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Universal Audio Sphere DLX Modeling Microphone

Modeling microphone system providing you the sound of 38 classic ribbon, condenser, and dynamic microphones from Neumann, Telefunken, AKG, Sony, and more in stereo - includes input pad, shock mount, and 25' mic cable

MFR# MIC-UADLX

Product Description

Based on the TEC Award-winning Sphere L22 acquired from Townsend Labs, the Universal Audio Sphere DLX is a premium stereo modeling microphone system capable of emulating 38 of the most renowned condenser, dynamic, and ribbon microphones from music history. Combining ultra-transparent, low-noise circuitry with the powerful UA Sphere plug-in, the Sphere DLX gives you the sound of famous mics from Neumann, Telefunken, AKG, Sony, and more. The system makes it possible to seamlessly audition different mics before, during, and after recording—and, with a Universal Audio Apollo interface, you can do it all with near-zero latency.

STEREO SOUND AND MORE FROM A SINGLE MIC

The microphone itself features a dual-capsule design that picks up sound from the front and sides to capture the spatial information necessary to accurately model the electroacoustical characteristics measured from real microphones. A special dual-channel cable provides discrete outputs for each capsule, and a CAL switch on the rear of the mic makes it easy to precisely match the gain on two preamps for optimal performance. The mic also includes a pad switch with -10 dB and -20 dB options for recording loud sources like drums and amplifiers without adversely affecting the modeling.

EVERYTHING YOU NEED FOR PROFESSIONAL RECORDINGS

The UA Sphere plug-in works in any DAW and allows you to choose from and combine 38 legendary microphone models in stereo or dual mono modes. By combining the signal from both microphone capsules, the plug-in makes it possible to virtually alter the pickup pattern, axis, and proximity effect, and even compensate for popular isolation shields including the sE Reflexion Filter, Aston Halo and Kaotica Eyeball. In addition to the mic and plug-in, the Sphere DLX includes a 25-foot microphone cable, professional shock mount, mic stand mount, and carrying case.

FEATURES:

  • Record with 38 of the most sought-after microphones ever made
  • Change mic type, polar pattern, and other characteristics, even after tracking
  • Record acoustic guitar, strings, horns, and more in stereo with a single microphone
  • Add the ultimate modeling mic to your collection, with dual gold-sputtered diaphragms and the lowest noise of any mic in its class

INCLUDED MIC MODELS:

  • LD-47K: Created in 1947, Neumann U47 has stood the test of time as the ultimate studio mic. Extensively used by The Beatles, Frank Sinatra, and countless others, only about 6,000 of these mics were produced. The Neumann U47 analyzed for this model has a fully brass capsule with a screw-mounted mylar diaphragm and a genuine VF14 tube.
  • LD-87: The Neumann U87 was brought to market as a replacement for the U67, even though it sounds quite different. The LD-87 model is based on a mid-'70s version with a split backplate capsule which sounds slightly different from a modern 87. The high-pass filter and pad switch settings are also fully modeled.
  • LD-87 Modern: Based on a current production Neumann U87Ai, the LD-87 Modern emulates this classic large-diaphragm FET condenser and de facto standard for broadcast, voiceover, and many other applications. The third 87-type mic in the Sphere Core Collection, the LD-87 Modern is slightly brighter than the LD-87 Vintage.
  • LD-87 TK (DLX Only): The LD-87 TK model is based on a Neumann U87 modified by Tracy Korby. The modification extends the 87's response at both the low and high end, giving it a more modern sound but without accentuating sibilance.
  • LD-67 NOS: After the Berlin Wall fell, a warehouse was found with Neumann U67 parts on the East German side of the border. In 1991 a limited production of U67 reissues were made from these new-old-stock parts.
  • LD-67 (DLX Only): The Neumann U67 is a unique and wonderful mic that sounds warm without sounding dull. It shines on distorted guitar amps where it can reduce harshness while maintaining detail. The LD-67 model is based on a mid-'60s version with an EF86 tube and its high-pass filter and pad switch settings are fully modeled.
  • LD-49K (DLX Only): The Neumann U49 employs the same capsule used in the U47, but the response of the U49 is slightly smoother and less colored. The U49 also uses a Telefunken AC701 tube instead of the VF-14. The LD-49K model is based on a Neumann 49c, which was likely manufactured in the early '60s and has a U47 capsule with a screw-mounted mylar diaphragm.
  • LD-563 (DLX Only): The LD-563 is based on an iconic East German bottle microphone from the mid-1960s. When set to cardioid, the model is based on an M7 capsule. When set to omni, the model is based on an M55k capsule. And in figure-8 the capsule used is an M8. The 563 with the M7 capsule is an absolute favorite for recording vocals, but it's not a one-trick pony. It has also found much use as a room mic for drums and many other applications.
  • LD-103: The LD-103 model is based on a Neumann TLM103 and gives you a nice presence peak in the 8 kHz to 12 kHz region.
  • LD-017T (DLX Only): A commissioned model of a current production Soyuz 017 TUBE large diaphragm microphone, created in partnership with Soyuz. It's a modern classic that is 100% hand-built in Tula, Russia. Popular uses include vocals and acoustic instruments.
  • LD-37A (DLX Only): Used by countless icons from Frank Sinatra and Nat King Cole to Jimi Hendrix, the LD-37A is based on a classic '50s Sony C-37A. Compared to other tube condensers, this mic sports a warm, smooth sound while also keeping the "air" and detail. It excels on vocals, electric guitars, and horns but it's also a popular choice for toms and drum overheads.
  • LD-37P (DLX Only): A lesser known FET-version of the Sony C-37A, the 37P is slightly brighter and is an excellent choice for freshening up dull sounding sources.
  • LD-12: The LD-12 model is based on the iconic AKG C12 from the '50s, faithfully capturing its gorgeous high-end sheen and sparkle. The LD-12 is a great choice for lush, breathy vocals without overly accentuating sibilance.
  • LD-251: The LD-251 is based on the Telefunken ELA M 251 built for export to the US which has a 6072 tube and an original fully brass capsule. The 251 is one of the rarest and most highly regarded microphones of all time. It is the go-to vocal mic for many A-list artists, including Beyonce.
  • LD-800: The LD-800 model is based on the legendary Sony C800G. The 800G is often the perfect choice for a modern pop or hip-hop sound and is the go-to microphone for countless big-name artists, including Mariah Carey.
  • LD-414 Brass: The original AKG 414 with a brass-ringed capsule is one of the greatest studio mics of all time. It uses the same CK12 capsule as the legendary C12, although just about everything else is completely different from the electronics to the body design. The LD-414 Brass is a perfect choice for drum overheads, snare drum, and acoustic guitar.
  • LD-414 Nylon (DLX Only): In the late '70s, the AKG 414 began using a new capsule with a nylon mounting ring. The sound of these capsules are different and much of the high-end sparkle of the CK12 disappeared with the new capsule. While many people prefer the sound of the older capsule, the nylon version has a more neutral response which can work well on many sources.
  • LD-414 US: The LD-414 US is based on one of the most ubiquitous condenser microphones of all time, the later-period AKG 414. The mic uses essentially the same nylon capsule as the later production AKG 414 EB, so the sound is quite similar although a bit more neutral.
  • LD-414 T2 (DLX Only): The LD-414 T2 is based on a newer AKG 414 variant that was designed to recreate the sound of the old CK12 brass-ringed capsule but using a modern nylon-style capsule. While it is a good sounding mic, it never got all that close to duplicating the sound of the original 414s with CK12s. The sound is a bit "scooped" with less midrange compared to the previous versions.
  • LD-BV1 (DLX Only): The LD-BV1 is based on a German-made Brauner VM1 mic that has garnered a devoted following. The mic modeled is owned by engineer Billy Bush (Paul McCartney, Snow Patrol) and was used by singer Shirley Manson to record the theme for the James Bond film, The World Is Not Enough.
  • SD-416: The SD-416 is based on an industry-standard shotgun microphone, commonly used in the studio for voice-over and ADR duties. It is the go-to mic for that big voice-over sound in Hollywood-produced movie trailers that we're all so familiar with. The 416 also enjoys wide popularity in broadcast, tv, and film location sound.
  • SD-451: The SD-451 is based on the AKG 451 modular end-address small diaphragm condenser mic which has become an industry standard. The full complement of capsule options are modeled, so you have all the flexibility of the original. The two 75 Hz and 150 Hz high-pass filter options are also modeled from the original.
  • RB-121: Based on a Royer R-121 ribbon microphone with a fixed figure-8 pattern, this mic is unique in that the rear side of the figure-8 pattern is brighter than the front. It's a good option when the standard sound is a little too dark. The easiest way to achieve this alternate sound is to set the Axis control to 180 degrees.
  • RB-160 (DLX Only): The RB-160 is an emulation of a vintage '60s beyerdynamic M160 double ribbon microphone. It features a hyper-cardioid polar pattern, giving you excellent off-axis rejection, and it's famous for capturing the drum sound on Led Zeppelin's ”When the Levee Breaks."
  • RB-4038 (DLX Only): The RB-4038 model is based on the Coles 4038 ribbon mic originally developed in the mid-'50s by the BBC and manufactured by STC (Standard Telephones and Cables). It excels on drum overheads and its inherent high-frequency roll off and large proximity effect are sometimes a liability at close distances, but at typical drum overhead distances it can have just the right balance.
  • RB-77DX Satin (DLX Only): The classic RCA 77DX is an iconic, multi-pattern ribbon that has graced the desks of many famous personalities, including David Letterman and Larry King. Countless musical legends, such as Bing Crosby, Ray Charles, Frank Sinatra, Elvis Presley, B.B. King and Johnny Cash, have also recorded with a 77. Wonderful for recording brass instruments, this mic is typically used with cardioid or figure-8 pattern, but the full complement of patterns from the original is provided.
  • RB-77DX Chrome (DLX Only): The RB-77DX Umber model is substantially darker and smoother than the RB-77DX Satin model, and works well on brighter, more strident sources.
  • DN-20: An industry standard, the Electro-Voice RE20 large-diaphragm dynamic microphone is used for everything from broadcasting and voiceovers to kick drums. The DN-20 captures the original mic's pleasant presence boost and sharp high-frequency dip that minimizes sibilance, as well as its consistent bass response regardless of its distance from the source.
  • DN-57: Introduced in 1965, the Shure SM57 is very likely the best selling studio microphone of all time. It can be a particularly good option when blended with other mics, such as ribbons and large diaphragm condensers, to achieve an overall more balanced sound. The DN-57 model is based on a recent production SM57.
  • DN-7: Based on the Shure SM7A, the same mic Bruce Swedien used to record Michael Jackson's vocals on Thriller, the DN-7 model captures the magic that has allowed it to hold its own with some of the best condensers ever made. The DN-7 is based on the "A" version, and when the Axis control is set to 180 degrees, the model emulates the mic without the windscreen installed. Some recording engineers prefer this sound and permanently remove the windscreen.
  • DN-12A: The DN-12A model is based on a dynamic microphone from the 1950s which has gained wide use as a kick drum mic for its very unique tonal qualities. The filter settings in the model are designed to complement this mic and can be used to achieve a more modern kick drum sound. The Proximity EQ control adjusts the amount of bass resonance in the model and is an easy way to dial in exactly the right sound.
  • DN-12E (DLX Only): The DN-12E model is based on a dynamic microphone which has gained wide use as a kick drum mic for its very unique tonal qualities. The later 12E version has an XLR connector on the bottom of the mic.
  • DN-409N (DLX Only): The DN-409N is based on the earliest version in the 409 line of microphones. It has slightly more coloration than the newer ones and works well on many sources, including electric guitar and vocals. Notable uses of the 409N include vocal duties for Pink Floyd's Live at Pompeii concert video.
  • DN-409U: The 409 is an all-around great mic but it especially shines on electric guitar. It has a smooth top end particularly for a dynamic mic and the low-end response below about 100 Hz is greatly reduced which can help instruments and voice sit nicely in the mix. This version is from the 1980s. The 409 is no longer in production and it sounds quite different, and arguably much better than modern incarnations, such as the 609 and 906.
  • DN-421B: The DN-421B is based on a current production black 421 which has a slightly brighter and modern sound than earlier incarnations.
  • DN-421N (DLX Only): DN-421N is based on a classic beige 421 from the 1960s. It has a slightly warmer sound than current production 421s. The 421 is unusual for a moving-coil dynamic microphone in that it has a large diaphragm. The larger diaphragm gives it greater low-end extension compared to typical dynamic mics, which makes it more suitable for recording bass instruments.
  • DN-421S (DLX Only): The DN-421S is based on one of the first 421 versions with a script logo. It has a slightly more colored sound than other 421s.

Product Specifications

Condition New
Package Contents Sphere DLX microphone, shock mount, mic stand mount, 25’ cable, and carrying case
Length 8.9 in
Diameter 2.5 in
Unit Weight 1.7 lb
Capsule Type 1” diameter dual diaphragm
Transducer Type Condenser
Polar Pattern Variable-Pattern
Number of Microphones Single Microphone
Impedance 200 Ohms (output)
Frequency Range 20 Hz - 20 kHz
input_pad -10; -20 dB
Sensitivity -33 dB (22 mV) ref 1V at 1 Pa, 1 kHz
Max. SPL 140 dB SPL @1% THD (with pad)

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