RECORDING STUDIO LONDON
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MICROPHONES
The signal chain starts here. If you fail to get a great sound at this point, no amount of processing down the line will rectify the situation - that's why we've invested heavily in a carefully chosen selection of what we believe are some of the finest microphones around, from industry standards like the Neumann U87, to 'best keep secrets' such as Earthworks' High Definition SR25s and QTC30s.
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NEUMANN M147Cardioid tube condensor. Neumann's modern incarnation of the classic U47 - silky-smooth on vocals, and also great as a second mic outside a kick drum. |
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NEUMANN U87AIMulti-pattern condensor. The industry standard recording mic, and a highly versatile performer on anything from vocals to drum overheads to classical stereo recording and ambient use. The 'ai' is Neumann's lowest-noise version to date. |
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BLUE DRAGONFLYCardioid condensor. Blue's high-end microphones are all hand-made, and their flagship is the Bottle - a physically huge multi-thouand pound mic with a large selection of interchangeable capsules. Although the Dragonfly is not as flexible as the Bottle, it offers almost identical sound quality with a fixed polar response, and benefits from being physically smaller and having an integral shockmount which allows the capsule to be rotated at the touch of a finger - perfect for finding the 'sweet spot'. |
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EARTHWORKS SR25Cardioid condensor. Earthworks was founded with a mission - to take audio recording to the next level. Their use of design techniques borrowed from the measurement-mic industry coupled with their musical knowledge has produced a range of microphones that are hailed by those who've used them as being phenomenally accurate. Perfect for classical and jazz use, we also have enough of these to perform outstanding multi-mic drum recordings. |
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EARTHWORKS QTC30Omni condensor. Incredible accuracy as with the SR25, the QTC30 offers even higher bandwidth, lower self-noise, and because of its omnidirectional nature, is ideal for close-miking without proximity effect as well as spaced-pair stereo recording and more. |
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ROYER R122Figure of eight ribbon. Ribbon mics were the first to offer genuine hi-fidelity sound, however they suffered from high self-noise and fragility, leading them to fall out of fashion in favour of condensors. The Royer company was set up to revive the ribbon sound, and their R121 has become a standard amongst top producers for guitar amps and acoustic guitar, as well as drum overheads and other coincident-pair recording. The R122 adds a phantom powered pre-amp to the design which produces very low self-noise figures. |
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SENNHEISER MD421Cardioid dynamic. Most examples of this come with a good few dents in the windscreen as it is probably the most popular tom mic around! Also frequently used on snare, horns and guitar amps. |
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SHURE SM57Cardioid dynamic. The most prevalent instrument mic in existence, and although the SM57 could not be called transparent, it has a certain bite and presence that has helped it to become probably the most commonly used snare and guitar amp mic - also often used on toms. |
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SHURE SM58Cardioid dynamic. The world's most popular microphone for over 30 years - sometimes nothing else will do! Although not considered 'hi-fi', a handheld mic is sometimes the best way to get a great performance from your vocalist. |
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BLUE BALLCardioid dynamic. A dynamic mic with a difference - this one has a phantom powered pre-amp which delivers highly consistent performance akin to some of the classic high-quality dynamics. |
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EV RE20Cardioid dynamic. Probably the most expensive dynamic mic that money can buy, and with good reason - it's earned its reputation as an excellent performer for voiceovers (the mic of choice for many US radio DJs), kick drum and horns. |
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AKG D112Cardioid dynamic. Built from the ground up for kick drum, AKG's successor to their previous industry standard (the D12) offers bags of both thump and click - also works well on a variety of other bass instruments. |
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BLUE KICKBALLCardioid dynamic. One of only a handful of mics specifically designed for kick drum miking, Blue's Kickball does the job with aplomb, although we think it sounds even better through an Earthworks KickPad... |
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EARTHWORKS KICKPADNot actually a microphone, but a passive EQ device designed to be used in-line with Earthworks mics to give an instant fat and meaty kick drum sound. Although Earthworks wouldn't like to admit it, it also works very well with many other mics! |
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YAMAHA SUBKICKCardioid dynamic. For many years, a trade secret of top engineers was the use of a spare NS10M woofer 'in reverse' as an additional kick drum mic. Eventually, Yamaha cottoned on to the idea and made a proper (and reliable!) product. When used in addition to a mic inside the drum, the subkick lends incredible depth to the sound, and is also excellent on other bass instruments. |
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EAGLE MEGAPHONELoud and irritating. Not exactly a microphone, but great fun for special effects, and also ideal for quelling studio riots, ordering tea and settling 'musical differences'. |
LIKE us on Facebook and Win a Free Day's Recording! |
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Every month, we give away a FREE day′s recording with our Senior Engineer/Producer Neil Williams to one of our Facebook followers, worth £495 + VAT! Winners can use the day for anything they like – recording a demo, mixing a tune to release quality standard or mastering a whole album – you can even extend the session with additional time at a special discounted rate. All you have to do is click the ′LIKE′ button on the right and we'll enter you into the draw every month until we just can't afford it any more! No extra prizes, but you can now also follow us on Twitter – click the button below! 
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Shop for music gear at: 
Full Equipment List
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