JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser.
Stock up on studio essentials before your next session. Explore top selling gear from the best brands.
Checkout using your account
This form is protected by reCAPTCHA - the Google Privacy Policy and Terms of Service apply.
Checkout as a new customer
Creating an account has many benefits:
In just a few short years, Austrian Audio has made a name for itself as one of the most forward-thinking microphone makers in the industry. With handcrafted capsules and cutting-edge technology, the Vienna-based company has been catching the attention of top engineers with its unique designs.
The latest addition to Austrian’s lineup is the OC-S10, a large diaphragm condenser microphone that’s tailor-made for lead vocals and solo instruments. Equipped with a dual-diaphragm CKR12 capsule and a versatile dual-output mode, the OC-S10 is the perfect blend of classic crasftmaship and modern innovation.
We asked Vintage King’s Bryan Reilly to put the OC-S10 to the test, recording a full track at his Scramble Shack Studios. Keep scrolling to check out sound samples of drums, guitars, vocals, and more recorded with the Austrian Audio OC-S10. But first, let's dive into what makes this microphone so unique.
At the heart of the OC-S10 is Austrian Audio’s patented CKR12 ceramic capsule, a modern take on the legendary CK12 design. Unlike vintage capsules that can drift in performance over time, the CKR12 delivers modern reliability, durability, and consistency.
The microphone’s discrete circuitry provides an ultra-fast transient response with minimal self-noise, making it an excellent choice for capturing intimate or detailed performances. Between its five onboard polar patterns, two selectable pads, and three high-pass filter options, the OC-S10 is versatile enough to suit any session.
One of the most innovative features of the OC-S10 is its dual-output design. Both the front and back of the capsule can be tapped separately via standard XLR connections, giving you complete control over polar patterns, stereo imaging, room sound, proximity effect, and more, even after tracking.
The OC-S10 Studio Set comes with essential accessories, including a flexible shockmount, a magnetically attached, frameless metal pop filter, a sleek wooden storage box, and a durable travel case.
For this Hear The Gear session, Bryan Reilly recorded a variety of instruments using the Austrian Audio OC-S10 through an UnderTone Audio MPDI-4 preamp with no EQ or compression. All tracks were recorded in the live room of Bryan’s Scramble Shack Studios unless otherwise noted.
For the drum kit, Bryan positioned the OC-S10 in Dual Output mode about two feet above the rack tom, pointed towards the snare. The microphone captured the punch of the kick, the snap of the snare, and the shimmer of the cymbals, delivering impressive balance from a single mic. He also uses the PolarDesigner plug-in to add more focus to the kit below 1 kHz.
For the tambourine, Bryan set the OC-S10 to cardioid, placed five feet away, aimed upward. The mic captured the bright shimmer and natural decay of the instrument without any harshness.
The shaker was tracked in a similar setup at two feet away, also in cardioid, with the OC-S10 delivering tight, detailed transients that sit naturally in the mix.
Using a 2001 Fender Mark Hoppus Precision Bass through a Fender Rumble combo, Bryan placed the mic about four feet from the amp. The OC-S10 captured the punch and growl of the P-Bass, while the cardioid pickup pattern and 8o Hz filter help keep the tone focused and mud-free.
Bryan tracked multiple guitar parts using both a Fender Stratocaster and a Les Paul through a 1974 Fender Twin. The mic was positioned two feet in front of the amp, centered between the speakers, and used in dual mode with the 80 Hz filter engaged.
Byran also used to PolarDesigner plug-in to help create some separation between each of the guitar parts. Guitar 1 uses a cardioid pickup pattern below 150 Hz to help keep the low-end focused. Bryan also used PolarDesigner to reduce the ambiance from 150 - 600 Hz and 2.5 - 8 kHz.
To help Guitar 2 stand out in the mix, Bryan used the PolarDesigner plug-in to reduce the ambiance above 8 kHz for a punchy, in-your-face sound.
Byran took a similar approach with Guitar 3, using the PolarDesigner plug-in to reduce ambiance from 600 Hz - 2.5 kHz, as well as everything above 8.5 kHz.
Bryan recorded acoustic guitar with the OC-S10 in dual mode, positioned about a foot and a half away, pointed at the sweet spot where the neck meets the body. The result is a natural, open tone with sparkling highs and a full, resonant low-end.
For synth tracking, Bryan used a Moog Muse running through a Fender Rumble Combo amp, with the OC-S10 positioned about eight feet back from the amp. Using the omni polar pattern with the 160 Hz high-pass filter, the microphone captured the wide frequency response of the synth with plenty of room ambience.
Lead vocals were recorded in the vocal booth with the OC-S10 in cardioid pattern, positioned about a foot away. The microphone’s flat, honest response and pristine top-end captured a crystal-clear vocal track.
The Austrian Audio OC-S10 condenser microphone is a modern studio workhorse. From its versatile dual-output design to its extensive pattern control and innovative plug-in integration, every feature is designed to give you more control over your sound, even after recording.
From drums and guitars to vocals and synths, the OC-S10 captured every source with clarity and depth. Whether you’re a tracking engineer looking for a reliable all-rounder or a mixer who wants more control over sounds after the fact, the OC-S10 delivers.
Be sure to check out the sound samples above and hear for yourself what the OC-S10 can bring to your recordings.
* Required Fields
exclamation-circle
