AKG D112 is a microphone meant for kick drums. However, you can also use it for a wide range of sound sources, including trombones, bass cabs, and other low-frequency musical instruments. What else do you need to know about the AKG D112?
Design and build
AKG D112 features an egg-shaped design that makes it very distinct from other kick drum mics. It uses metal components, and it is quite heavy. The metal build and sturdy construction help the microphone handle the vibrations and lend some degree of stabilization.
The AKG D112 has a humbucking coil that helps to minimize the noises and hiss brought about by circumference. You get a higher level of sound characteristics with this microphone as a result. Also, because it has a dynamic capsule, it does not need phantom power. Plus, you can connect it to any standard XLR output.
Specifications and features
The AKG D112 has a large diaphragm, which means that it delivers an outstanding signal to noise ratios, allowing it to handle strong vibrations. It gives your kick drums a fuller and more engaging sound. Large diaphragm microphones are often used to highlight a particular instrument, so it is mostly used for lead instruments and vocals.
The AKG D112 adeptly combines the sound of the resonant low-end bass and the sharp higher tones of the drumhead. The microphone can handle both the low and high frequencies with remarkable accuracy and precision. That makes the AKG D112 an excellent choice for floor toms as well as bass drums.
Sound pressure level
The SPL for the AKG D112 can reach up to 168 decibels, and you will not hear any distortion. On top of that, this microphone has very low diaphragm resonance, which reinforces the excellent sound quality it delivers. Further, it has a frequency response range of 20 to 17 kilohertz, helping it achieve a clean punch sound.
THE HOLY GRAIL OF MICROPHONES Legendary tube sound for lead vocals, brass instruments and electric guitars
The C12 VR is the reference multi-pattern tube studio condenser microphone with nine polar patterns selectable by a remote control.
Among sound engineers, the AKG C12 is considered the holy grail of microphones.
This legendary microphone, first built in the 1950s, is one of the most famous tube microphones in history, and its successor is todays C12 VR.
The C12 VR is an enhanced version of the original C12, from the capsule sound to the original 6072A vacuum tube carefully handcrafted in Vienna, Austria.
The legendary AKG sound used on dozens of number-1-hitsan enhanced version of the highly sought-after AKG C12 built 1953-1960 Edge-terminated CK12 capsule and original 6072A vacuum tubeprovide a sound that is simply beyond words Selected state-of-the-art componentsensure low noise and reliable operation Nine remotely selectable polar patternsfor maximum flexibility and ease of use Carefully handcrafted in Vienna, Austriameticulous attention to detail ensures highest quality
Classic Neumann Sound with 21st Century performance
The M 149 is a universal studio microphone with tube electronics in the tradition of the legendary M 49, the large diaphragm condenser microphone that raised the standard of audio recording in the 1950s and has shaped the sound of countless jazz and pop albums ever since. The M 149 continues in this tradition, augmenting the timeless fidelity of its predecessor with updated technology and improved performance specs.
The M 149 uses the same sound transducer as its famous predecessor, the classic K 47/49 large diaphragm capsule, renowned for its supreme balance and unmatched presence. This delicate dual diaphragm capsule is housed in a large, acoustically open headgrille, which minimizes internal reflections. The capsule signal is then amplified by a subminiature triode tube, specially selected for lowest noise and optimal transmission characteristics. The final stage is a high-precision, ultra-low distortion transformerless output stage, which preserves the full dynamics of the preceding tube circuit and is optimized for 21st century signal chains. The M 149 offers higher sensitivity and much lower noise than vintage tube microphones. And thanks its current sensing technology, which ensures optimal operating conditions for the tube, and its low output impedance, the M 149 can drive long cable runs of up to 300 m without transmission losses. It was this innovative combination of classic tube technology with state of the art Neumann engineering which earned the M 149 a prestigious TEC Award in 1997.
Truly Universal
The M 149 offers nine directional characteristics – omni, wide cardioid, cardioid, hypercardioid, figure-8, plus four intermediate positions – as well as a 7-position low cut (20 to 160 Hz in half-octave steps). This flexibility along with an exceptionally low self-noise figure of only 13 dB-A (cardioid mode) makes the M 149 a truly universal studio microphone for all applications. Not only is the M 149 a superb microphone for vocalists in any genre; unlike many other modern tube microphones, it is also an amazingly versatile microphone for a wide range of instruments, such as piano, acoustic and electric guitar, upright bass, percussion, drums overheads, as well as solo strings, brass and woodwind instruments. The M 149 is a premium microphone which will satisfy even the most demanding users.
R-121 Studio Ribbon Microphone
Released in 1998, the award-winning R-121 is our flagship microphone; the world’s first radically reengineered ribbon microphone and the model that reintroduced ribbon mics to engineers around the world. We did away with the large, heavy, fragile “classic” approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warmth and natural sound that experienced engineers have long turned to ribbon mics for, but in a compact, light-weight, high output and tough-as-nails package that was unheard of in a ribbon mic before the R-121. In its 10+ years in the market, thousands of R-121’s have been sold around the world and it’s well established as a standard for tracking electric guitar and brass.
The R-121 redefined ribbon microphones so completely that Recording Magazine wrote “…the Royer R-121 is destined to become one of the classic microphones of the 21st century.”
Like many of the best classic ribbon mics, the R-121 has a figure-8 pattern, output level comparable to a dynamic mic, and a warm, realistic tone and flat frequency response. But that’s where the similarities end. By using advanced materials and a blend of cutting edge and old-school, hand-build construction techniques, the R-121 is an extremely versatile and user-friendly ribbon mic that can stand up to the most demanding tasks. Cranked up electric guitars, close up brass, drums – you name it, the R-121 will help you record it with realism you have to hear to believe.
We expect you to own it for as long as you record, and we’ll stand behind it the whole way.
Patented Offset Ribbon Technology
The R-121’s proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It’s an integral piece of the magic of all Royer R-series microphones.
Sennheiser MD 421-II Microphone
Extremely versatile, robust legendary cardioid microphone
The MD 421 II is one of the best known microphones in the world. Its excellent sound qualities enable it to cope with the most diverse recording conditions and broadcasting applications. The large diaphragm, dynamic element handles high sound pressure levels, making it a natural for recording guitars and drums. The MD 421's full-bodied cardioid pattern and five-position bass control make it an excellent choice for most instruments, as well as group vocals or radio broadcast announcers.
When pro engineers need transparent sound reproduction, the Shure KSM32 is one of the first mics they reach for. This super-clean large-diaphragm microphone boasts a gold-layered, low-mass Mylar diaphragm for superior transient response, along with a transformerless preamplifier for crystal-clear sound. What’s more, its embossed, high-compliance diaphragm exhibits extended low-frequency response and consistent off-axis rejection. The KSM32’s cardioid polar pattern rejects unwanted sounds, while an internal shockmount minimizes handling and stand noise. You also get an integrated 3-stage protection grille to reduce plosives. A -15dB pad and variable highpass filter round out the KSM32’s impressive feature set. The KSM32 has been a studio workhorse for decades — it’s a must-have for every microphone locker.
