digital consoles etc...) the stage is becoming
quieter and thus gives the live engineer a little
room to find the right mic for the source.
Again with Saxon, the band are on in-ears,
and also use the Kemper amp modellers, so the
stage has become much quieter which gives me
8 July 2014
The International
Audio Guide series
from Audio Media
Each International Audio Guide focuses on an important
pro-audio product line, giving independent articles followed
by in depth advertorials, covering the history and current
range from the leading manufacturers in their field.
Available now:
2014 International Console Guide
2014 International DAW & plugins Guide
2014 Live Sound & Theatre Guide
2014 International Monitors & Headphone Guide
2014 International Microphone Guide
AKG
For over 65 years, leading musicians and engineers have used legendary AKG products to capture their sound so their audience hears every nuance.
The C414 family has been one of the worlds most widely-used and respected studio and stage microphones in audio history. AKG has continually
set new benchmarks for useful features, improved technical specifications and ease of use in order to be the professional solution for ever-demanding
recording studios, broadcast stations and audio engineers.
Building on the experience in developing worldclass microphone technology, the new models in
AKGs Project Studio line of microphones are
designed for enthusiasts and professionals alike,
meeting the needs of makeshift project studios
as well as professional environments.
As more and more manufacturers continue
to enter the marketplace, its becoming
increasingly difficult for end-users to identify
12 July 2014
AKG
P820
TUBE CONDENSER MICROPHONE
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D12 VR
REFERENCE LARGE-DIAPHRAGM
DYNAMIC MICROPHONE
www.audiomedia.com
[ ]
INFORMATION
July 2014 13
AUDIO-TECHNICA
AUDIO-TECHNICA
The tube-powered
AT4060a condenser
microphone was
reintroduced to the
40 Series in 2014
ON STAGE
In recent years Audio-Technica has won
devotees among artists and sound engineers
alike for its Artist Elite series stage
microphones. With users and endorsees as
diverse as Metallica, Gwen Stefani, Katherine
Jenkins and Alicia Keys, AE Series handheld
models both condenser and dynamic are
famed for their sound quality. On backline
too, Audio-Technica is a de facto standard
for many world-class engineers including Big
Mick Hughes (Metallica, Slipknot), Dave
INFORMATION
www.audiomedia.com
July 2014 15
AUDIX
LYTOS
ANI DIFRANCO
THE COMMANDER-IN-CHEIF
AUDIX
ALEX CLARE
www.audiomedia.com
INFORMATION
Audix Corporation
9400 SW Barber Street,
Wilsonville, OR 97090,
USA
T: +1 503 682 6933
W: www.audixusa.com
UK Distribution:
SCV Electronics Ltd.
40 Chigwell Lane,
Oakwood Hill Ind. Estate,
Loughton, Essex, IG10 3NY
T: +44 (0) 208 418 1470
W: www.scvlondon.co.uk
SCX25A DESTINED TO
BECOME A CLASSIC
In the world of studio condensers, a
microphone only becomes a classic when it
proves itself to be indispensable. The SCX25A
July 2014 17
BLUE MICROPHONES
18 July 2014
BLUE MICROPHONES
MULTI-PATTERN SERIES
When your recording environment requires a bit of versatility, Blues Multi-Pattern Series microphones deliver. Designed
around Blues custom hand-tuned capsules, these uniquely designed mics offer a diverse sonic landscape whether its a
guitar in cardioid mode, background vocals in figure-of-eight, or an orchestra in omni. Plus, if your recording application
requires M/S, X/Y, or a simple stereo set-up, a pair of these multi-pattern mics opens up your recording space to even
more possibilities.
./-5R Large diaphragm Class A discrete multi-pattern (9) tube mic
#1#5R Large diaphragm transformerless solid state Class A discrete multi-pattern (9) condenser mic
SIGNATURE SERIES
Every Blue microphone in the Signature Series contains its own propriety capsule that is hand-tested to capture a specific
sonic signature. Blues philosophy is to create microphones that are unparalleled for their intended application. For example,
the Mouse is a low-frequency focused microphone that specialises in capturing the bigger-than-life lows of kick drums, bass
amps, and deep vocals; whereas the Dragonfly is designed specifically to capture and thicken thin sounds from soprano vocals
and instruments like drum overheads.
)/-5R Large diaphragm Class A discrete cardioid condenser mic with rotating head
&/,,35R Large diaphragm Class A discrete cardioid condenser mic
,!)( &35R5Large diaphragm Class A discrete cardioid condenser mic with rotating head
ESSENTIAL SERIES
Designed to be the versatile microphone every musician craves, the Essential
Series is capable of capturing the essence of any audio source. From guitars,
basses, and drums to woodwinds, brass, and vocals, these microphones deliver
the full spectrum of audio for todays demanding digital recording environment.
Whether youre just starting out and need your first great mic or youre looking
for the perfect go-to mic in the studio, the Essential Series mics offer the best
range and value for your recording needs.
INFORMATION
Blue Microphones
(North America)
W: www.bluemic.com
T: + 1 818 879 5200
F: + 1 818 879 7259
E: service@bluemic.com
www.audiomedia.com
Blue Microphones
(Europe)
Music Psych Limited
33 Ripplevale Grove,
London, N1 1HS
T:+ 44 (0) 207 607 6005
E: support@musicpsych.com
W: www.musicpsych.com
July 2014 19
DPA MICROPHONES
Professional
microphone
solutions born
from a single
idea sonic
excellence
Whether doing live concerts, studio, theatre,
film, broadcast, or sports, microphones and
accessories from DPA Microphones can perfectly
capture the moment. DPA Microphones
produces the best, most accurate microphones
available, guaranteeing stunningly natural sound
quality and zero coloration.
DPA MICROPHONES
INFORMATION
Contact
Head Office
DPA Microphones A/S, Gydevang 42-44,
DK-3450 Alleroed, Denmark
T: +45 4814 2828
F: +45 4814 2700
E: info@dpamicrophones.com
W: www.dpamicrophones.com
US Sales Office
DPA Microphones, Inc.
1500 Kansas Avenue, Unit 3A,
Longmont, CO 80501, USA
T: +1 303 485 1025
F: +1 303 485 6470
E: info-usa@dpamicrophones.com
www.audiomedia.com
July 2014 21
FUNKY JUNK
Forgotten Heroes
As Europes leading supplier of professional studio equipment, Funky Junk has extensive knowledge
of all kinds of microphones. Unlike other dealers, we not only supply but also repair and, crucially,
test products in demanding sessions at our award-winning SNAP! recording studios. We therefore
understand the technology and appreciate the myths and realities first hand rather than relying on
dubious posts on websites and pro-audio forums or manufacturers inflated advertising claims.
In an age where many users mistakenly believe that the quality of a
microphone is determined by price, we know that what really matters
is suitability for specific applications rather than cost. Recording
is a process where no one tool will ever suit all purposes, where
different technologies shine in different situations and where the best
recordings owe as much to microphone positioning, room acoustics,
cabling, engineering skills and, of course, great performances, as to the
technology employed.
As both users and suppliers, we strive to keep an open mind because
as in so many walks of life, opinion can easily be swayed by fashion.
Maybe were obstinate, but we try to be guided by results rather than
preconceptions. For example, we spent a decade promoting ribbon
microphones in an era where the mainstream industry dismissed the
technology as outdated but gradually, partly thanks to our distribution
partnership with Royer Laboratories, ribbon mics joined the mainstream
to the point where now, Royer are amongst the best respected
microphones in the world.
Now we devote time and energy to promoting the virtues of quality
dynamic microphones, another technology sadly overlooked in this
blinkered age.
22 July 2014
FUNKY JUNK
www.audiomedia.com
[ ]
Another Scandinavian
manufacturer that has impressed
us recently are Sandhill who
make beautiful mics, designed
and handmade in Finland by a
team with expertise in metallurgy,
acoustics and mainstream
manufacturing. Their objective was
to produce a ribbon microphone
combining sensitivity with robust
performance, and in our opinion,
theyve succeeded. Trumpets sound
like trumpets, saxophones like
saxophones, pianos like well,
you guessed it but crucially, the
Sandhill doesnt collapse when
faced with a kick drum or the
loudest bass guitar cab.
INFORMATION
July 2014 23
SENNHEISER
Digital 9000: Designed for the highest channel counts, Digital 9000 is
able to transmit full, uncompressed audio in the UHF range
globally active bands rely on the SKM 5200-II and SKM 2000 handheld
transmitters, SK 5212-II and SK 2000 bodypack transmitters, and the
EM 3732-II and EM 2050 dual-channel receivers, which are setting
standards in multi-channel capability and reliability.
For more than one million users worldwide, evolution wireless
is their no.1 choice for stage and live use. Whether wireless
instrument transmitters or acclaimed vocal mics this series contains
wireless solutions for almost every application. Great sound, quality
workmanship, and exciting extras for up-and-coming bands, established
performers, presenters, musicians, reporting teams, and PA companies.
The International Guide To Microphones 2014
SENNHEISER
WIRED MICROPHONES
www.audiomedia.com
INFORMATION
PERMANENTLY POLARISED
CONDENSER MICROPHONES
Everything from professional sub-miniature
clip-on microphones for use with Sennheisers
wireless technology to headset microphones
and small camcorder microphones. Among
the classics are the legendary MKE 2 clip-on,
and the K6 Series, where the user can tailor
the microphone to the recording situation
DIGITAL MICROPHONES
are a sound investment in the future of audio.
Simply by adding a digital module, the renowned
MKH 8000 series can be turned into digital
microphones. Perfectly matched to the MKH
microphone heads, the MZD 8000 digital module
directly translates the clear, warm, and responsive
sound of the microphones into the digital world,
avoiding the losses or signal disruptions to
which cables are prone. The microphones can be
remotely controlled, allowing parameter settings
such as the low-cut filter and attenuation to be
adjusted via a suitable mixing desk, a portable
AES 42 interface, or a standard AES 42 interface
and a PC.
July 2014 25
SONY
SONY
www.audiomedia.com
ELECTRET CONDENSER
MICROPHONES
Building on decades of experience in audio
acquisition, Sony offers a comprehensive choice
of wired shotgun and lavalier microphones that
offer musicians, broadcasters and producers
uncompromised audio for a dependable
performance. The ECM-VG1 electret
condenser microphone has excellent sensitivity
of -33db and a low inherent noise level of less
than 18db SPL, and the ECM-MS2 a compact
MS stereo back Electret condenser shotgun
microphone has a compact and lightweight
design, only 137mm length and offers both
stereo and mono operation increasing the
versatility of the microphone. The ECM-678,
ECM-674 and ECM-673 all have flat-andwide frequency response (40Hz to 20KHz)
with built-in low cut filter, and the ECM-678
also offers an extremely low inherent noise of
less than 16db SPL.
DEALER LOCATER
All Sony Professional Audio dealers can be
found on www.pro.sony.eu/spss
[ ]
INFORMATION
July 2014 27
RDE MICROPHONES
ABOUT RDE
Founded at a time when the only
recording solutions available were
either incredibly expensive or poor
quality, RDE set out to change the
status quo. Twenty years on and still
based in Sydney, RDE continues to
manufacture some of the worlds very
best microphones, regardless of price.
RDE MICROPHONES
RDE
www.rodemic.com
@rodemics
RDE Headquarters
Sydney, Australia
T: +61 2 9648 5855
RDE Microphones LLC
Signal Hill, CA
T: +1 562 364 7400
www.audiomedia.com
INFORMATION
July 2014 29
DIRECTORY
ADK Microphones
www.adkmic.com
beyerdynamic
www.beyerdynamic.com
Groove Tubes
www.groovetubes.com
AEA
www.ribbonmics.com
Blue Microphones
www.bluemic.com
Hebden Sound
www.hebdensound.co.uk
Aevox Audio
www.aevox.be
Bock Audio
www.bockaudiodesigns.com
Heil Sound
www.heilsound.com
AKG
uk.akg.com
Brauner Microphones
www.brauner-microphones.de
Holophone
www.holophone.com
Ambient
www.ambient.de
CAD Audio
www.cadaudio.com
Horch
www.horchaudio.de
AMG Electronics
www.amgelectronics.co.uk
Cascade Microphones
www.cascademicrophones.com
iSK Microphones
www.iskmic.com
Chameleon Labs
www.chameleonlabs.com
JJ Audio
www.jjaudiomic.com
CharterOak Acoustics
www.charteroakacoustics.com
Joemeek
www.joemeek.com
Audio Ltd
www.audioltd.com
Cloud Microphones
www.cloudmicrophones.com
Josephson Engineering
www.josephson.com
Audio-Technica
www.audio-technica.com
Coles Electroacoustics
www.coleselectroacoustics.com
JTS
www.jts.com.tw
Audix
www.audixusa.com
Countryman Associates
www.countryman.com
JZ Microphones
www.jzmic.com
Avantone Pro
www.avantonepro.com
DPA Microphones
www.dpamicrophones.com
Karma Mics
www.karmamics.com
Avlex
www.avlex.com
Earthworks
www.earthworksaudio.com
Katamount Enterprises
www.katamount.com
Azden
www.azden.com
Elation
www.elationmiclab.com
Lauten Audio
www.lautenaudio.com
Beesneez Microphones
www.beesneezmicrophones.com.au
Electro-Voice
www.electrovoice.com
Lawson Microphones
www.lawsonmicrophones.com
Behringer
www.behringer.com
Fostex
www.fostexinternational.com
LeWilson Microphones
www.lewilsonmicrophones.com
Berliner Microphones
www.berlineraudio.com
Lewitt
www.lewitt-audio.com
30 July 2014
DIRECTORY
Manley
www.manley.com
Prodipe
www.prodipe.com
Soundking
www.soundking.com
M-Audio
www.m-audio.com
Que Audio
www.queaudiousa.com
Soundman
www.soundman.de
MBHO
www.mbho.de
Mercenary Audio
www.mercenary.com
Microtech Gefell
www.microtechgefell.de
MicW
www.mic-w.com
Milab Microphones
www.milabmic.com
Mipro
www.mipro.com.tw
Mojave Audio
www.mojaveaudio.com
MXL Microphones
www.mxlmics.com
Nady
www.nady.com
Ricsonix
www.ricsonix.com
RDE Microphones
www.rodemic.com
RoXdon
www.roxdon.com
Royer Labs
www.royerlabs.com
Sabine
www.sabine.com
Sage Electronics
www.sageelectronics.com
Samson Technologies
www.samsontech.com
Sanken Microphone
www.sanken-mic.com
Schertler
www.schertler.com
Schoeps
www.schoeps.de
Sterling Audio
www.sterlingaudio.net
Studio Projects
www.studioprojectsusa.com
Superlux Microphones
www.superlux.us
Symphotec
www.symphotec.de
Telefunken
www.telefunken-elektroakustik.com
T.H.E. Audio
www.theaudio.com
Tram
www.trammicrophones.com
Trantec
www.trantec.co.uk
Trinnov Audio
www.trinnov.com
Neumann
www.neumann.com
SDSystems
www.sdsystems.com
TSL Products
www.tslproducts.com
Nevaton Microphones
www.nevatonmics.com
sE Electronics
www.seelectronics.com
Violet Design
www.violet-design.com
Oktava
www.oktava-online.com
Sennheiser
www.sennheiser.com
Voice Technologies
www.voicetechnologies.co.uk
Pearl Microphones
www.pearlmicrophones.com
Shure
www.shure.co.uk
Wunder Audio
www.wunderaudio.com
Peavey
www.peavey.com
Peluso Microphone Lab
www.pelusomicrophonelab.com
www.audiomedia.com
Sontronics
www.sontronics.com
Sony
www.sony.co.uk
XXL
www.xxlinside.com
Zaxcom
www.zaxcom.com
July 2014 31
Hand-built in California.
You gotta hear this microphone!
its performance is
denitely high-end.
Mix Magazine
BLUEBERRY
it was never
less than sublime.
Sound On Sound
KIWI
Recording Magazine
DRAGONFLY
bluemic.com
Renowned
multi-pattern
mic with superior
detail