The microphone collection 2014 – 2016

The strange thing you sing into called a microphone is never just a microphone.

If you enjoy a little bit of old school aura you can choose microphones still containing

some authentic sixties saliva,

Perhaps even the Beatles, who knows?

In short, mics to everyone's likes.

Moon Music Mics

Vintage Tube Mics:

2* Telefunken U 47

1* Telefunken ELA M 251 E

2* Neumann U67

1* Neumann M149

2* Neumann SM69

2* Neumann Km64

Condensators:

2* Neumann Km 130

Ribbon Mics:

2* COLES 4038

1* Royer R 121

1* Royer R 101

1* AEA A 840

2* Beyerdynamic m260

Telefunken U 47

Since its original development in 1946, the TELEFUNKEN U 47 has been the microphone of choice for generations of recording professionals. The first condenser microphone to offer selectable polar patterns (cardioid and omni), the original U-47 also featured the famous M7 capsule which had been developed in 1928 by Georg Neumann. To this capsule was added an amplifier built from military surplus VF-14 tubes (they had been used in field and aircraft radios), and BV8 output transformer. The combination of these components created a sonic quality that was absolutely unheard of in the English speaking world of the mid-1940s when darker sounding, less detailed ribbon microphones were the standard. The introduction of the U-47brought a new level of fidelity to the audio world, and is still considered to be one of the finest microphones ever produced.

The D19 was a cardioid dynamic microphone manufactured by AKG in the 1960s. It is famous today for its use at Abbey Road studios during numerous Beatles recording sessions, most notably as a drum overhead mic for Ringo Starr.

Multiple variations of the microphone were manufactured by AKG. At least two grille designs were used. Output connectors varied as well. Further, the D19 was branded by multiple distributors, most notably Telefunken.

Thanks to Pucksound!

Vintage Tube Mics:

2* Neumann M49 (soon)

1* Telefunken ELAM251E

2* Telefunken U47

2* Neumann U67

1* Neumann SM69 (stereo mic)

2* Neumann Km64

Condensators:

2* Neumann Km 130

Ribbon Mics:

3* COLES 4038

1* Royer R 121

1* Royer R 101

1* AEA A 840

2* Beyerdynamic m260

Vintage dynamic Mics:

2* Sennheiser MD421 (black)

3* Sennheiser MD421 (white)

2* Sennheiser MD 21

2* Sennheiser MD441

1* Akg D25

2* Akg D202

2* Akg D222

2* Akg D224

1* Akg D190

2* Akg D19

2* Uher m534

1* Beyerdynamic M88

2* Electrovoice RE55

Dynamic Mics:

1* Beyerdynamic 51

2* Shure SM58

3* Shure SM57

2* BSS AR133 DI

2* DBX DI

1* Summit Tube DI

1* Radial Reamping Box.

The Neumann M49 was a multipattern large-diaphragm tube microphone with an important new innovation: the mic’s pickup pattern could be adjusted remotely, by a dial on the power supply.

Another new innovation was that the mic maintained nearly equal sensitivity and output level across patterns — unlike the U-47, for example, which was 5dB hotter in Cardioid than Omni.

Maintaining output level required a change in the polarization voltage circuitry. Whereas the U-47’s circuit would disconnect the capsule’s rear diaphragm in Cardioid mode, in the M 49 both diaphragms were always polarized — the front at a constant 60Vdc, and the rear from 0Vdc to 120Vdc. When set to Cardioid, the rear diaphragm polarization voltage was 0Vdc.

Vintage Tube Mics:

3* Neumann M49

1* Telefunken ELAM251E

2* Telefunken U47

2* Neumann U67

1* Neumann SM69 (stereo mic)

2* Neumann Km64

Condensators:

2* Neumann Km 130

Ribbon Mics:

3* COLES 4038

1* Royer R 121

1* Royer R 101

1* AEA A 840

2* Beyerdynamic m260

Vintage dynamic Mics:

2* Sennheiser MD421 (black)

3* Sennheiser MD421 (white)

2* Sennheiser MD 21

2* Sennheiser MD441

2* Akg D25

2* Akg D202

2* Akg D222

2* Akg D224

1* Akg D190

2* Akg D19

2* Uher m534

1* Beyerdynamic M88

3* Electrovoice RE55

Dynamic Mics:

1* Beyerdynamic 51

2* Shure SM58

3* Shure SM57

2* BSS AR133 DI

2* DBX DI

1* Summit Tube DI

1* Radial Reamping Box.