Miniature Cardioid Instrument Microphones The Shure WM98 is a miniature electret condenser microphone with a unidirectional (cardioid) pickup pattern. A smooth, wide frequency response from 40 to 20,000 Hz makes the microphone well suited for musical instrument pickup. The WM98 can be connected directly to a Shure wireless transmitter using the supplied cable.
The Shure WM98 is a miniature electret condenser microphone with a unidirectional (cardioid) pickup pattern. A smooth, wide frequency response from 40 to 20,000 Hz makes the microphone well suited for musical instrument pickup. The WM98 can be connected directly to a Shure wireless transmitter using the supplied cable.
Weight
0.40 kg
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The Shure WM98 is a miniature electret condenser microphone with a unidirectional (cardioid) pickup pattern. A smooth, wide frequency response from 40 to 20,000 Hz makes the microphone well suited for musical instrument pickup. The WM98 can be connected directly to a Shure wireless transmitter using the supplied cable.
Especially for tom and snare recording
Polar pattern: cardioid
Frequency range: 40 - 18,000 Hz
Impedance: 350 Ω
Robust metal chassis
Incl. special tom holder
Bag included
Dimensions: 63 x 41 mm
Weight: 125 g
The DMK57-52 Drum Mic Kit is a conveniently packaged selection of microphones and mounts, designed to offer a complete core package of microphones for recording and performing drummers at a great price. The Drum Mic Kit includes three SM57 microphones, one Beta 52 microphone, three A56D drum-mounting systems, and a lightweight and durable carrying case.
The industry standard for snare drum, and a reliable and high-performing choice for toms, Shure's cardioid dynamic SM57 microphone features a contoured frequency response that cuts through the mix with exceptional impact, while reproducing sound accurately.
Perfect for the kick drum, the supercardioid Beta 52? derives its low-end punch and sonic presence from a carefully tailored frequency response. Equipped with its own pneumatic shock mount, the Beta 52 is additionally designed with an integral locking stand mount for quick-and-easy set up.
A key element of the kit, Shure's A56D universal drum mounting system can be used to position microphones virtually anywhere -- on drum rims, microphone stands, even cymbal stands. Designed with captive parts to prevent the loss of individual pieces, the A56D is small, secure, and can be used with any standard microphone, making it a great tool for both stage and studio environments.
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:
Complete With Stereo Bar, Windshield's and Cradle'
The C 414 B-XL II/ST is especially useful for stereo recordings taken from the far field with the inclusion of useful and often valuable room acoustics. 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 300 Hz to 8,000 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 comes complete in an all-metal 'Soundtool' Hard Shell road case with 2 x AKG H-85 shock mounts, 2 x W414X external windscreens, an H50 stereo bar and an individually-measured chart showing the response curve of the microphone. See www.dv247.com Alternative Products and Related Products on this page for your options.
The C 414B-XLII has been carefully designed to maintain the legendary sonic character of the C 414 family while integrating new features and performance enhancements made possible by new technology. A classic microphone with a distinctive timbre especially designed for recording of solo vocals and solo instruments.
Whats the difference between the C 414B-XLII and the C 414 B XLS? The main difference between the two current C414 models lies in their frequency responses. The C 414B-XLII has a series of presence rises between 2.5 KHz and 9 KHz. This will make any recording with this microphone brighter or more sibilant than the original sound. This upper mid range boost is quite helpful on vocals and certain instruments such as classical acoustic guitars using nylon or natural strings. The C 414B XLS, see www.dv247.com Alternative Products on this page, has a very flat response that will not color the original sound which is important especially in instrumental recordings. It more suited for general use.
The microphone's 5 pickup patterns are easily selectable via an electronic switch with LED indication and offer the selection of omnidirectional, cardioid wide cardioid, hyper cardioid and figure-eight patterns. The pickup pattern selector switch utilizes a dual-color LED indicator that provides visual indication of the pattern selected and also changes from green to red to indicate if the microphone's output electronics are being overloaded. The pattern selector can also be used to "lock" the microphone's switch settings by pressing and holding it for 3 seconds. On the rear of the microphone, an electronic switch allows the selection of -6, -12 and -18 dB pre-attenuation levels which are accomplished by changing the polarization voltage to the capsule. The C 414B-XLII has switchable bass cut filters of 12 dB-per-octave at 40 Hz and 80 Hz, and a 6 dB-per-octave filter at 160 Hz for control of proximity effect. On-axis sensitivity for all patterns is 23 mV/Pa and its self-noise is an extremely low 6 dB-A.
The C 414B-XLII has a transformerless output and all-metal chassis, making it immune to electrical interference and RF from digital equipment, video monitors and wireless systems.
Features:
High sensitivity and extremely low self noise
Five switchable polar patterns for placement and application flexibility
Two-color LEDs provide quick visual indication of selected polar pattern and output overload
Elastic capsule suspension greatly minimizes structurally-transmitted noise from chassis vibration
Supplied with Hard Shell road case with 2 x AKG H-85 shock mounts, 2 x W414X external windscreens and an H50 stereo bar
High sound pressure level capability, 140 - 158dB, and wide dynamic range
Completely immune to electrostatic and electro-magnetic interference from digital gear, computer monitors, etc. thanks to solid metal housing and transformerless output stage
Three switchable bass cut filters and three pre-attenuation pads with LEDs for quick visual indication
All switchable components operate in low impedance circuits for ultra-high relability even in extremely humid conditions
Specifications:
Type: 1" large diaphragm pressure gradient microphone
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