CM-5 High End Tube Microphone
Great on Vocals, Guitars, Bass, Drums, Sax, Trumpet, Violin, Piano
The CM-5 is a classic studio grade microphone heavily influenced by the design of and the components in the C12. The microphone has vintage looks, a tube preamp, a custom power supply with nine selectable pickup patterns and is shipped with a heavy duty shock mount, windscreen, link cable and an aluminum carrying case.
1.07” dual diaphragm
Edge fed capsule
20hz to 20khz
9-selectable pick-up patterns
-17db(A weight) noise
<200 ohm Impedance
5% distortion @ 125db
+18dbm output < 1% distortion
Class “A” 6072a tube circuit
Dimensions Diameter = 2 5/16" Length (including the link cable jack) = 7"
High Quality Tube Condenser Microphone
Custom Output transformer modeled after the T14 dual bobbin style output transformer. Designed for reliability and quiet, sonically superior operation
Class A tube preamplifier circuitry. The tube was selected for quiet operation and low microphonics.
A power supply that can be used with either 115 volts or 220 volts supply lines provides power for the onboard tube preamplifier. Power is delivered to the microphone via a custom cable that carries both the balanced audio and power for the preamplifier. This cable is 30 feet long.
The power supply controls the microphone's nine different pickup patterns including omnidirectional, figure 8, cardioid and an additional six patterns. When the selector is turned to the far right, the pickup pattern is a figure 8. When the selector is pointed straight up the pattern is cardioid. When the selector is turned to the far left position the pattern is omnidirectional. The positions between those three points represent a gradual transition of the patterns from one position (far right, figure 8) to the center position (selector pointed straight up, cardioid) to the last position (far left, Omnidirectional)
Robust professional shock-mount
Aluminum road case
Please ask all qiuestions before you purchase this microphone. All sales are final.
CM-6:High End Tube Microphone
Great on Vocals, Guitars, Bass, Drums, Sax, Trumpet, Violin, Piano
I have a few more to sell. After these we will need to wait until 2013, January or February.
First a nod to history. It is fairly difficult to design or define a microphone with traditional appearance, a vacuum tube based preamp and a dual bobbin transformer without mentioning the obvious debt modern microphone design owes to the famous giants of the mid twentieth century such as the Neumann U47 and AKG C-12. With history in mind, I can humbly make the statement that the CM-6 owes several key components as well as the overall appearance to the giants from the past. These statements are not meant to imply the CM-6 is in any way a replacement for these vintage mics.
The output transformers is shown in photo 1. The transformers are wound on high nickel laminations and are designed and constructed using dual bobbins. This construction method is used by the original vintage designs as well as the companies that produce high quality replacement transformers for the German originals. The photo 2 shows a Tamura replacement transformer next to the CM-6 transformer.
The capsule was also influenced by the giants from the past. In this case we need to keep in mind that the actual design and construction cannot claim anything close to an exact copy. Still, the capsule is dual sided and has a center mounted connection. Additionally, the capsule is “full size”. The standard capsule size for imported microphones is 30 mm. The capsule in the CM-6 is 34mm.
The choice of the tube for the on board preamplifier is worth mentioning. Though there are many very good sounding and very affordable 12AX7, 12AY7 and the 12AT7 dual triodes on the market. The historic German microphones often choose pentode tubes for the active element in their preamps. The EF86 is a very good sounding pentode that is currently being used in the Neumann U67. In addition to its native good sound the EF86, and the premium version of the tube the EF806, is very desirable as the active component in the preamp due to the availability of a number of NOS and modern versions of the tube. During the design phase of the CM-6, we auditioned many tubes, both modern and NOS. Indeed, there are many very good sounding choices. The general agreement in the audiophile community is that the best sounding EF86 is the Telefunken EF86/EF806. I do agree with this analysis. However, starting a modern microphone production using NOS tubes is not desirable due to cost and limited supply. Enter the TungSol EF806. The tube was modeled after the Telefunken EF806 and sounds very, very similar. The Telefunken tube and the TungSol tube both exhibit bright, clear highs, full bass and well defined mids. It was an easy decision to decide to use this tube in the CM-6. The EF806 is configured as a Class A triode preamplifier.
The passive electrical components that surround the TungSol EF806 determine the gain, frequency response, sound quality and the “vibe” of the preamplifier. The CM-6 uses high quality polystyrene, WIMA film capacitors and audiophile grade Nichicon Muse electrolytic capacitors. Finally, the CM-6 has a film 2.2uF output capacitor to support full bandwidth sound.
So, what are the design goals for the CM-6? My hope and expectation is that the CM-6 will provide the pro-sumer market with an exceptionally good sounding, affordable studio tool. The CM-6 is the combination of unabashedly borrowed elements from one of the best microphones of the past and modern high quality audiophile grade components produced with the finest modern manufacturing techniques.
While respecting the past, every Stellar Custom designed microphones has its own voice and personality. The tonal response of the CM-6 has been described as velvet smooth. The tone circuitry adds the right amount high end air while reinforcing mid and adding fullness to thin sounding audio sources. Without sounding harsh, the CM-6 captures a very accurate, articulate, detailed sound.
The CM-6 standard selling configuration includes the follow:
-CM-6 Microphone which included:
-1.07” 6 micron gold sputtered German style capsule
-<200 ohm Impedance
-20hz to 20khz Frequency response
-Class A tube preamp featuring a Premium TungSol EF806 tube
-BV8 style Dual Bobbin Output Transformer
-Power Supply that supplies power for the tube preamp and bias voltage for the capsule. The power supply has a nine position switch that varies the bias voltage to the capsule and enables the CM-6 to operate in 3 primary configurations; cardioid, omni or figure 8 as well as the six intermediate configurations.
-30 foot link cable that connect the CM-6 to the Power supply
-AC cable to provide power to the power supply
-High quality shockmount
-Foam wind screen
-Aluminum Road Case
PLEASE READ: It is extremely important that you check the position of the red voltage selector switch on the power supply before you apply AC power to the power supply. The red power selector switch has two positions: 115V and 230V. Please set the switch for the AC power in your geographic area. Do not apply power to the power supply until you verify that the red power selector switch is set correctly.
It is recommended that the preamp you use on the CM-6 should have an input impedance of at least 1K Ohms.
RM-3: High End Ribbon Microphone
Great on Piano, Drum OH, Guitars, Sax, Trumpet
Stellar RM-3 Ribbon The return of a Classic
The RM-3 Ribbon Microphones are back in stock. The new RM-3 comes with all the vintage vibe and now has an aluminum carrying cases for safe storage and easy transportation. The RM-3 still retain the classic styling influenced by the B&O (Bang and Olufsen) microphones from the 1950s. I have received very positive feedback on these mics. As always I deliver the mics to you the customer without the middle man markup.
Figure 8 directional pickup pattern
Frequency range: 35~15000Hz
Direction: Figure 8
Output Impedance: 600 Ohm
Max. SPL: 138dB
Equivalent noise level: 18dB(A weight IEC/651)
Microphone Size Size: Diameter About 1” (25.4 mm), length 6.25” (158 mm)
Ribbon size: 4.4mm (.17”) x 42mm (1.65”)
Net weight: 8 oz. (223 g)
RIBBON MICROPHONE FEATURES;
The unparalleled, detailed sound of a classic ribbon (velocity) microphone
Fast accurate transient response and overall stunning realism
Figure 8 audio directional (pickup) pattern
Manufactured with the finest materials with a machined housing
Advanced shock mount construction for the highest structural integrity and rugged reliability
Black Padded Microphone Bag
Custom Aluminum Carrying Case: 343mm (13.5”) x 140mm (5.5”) x 101mm (4”)
One final note. Ribbon microphones are a great addition to any studio. Before you use (never, never abuse) ANY ribbon microphone please surf the web or consult other sources and further your understanding of how they should be treated. The internals of ALL ribbon microphones fairly delicate. Treat them carefully and they will provide many years of trouble free operation.
RM-4: Dual Ribbon Microphone
Dual ribbon microphones are somewhat rare in today's music scene. What makes dual ribbon microphones so very attractive and useful in the studio is their warm, full, fat (maybe PHAT) sound.
Due to the fact that the ribbons are separated by about 5/8", each ribbon receives a slightly different version of the sound and outputs a slightly different waveform. When the two waveforms (one from each ribbon) are summed together in the output transformer, they reinforce some frequencies (mostly the mid-range frequencies) and diminish other frequencies (a portion of the high end).
Ribbon type and Dimensions: DUAL pure aluminum 2.5 microns thick. 35mm (1.4 inches) long and 4mm (.16 inches) wide.
Output impedance: <= 600 Ohms
Maximum SPL: (.5% THD at 1000Hz): 140dB
Microphone connector: Standard 3-pin XLR
Net weight: 496g (16 ounces)
- Dual low tension 35mm (1.4 inches) long, 4mm (.16 inches) wide and 2.5 micron thick aluminum ribbons designed for flat and well balanced audio reproduction. The RM-4's response is characterized by a deep, full low end; well defined, realistic mids: and sweet natural, musical highs.
- Stunning Black and Gold Body and Mesh Color Scheme.
- Fast, accurate detailed transients, ultra-high 140dB SPL capability, overall stunning “you are there” realism.
- Figure 8 bidirectional pickup pattern.
- Manufactured with the finest materials with a machined housing and advanced shock mount construction for the best structural integrity and reliability.