Stereo Microphones
The AEA Decca Tree is a modular stereo microphone mounting system designed to provide precise and flexible positioning of microphones in a triangular “tree” configuration. Built from a combination of bars, sliders, and mounting brackets, it allows engineers to accurately space three or more microphones for optimal stereo imaging. Based on the legendary Decca Tree technique developed in the 1950s, this system has become a cornerstone in professional audio recording. It is specifically engineered to recreate a natural stereo field with a strong, well-defined center image, making it ideal for high-fidelity capture. The Decca Tree is widely used in orchestral, choral, and cinematic recording environments, where capturing depth, width, and realism is critical. Positioned above the ensemble, it delivers a balanced and immersive soundstage that reflects the natural acoustics of the performance space. Thanks to its modular design, the system can be expanded beyond traditional stereo configurations. It supports additional microphone placements for surround formats such as 5.1, offering enhanced spatial detail for film scoring and immersive audio production. Recognized as an industry-standard solution, the AEA Decca Tree is trusted by recording engineers worldwide for classical music and cinematic applications where precision, consistency, and sonic authenticity are essential.
The AEA N28 delivers the velvety sound of classic ribbon microphones – but with added mid-frequency presence, precise stereo imaging, and truly impressive performance features.
The AEA SMP-17 is a professional 17-inch stereo microphone positioning bar designed to provide precise and flexible microphone placement for studio and live recording applications. Built for engineers who require accuracy and repeatability, it enables fast setup of a wide variety of stereo recording techniques. Using AEA’s innovative sliding mount system, the SMP-17 allows microphones to be positioned with exceptional precision. Engineers can easily configure standard stereo arrangements such as ORTF, spaced pair, XY, and Blumlein while maintaining accurate microphone spacing and angle alignment. The SMP-17 is part of AEA’s modular microphone positioning system, offering compatibility with a broad range of recording setups and microphone types. Its durable construction ensures stability and reliability in both studio installations and mobile recording environments. It is especially well-suited for use with ribbon microphones, including models such as the AEA N22 and AEA N8. The system helps engineers optimize stereo imaging and maintain consistent microphone positioning for professional-quality recordings. Whether used for ensemble recording, acoustic instruments, room capture, or stereo overhead applications, the AEA SMP-17 provides a practical and highly adaptable solution for achieving precise stereo microphone placement with maximum flexibility.
The AEA SMP-1M is a professional 1-meter stereo microphone positioning bar designed for precise, flexible, and repeatable stereo microphone setups in both studio and live recording environments. Its extended length provides engineers with additional placement flexibility for a wide range of stereo recording applications. Featuring AEA’s innovative sliding mount system, the SMP-1M allows microphones to be positioned with exceptional accuracy. This enables reliable configuration of popular stereo techniques such as ORTF, spaced pair, XY, and Blumlein while maintaining consistent spacing and alignment. Originally developed for ribbon microphones such as the Coles 4038 and AEA ribbon microphone models, the SMP-1M is also fully capable of supporting large condenser and dynamic microphones. Its robust construction ensures excellent stability even when using heavier microphone combinations. The modular design makes the SMP-1M highly adaptable for orchestral recording, drum overheads, ensemble capture, acoustic instruments, and room ambience applications. Engineers benefit from precise stereo imaging and repeatable microphone placement across different recording sessions. Combining durability, flexibility, and professional-grade positioning accuracy, the AEA SMP-1M is a reliable solution for advanced stereo microphone techniques in demanding recording environments.
Das API 2500+ The Ultimate Audio Processing Tool ist ein Weltklasse-Tool, das entwickelt wurde, um Ihren Mix mit dem unverwechselbaren API-Sound zu formen, zu verfeinern und zu verbessern. Aufbauend auf der langjährigen Tradition von API im Bereich der präzisen Analogtechnik bietet das 2500+ Vielseitigkeit und Leistung sowohl für Studio- als auch für Live-Umgebungen. Das Herzstück des 2500+ ist die patentierte THRUST®-Schaltung von API, die den tiefen Frequenzen unvergleichliche Kraft und Klarheit verleiht, ohne den Mix zu trüben. Mit wählbaren Kompressionsmodi für Feedback (klassischer API 525-Stil) und Feedforward (moderne Präzision) haben Toningenieure die Flexibilität, zwischen Vintage-Wärme und zeitgemäßer Kontrolle zu wählen. Dank seiner großen Auswahl an Ratio-, Attack- und Release-Optionen eignet er sich gleichermaßen für filigranes akustisches Material, kraftvolle Drums oder volle Stereomischungen. Die variable Stereo-Link-Steuerung des Geräts ermöglicht eine flexible Abbildung und Dynamik über beide Kanäle hinweg, während die automatische Make-up-Gain-Funktion unabhängig von Threshold-Einstellungen für konsistente Ausgangspegel sorgt. Der 2500+ ist robust gebaut und mit den legendären 2520-Operationsverstärkern von API ausgestattet. Er ist ein zuverlässiges, musikalisches und unverzichtbares Werkzeug für Profis, die höchste Klangqualität verlangen.
The GLA-OP1 The Governor is a vacuum tube-based optical compressor that, thanks to its dual slope design with two threshold points, provides precise control over dynamic conditions. Its predecessor, used in the Bishop All-Tube Channel Strip, has become a notable reference in its own right. The Governor can operate in dual mono and stereo modes, allowing detailed parameterization for most dynamic processing operations. Its tube-based transformer output delivers the classic tube boost effect. Optional full-spectrum and high-frequency boost, side-chain filtering, and external side-chain signal input provide flexibility. The redesigned meter section offers a more informative display than traditional VU meters, making it easier to set the compressor’s two break points intuitively.
Model 2 sound in a stereo package The Model 2S is a passive stereo ribbon microphone utilizing the same design features found in the Model 2. The Model 2S uses two matched ribbon motors angled at 90 degrees to each other to create a Blumlein configuration. It uses the same motors and transformers found in our Model 2. The motors feature a very short front to back path length along with our custom designed resonator plates. These features give the Model 2S the same unique sonic character found in our Model 2: an incredibly extended and detailed high end, classic smooth ribbon midrange, an open and transparent low end, and an amazingly quick transient response. A custom designed toroidal transformer provides extremely low distortion, low noise, and 3D like sound. The Model 2S captures stunning stereo recordings with ease. Whether you are using the Model 2S in a Blumlein or M-S stereo configuration, the microphone's uniform polar frequency response and excellent off-axis frequency response will provide you with outstanding phase coherent stereo recordings. Solid phase compatibility between the two channels of the Model 2S also allows the user to combine the two channels into a mono recording without any phase artifacts. The microphones slim body and simple isolation mount make it easier than ever to position. The beauty of the Model 2S is its ability to capture incredible 3D like recordings that will make you feel like you are in the room with the performers. Its beautifully balanced and extended frequency response greatly reduces the need for post equalization. The Model 2S shines on orchestral and choral recordings. It will have you hearing drum overheads and room recordings like never before. The Model 2S will easily become your favorite on string sections, horn sections, piano, acoustic guitar, and so much more. The Model 2S is covered by a lifetime warranty on parts and a free re-ribboning for the original owner within two years of purchase. The microphone ships with a plastic carry case, mount clip, protective pouch, and a 5-pin XLR female to dual 3-pin XLR male breakout cable. Specifications Directional Pattern: Dual Figure 8 Frequency Range: 20-20 kHz and beyond Sensitivity: -53.2 dB (2.2 mV/Pa) Noise Floor: <17 dBA Max SPL: 140dB SPL Output Impedance: 250 Ohms Ribbon Element: Dual ribbons orientated at 90 degrees Material: Pure Aluminum Thickness: 1.8 microns Length: 2 in Width: 0.23 in Dimensions: Height: 11.6 in Diameter: 1.25 in Weight: 540g
Der Kunstkopf KU 100 ist eine besondere Art Stereo-Mikrophon, das dem menschlichen Kopf nachgebildet und in den Ohren mit zwei Kapseln ausgerüstet ist. Beim Abhören mit einem hochwertigen Kopfhörer wird die Illusion vermittelt, der Hörer befinde sich unmittelbar am Ort des Geschehens. Mit der kopfbezüglichen Stereophonie, die der Kunstkopf KU 100 bietet, wird der Hörer an den jeweiligen Originalschauplatz versetzt, im Gegensatz zur sonst üblichen raumbezüglichen Aufnahmetechnik, bei der das Hörereignis an den Ort des Abhörens transportiert wird. Der Kunstkopf wird auch als Meßmittel für akustische Untersuchungen vielfältig eingesetzt. Der KU 100 kann mit 48 V-Phantomspeisung, mit einem Steckernetzteil oder mit einsetzbaren Batterien betrieben werden. Im Bodenstück sind Anschlüsse für symmetrischen und unsymmetrischen Betrieb und ein Speisungsumschalter enthalten. Im Inneren des Kopfes befinden sich weitere Schalter für ein Hochpaßfilter und für eine 10 dB-Vordämpfung. Die Idee Der Kunstkopf KU 100 ist in seinen Abmessungen weitgehend dem menschlichen Kopf nachgebildet und in den Ohren mit Mikrophonen ausgerüstet. Beim Abhören der Kunstkopfsignale mit einem guten Kopfhörer entsteht ein Höreindruck, der fast vollständig demjenigen gleicht, den der Hörer bei stillgehaltenem Kopf am Ort des Kunstkopfes gewinnt (kopfbezogene Stereophonie). Das Klangbild bei Lautsprecherwiedergabe entspricht weitgehend dem eines herkömmlichen Stereo-Mikrophons am Ort des Kunstkopfes, jedoch mit differenzierterer Abbildung der Raumtiefe. differenzierterer Abbildung der Raumtiefe. Für kreative Hörspielgestaltung ist der KU 100 ebenso gut geeignet wie beispielsweise für Musikaufnahmen mit gleichzeitiger Übertragung der Raumakustik. Wesentliche Beiträge zur Bewahrung von Naturklängen jedweder Art sind ebenfalls dem Kunstkopf zuzuschreiben. Des weiteren wird der Kunstkopf zur Untersuchung und zur Dokumentation von Lärmeinflüssen an Maschinen und an Arbeitsplätzen unter wirklichkeitsgetreuen Bedingungen eingesetzt. Die Mikrophonschaltung des KU 100 arbeitet transformatorlos. Sie bietet hohe Aussteuerbarkeit bei sehr niedrigem Eigengeräuschpegel. Der sonst üblicherweise verwendete Ausgangsübertrager ist durch eine elektronische Schaltung ersetzt, die wie ein Übertrager für eine gute Unsymmetriedämpfung sorgt. Daher werden Störsignale, die auf die symmetrische Modulationsleitung einwirken, wie gewohnt unterdrückt. Der Kunstkopf besitzt symmetrische (XLR) und unsymmetrische (BNC) transformatorlose Ausgänge. Er kann auf drei verschieden Weisen gespeist werden: mit der StandardPhantomspeisung P 48, mit direkt in das Kunstkopfgehäuse einsetzbaren Batterien und über ein mitgeliefertes separates Steckernetzteil. Filter und Vordämpfung Zur Reduzierung des Übertragungsmaßes ist im Inneren des Kunstkopfes ein 10 dBSchalter vorgesehen. Ein weiterer dreistufiger Kippschalter schaltet die Grenzfrequenz eines Hochpasses auf 150 Hz, 40 Hz oder linear. Beide Schalter wirken jeweils auf beide Kanäle. Lieferumfang Die Lieferung erfolgt in einem Aluminiumkoffer mit einem Steckernetzteil, einem 5poligen XLRKabel und einem Adapterkabel zur Auflösung auf zwei 3polige XLRStecker. Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
The NU-880K is a multichannel, horizontal, native B-format microphone with three outputs (WXY). It can be used as a mono, stereo or surround microphone over a wide range of applications. Using simple mixing or a dedicated plugin the desired pickup polar patterns and angles can be dialled in, even after the fact, in mixing or post production. Any number of virtual microphones can be created from the same recorded signal so the microphone can perform the duties of a mono cardioid vocal microphone, Blumlein stereo mic and a 5.1 surround ambience microphone, even simultane-ously. The most important feature of the 880K is that this flexibility is achieved without compromising any aspect of sound quality. The microphone comes with a case, cradle, 5-pin XLR cable and a break-out box with three standard phantom powered (microphone level) XLR outputs.
The X-Treme Stereo ribbon microphone houses two separate matched ribbon elements that are positioned one above the other. The elements are offset 90 degrees and are configured in the Blumlein setup. Stereo separation is superb and off-axis coloration is minimal. Add in the excellent frequency response and extended sensitivity range the X-Treme is ready for the big leagues. The fit and finish are of top quality and includes a premium suspension shockmount, thick padded vinyl pouch and an upgraded aluminum case. A 5-pin cable is included, the cable connects splitter where two separate XLR connectors give access the upper and lower ribbons. Legendary symmetrical ribbon design is incorporated into the X-Treme. Unlike most ribbon motors designed today, X-Treme has two hand-tuned ribbon elements that are offset that incorporate the legendary symmetrical ribbon design. This design offers a true figure 8 pattern. The corrugated aluminum membrane itself is positioned in the center from front to back, thus producing a balanced audio input signal to both sides of the ribbon assembly. Application: Drum overheads, guitar cabinets, acoustic guitars, horns, piano, room ambiance, Percussion, choir and Orchestra. Note: As with all ribbon type microphones, the X-Treme is not suitable for instruments that produce air-pressure, i.e. kick drum or blowing directly into the grill.
The X-Treme Stereo ribbon microphone houses two separate matched ribbon elements that are positioned one above the other. The elements are offset 90 degrees and are configured in the Blumlein setup. Stereo separation is superb and off-axis coloration is minimal. Add in the excellent frequency response and extended sensitivity range the X-Treme is ready for the big leagues. The fit and finish are of top quality and includes a premium suspension shockmount, thick padded vinyl pouch and an upgraded aluminum case. A 5-pin cable is included, the cable connects splitter where two separate XLR connectors give access the upper and lower ribbons. Legendary symmetrical ribbon design is incorporated into the X-Treme. Unlike most ribbon motors designed today, X-Treme has two hand-tuned ribbon elements that are offset that incorporate the legendary symmetrical ribbon design. This design offers a true figure 8 pattern. The corrugated aluminum membrane itself is positioned in the center from front to back, thus producing a balanced audio input signal to both sides of the ribbon assembly. Application: Drum overheads, guitar cabinets, acoustic guitars, horns, piano, room ambiance, Percussion, choir and Orchestra. Introducing the upgraded 2912 Lundahl to the already quality hardware makes for an extended frequency range. This gives the mic improved definition, lower floor and higher ceiling. Note: As with all ribbon type microphones, the X-Treme is not suitable for instruments that produce air-pressure, i.e. kick drum or blowing directly into the grill.
The Samar Audio AL959 is a stereo ribbon microphone that evolves the acclaimed AL95 ‘piston’ ribbon design into a single, integrated stereo unit. By placing matched ribbon motors in extremely close proximity, it achieves exceptional phase coherence between channels, even at very high frequencies. This results in a more accurate stereo image compared to traditional setups using two separate microphones in Blumlein or M-S configurations. Its compact and lightweight design makes the AL959 highly practical for studio, live, and on-location recording. With a single 4-conductor cable and included Y-splitter, setup is fast and efficient, requiring only one microphone position. This makes it an ideal solution for artists, engineers, and content creators who need reliable stereo capture with minimal complexity. Handcrafted in the USA at Samar Audio’s Salt Lake City facility, the AL959 benefits from years of expertise in ribbon transducer design and precision manufacturing. Developed by founder Dr. Mark Fouxman, the microphone features an efficient uni-body construction and innovative motor design with a minimal number of components, enabling high-end performance at an unusually accessible price. At its core are piston-style corrugated ribbons, offering lower noise, deeper and more controlled bass response, higher output, reduced resonance, and excellent high SPL handling compared to traditional ribbon designs. The robust ribbon construction also improves durability, reducing fragility and eliminating the need for special storage precautions. The ribbon motors are paired with custom hand-wound amorphous-core toroidal transformers derived from Samar’s flagship designs. This results in extremely low distortion, low noise, and a neutral, transparent sound signature. Thanks to its linear response and symmetrical design, the AL959 excels in a wide range of stereo applications, including orchestral, choir, drum overheads, piano, guitar, and room recordings. It comes complete with a durable carrying case, microphone clip, Y-splitter cable, and includes a 1-year warranty with ribbon replacement support and a 15-day satisfaction guarantee.
The Samar Audio VL373 is the latest addition to the acclaimed MF65–VL37 family, designed to deliver a true-to-life stereo image with exceptional accuracy. By placing two ribbon elements in extremely close proximity, the VL373 minimizes phase distortion even at very high frequencies, effectively functioning as two VL37 microphones within a single, high-performance stereo unit. Based on the same motor structure and tuning as the flagship MF65, the VL373 shares identical high-quality components across the range. A unique swivel mechanism—rare among modern stereo ribbon microphones—allows users to adjust the stereo angle from 60 to 120 degrees, providing flexibility for a wide variety of recording scenarios, from large orchestras and choirs to smaller ensembles and individual instruments. The VL373 is available in both passive and active (VL373A) versions. The passive version follows a classic ribbon microphone design suited for use with high-gain, low-noise preamplifiers. The active version offers extremely low noise and a higher output level similar to condenser microphones, reducing the demands on preamps and cables while expanding its usability in studio, broadcast, and classical recording environments. Handcrafted بالكامل in the USA, the VL373 features a durable stainless steel body and is meticulously assembled using in-house manufactured components. It includes a US-made wooden storage box and an anti-vibration shockproof clip, ensuring both protection and ease of use in professional settings. With high SPL handling, a built-in pop filter, and a symmetrical figure-8 polar response, the VL373 excels in a wide range of stereo recording techniques such as Blumlein, M-S, and XY. It is ideal for capturing orchestra, choir, piano, vocals, strings, brass, guitars, drum overheads, and room recordings with clarity, depth, and precision.
The Samar Audio VL373A is the latest addition to the highly acclaimed MF65–VL37 family, designed to deliver a true-to-life stereo image with exceptional precision. By placing two ribbon elements in extremely close proximity, the VL373A minimizes phase distortion even at very high frequencies, effectively combining two VL37 microphones into a single high-performance stereo unit. Built on the same motor structure and tuning as the flagship MF65, the VL373A uses identical high-quality components across the range. A unique swivel mechanism allows the stereo angle to be adjusted from 60 to 120 degrees, offering flexibility for a wide variety of recording setups, from large orchestras and choirs to smaller ensembles, drum overheads, and solo instruments. The active VL373A version is designed for extremely low noise and provides a higher output level similar to condenser microphones. Thanks to optimized impedance matching and load characteristics, it places less demand on preamps and cables, making it a highly practical and cost-effective solution for both project and professional studios. Handcrafted in the USA using exclusively in-house manufactured components, the VL373A features a durable stainless steel body and is supplied with a US-made wooden storage box and an anti-vibration shockproof clip. Its robust construction ensures long-term reliability in both studio and live environments. With high SPL handling, a built-in pop filter, and a symmetrical figure-8 polar response, the VL373A excels in stereo recording techniques such as Blumlein, M-S, and XY. It is ideal for capturing a wide range of sources including orchestra, choir, piano, vocals, strings, brass, guitars, drum overheads, and room recordings with clarity, depth, and realism.
Das MSTC 74 überzeugt besonders dadurch, dass es meist auch ohne Stützmikrofone sehr gute Ergebnisse liefert. Außerdem ist seine Platzierung relativ unkritisch und deshalb auch für den noch nicht so erfahrenen oder eiligen Anwender geeignet. Der Aufbau erfolgt besonders schnell und einfach, weil nur ein einziges Stativ und Kabel erforderlich sind und der Kapselabstand und der Winkel der Kapseln zueinander nicht eingestellt werden müssen. Am Ausgang des MSTC 74 ist ein XLR-5M Stecker, an den z.B. das Stereokabel KS 5 U, oder die Auflösung AK SU/2U gesteckt wird. EIGENSCHAFTEN Neues Modell 2022 mit komplett erneuerter Elektronik und neuem Design Stereomikrofon für Aufnahmen nach der ORTF-Technik hervorragende stereofone Eigenschaften: sehr gute Richtungsabbildung, sehr gute räumliche Qualität bevorzugter Einsatz als Hauptmikrofon für die Aufnahme von Ensembles und Chören oder als stereofones Stützmikrofon Das MSTC ist eines der Bestseller von SCHOEPS. Seine kompakte Eleganz und exzellente räumliche Qualität machten es zu einem Klassiker, der sich im Standard-Portfolio des Tonmeisters befindet. Dieses Mikrofon besteht aus einem T-förmigen zweikanaligen Mikrofonverstärker, auf den zwei gepaarte Nierenkapseln MK 4 geschraubt werden. Sie sind nach der ORTF-Technik im Abstand von 170 mm in einem Winkel von 110° zueinander angeordnet.
The Soyuz 013 Ambisonic microphone is an innovation in the worlds of spatial audio and creative recording. The 013A captures 360° surround sound with unmatched fidelity and character that will captivate any audience and translate across any system - stereo or beyond.With just a single mic, The 013 Ambisonic simplifies your setup and encourages you to explore new soundscapes with unrestricted flexibility. The included custom-matched Soyuz ambisonic plugins provide complete control in post-production, allowing you to further shape the sound field to your imagination.SpecificationsType: Condenser microphoneCapsules: 4 x 24mm gold sputtered membraneFrequency Range: 20Hz / 20kHzPolar Pattern: First order ambisonic Sensitivity: 20 mV/Pa Impedance: 150 Ohms SPL: 143 dB Equivalent Noise: 16 dB (a-weighted)Power: Phantom 48v Size: 207mm length x 42mm diameter 24mm Weight: 579g Extras: Wooden microphone box, Hardmount, Shockmount, Breakout cable, 3m Extension cable, Plug In License
Features: 2" x 0.25" 1.8-Micron Ribbon x2 in crossed figure-of eight configuration Neodymium Magnets Proprietary Toroidal Transformers High Output Passive Design Sensitivity -46dbV Shockmount included Mogami Breakout cable included Easily Record in Blumlein Stereo or Mid-Side Stereo 1.33 lbs