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Universal Audio's entry into the world of microphones has been a huge success, thanks to releases like the SD-1, SP-1, Sphere DLX, and Sphere LX. Around the same time as the launch of these mics, the storied brand also announced several large-diaphragm condensers via its UA Bock line.
The UA Bock microphone lineup consists of three microphones; UA Bock 167, UA Bock 187, and UA Bock 251. Each mic is a thoughtful recreation of its classic counterpart designed by pro audio legend David Bock and hand-assembled in Universal Audio's Custom Shop in Santa Cruz, California.
In our new First Listen, we dive deep with the UA Bock 167, 187, and 251. We're putting all three microphones to use on performances from Parker Guthrie and Frankie Orella (Vocals / Guitar), Yosemite Mudflap (Drums), and Kevin Schuck (Acoustic Guitar / Electric Guitar).
Vocals and instruments will soar with the UA Bock 167 capturing signal in your studio. The microphone delivers everything you want in a classic tube microphone, in addition to featuring three EQ filtering options, a Fat switch that boots between 10 Hz and 400 Hz, and a constantly variable polar pattern, from omnidirectional, through cardioid, to figure-8.
FET lovers fear not as the UA Bock 187 brings U 87-inspired magic to the studio with a few modern enhancements. The microphone employs a large Cinemag output transformer for extra richness, the same Fat mode switch utilized in the 167 design, and features a cardioid polar pattern.
It's no secret the ELA-M 251 is one of the best vocal mics ever, and the UA Bock 251 effortlessly delivers a similarly smooth, open sound. The microphone stands out with its German-made CK12 capsule, an impressive output transformer, and the ability to offer an extended low-frequency response down to 10 Hz and higher SPL capabilities than vintage models.