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When it comes to modern reproductions of vintage microphones, FLEA Microphones stands among the very best in the pro audio industry. The brand is known for its meticulous attention to detail, premium component creation and selection, and an unwavering commitment to capturing the character of the originals that inspired them.
For its take on the almighty Neumann U 47, FLEA delivers a painstaking recreation in the FLEA47. This large-diaphragm condenser mic is built around the F7 capsule, FLEA’s highly accurate interpretation of the legendary M7, and is paired with a faithful BV8-style transformer along with their in-house FLEA EF12 tube. Together, these elements bring the tone and response that made the original so revered.
Like its inspiration, the FLEA47 offers cardioid and omni polar patterns, giving it the flexibility to adapt across a wide range of applications. From intimate vocal performances to acoustic instruments, drum overheads, and strings, it consistently delivers a full, detailed sound that sits naturally in a mix.
Vintage King’s in-house engineer Bryan Reilly recently put the FLEA47 to work during a tracking session, using it on every source, including instruments and vocals. Listen below to hear how the microphone responds to each one, and read on for a closer look at the signal chain and microphone placement.
For tracking these sources, engineer Bryan Reilly used a FLEA Microphones FLEA 47 through an UnderTone Audio MPDI-4 into a BURL Audio BAD4 analog-to-digital converter daughter card. No EQ or compression was used on the way in.
When recording drums, Bryan used the FLEA47 in three different positions, including at the front of the kit, as a mono overhead, and as a room mic.
Drum Kit - Front Mic: Placed about 1' from the kit to the drummers right, 8" above the kick drum shell, and pointing at the snare.
Drum Kit - Overhead Mic: Centered on snare drum pointing straight down at the kit, 6' off the ground. UnderTone Audio MPDI-4 preamp gain set to -20 dB.
Drum Kit - Room Mic: Centered on the kit about 8' back, capsule about 6" inches above the shell of the kick drum. UnderTone Audio MPDI-4 preamp gain set to -30 dB.
Bryan took two different takes with singer Elise McCoy. On the first, Bryan used the FLEA47 in cardioid with the UnderTone Audio preamp gain set to -30 dB, and for the second he set the microphone to omni and turned the UnderTone Audio preamp gain to -55 dB.
There are two examples of Bryan using the Heiserman H47Tube on electric guitar, with the only differences between them being the pickup selection and playing style.
Electric Guitar - Slow & Picked: Bryan plays a Gibson Les Paul Traditional Pro through a HiWatt amp and 2x12 cabinet, with the pickup selector in the middle position combining the neck humbucker and bridge single-coil pickup. The Heiserman H47Tube is positioned between the two speakers, approximately 2' from the cabinet, while the MPDI-4 is set to -25 dB.
Electric Guitar - Strummed: Bryan plays a Gibson Les Paul Traditional Pro using the bridge pickup through the same HiWatt amp and 2x12 cabinet setup. The H47Tube is positioned between the two speakers, approximately 2' from the cabinet, and the MPDI-4 is set to -25 dB.
In the bass examples below, Bryan experiments with two different bass guitars. The FLEA 47 is used on both, along with a vintage Ampeg amp.
Fender Jazz Bass: Played through the vintage Ampeg amp with the mic centered about 1.5' from the cabinet. The UnderTone preamp is set to -25 dB with the -20 dB pad engaged.
Fender Precision Bass: Played through the same vintage Ampeg amp with the mic centered about 1.5' from the cabinet. The UnderTone preamp is set to -25 dB with the -20 dB pad engaged.
Similar to the female vocals, Bryan captured a few takes of Mike Leslie’s vocals, showcasing both cardioid and omni polar patterns. For the cardioid example, the preamp gain is set to -30 dB, and for the omni, it’s set to -40 dB.
Setting up for the nylon string acoustic guitar was straightforward. The FLEA 47 was placed about 1' from the vintage Martin 00-28C, roughly 8" above and aimed at the soundhole. The preamp was set to -30 dB.
For the steel stringed acoustic guitar, a Martin 000-16, Bryan placed the FLEA47 about 2' from the guitar and aimed the mic between the soundhole and neck. The preamp gain was set to -30 dB.
Want to hear more of the FLEA47? Check out the classic shootout with a vintage Neumann U 47 below!
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