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STUDIO PROJECTS

DISTRIBUTED BY PMI AUDIO GROUP
1845 W. 169th Street Gardena, California 90247 USA

sp828 manual.indd

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v i s i t

MICROPHONE

s i t e

s t u d i o p r o j e c t s. c o m

PREAMPLIFIER

INSTRUCTION BOOK CONTENTS
What is Studio Projects....2 Front Panel Controls Individual Channel Controls..3 Front Panel Controls Master & Monitoring Controls..5 Rear Panel Connections Individual Channel Jacks..6 Rear Panel Connections Master Jacks...7 Block Diagrams....8 Specifications....10 Problems....11 Troubleshooting....11 Origins and manufacture....11 Declarations of conformity...11
Studio Projects is manufactured and marketed under the direction of:

WHAT IS STUDIO PROJECTS?

Studio Projects is a technology company committed to designing and bringing to market high quality pro audio products at an affordable price. As a small sized company with lower expenses than many of our competitors, we pass along the savings to our end users. When we introduced our C Series microphones in 2001, both end users and reviewers acclaimed the build and sound quality as nothing short of amazing. Pushing the Price Vs. Performance envelope even further, we brought out the B Series mics in 2002. As part of the B series we introduced our first electronics product, the highly acclaimed VTB1 Mic Pre/ Direct Box. Now we offer our second release in what will be a series of electronics products, the SP828. This unique product offers the best possible quality and feature set in its price class. We hope you enjoy using it as much as we enjoyed making it for you!
PMI AUDIO GROUP USA: 1845 W. 169th Street Gardena, California 90247 toll free: 877-563-6335 fax: 310-323-9051 UK: P.O. Box 358 Torquay, Devon TQ2 5XS tel: +44 (0) email: info@pmiaudio.com
FRONT PANEL CONTROLS - INDIVIDUAL CHANNEL CONTROLS
1) Mix Level to L/R bus Controls the amount of the channel signal that is sent to the L/R mix buses. Use these individual channel level controls to create a mix of all the channels within the SP-828. NOTE: This control does not affect the level at the rear-panel Channel Output jack (#16). 2) PAN to L/R bus Positions the channel in the L/R mix. CCW is full Left, CW is full Right. The channel signal will be 3dB down to both buses in the center-detent position. Create a stereo blend of the 8 channels within the SP-828 with the PAN controls. 3) SOLO switch & LED When depressed, the LED illuminates and the channels signal is sent to the SOLO mix bus. This signal is independent of the Mix Level, only the Preamp controls (#6, #7, #8) will affect this signal. Use the SOLO system to set the Preamp gain (#8) for proper signal level. 4) Signal & Peak LED This LED will vary in Green intensity with the signal level of the channel. It will turn Red when the channel level is within 3dB of clipping. Used with the Solo system and Preamp Gain to properly set the channel level. 5) +48v Phantom Power This switch applies +48 volts to Pins 2 & 3 of the channel XLR connector. This Phantom power (as its called) is used to power condenser microphones and direct boxes. It is not needed for Dynamic microphones and should be avoided with Ribbon mics.

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6) Line select / Mic Pad This switch selects between the XLR and TRS connectors on the rear panel. When UP, the XLR connector is selected, when depressed the TRS jack is selected. The two jacks are normalled together in that the XLR signal is available at the TRS jack if nothing is plugged into the TRS jack. This allows the switch to do double-duty as a Line-select switch (if a plug is inserted into the TRS jack), or as a -20dB PAD switch for the XLR jack if nothing is plugged into the TRS Line jack. 7) Polarity reverse This switch reverses the balanced connections to the preamp circuit and therefore reverses the polarity of the input signal. This switch is sometimes called Phase, or marked as on other products, but the function is the same. It is used to change the overall polarity of the signal. This matters most when the signal is being mixed with other signals. The overall sound of the mixed signals may change depending on the position of the switch. Try both positions when mixing channels together (through the L/R mix controls) 8) Preamp Gain This rotary control varies the circuit gain of the preamp. The minimum gain of the preamp is approximately 15dB, the maximum is 65dB. By using the Line/PAD switch, a wide-range of input signals can be accommodated. This control should be used in conjunction with the Solo switch and Sig/Peak LED to properly set the channel gain: adjust the Gain control so that the Sig LED is a strong Green intensity, occasional Red peaks are OK. By using the Solo switch (#3), the channel can be monitored on the Level meters (#9) and heard in the headphones.

FRONT PANEL CONTROLS - MASTER & MONITORING CONTROLS
9) Level Meters These meters allow the user to monitor the main L/R mix output, or individual channels by using the channel Solo switches. Normally, the meters are showing the output level of the L/R mix (controlled by #11). When any channel Solo switch is pressed, that channels signal level is displayed on both meters and the Pwr/Solo LED (#10) turns Red indicating that the meters are monitoring the Solo mix bus. The Solo mix is made up of all channels that have their Solo switch pressed, so individual channels, or a mixture of channels can be monitored. The meters have a VU-response, and will show the average level of the signal. The headphone system follows these meters, so anything that shows on the meters can be heard in the phones. 10) Power/Solo Indicator This LED normally is Green, indicating that the unit is being supplied power (via the rear AC power jack). The LED will turn Red when any channel Solo switch is pressed. This lets the user know that the meters are now showing the Solo mix level instead of the L/R mix output. 11) L/R Master Level This rotary control sets the overall level of the L/R mix output to the rear-panel output jacks. The L/R mix is the sum of all of the channels, controlled by their individual Mix and Pan controls (#1 and #2). 12) Headphone Level This rotary control sets the overall level of the headphones. The headphones follow the Level Meters and normally monitor the L/R mix. If a Solo switch is depressed, the phones then monitor the Solo mix bus. 13) Phone jack This 1/4 TRS jack is used to connect headphones to the unit. The phones normally monitor the L/R mix, switching over to the Solo bus when a channel Solo switch is pressed. Best results are obtained with studio-quality phones with an impedance of 30 to 75 ohms.
REAR PANEL CONNECTIONS - INDIVIDUAL CHANNEL JACKS
14) XLR Input Jack This 3-Pin Female XLR jack is used to bring balanced signals into the channel. Normally, microphones are connected to this jack, and are selected by having the front-panel Line switch in the UP position, but hi-level signals can be accommodated by pressing the front-panel Line switch (#6). Input impedance is approx 3K ohms. 15) Line Input Jack This 1/4 TRS jack is used to bring line-level balanced or unbalanced signals into the channel. This jack is selected with the front-panel Line switch (#6). If nothing is plugged into this jack, the XLR signals are normalled into the TRS circuit which allows the front-panel Line switch to do double-duty as a PAD switch. Input impedance is approx 15K ohms, so Hi-impedance instruments (guitars, bass) should not be plugged in here. No damage will occur, but the sound will not be optimum for those instruments. Use an outboard preamp or buffer amplifier for these types of instruments. 16) Channel Output This 1/4 TRS jack is used for the channel output. Signals from the channel can be fed into individual tracks for recording. Nominal output level is +4dBu. Output impedance is 100 ohms, ground-compensated, impedance balanced. This allows this jack to be connected to balanced and unbalanced inputs without concern. Use a balanced (2-wire w/shield) cable for all connections for best results.

REAR PANEL CONNECTIONS - MASTER JACKS
17) Expansion In / Out jacks These 8-Pin mini-DIN jacks are used to tie SP-828 units together. When connected, the Slave SP-828 will send its signals to the Master SP-828. L/R mix and Solo signal and control signals are sent out of the Expansion Out jack of the Slave SP-828, and are received on the Expansion In jack of the Master SP-828. By chaining additional units together, up to 32 channels (4 units) can be mixed together and monitored from one master unit. The miniDIN connector cables should be shielded and wired Pin-to-Pin and limited to 3 feet in length for best results. 18) L/R Insert Jacks The 1/4 TRS jacks are used to insert processing gear into the L/R mix. Stereo compressors or EQs are typically used here. The insert point is located after the mix amp and before the main level control. Tip is Send, Ring is Return, Sleeve is audio ground. Send impedance is 100 ohms, return impedance is 10K ohms. 19) Main Output Jacks These 1/4 TRS jacks are the main mixed outputs of the unit. The L/R outputs are available here as well as a summed-mono mix of the L & R outputs. The overall level is controlled by the front-panel L/R level control (#11). Nominal output level is +4dBu. Output impedance is 100 ohms, ground-compensated, impedance balanced. This allows this jack to be connected to balanced and unbalanced inputs without concern. Use a balanced (2-wire w/shield) cable for all connections for best results. 20) AC Power In jack This 5.5mm barrel jack brings low-voltage AC power into the unit. 18 volts at 750mA is required for proper operation. Only use the supplied AC adaptor from Studio Projects.
BLOCK DIAGRAM - INPUT CHANNEL 1 OF 8 SHOWN
BLOCK DIAGRAM - LEFT-RIGHT MASTER SECTION

SP828 SPECIFICATIONS

Input Channel: XLR in to TRS Out Mix Outputs Mix Gain: Channel to L or R Output: +10dB Mix Insert Points: TRS Jack Tip=Send, Ring=Return Mix Insert Levels=-2dBu Package Info Power Requirements: 18VAC, 750mA Size: 17.2 x 5.8 x 1.75 (IU) Frequency Response: 20Hz 20kHz +0/-0.5B (Ref 1kHz) THD+Noise: <0.0002% THD 20Hz to 20kHz at -20dBu In, +15dBu out (35dB gain) Phase Shift: <+/-10 degrees 20Hz to 20kHz Gain Range: 10dB to 65dB

Pad: -25db Polarity: Reverse (-180 degrees) XLR Input: 2k5 ohms Balanced, Pin 2 hot EIN: <-127dBu (@150 ohm, 60 dB gain) Max Voltage Gain: XLR-In to Chan Balanced Out=65dB TRS Line Input: 15k ohms Balance Max Voltage Gain: TRS-In To Chan Balanced Out=40dB Channel Output: Gnd-Compensated/Impendance Bal TRS Max Out=+21dBu

PROBLEMS

TROUBLESHOOTING
1) The microphone doesnt work! Have you got something plugged into the INSTRUMENT input or is the mic/line set incorrectly? (this can disable the microphone input) Is the phantom power on? (capacitor microphones). If there is indication on the VU LED, is the output volume control turned down? 2) Got signal going through but no output? Is there enough signal? Use plenty of drive. Is the output gain control turned up, and do you have a properly working monitor system? 3) I dont get any power!
Studio Projects electronics are extremely resistant to physical damage, but if the unit fails to work after being dropped, it should be returned in adequate packing to the supplier. A double test and inspection system means that manufacturing faults are non-existent but should any fault occur, it will be repaired (or replaced) free of charge except where the fault has been caused by physical damage. (SEE WARRANTY INFORMATION)

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ORIGINS AND MANUFACTURE
Studio Projects Electronics are entirely designed in the USA. They are manufactured in China under strict guidelines set by PMI Audio Group Gardena, Californa. All Studio Projects electronics are inspected and tested at the factory, then inspected and tested again at PMI Audio Groups facility prior to shipping. Studio Projects electronics meet the requirements of electronic equipment sold both in the USA, Canada, and the European Union. All Studio Projects products are CE Approved, and all power supplies are UL rated.
DECLARATION OF CONFORMITY
This analog audio processing equipment conforms to the standards and requirements of the European Economic Community. The EC Harmonized standards that have been applied are; a) Electrical equipment (safety) Regulations 1994 (S.I. 1994/3260) b) Electromagnetic Compatibility Directive (89/336/EEC) incorporating (S.I. 1992/2372)
Is the supplied power supply plugged in correctly? Make sure the barrel connector is pushed all the way into the socket, and be sure you have available power to the supply.

STUDIO PROJECTS LIMITED WARRANTY
THIS PRODUCT IS FOR PROFESSIONAL USE ONLY
PMI Audio Group warrants that all products will be free from defects in material or workmanship: A: For a period of (1) one year from the date of purchase (hereinafter the labor warranty period), PMI Audio Group will repair or replace this Product if determined to be defective. After the expiration of the labor warranty period, the Purchaser must pay labor charges. rate. No repair or replacement by Purchaser of any Product or part thereof shall extend the warranty period as to the entire Product. The specific warranty on the repaired part only shall be in effect for a period of ninety (90) days following the repair or replacement of that part or the remaining period of the Product warranty, whichever is greater. after investigation PMI determines that the reported problem was not covered by the warranty, Purchaser shall pay PMI for the cost of investigating the problem at its then prevailing time-and-materials

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B: In addition, PMI Audio Group will supply, at no charge, replacements for defective parts for a period of (one year) from the date of purchase. During the labor warranty period, to repair the Product, Purchaser must return the defective Product, freight prepaid, or deliver it to PMI Audio Group Service Center. The product to be repaired is to be returned in either its original carton or a similar package affording an equal degree of production. PMI Audio Group will return the repaired Product freight prepaid to the Purchaser. PMI Audio Group is not obligated to provide Purchaser with a substitute unit during the warranty period or at any time.
2. Exclusive Remedy: Acceptance: Purchasers exclusive remedy and PMIs sole obligation is to supply (or pay for) all labor necessary to repair any product found to be defective within the warranty period and to supply, at no extra charge, new or rebuilt replacements for defective parts. If repair or replacement fails to remedy the defect, then and only in such an event, shall PMI exchange to Purchaser a new or reconditioned unit. Purchasers failure to make a claim as provided in paragraph 1 above or continued use of the product shall constitute an unqualified acceptance of such Product and a waiver by Purchaser of all claims thereto.

CONDITIONS

1. Notification of claims: Warranty Service: If Purchaser discovers that the Product has proven defective in material or workmanship, then written notice with an explanation of the claim shall be given promptly by Purchaser to PMI but all claims for warranty service must be made within the warranty period. If
3. Exceptions to Limited warranty: PMI shall have no liability or obligation to Purchaser with respect to any Product subjected to abuse, improper use, negligence, accident, modification, failure of the end-user to follow the operating and maintenance procedures outlined in the users manual, attempted repair by non-qualified personnel, operation of the unit outside of the published environmental and electrical parameters, or if such products original identification (trademark, serial number) markings have been defaced, altered, or removed. PMI excludes from warranty coverage, Products sold AS IS and/or WITH ALL FAULTS and excludes used products which have not been sold by PMI to the Purchaser. PMI also excludes from warranty coverage consumables such as fuses and batteries, etc. 4. Proof of purchase: The dealers dated bill of sale must be retained as evidence or the date of purchase and to establish warranty eligibility

DISCLAIMER OF WARRANTY

EXCEPT FOR THE FORGOING WARRANTIES, PMI HEREBY DISCLAIMS AND EXCLUDES ALL OTHER WARRANTIES, EXPRESS OR LIMITED, INCLUDING, BUT NOT LIMITED TO ANY/OR ALL IMPLIED WARRANTIES OF MERCHANT ABILITY, FITNESS FOR A PARTICULAR PURPOSE AND/OR ANY WARRANTY WITH REGARD TO ANY CLAIM OF INFRINGEMENT THAT MAY BE PROVED IN SECTION 2-312(3) OF THE UNIFORM COMMERCIAL CODE AND/OR IN ANY COMPARABLE STATE STATUE. PMI HEREBY DISCLAIMS ANY REPRESENTATIONS OR WARRANTY THAT THE PRODUCT IS COMPATIBLE WITH ANY COMBINATION OF NON-PMI AUDIO PRODUCTS PURCHASER MAY CHOOSE TO CONNECT TO THE PRODUCT.

OWNERS REGISTRATION CARD

T O B E C O M P L E T E D AT T I M E O F P U R C H A S E Name _____________________________________________ Date of Purchase ____________________________________ Serial Number ______________________________________

LIMITATION ON LIABILITY

Dealers Name ______________________________________
THE LIABILITY OF PMI, IF ANY, AND PURCHASERS SOLE AND EXCLUSIVE REMEDY FOR DAMAGES FOR ANY CLAIM OF ANY KIND WHATSOEVER, REGARDLESS OF THE LEGAL THEORY AND WHETHER ARISING IN TORT OR CONTRACT, SHALL NOT BE GREATER THAN THE ACTUAL PURCHASE PRICE OF THE PRODUCT WITH RESPECT TO WHICH SUCH CLAIM IS MADE. IN NO EVENT SHALL PMI BE LIABLE TO PURCHASER FOR ANY SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL DAMAGES OF ANY KIND INCLUDING, BUT NOT LIMITED TO, COMPENSATION, REIMBURSEMENT OR DAMAGES ON ACCOUNT OF THE LOSS OF PRESENT OR PROSPECTIVE PROFITS OR ANY OTHER REASON WHATSOEVER.
R E TA I N F O R Y O U R R E C O R D S P L E A S E D I S PAT C H A N D R E T U R N Y O U R R E G I S T R AT I O N TO STUDIO PROJECTS W I T H I N D AY S O F P U R C H A S E
Specifications and model numbers are subject to change without notice
PRODUCT REGISTRATION INFORMATION PLEASE FILL IN THE BELOW SECTIONS AND RETURN
Name: Address: City: Telephone Number: Model Purchased: Serial Number: Comments: State: email Address: Date Purchased: Dealer: Zip Code:
What magazines do you read to influence your buying decision: (please check all that apply)
MIX Electronic Musician EQ Home Recording Pro Audio Review Recording Pro Sound News

SP Electronics

The Studio Projects VTB1 is the ultimate in low cost mic preamplifier technology. Incorporating true class A/B switching, the VTB1 is a totally discrete circuit. Unique to the VTB1 is the Tube Drive. The Tube Drive is a variable drive to a 12AX7, that allows the user to blend as little, or as much of the Tube Drive they want. This VTB1 allows the user the most flexibility of any mic preamplifier in its price class.

B Series Microphones

The VTB1 allows you to go from a pristine solid state sound, to any combination of Tube Drive you choose. even hard distortion for guitars and bass! The VTB1 is must have device as the perfect mic preamplifier for any microphone! F E AT U R E S
48 Volt Phantom Power Phase Reverse Variable Input Gain Control On Detented Pot 1/4 D.I. Jack On Front Panel High Pass Filter Descrete Solid State Class A/B Design TRS Insert Mic/Line Switch Variable Tube Blend On Detented Pot Meter Read Select Between Input and Output level Switchable Impedance between 50/200 Ohm 5 position LED metering XLR mic input Balanced outputs on XLR and 1/4 External AC Power Supply For extreme Low Noise Operation Output Gain Control On Detented Pot
The Studio Projects B1 condenser microphone is a large diaphragm cardioid microphone in a pressure-gradient transducer employing high quality transformerless design & extremely low noise. It will enhance any professional or project studio application at an unbelievable low price. As a result of uncompromising dedication and todays advanced production abilities, Studio Projects has gone further to brake the barrier of quality vs. price for todays recording studio environment.
The Studio Projects B3 offers three recording pattern positions with a pad and Hi-Pass filter. Equipped with a true micron gold sputtered dual large diaphragm capsule, the B3 will ensure you get the finest quality of recordings while still offering linear response and world class sound.
The TB1 is a vacuum tube (valve) microphone incorporating the philosophy that the best microphones use high quality, yet minimal components. The Studio Projects TB1 provides audiophile sound engineers with the classic vacuum tube design combined with todays better quality components.

F E AT U R E S

Pressure-Gradient Transducer, Dual micron Mylar capsules Selectable patterns (omni, cardioid, figure eight) High Pass Filter 10db Pad
Pressure-Gradient Transducer, micron mylar capsule Cardioid Pattern Transformer Output 6072 Dual Triode Tube
Pressure-Gradient Transducer Single micron Mylar capsule Fixed Cardioid Pattern Solid Construction

A P P L I C AT I O N S

A superb vocal microphone with warm transparent character Great for overhead choirs, strings, pianos & percussion Great for production, broadcast, and voice over work Perfect for the professional and home project studio A quality vocal mic suitable for all vocal styles
A superb vocal mic pre with warm transparent character Great for use as a Tube DI Box Great for production, broadcast, and voice over work Perfect for the professional and home project studio A quality vocal mic preamplifier suitable for all vocal styles
A do all general purpose recording Mic Great for close miking amplifiers Great for production, broadcast, and voice over work Perfect for the professional and home project studio A quality vocal mic suitable for all vocal styles
A superb vocal microphone with warm transparent character Great for overhead choirs, strings, pianos and percussion Great for production, broadcast, and voice over work Perfect for the professional and home project studio A quality vocal mic suitable for all vocal styles
PMI Audio Group tel: 6335 fax: 4714 studioprojects.com PMI Audio UK tel: +44 (0) Studio Projects is a Registered Trademark of PMI Audio Group. 2004 PMI Audio Group. All Rights Reserved.

C Series Microphones

The Studio Projects SP828 is the best quality, multi-channel mic pre available in its class. Packing 8 channels of Burr Brown front end into a single rack space with direct outputs and inserts for every channel, it also doubles as an 8 X 2 mixer. No other multichannel mic pre in its class offers this type of sound at this price.

The T3 is my favorite of the bunch, because it provides tube warmth at a fraction of the cost of a comparable European mic, but Ive already used the entry-level C1 on other projects and developed new customers for Studio Projects without even expressing an opinion. Clearly the price/performance planning is paying off with vocalists, songwriters, and recording engineers as soon as these mics get plugged in. R u s t y C u t c h i n
The SP828 has individual outputs on each channel via balanced 1/4 jacks for direct feeds to any recording medium. Both line level inputs on 1/4 balanced jacks, and XLR balanced mic inputs are on the rear panel. When nothing is plugged into the line input of any channel, the mic/line switch of that channel defaults to a 20dB pad switch. The output section has a stereo L/R output control and a headphone input with control for real time monitoring. In addition, there are L/R LED meters and a Solo LED for monitoring. The master section output has L/R outputs on 1/4 balanced jacks, and inserts for the L/R buss. There is a summed mono 1/4 output jack for an external feed. Each unit has an expansion in/out jack to allow for cascading several units together to get up to 32 inputs where all 32 inputs buss to the L/R mix out, while offering 32 direct outputs for remote recording. The SP828 incorporates an external power supply for clean operation. F E AT U R E S
48V phantom power with LED Phase Reverse with LED Mic/Line Switch with LED - Defaults to 20dB Pad Peak and Signal Present Indicators Gain Control Level & Pan Solo Switch with LED
The Studio Projects C1 condenser microphone is a large diaphragm cardioid microphone employing high quality transformer-less design & extremely low noise. As a result of uncompromising dedication and todays advanced production abilities, Studio Projects has broken the barrier of quality vs price for todays recording studio environment.
The C3 is the ultimate in large diaphragm condenser microphones at this price anywhere. The C3 offers three recording pattern positions with pad & Hi-Pass filter. Equipped with a dual 1 6um gold sputtered large diaphragm in a pressure gradient transducer capsule, the C3 will ensure the finest quality of recordings while offering linear response and provide a classic deep rich sound.
The T3 is a vacuum tube (valve) with dedicated AC power supply which offers completely variable polar patterns for the most flexibility and creativity when making recordings. The T3 provides the warm transparent sound associated with an expensive quality vacuum tube microphone. The circuit design of the T3 uses as few components as necessary to prevent added noise and coloration. A hand selected 6072 dual triode vacuum tube is used for its low noise, sonic characteristic and reliability.

The LSD2 is comprised of two separate dual membrane solid state microphones contained within a single housing. Its capsules are mounted in close proximity on a vertical axis, the upper capsule can rotate 270 degrees. The LSD2 allows users to achieve all manner of coincident pair stereophonic recording techniques. Due to the close proximity of the capsules, there is no phase cancellation resulting from time delay between the two signals.
The C4 are small diaphragm condenser microphones featuring interchangeable capsules, switchable -10dB pad/high pass filter and a linear low-noise, solid state amplifier body. The microphones modularity makes it a useful multipurpose tool intended for all-around use on stage, on location and in studios of all caliber.
I have never heard a mic pre under $1,000 that sounds and acts like the VTB1. The missing link in the price versus performance chain has arrived!

Dan Richards

On the drum kit the C4s captured the performance with all the nuance and detail that could be expected of them. They exhibited a nice top end sheen without being overly bright or harsh. Overall they did a marvelous job of capturing the whole drum kit. Really all someone would need is a pair of C4s and a kick drum mic to do a whole drum set.
Pressure-Gradient Transducer: 1.06 (27mm) 6 micron mylar diaphragm High Pass Filter -10db Pad
Studio Quality Stereo Pair Microphone System Modular Design Interchangeable Capsules (Omni, Cardioid) Switchable -10dB pad/ High Pass Filter Transformerless Output Rugged Construction
Dual membrane 1.06 (27mm) 6 micron mylar diaphragms Selectable patterns (omni, cardioid, figure eight) 6dB/octave@150Hz. high Pass Filter -10db Pad
Pressure-Gradient Transducer, Dual 1.35 (34.5mm) capsule Selectable patterns (omni, wide cardioid, cardioid, hypercardioid and figure of eight) Low noise vacuum tube circuitry Transformer balanced Output
Studio Quality Coincident Stereo Microphone Twin Dual-Diaphragm Pressure Gradient Transducers User Adjustable Stereo Image Upper Capsule Rotates through 270 Individually Selectable Polar Response, Omni, Cardioid, Figure of Eight Selectable -10dB pad/Hi-pass filter Low Noise, Solid State Circuitry
A do-all, general purpose recording Mic Great for close miking amplifiers with high sound pressure levels Production, broadcast, and voice-over work A quality vocal mic suitable for most vocal styles

Kurt Foster

Ive been using the B1 on my 18 floor tom, and I have to admit that Im very happy with it. I prefer it to all of my other mics, including an SM57, the 414s, and a KM184 I borrowed to test. What can I say? If it sounds good, it IS good.
Coincident, Near Coincident Pair Spaced Pair Omnis Location Use Spot Miking For Instruments Ambient Recording Drum Overheads
A superb vocal mic pre with transparent character Great for use as a keyboard or line mixer Great for production, broadcast, and voice over work Perfect for the professional and home project studio A quality vocal mic preamplifier suitable for all vocal styles Great for remote in field Multi-Track recording Great for use as drum sub mixer Can chain 3 units for 32 inputs Great for sound reinforcement

Vocal microphone for production, broadcast, and voice-over work Perfect for the professional and home project studio Overhead for choirs, orchestra sections Ambience miking Spot mic for strings, piano & percussion
A superb vocal microphone with warm natural transparent character Great for overhead choirs, strings, pianos & percussion Useful in production, broadcast, and voice over work Perfect for both the professional and home project studio
XY - Coincident Cardioids Mid-Side Method Stereophonic Technique (Blumlein) Overhead Main Mic Drums Vocal, Voice-Over

Doug Jazzooo Robinson