- (2) Brauner VM1 (matched pair [m.p.] - consecutive) – Truly a modern classic, the Brauner VM1 has become the new standard for contemporary tube microphone technology. These are amazing mics, handmade in Germany, with an incredible combination of transparency and euphonic representation. Our consecutive pair are matched perfectly and work beautifully in virtually all applications, from a main stereo array to pop vocals.

- (1) Groove Tubes GT-44 – This medium-diaphragm cardioid mic has a unique, aggressive tone.

- (2) Lucas CS-1 (m.p. consecutive) – There’s nothing else quite like the already legendary Lucas CS-1, only 300 of which are to be made. Designed by Oliver Archut of TAB-Funkenwerk and Terry Manning of Compasspoint Studios to be on par with such venerable classics as the Neumann M49 or the AKG C12, yet not a clone of any preexisting model, the CS-1 is remarkable both for its uncompromising quality and originality. We are very proud to be one of the very few studios in the New York area with a matched pair of CS-1s.

- (1) Telefunken Elektroakustic ElaM260 – a modern interpretation of the original ElaM260, this is a beautiful little microphone in its own right, with multiple capsules (cardioid, hypercardioid, and omni) and a sound kind of like a tube KM84.

- (1) Wunder CM7-GT (U47-inspired, w/ M7 capsule) A contemporary take on the iconic U47 that has quickly become a very popular alternative to its revered predecessor. It’s big, warm, and beautiful with a lovely, silky top end that’s excellent for vocals as well as cello, sax, drum kit, etc.

- (1) AKG C 414 EB (original "brass" CK12) – THE workhorse, multipattern mic, which will basically never sound bad on anything. This particular example with its original capsule is especially nice.

- (1) AKG C 414 EB ("teflon" capsule) - Same as above but with the ubiquitous late-model replacement capsule.

- (2) DPA 4006 (m.p. with spheres and all grids) The standard in small-diaphragm omni mics; when you want to just hear it like it really is, these will give it to you with ease. An obvious choice for stereo arrays, piano, and many other applications, there’s a reason why the 4006 is the default for so many classical and acoustic music engineers.

- (2) DPA 4023 (m.p.) – Amazing little cardioid mics which sound great, can be placed just about anywhere, and can take ridiculous amounts of volume with ease and startling transparency.

- (4) DPA 4061 – The standard clip mic for strings, these tiny microphones are surprisingly useful omnis which can work well as spot mics, boundary mics, mains, and more.

- (3) Gefell UMT-70S (near-consecutive trio) I’m continually amazed at how versatile and exciting these mics sound – never boring, always giving a little special something that I can’t describe and can’t find in anything else.

- (1) Josephson C42 – great-sounding, affordable, American-made, and cool-looking little cardioid. Thanks to Dan Lippel for this one.

- (2) Kel HM-3C – excellent, inexpensive utility mics with understated highs and high-spl handling.

- (1) Neumann Gefell MV692/M70 – Made in East Germany sometime in the 70s, this underrated mic has a wonderfully unique and colored sound. Ours has been updated by Peter Drehfal and sounds fantastic.

- (2) Neumann KM-84i (m.p. - consecutive) – NOT the 184! These are early 80s original KM84s, and they sound like they should – wonderful, versatile, and dependable.

- (1) Neumann KM-88 - A wonderful multi-pattern small diaphragm mic featuring the last of Neumann's amazing nickel capsules (as used in the KM56 and SM2.)

- (2) Neumann KM-140 (m.p. - consecutive) – NOT the 84, but not bad either, the KM140 is a reliable and very clean mic that works great for various applications.

- (2) Schoeps CMT-341 (m.p. - consecutive) – The precursor to the CMC “colette” series, these are the same as a new CMC3 with the MK41 hypercardioid capsule, except they’re not modular. Though not as well known as the modern version, they’re every bit as good and sound wonderful on many, many things, just as one would expect from a Schoeps.

- (2) Schoeps CMT-56n (m.p. - multi-pattern MK6 capsules) – Similar to the 341s above, these mics are nearly identical to a modern CMC5 w/ MK6 multi-pattern capsule, minus the ability to change to another capsule. The MK6 capsule achieves variable polar patterns by purely acoustic means, and this gives it a natural, smooth, uncolored and un-hyped sound.

- (2) Sennheiser MKH-8040 (m.p.) – The newest series in Sennheiser’s lineup, these miniscule cardioids have incredible reach and an unusually minor proximity effect at a distance.

- (1) Telefunken M280 (same as KM84, no pad) – This rare, Telefunken-badged Neumann from the late ‘60s does all the things you’d expect a KM84 to do – because it’s the same mic, only it has no pad, looks even cooler, and is a bit smaller!

- (1) AEA R84 – Kind of like a latter day RCA 77, this mic can sound supremely rich, intimate, and velvety. It has become a contemporary classic in its own right, probably as much for its striking appearance as for its wonderful sound.

- (1) AKG D12 E - The undisputed classic kick-drum mic.

- (3) Beyerdynamic M160 – One of the most modestly wonderful microphones around, the hypercardioid M160 is highly versatile.

- (2) Coles 4038 – Developed by the BBC in the 50s, the 4038 is a truly special and singular instrument. On brass, drum overheads, strings, and, on occasion, piano, it sounds like nothing else.

- (1) Heil PR-22 – This is a wonderful hand-held dynamic that's open and natural sounding with a nicely controlled proximity effect.

- (2) Royer R121 (m.p. - consecutive) – Now more or less the industry-standard electric guitar mic (and this pair actually used to belong to Joe Satriani!), I’ve come to love them as spot mics for strings, winds, and percussion as well.

- (1) Royer SF-12 (stereo ribbon mic) – An incredibly realistic mic that can produce a “holographic” sound image with uncanny three dimensionality, the SF-12 can be unsurpassable in the right contexts. Many people love them for drum overheads, piano, or even hanging over an orchestra. I’ve heard it sound shockingly good, frustratingly mediocre, and downright weird, depending on the circumstance, but it is without question a superb piece of work.

- (1) Sennheiser MD-441 - The 441 is simply one of the greatest and most versatile dynamic mirophones ever produced. It's an excellent instrument and vocal mic with great sensitivity and off-axis rejection.

- (1) Telefunken USA RM-5C - Designed and manufactured by Jerry Sylvia of Sylvia Classics for Telefunken USA, the RM-5C is an unusual cardioid ribbon mic that, although somewhat similar in appearance to the RCA BK-5, sounds unlike any other microphone I've ever heard with an unusually agressive and lean tone.

- (1) Audix D6 – A reliable and high-quality kick-drum mic that does what it was meant to do and does it well.

- (3) Shure SM-57 – What can I say? Got any nails that need to be hammered? They always work, and it's my go-to talkback mic!

Descriptions: Ryan Streber; photos: © 2010 Jessica Slaven