All the World's Tube Microphones PART ONE

Bambi Busboom

New member
PART ONE OF TWO>>

Mates,

I'm a poor audiophile and lazy home recordist- recorderator- what is the term?-as it's possible for me to find equipment and a setup that actually seems acceptable- and I just settle back and use it. This leads to a temporary complacency and I fall out of touch with what equipment is availavble. Since I last researched and bought microphones- thats' about 4 years, there have been, in my view, many surprising, positive additions to the microphone pallette in the form of new tube microphones. The most pleasant aspect is that there are well developed tube designs that can also be produced and sold at a reasonable cost. It's not necessary to spend more than $800 to get a tube microphone with respectable features and specifications, and if they can be believed, excellent reviews and ratings. This trend fortunately extends to ribbon microphones too.

I'm often amazed to consider how much new tube-based audio and recording equipment and specialised manufacturers have arisen in the last twenty years. When I bought my first tube audio piece- an Audio Research SP-8 preamplifier and D-115 power amplifier in 1985, there was only Audio Research and Conrad Johnson in tube audio- even the venerable McIntosh firm had gone to "sand" as we tubeoholics like to lightly denigrate solid state. The number of tube microphones and mic preamps was very limited. The production of vacuum tubes ceased in the US and Western Europe- goodbye to the great tubes of Amperex, Mullard, Telefunken, Siemens, Sylvania, and RCA. It was only the brave guitar amplifer world that kept tube production alive in the USSR, China, and Eastern Europe where the labor intense tube could be made economically.

Much of the boom in tube equipment for both home audio and professional recording gear seems related to the near universality of digital recording and I seriously wonder what percentage of those seeking tube stuff are, like me, thinking that the characteristics of tube amplification are a kind of hedge against the harsher realities of digital. The logic must be that the "warmth" of tubes - somehow softens digital and makes it less fatiguing and a "deeper" sound. These kind of terms are heard in the tube world, though there seems to be a tinge of embarassment that somehow the desired qulities are not as noble an aspiration as "accuracy". I think I can assert this merely from the number of devices that actually have controls on them to introduce and vary a euphonic tube quality. My ART DI/O DAC has a little knob proudly marked "Tube Warmth" and turning this quickly makes the Chinese 12AX7 lurking within to make the sound very liquid to the point of sticky softness.

Led by rapidly improving power output tubes- thanks again guitar world!- there are several companies making tubes that are approaching the sound quality of the old Euroean production and Ei in the former Yugoslavia, Sovtek and Electro-Harmonix, in Russia, and Tesla/JJ in the Czech Republic are making some very acceptable products plus reviving more types every year. The quality of tubes from China such as Valve Art especially has improved rapidly, there seems to be an increasing consumer awareness. The small signal tubes like 12AX7, 12AT7, 6922, and etc. have not progressed as rapidly as the power tubes, but there are signs of some quite good 12AX7s like the Sovtek 12AX7LPS a Siemens copy, the Ei that looks to Telefunken, and the Electro-Harmonix 6922. Groove Tubes recently commissioned a Mullard 12AX7 copy which sell for about 1/2 of a NOS Mullard. Svetlana- now SED, continues some very good EL34s and 6550s. There was even a revival of the Western Electric Company and though this seems to be in limbo, there were new WE 300Bs that were considered quite refined.

Notice that all this discussion of current tubes and tube equipment has a constant thread of looking backwards to the great pieces of the past. In considering current production tube microphones, this also applies with several companies claiming ancestry of their designs with the legends of tube mics: the C-12, the big Neumanns like the U47 and U49 and so on. This trend can be seen also in new, small solid state condensers like the Oktava MC012 which just has to be looking at the Neumann KM84. And even Neumann did that themselves with the KM184.

So, there is some serious recycling, reviving done in the microphone world- and more current to them I say!

Sorry to go on so about this so long already, but I feel it's important to have a perspective on the intent of new tube microphone designs to help sort out which might be useful and carefully evolved and which might be merely trading on the past glories of other designs.

With all this in mind, in order to get a handle on the explosion in tube microphones, I've assembled a list of as many of the currently produced tube microphones as possible and include some details and specifications. There were far more than I thought and with a larger range in price- from under $300 to over $7000.

What follows is really a work in progress and though I know I'm testing the patience -and bandwidth of this forum, I would appreciate your comments and additions in the form of additional models and links to reviews. If there is interest, I think it would be beneficial to have a good guide to the wide world of tube microphones. Note well that the links provided are provided to connect to photos and reviews- references to prices and to sellers is in no way a recommendation to the firm or the best/worst prices. There is some information that I can see already need to be added, so there will be little additions and corrections in the next few days.

Without further ado- "all" the World's tube microphones:

ADK A-48
Tansverse mounted 12AX7 valve and dual 1.07-inch diaphragms. Comes complete with external power supply, basket shock mount and our premium aluminum flight case. "Vintage looks with vintage tone!"
FREQUENCY RANGE: 20 Hz to 20k Hz
SENSITIVITY: 12mV/Pa / -38.5 + 3 dB (0 dB= 1V/Pa @ 1000 Hz)
POLAR PATTERNS: Omni, / Cardioid / Fig. 8 / + six intermediate stages
IMPEDANCE: < 200 Ohms
EQUIVALENT SELF NOISE: 20 dB (A Weighted)
MAX SPL FOR 0.5% THD@1000 HZ: 128 dB
POWER REQUIREMENT: Special Power Supply/ Pattern Selector (Included)
CONNECTOR: 7 Pin XLR
SIZE: 71 mm x 180 mm / 3" x 7"
WEIGHT: 650 grams / 1.4 lbs*
http://www.adkmic.com/specs/A-48VV.html

ADK TC $299.00
1. Type: True Condenser Pressure Gradient Microphone with 1" Six Micron Single Diaphragm and Valve Pre-Amplifier with Factory Stock 6072 Tube.
2. Polar Pattern: Fixed Cardioid
3. Sensitivity: 1mV/Pa = -37dBV (0 dBV = 1v/Pa)
4. Frequency Range: 20 Hz to 20k Hz
5. Impedance: < 250 Ohms
6. Recommended Load Impedance: > 1000 Ohms
7. Max SPL for 1% THD @ 1000 Hz: 125 dB
8. Equivalent Noise Level: IEC 286-4 (A Weighted) 18 dB Typical
9. S/N Ratio @ 1Pa: 76 dB
10. Power Requirement: Dedicated ADK Power Supply
11. Rel. Humidity: 90% (C) / 85% (C)
12. Connector: 7 Pin Multi-Pin Cable (Supplied)
13. Size: Diameter 53mm (2.1") Length 165mm (6.5")
14. Net Weight: 550gm (18.5oz)
NOTE: Also designated as "A-51TC" with the "A-51"- meaning "Area 51"!
Information with brief 2001 review: http://www.adkmic.com/specs/TC.html

ADK "Area51" TT Retail list: $1,595
Class A tube switchable 9-polar pattern condenser mic with dual 1-inch diaphragms. Includes 6072A valve, external power supply, shock mount and our premium aluminum flight case.
TYPE: True Condenser Pressure Gradient Mic with Dual 1" Six Micron Diaphragms and Valve Pre-Amplifier
POLAR PATTERN: 9 Polar Patterns Including Omni, Cardioid, Figure 8 and Six Intermediate Positions
SENSITIVITY: 1mV/Pa = -37dBV (0 dBV = 1v/Pa)
FREQUENCY RANGE: 20 Hz to 20k Hz
IMPEDANCE: < 250 Ohms
RECOMMENDED LOAD IMPEDANCE: > 1000 Ohms MAX SPL FOR 1% THD @ 1000 Hz: 125 dB
EQUIVALENT NOISE LEVEL: IEC 286-4 (A Weighted) 20 dB Typical
S/N RATIO @ 1Pa: 76 dB
POWER REQUIREMENT: Dedicated ADK Power Supply
REL. HUMIDITY: 90% (C) / 85% (C)
CONNECTOR: 7 Pin Multi-Pin Cable (Supplied)
SIZE: Diameter 53mm (2.1") Length 225mm (8.9") NET WEIGHT: 750gm (26.5oz)
Area 51 TT - Multi-pattern Tube Mic / Power Supply / Ring-Shock Mount / Multi-pin Cable / Windscreen All Packaged in a Premium Flight Case. Lenny Kravitz to Kathy Mattea – the TT has an all-star fan club!
NOTE: I can't find any explantion of the intriguing "Area 51" designation! There is also a "commemorative Edition with a vintage style windscreen and NOS GE 6072A tube
http://www.adkmic.com/specs/Area51TT.html

AKG C 12 VR $4,600
Vintage Reissue Tube Microphone Two 1-inch capsules are identical in performance to the original design. The electronics section uses the same rare 6072 vacuum tube Nine different polar patterns are remotely selectable from the N 12 VR power supply. Other features include two bass roll-off filters (also remotely selectable), switchable pre-attenuation pads and an inter
hard-shell metal case housing the microphone, its power supply, the shock mount, windscreen and a 10 m (33 ft) connecting cable. A copy of the frequency response graph is included along with the three-year warranty
Description:
Production of the legendary C 12 ceased in 1963, and over the years, it became a highly sought-after collector's item and prized recording instrument because of its exquisite sound. The new C 12 VR is a reincarnation
http://www.sweetwater.com/store/detail/C12VR

AKG SOLIDTUBE $700-800
Tube: ECC 83 (12AX7) A 20 dB pad sound pressure levels up to 145 dB. Low frequency noise below 100 Hz low-cut switch on the front panel of the separate power supply. The SOLIDTUBE comes in a rugged aluminum carrying case with a complete set of accessories: elastic shock mount, windscreen, power supply and connecting cables. Three-year warranty.
http://www.sweetwater.com/store/detail/SolidTube/

AUDIO TECHNICA AT3060 Tube Mic $500
Cardioid phantom-powered tube microphone
#Raytheon 6418 tube
# No dedicated power supply or special cable needed; operates exclusively on 48V DC phantom power
# Large-diaphragm cardioid condenser element provides high sensitivity and smooth sound reproduction with low noise levels
http://www.sweetwater.com/store/detail/AT3060
2003 review: http://www.mojopie.com/at3060.html

AUDIO TECHNICA AT4060 $1,100
Polar Pattern Cardioid
Element Externally polarized (DC bias) condencer
Frequency Response 20-20.000 Hz
Open Circuit Sensitivity 34 dB (25.1 mV) ± 2 dB, re 1V at 1 Pa
Impedance 200 ohms
Maximum Input Sound Level 145 dB SPL, 1 kHz at 1% T.H.D.
155 dB SPL with 10 dB pad (nominal) Noise 19 dB SPL Dynamic Range (typical) 131 dB, 1 kHz at Max SPL
Signal-to-noise Ratio 75 dB, 1 kHz at 1 Pa
Power Requirements AT8560 power supply (120V/230V AC)
Weight (less accessories) Microphone: 22.6 oz (640g)
Power supply: 4.19 lbs (1.9kg)
Dimensions Microphone: 8.27" (210mm) long, 2.10 (53.4mm) max body diameter
Power supply: 8.27" (210mm) W x 8.86" (225mm) D x 1.73" (44mm) H
Output Connector Integral 6-pin XLRM-type
Accessories Furnished: AT8560 power supply; AT8447 shock mount for 5/8"-27 threaded stands; 32.8' (10m) cable with 6-pin XLR-type connectors for use between microphone and power supply; AC power cable; rack-mount adapters for power supply; protective mic carrying case
http://www.sweetwater.com/store/detail/AT4060
1998 review: http://www.soundonsound.com/sos/nov98/articles/atm4060.htm

BRAUNER VMA $6,150.00
Stereo version of the VMA1A "Two mics in one, with a VM1A position and a new super vocal mode." Includes SM Shock Mount, PSA Power Supply with mode switch and pattern control, C1-7.5 Brauner low Capacitance cable (between VMA and PSA) plus FC1 Carry Case.

BRAUNER VM1A $3,850.00
" THE solution for detailed orchestra and strings, neutral vocal (usually female) and acoustic instruments such as guitar, violin and cello." http://store.yahoo.com/transaudiodirect/braunvm1tubm.html

BLUE BOTTLE $4,175-$4,400
B6 capsule, Blue 9610 power supply SOFT START feature to assure the longevity of the vacuum tube, and the stability of the microphone circuitry.
Year Introduced: 1997
Type of mic: Tube Condenser
Polar Pattern: Various (depending on use of B.L.U.E. 1? capsules):
B7: Cardioid (single back plate, large Diaphragm)
B6: Cardioid (dual back plate, large Diaphragm)
B5: Pressure omni
B4: Perspex sphere pressure omni
B3: Cardioid (mid size)
B2: Figure of Eight
B1: Cardioid (small size)
B0: Cardioid (large capsule/Bright)
Frequency Response: 30hz?0,000 hz + or -4db
Front to rear rejection: Better than 20db
Rated source impedance: 200 ohms
Sensitivity: 8mV/Pa + or - 1db
Tube: EF86
Power Requirements: B.L.U.E. 9601 Power Supply
Signal to noise ratio: 67db (related to 1 PA at 1khz)
Dimensions: Diameter 3 & 3/4 inches x 14 & 3/4 length(including capsule)
Weight: 4 lb. (including capsule)
Mic Notes: The Bottle Mic employs the use of 7 optional hand built capsules crafted by BLUE at their factory. Patterns selections.
* B7: Cardioid large diaphragm single backplate. The Classic Vocal Sound.
* B6: Cardioid large diaphragm dual backplate. The BLUE Standard ?The Modern Presence Vocal Sound
* B5: Pressure omni large diaphragm. The Presence Omni.
* B4: Perspex sphere pressure omni small diaphragm. The Big Omni.
* B3: Cardioid mid sized diaphragm. The Neutral Capsule.
* B2: Figure of eight large diaphragm. The Vintage Capsule.
http://www.sweetwater.com/store/detail/Bottle

CAD M9EH Tube Condenser Mic $399.00USD
cardioid single tube externally biased condenser microphone that features servo-valve technology. 12AX7 tube
* 30 ft. professional quality 7 conductor cable with gold plated
* XLR male and female connectors.
* MV200 Analog Power Supply.
* Line Cord.
* Rugged carrying case.
* Suspension Shock Mount

CAD VSM Tube Condenser Mic $600.
Cardioid
12AX7 tube
* True large diameter capsule with 1.1" inside diameter. (1.34" outside diameter.)
* 3 Micron thick high tension, diaphragms made from the latest high strength polymer film.
* 24K Gold sputtered diaphragm coating.
* Each capsule is hand adjusted for proper damping and consistent frequency response.
* Other capsule components made from precision machined brass and stainless steel.
Type:Side address, true condenser.
Capsule:Optema™ OS 110 series, 1.1" inside diameter, gold sputtered.
Frequency Response:10Hz - 20 kHz.
Polar Pattern:Cardioid.
Impedance: Low (200 ohms nominal).
Output Level At 1 kHz.:
Open Circuit Voltage:-53 dB (0 dB = 1 volt per microbar). 22.4 mV/Pascal.
Dynamic Range:118 dB (Noise floor to max SPL @ less than 0.5% THD).
119.5 dB (Noise floor to max SPL @ less than 5.0% THD).
Equivalent Noise Level:15 dB Equivalent SPL, A weighted.
Maximum Output Level:+7.5 dBV (@ 134.5 dB SPL, less than 5.0% THD).
Maximum SPL:149 dB SPL (With 16 dB pad, less than 0.5% THD ).
150.5 dB SPL (With 16 dB pad, less than 5.0% THD ).
Total Harmonic Distortion:Less than 0.5% @ 133dB SPL without pad.
Less than 5.0% @ 134.5 dB SPL without pad.
Signal-To-Noise Ratio:79 dB (At 94 dB SPL).
Switches:Hi-Pass: (3dB @ 80Hz.)
Pad: 0dB, -8dB, & -16dB (Non-Capacitive)
Capsule Capacitance:60 pF.
Powering:Included VSM analog power supply
Connector:7 pin XLR, gold plated, on microphone and power supply.
3 pin XLR, audio out from power supply, gold plated
Cable:Professional quality 7 conductor, 30 ft. long. Gold plated connectors.
Finish:Matte grey housing, nickel plated screen assembly with black accents.
1999 review: http://www.soundonsound.com/sos/aug99/articles/cadvsm1.htm

CAD VX2 $1499.95-$1,799.00
Tube Condenser Mic
Each side of the extra large Optema™ condenser capsule has its own independent tube head amp and output amplifier, including separate high quality custom output transformers.
* Multi-pattern (Cardiod, Figure 8, and Omnidirectional)
* Dual valve design (seperate tube head amp and tube output circuits)
* Dual custom wound nickle core humbucking output transformers
* Large capsule with 1.25" diameter, 3 micron thick gold sputterd diaphrams (Exclusive CAD Optema™ Series)
* Heavy duty analog power supply
* Detatchable capsule/screen assembly for alternate frequency responces
* 8 and 16dB non-capacitive pad
* 80Hz high pass filter
* Includes ZM-2 shock mount

GEFELL UM900
Large diaphragm multi-pattern phantom powered tube microphone famous M7 dual membrane 1 inch (25mm), 24-karat gold evaporated capsule distinctive 'bottle-top' look is augmented with a carefully sculpted body that deflects unwanted refractions away from the capsule does not require an external power supply box or multi-pair cable 114dB dynamic range, and 140dB sound pressure handling
Pattern:Omnidirectional, wide cardioid, cardioid, hypercardioid, figure-8
Response:40Hz ~ 18kHz
Sensitivity:40mV/Pa
Level / EQ controls:-10dB pad/-10dB@70Hz roll off
Signal to noise ratio:78dB-A
Maximum SPL:140dB with 10db pad
Dynamic range:114dB
Power requirement:48V Phantom
Shock mount: EA92
Swivel adaptor: MH80
Windscreen: W92
Pop Screen: PO70
Cable: RNM25 Mogami Neglex 25ft
Power supply: N200

GEFELL M92.1S Vintage
Large diaphragm, multi-pattern vac uum tube microphone
Pattern: M92.1S: Omni, cardioid, figure 8 (also: M92.1S >cardioid only)
Response:40Hz ~ 18kHz
Sensitivity:15mV/Pa
Self noise:17dB-A
Signal to noise:77dB-A
Maximum SPL:120dB < 0.5% THD
Dynamic Range:103dB

GROOVE TUBES 1B $489.00USD
Vintage sound, modern electronics
• Large all-brass capsule
• +/- 1dB tolerance across entire frequency range
• Single-pattern, side-address design
• 1.1" diameter, 3-micron evaporated gold diaphragm
• Class A tube electronics
• Allows cable runs of more than 200 feet

GROOVE TUBES GT44 $489.00 .75-inch diameter capsule 6-micron evaporated-gold diaphragm Optional Omni and Hyper Cardioid capsules are easily interchanged Includes switches for -15dB attenuation pad and low frequency roll-off filter (75Hz).
http://www.groovetubes.com/product.cfm?Product_ID=1594

GROOVE TUBES GT67 $699.00
side-address true condenser features a hand-assembled, hand-tested 1.10-inch diameter capsule. four distinct patterns -10dB attenuation pad and low frequency roll-off filter (75Hz). Includes switches for -15dB attenuation pad and low frequency roll-off filter (75Hz).

LAWSON L47MP
Uses reproduction of U47 and U49 capsules 3 micron 24K gold diaphragm cardioid, omni, figure 8, with infinitely variable pattern or cardioid fixed that lowers noise level

LAWSON L251 factory diect $2,495 repro of ELAM 251 6N1P (6922 sim), cardioid, omni, figure 8, with infinitely variable pattern or cardioid fixed that lowers noise level 2- position low fequency contour switch 10dB pad

MÄNN MT-31
Tube Microphone
omni true figure eight
Frequency Response 20-20000
Hz Sensitivity 12mV/pa Polar Pattern Cardioid
Equiv. Noise Level 22 db-A
S/N Ratio 1PaA-weighted 78db Bass Cut 6db/Octave150 Hz Pad -10db
Max. SPL 138dbSPL
0,5 % Output Impedance
200 Ohm Min, Input Impedance 1
000 Ohm Power Requirement 110-240 Volt AC Connection 7 pole XLR & IEC Weight 500g Dimensions 50 x 200mm Accessories (included) Road Case
Pop Filter
Shock Mount
Cable

<<END PART ONE Bambi Busboom 8.15.04
 
Last edited:
Mark7 said:
Erm.

You missed out the AT4060 :rolleyes:

That's for the part three.:D like the MXL V69.

It must have been quite a job to gather and post all the info, thanks for that Bambi.
 
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