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Studio Condenser and Ribbon Mics

 

Candy: Phantom Powered Ribbon Mic

How many ribbon mics do you know of that can capture frequencies up to 20 kHz?

Candy demonstrations at NAMM received overwhelming praise from audio engineers. It is an entirely new animal with its own signature sound. It produces warm and detailed vocals especially suited for male vocalists. Applying candy to any sound source produces results that are different from the norm.   

Candy is a Phantom Powered modern Ribbon Mic with a magnet structure optimized for amplified ribbon capture approach. It is designed to have the tone of vintage ribbon mics but also cover an extended high frequency range. The addition of internal amplifier removed the design restrictions of classic ribbon mics which were trade-offs between output volume and frequency response. Candy’s frequency response can be considered in two ranges;

1)    Normal ribbon range: It produces the classic response curve of a dynamic ribbon mic, dropping the highs as they get close to 15kHz. This is responsible for the warm characteristic ribbon tone.

2)    Extended high frequency: Due to the special magnet design, the response curve picks up after 15 KHz and goes all the way up to 20KHz.

The casing is rugged to protect the ribbon element and the capsule section is completely separate from the lower body portion to prevent sound reflections inside the casing from interfering with the purity of the output.

Due to internal phantom powered amplifier, it produces high output similar to a condenser mic and is as easy to use in a studio as a normal condenser. This feature eliminates the need for recording at high pre-amp gain settings which normally lead to higher noise level. The -10db Pad and Bass roll-off switches allow adapting the mic to characters of the sound source.

Included accessories: KAM PF-1 micro metal mesh pop filter, Foam pop filter, Shock mount, Aluminum storage case, Soft carrying pouch.

Applications:

Candy differs from classical ribbon mics and the extended frequency response allows application to almost any sound source for producing unique and colorful results :

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1-    Sound sources that benefit from natural warmness of ribbons in mid frequencies such as vocals, strings, acoustic guitars and guitar cabinets.

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2-    Stereo pair recordings:  The figure 8 pickup pattern allows unusual stereo separation when two mics are placed at an angle with respect to each other. Unique results can be obtained from drum overhead and room Mic applications.

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3-     Instruments with low frequency sounds such as Bass drums and bass cabinets, or to accent the low-end of guitar cabinets.

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4-    Sound sources that need taming of harsh high-mids such as brass instruments and overly high-mid heavy amps.

(Note: For sources which produce high velocity air movement, such as bass drums and amp cabinets, the provided foam wind screen should be used to protect the ribbon.)

 

K/\M Candy

Specifications:

Ribbon material: Pure Aluminum foil, 2 micron thickness

Frequency response: 20 to 20 KHz

Pattern: Figure 8

Impedance: 200 ohms

Max SPL 130 dB - 140 dB with pad switch engaged (1% THD at 1 KHz)

Self noise: < 15 dB - A weighted

Sensitivity: -34 dB

Power requirement: 48 v Phantom power

S/N Ratio: 79 dB

Pad Switch: -10dB

Bass roll off switch: 12 dB/octave 80 Hz

 

MSRP: $390
 

K/\M 2face

 

2face: Two sided Condenser / Ribbon simulator 

2face offers very unique capabilities and extreme ease-of-use in the studio. The capsule used in 2face has an asymmetrical figure 8 pickup pattern. When using the back side, the pickup pattern combined with proximity effect (when recording close-up vocals) produces very warm recordings that sound very much like ribbon mics. However, since both sides of the mic are always active, when using the back side, there is more room sound being recorded than with ordinary mics, which contributes to creating unique spacious recordings with 2face. Demonstrations of 2face mics at Summer NAMM, with turning the face for the two tones were very surprising to most audio engineers.

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It has never been easier to test your sound source with two different capsule/or microphone tones. Just turn the microphone 180 degrees !

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It offers the simulated ribbon tone with high output and low noise (< 14dB A) associated with a condenser design.

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It is durable, not fragile as ribbon mics. High velocity air flow, very loud sources, or moderate shock will not harm 2face.  

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The Condenser face (front side) is a large diaphragm capsule with very detailed, linear, and clear sound appropriate for male and female vocals, acoustic guitars, strings, piano, drum overheads, and many other sound sources.

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The back side (ribbon simulator) is appropriate for male vocals, guitar cabinets, horns, any sources with harsh mid range frequencies.

Included accessories: Wooden storage box, Mini shock mount

Specifications:

Capsule size: 36mm, 1and 7/16 inch

Frequency response: 20 to 20 kHz

Pattern: Asymmetrical Figure 8

Impedance: 100 ohms

Recommended load Impedance: > 1000 ohms

Max SPL 130 dB  (1% THD at 1 kHz)

Self noise: < 14 dB - A weighted

Sensitivity: -34 dB

Power requirement: 48 v Phantom power

S/N Ratio: 80 dB

 

MSRP Price: $199

Crystal: High output Condenser

Surface Mount Technology (SMT), transformer-less design, and large 34mm capsule contribute to exceptional clarity of recordings produced by Crystal. The electronic circuit has been designed to produce higher than normal output level as well as linear response. In comparison with majority of Condenser mics, Crystal produces as much as 6 dB higher output. As a result, lower preamp gain is required which leads to lower preamp noise.  

 

The 34mm capsule produces full sounding lows without emphasis on any particular frequencies, while the small form factor allows flexibility in placement.

 

Crystal is suitable for vocals, acoustic guitars, drum overheads, and a wide range of other applications.

 

Advantages of Surface Mount Technology (SMT)

 

bulletBetter high frequency performance due to lower resistance and inductance at soldering points
bulletHigher mechanical resistance to vibration and shock
bulletReduced possibility of RF interference
bulletAllows robust designs with high number of components in a small form factor

 

Crystal Specifications

 

Capsule: 34mm Gold Splattered

Max SPL: 125 dB (0.5% THD)

Polar Pattern: Cardioid

Frequency Response: 20 Hz to 20 kHz

Sensitivity: -38 dB

Impedance: 200 Ohms

Self-Noise: < 20 dB

Power Requirement: 48V Phantom Power

 

Weight: 240g

Dimensions:  Max Diameter :53mm, Height:132mm

MSRP: $145

KAM Crystal

 

 

K/\M  MC3

Response for Cardioid and Omni capsules are over 0 dB line even at 20 KHz !

MC3: Multi-Capsule Condenser

MC3 represents a new concept in studio mics. It is an extremely versatile mic with very unique capabilities. It comes with three interchangeable capsules; 

The vocal capsule comes with a self contained  micro screen metal mesh pop filter. While ordinary nylon pop filters absorb about 2 to 3db of high frequency content of the sound, the micro metal mesh is completely transparent, yet even more effective than nylon filters. This condenser capsule is 1 and 1/4 inch in diameter with a one inch diameter diaphragm. It is identical to the one in our C3 condenser mic.  But the sounds are slightly different since the electronic circuit in MC3 is designed for lively and animated recordings.

The Omni directional capsule is specially designed to convey "presence" in the sound.  It can produce unusually detailed  recordings and is ideal for use as instrument mic (eg. acoustic guitars or piano), overhead drum mic, room mic,  or for orchestral recordings.

The cardioid capsule is tailored for percussive sources and  with a slight mid boost, adds an extra " punch" to recordings.  It shines for applications such as snare drum, hand percussions, or situations where a tight pickup pattern is required. 

bulletOverall frequency response:  20Hz to 20KHz
bulletBass roll of switch (-10 dB& @ 75 Hz or 100 Hz), 
bulletAttenuation (pad) switch (-10 or –15 dB)
bulletMax SPL: 120 dB at 0.5% THD
bulletEquivalent self noise: <22 dB 
bulletImpedance:  200 Ohms
bulletRequires 48 volt phantom power
bulletComes with a shock mount and case, with room to store all the accessories.

MSRP: $249 

 

R3: Studio Ribbon Mic

A ribbon mic with unusually warm and natural sound.

Have you ever wondered why vocals from the 50s sounded so sweet? Have you tried analog tape and mixers with tons of EQ and still just got only close to that sound? Ribbon mics where the essential ingredient of that sound. 

Ribbon mics have a sound quality unmatched by any other technology. In a normal dynamic mic, a diaphragm which vibrates with sound is attached to a coil that generates the signal by vibrating in a magnetic field. In Ribbon mics, an aluminum ribbon both vibrates to sound and generates the signal since it is positioned in a strong magnetic field. So the sound is extremely pristine. The highs are also naturally rolled back in a way that is very difficult to reproduce by EQing, because the "roll back" ratio is variable based on frequency and intensity of sound. 

R3 produces very pleasant vocal tracks. You can boost the highs to get more presence, and the warmness still remains in the sound because it is mostly due to superb reproduction of mid range frequencies which human vocal cords  produce.

Another application for R3 is guitar cabinets. Many mics produce harsh highs and just don't express the sweetness of a tube amp that is heard live. With Maximum SPL of 165 DB, R3 can be your best friend in the studio to capture the warmth of a tube amp. 

MSRP: $209 

Comes with wooden protective box and shock mount.

K/\M R3

 

K/\M C3

 

C3: Large Diaphragm Condenser

 

When we test prototype of our mics, we have a special target sound in mind. Sometimes we get very close to it, and sometimes we run into characteristics that were unforeseen, but definitely  worth offering to sound engineers. While we don't claim to have found the holy grail, C3 is very close to it! 

Many condenser mics suffer from uneven frequency response which leads to sound coloration. C3 only deviates from an almost flat response curve between 20Hz and 20 KHz by about +3.5 dB. Furthermore, that deviation is exactly at the right place; over 10 KHz. The reason why this is a “good” deviation is that nylon pop filters absorb about 2.5 dB of high frequency over 10 KHz. So when recording vocals with nylon pop filters, the C3 response curve is almost completely flat. Traditionally, studios have spent several thousand dollars on mics with this type of response curve.

The pad and bass roll-off switches add flexibility to applications of C3. It can be used on any sound source with excellent results. Including, acoustic instruments, guitar and bass cabinets, and percussion instruments. Toms sound larger than life and extremely crisp with C3. When used without a pop filter, C3 has a slightly exaggerated high frequency which adds to the crispness of the sound.

Internally, the mic features a 1 and 1/4 inch capsule, with a 1 inch gold covered diaphragm. 

 

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Frequency response: 20-20KHz 

bulletBass roll of switch (-10 dB @ 100 Hz) 
bulletAttenuation switch (-10 dB)
bulletMax SPL: 125 dB at 0.5% THD
bulletEquivalent self noise: <22 dB 
bulletImpedance: 250 Ohms
bulletRequires 48 volt phantom power
bulletComes with external shock mount and carrying pouch

MSRP: $175

 

 

All specifications and pricing are subject to change without notice.