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This review was written by Vintage King Audio Consultant Cody Angel.
In a world where console manufacturers are making desktop interfaces, live sound brands are making bus compressors, and countless clones of vintage classics, I wasn’t sure about our friends at Universal Audio breaking into the microphone game.
Don’t get me wrong; there’s a reason Apollo interfaces and UAD plug-ins are now industry standards—just like the brand’s legendary outboard gear has been for decades. But tube mics? Especially tube mics as coveted as the 251, 67, and 87? Color me skeptical.
In 2020, Universal Audio partnered with OG mic clone designer David Bock and acquired Bock Audio. As the co-founder and designer of both Soundelux Microphones and Bock Audio Designs, David helped shape modern music production by providing uncompromising yet affordable recreations of classic microphones.
Unfortunately, over time, those designs have become “Unobtainium,” making them expansive and challenging to find. The good news is that Universal Audio is building on David’s original designs with the brand’s new Bock Series mics, which are a compelling first step into the high-end microphone game.
Our friend Vic Stafford, Regional Sales Representative for Universal Audio, brought all three Bock Series microphones to the Vintage King Nashville Showroom shortly before they were released. I was blown away by each mic, as well as the series as a whole.
The first thing that struck me was the presentation of the Universal Audio Bock 251. The bespoke carrying case looks classic but freshly modern. It’s laid out so that all of the components are cleanly presented and easy to repack.
In terms of the sound, I remember Vic saying something like, “It’s a 251 and Bock nailed it. You already know what it sounds like.” As soon as the demo began, I knew exactly what he meant.
There are a few 251-style mics in the $6000 price range and the Bock holds its own. Each mic is unique and you can’t go wrong with any of them, but with large-scale manufacturing and fabulous support, the folks at UA are well-positioned to be the correct answer for many of my customers.
The next mic we set up was the competitively-priced sleeping giant, the Universal Audio Bock 167. We set the 167 through a clean but classic preamp. I was nominated to sing demo vocals while another Audio Consultant ran the Pro Tools session and switched through the various EQ shaping modes.
I was, again, skeptical—but I was immediately blown away by the versatility of the UA Bock 167. The top-end rolls off and warms up the sound nicely, giving the mic an almost ribbon-like quality. The “fat” boost injects a weight that allows it to stand against U 47-style mics without sacrificing clarity.
My favorite setting was the “fat” and “top-end” boost combo. It sounded like my voice was coated in molasses and slowly smoked over hot vacuum tubes with just the right amount of kick.
Once I heard the 167, I had to hear the Universal Audio Bock 187. Very much to Vic’s point about the 251, the 187 does what a great U 87 does.
The 187 is one of my go-to mics for vocals and guitars because the peak in the presence range makes things sound natural while being “parked” in a mix without much effort. I use one at home for vocal, dobro, and electric guitar overdubs and blend it with a ribbon mic on guitar cabs.
Here’s the “too long, didn’t read” summation; Universal Audio’s relaunch of David Bock’s groundbreaking designs is nothing short of a triumph. I have sold many of these mics to great customer response.
Whether they’re leveling up a small mic locker with the versatile 167 or looking for an affordable version of something that may be otherwise out of your price range right now, Universal Audio Bock Series microphones have already proven themselves to be an exciting option in a world saturated with classic clones.
Want to hear how the Universal Audio Bock Series microphones sound for yourself? Check out our First Listen video!
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