Hear The Gear: FLEA Microphones FLEA47 Large Diaphragm Condenser Microphone

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.

FLEA Microphones FLEA47 Sound Samples

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.

 

Drums

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.

 

Female Vocals

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.

 

Electric Guitar

Bryan used the FLEA 47 on two different electric guitar takes, one being fingerpicked and the other strummed. Listen to each recording and check out the mic placement and preamp details below.

Electric Guitar - Finger Picked: Bryan plays a Gibson Les Paul Traditional Pro on the single-coil bridge pickup through a Fender Princeton, with the mic centered on the speaker about 1' from the cabinet. The UnderTone preamp is set to -20 dB.

Electric Guitar - Strummed: Bryan plays a Gibson Les Paul Traditional Pro on the humbucker bridge pickup through a Fender Princeton, with the mic centered on the speaker about 2' from the cabinet. The UnderTone preamp is set to -20 dB.

 

Bass

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.

 

Male Vocals

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.

 

Nylon String Acoustic Guitar

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.

 

Steel String Acoustic Guitar

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!

If you’re interested in purchasing a FLEA47 or any other FLEA Microphones, we're here to help! Contact a Vintage King Audio Consultant via email or by phone at 866.644.0160.

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