AUDIX f6 Instrument Microphone

The f6 is designed for instruments requiring bass reproduction in live and studio applications. The f6's hypercardioid pick-up pattern helps to minimize feedback and isolate the instrument from ambient sounds on stage.

The f6 has low impedance and balanced output providing interference-free performance.

Precise artistic work deserves precise artistic craftsmanship. A classic by now, the CMS Series CK 1 capsule from AKG was a best seller from the moment it was launched in 1969. Comprising a range of interchangeable capsules and preamps as well as then innovative, dedicated accessories, the CMS Series from AKG quickly became a legend. It was discontinued in 1993. Responding to growing demand from recording engineers, AKG decided to produce the C 451 B with identical acoustical behaviour of the popular original C 451 EB + CK 1 microphone again, with dramatically improved specifications and outstanding price/ performance. The capsule of the new version is fixed permanently to the preamp to eliminate the mechanical problems of the screw joint. Using an extremely light diaphragm, the new C 451 B is almost totally insensitive to handling noise. An all-metal body provides excellent protection from RF interference and the microphone is rugged enough to give excellent results even under very harsh conditions.

The C 451 B is an excellent tool for accurately capturing signals rich in transients such as drums, overhead miking, or other instruments with a percussive sound. The airy sound, high overload limit of the capsule and electronic circuitry, and improved engineering details of the C 451 B are a solid foundation for creating another legend.

The matched pairs consist of two microphones that are within 1 dB to each other in sensitivity and also within 1 dB to each other in the range of 200 Hz to 15,000 Hz of the individual frequency response when used in cardioid mode and are selected from a large quantity of individual microphones using the described criteria by using a proprietary computer program.

Using this matched pair for stereo recordings utilizing various techniques will provide for a good and stable balance without frequency-dependent shifting of the stereo panorama.

The kit includes all the standard accessories of the individual package along with a stereo bar and proof of performance charts in an attractive carrying case (Soundtool case, middle size).

Features:

• Identical acoustics of the legendary CK 1.
• Rugged construction.
• Ruler-flat on-axis frequency response.
• Precise, nearly frequency independent cardioid.
• Extremely accurate signal transfer.
• Transformerless output stage for minimum distortion at low frequencies.
• Protected against electrostatic and magnetic interference.
• Selectable 10-dB and 20-dB preattenuation pads.
• Switchable highpass filter (75 Hz or 150 Hz, 12dB/octave).
• Operates on phantom power to DIN/IEC between 12 V and 48 V.
• Complete with SA 40 stand adapter and W 90 windscreen.
• Each microphone comes with its own individual frequency response plot.

Specifications:

• Polar pattern: Cardioid
• Frequency range: 20 to 20,000 Hz
• Sensitivity: 9 mV/Pa (-41 dBV)
• Max. SPL: 135/145/155 dB (0/-10/-20 dB) (k=0,5%)
• Equivalent noise level (CCIR 468-3): 29 dB
• Equivalent noise level: 18 dB-A
• Signal/noise ratio (A-weighted): 76 dB
• Preattenuation pad: 0 dB, 10 dB, 20 dB selectable
• Bass filter: Flat, 12 dB/octave at 75 or 150 Hz, selectable
• Impedance: 1000 ohms
• Supply voltage: 9 to 52 V phantom power to DIN 45596
• Current consumption:

• A mechanical polar pattern switch for highly consistent cardioid and true omnidirectional polar patterns. Provides flexibility in a wide variety of recording applications
• Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar? diaphragm for superior transient response
• Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion
• Premium electronic components, including gold-plated internal and external connectors
• Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration
• Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
• Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
• Three-position switchable low-frequency filter to reduce background noise and counteract proximity effect

• Extended frequency response
• Low self noise
• Exceptional reproduction of low-frequency sounds
• Can withstand high sound pressure levels (SPL)
• High output level
• No crossover distortion
• Uniform polar response
• Superior common mode rejection and suppression of radio frequency interference

• Acoustic instruments -- such as piano, guitar, drums, percussion, strings
• Wind instruments -- brass and woodwind
• Low frequency instruments -- such as double bass, electric bass, kick drum
• Overhead miking -- drums or percussion
• Ensembles -- choral or orchestral
• Room ambiance pick-up -- guitar amplifier or drums

The Shure KSM137 is an end-address condenser microphone with a cardioid polar pattern. Designed for studio use, yet rugged enough for live applications, the KSM137 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments.

Features

• A highly consistent cardioid polar pattern
• Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar? diaphragm for superior transient response
• Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion
• Premium electronic components, including gold-plated internal and external connectors
• Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration
• Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs)
• Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
• Three-position switchable low-frequency filter reduces background noise and counteracts proximity effect

Performance Characteristics

• Extended frequency response
• Low self noise
• Exceptional reproduction of low-frequency sounds
• Can withstand high sound pressure levels (SPL)
• High output level
• No crossover distortion
• Uniform polar response
• Superior common mode rejection and suppression of radio frequency interference

APPLICATIONS

Some typical applications for the KSM137 are listed below. Microphone use, however, is a matter of personal taste. The KSM137 may be used for a variety of applications other than those listed.

• Acoustic instruments -- such as piano, guitar, drums, percussion, strings
• Wind instruments -- brass and woodwind
• Low frequency instruments -- such as double bass, electric bass, kick drum
• Overhead miking -- drums or percussion
• Ensembles -- choral or orchestral
• Room ambiance pick-up -- guitar amplifier or drums

Both the acoustic environment and microphone placement strongly affect the sound obtained from miking a source. You may need to experiment with microphone placement and room treatments to achieve the best overall sound for each application.

Suggested Applications

Acoustic Guitar
Acoustic Bass
Cymbals
Brass/Woodwinds
Orchestra
Ensemble Vocals
Piano
Strings
Room Ambience
Live Recording

• Contoured frequency response for clean, instrumental reproduction and rich vocal pickup
• Professional-quality reproduction for drum, percussion, and instrument amplifier miking
• Uniform cardioid pickup pattern isolates the main sound source while reducing background noise
• Pneumatic shock-mount system cuts down handling noise
• Extremely durable under the heaviest use
• Frequency response: 40 to 15,000 Hz