home studio series vol4

7/30/2019 Home Studio Series Vol4

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VoLUME 4:The Home Studio Microphone Guide

p r e S e n T S

Finding the right mics for every situation and every budget

B y A n d r e C A l i l h A n n A , K e i t h h A t s C h e K , & J o n M A r C W e i s s
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Ater the instrument, and the player, the microphone is arguably the most important element in the record

chain. The preamp matters, as does the console, the speakers, and the entire signal path, but the micropho

and your mic placement techniques are the means o capturing the sounds you are trying to record. A po

quality or ill-suited mic, or a mic placed in the wrong spot at the wrong angle, will make the best perorman

sound sub-par.

There are dierent types o microphones, but they share a ew things in common. All are transducers, convert

energy rom one orm to another. In this case, a microphone is a transducer that turns acoustic energy (sound) i

electric energy, or an audio signal. In addition, every microphone has a diaphragm, which vibrates when souwaves move the air and converts those vibrations into the audio signal.

One thing that sets mics apart otentimes universes apart is the price tag. As a rule, the type o mic, the qu

ity and expense o the components, the artistry involved in crating the mic, and the science behind the constr

tion all actor into the fnal price. While a higher-quality microphone does tend to result in a higher price tag,

the more expensive the mic, the better it is, there are many gems that outperorm their contemporaries in sim

(and sometimes higher) price ranges, and others that are simply better suited to particular situations.

So when youre ready to pull the trigger and lay good money out or a microphone or a set o microphones

or your home studio, where should you begin? First, ask yoursel, what am I recording, and what kind o sou

am I going ater? Theres no doubt that a huge arsenal o mics o varying types and character can help mak

producer/engineer/studios reputation, but any quality mic collection takes time (and money) to assemble. I you

just starting out, working within a budget, or hungry or the next great mic to add to your stable, here are so

ideas to get your motor running.

Types of MicsDierent types o mics are categorized by the type o element

used: condenser, electret (condenser), ribbon, and dynamic. Thereare a number o other types o mics (carbon, piezoelectric, ber op-

tic), but condensers, ribbons, and dynamic mics are the mainstays

o music recording.

Condenser MicrophonesVery popular or all types o recording situations, condenser micro-

phones provide a very accurate representation o the source. They

work well on quiet and subtle sound sources, like an acoustic guitar,

and can also pick up loud sound sources, like a drum kit, without

losing detail.

A condenser mic houses one or two electrically charged plates,

usually Mylar sputtered with gold or nickel, and built into most is

a transormer. Because they are electrically charged through a

battery, phantom power, or in the case o electrets, by the electric

charge inherent in the mics materials a condensers capsule is

very active and sensitive to even slight pressure fuctuations, which

is the main reason condensers are so accurate.

There are dierent sized condenser mics, and its the size o

the diaphragm that dictates the area o concentration. A vocal

condenser mic will typically have somewhere between a

1 diaphragm. In general, a 1 diaphragm mic is ideal or

cals and other instruments where youre trying to pick up the end, and particularly with a vocalist, you can achieve a proxim

eect, meaning that when the vocalist gets closer to the mic

makes it sound like the voice is closer to your ear (bass requen

are also boosted).

Small diaphragm condensers have a diaphragm thats anywh

rom to , and are a good choice or instruments that hav

lot o high-end energy, such as acoustic guitar and drum overhea

You will oten nd small diaphragm mics set in a stereo pattern

Dierent model condensers all have dierent characteristics: so

have multiple pickup patterns, low-requency rollos, atten

tor pads some o them are tube, some o them are FET (

eect transistor), some are transormerless, with and with

IC chips, and they all produce a very dierent sound. F

dierent types o condensers used on the same instrument

going to sound very dierent, depending on the technolog

used, materials, diaphragm, etc.

Condensers are not commonly used in live situations as t

generate eedback airly easily and are more ragile tha

dynamic microphone. Moisture or good knock rom a drums

can permanently damage a condenser mic.

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Ribbon MicrophonesRibbon mics go back to the late 20s, when RCA embraced the tech-

nology and made it popular. Think o those images o Frank Sinatra

standing in ront o the RCA 77DX, the pill-shaped mic that was

incredibly popular rom the 30s through the late 60s. They were

a studio staple: they looked cool, they were cool, and they were

large because magnet technology hadnt been perected until

ater WWII. Ater that, ribbon mics were manuactured with

smaller, more powerul magnets, and the size o the mics shrank.

Ribbons aded out o avor or many years or a number o reasons.First, you need a very strong preamp to use them, like the original

RCA preamps that could provide a 50 Ohm boost (preamps today

oten come equipped to handle a ribbon). More notably, ribbon

mics were incredibly ragile. Drop a vintage ribbon mic, blow into

it, or slam a door in a tight room and the element is broken and it

was o to the shop. The element is literally a pressed ribbon o cor-

rugated material (usually aluminum) stretched across a magnet, and

that thin ribbon was liable to break with any amount o air pressure.

Ribbon mics are still ragile, compared to dynamic mics and even

condensers, but windscreen technology has advanced to make

them much less prone to destruction.

A ribbon mic is not the most versatile mic, but what makes them so

enduring is their unparalleled midrange detail. Ribbons were, and

still are, really popular or some types o vocalists, but what they

were used or all the time were horns. A saxophone, and all kinds o

brass, has a signature midrange that plays to a ribbon mics sweet

spot. Theyre still popular on horns and strings, and youll nd them

being used on guitar cabinets and drums as well. A ribbon mic on

a vintage Vox AC30, or used as a room mic, will produce a very

organic sound.

Ribbon mics tend to be on the more expensive side o the scale,

though there are a number o Chinese-made ribbons that can be

ound new or under $300. Be aware that you may nd inconsisten-cies rom mic to mic in the lower price ranges, due to the variation

in tensioning o the ribbon element. For the more adventurous,

vintage ribbon mics can show up at fea markets and garage sales.

Find an old ribbon mic at a fea market or $50, take it to a proes-

sional who can re-ribbon it, and theres a chance youll be sitting on

a $500-$3,000 microphone.

Dynamic MicrophonesDynamic mics were originally designed to be a replacement or

ribbon mics because they can handle high sound pressure levels

(SPL) and can handle being thrown around. Dynamic mics donthave nearly the character or articulation o a condenser, but they

are very resilient to damage, even i theyre dropped.

Dynamic mics are probably the most commonly used mic (think

Shures SM57). Dynamic mics are relatively inexpensive, and there

are a host o uses or them, including recording drums, guitar

cabinets, bass cabinets, horns... almost everything. In a studio,

you wont usually see them on vocals or acoustic guitar, or

anything that has a lot o detail in the top end, though there are

notable exceptions to this rule.* In a live setting, a huge percent

o the mics being used are going to be dynamic. Theyre desig

to withstand a ton o abuse and keep eedback in check.

*One famous exception is Bruce Swedien, who engineered the bu

Michael Jacksons catalog, using a Shure SM7B to record Jacks

vocals for the bulk of the Thriller album. A quick search reveals

Metallica and the Red Hot Chili Peppers use the same mic (the

goes on). Considering these are industry giants working in the

studios in the world with producers and engineers who can dem

whatever they want, the fact that they choose a $349 dyn

microphone for vocals is the ultimate case in point that a higher tag doesnt always mean its the right mic for the job.

Pickup PatternsA microphones pickup pattern (or polar pattern) reers to

breadth o its area o concentration. In other words, it reers to

sensitive the microphone is to picking up a sound source rela

to its central axis. Most mics have a xed pattern, though so

studio mics include a range o pickup pattern choices by wa

a switch on the mic or a remote control unit. (See Pickup Pat

diagrams on page 4.)

OmnidirectionalAn omnidirectional pattern will pick up 360 degrees around

element. While it picks up sound sources equally rom every an

you may nd that there is a slight fattening o the response

sources coming in rom the back o the microphone. But i you h

one mic and you want to pick up everything going on in the ro

like a choir or a circle o singers or strings, an omni mic settin

the one to use.

Bi-directional (Figure-8)A bi-directional (or gure-8) mic will pick up sound sources equ

rom the ront and back o the mic. A bi-directional mic has

elements, one is negatively charged and the other positive. M

ribbon microphones have a bi-directional pattern, which is us

i you have two sound sources you want to record, like a due

singers or instruments.

Cardioid

Cardioid is a tighter pickup pattern, and gets its name romheart-shaped pattern seen in the diagram. The most popular

pickup pattern, cardioid mics will pick up sound sources in a

wide range rom the ront o the mic, will taper out sources

directly in ront, and have almost no sensitivity to sounds com

directly rom the rear o the mic. This helps reduce eedback

ocuses on the sound source.

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Hyper-CardioidCompared to a Cardioid pattern, a hyper-cardioid microphone has

a tighter area o ront sensitivity plus a small area o rear sensitiv-

ity. A hyper-cardioid microphone is not unlike a bi-directional, but

with a larger area o concentration in the ront and a smaller area

in the back.

Super-CardioidA super-cardioid pattern is similar to a hyper-cardioid, with a slight-

ly larger area o concentration in the ront and a thinner area inthe rear.

UnidirectionalA unidirectional pattern has extreme o-axis rejection, mean-

ing it will only pick up sound sources that are directly in ront o

the microphone.

ShotgunA shotgun mic is a unidirectional mic designed to pick up th

that are ar away, with a high degree o ocus, so as not to

up sources it isnt directly pointed at. Theyre typically elec

condensers, and are oten used or TV and eld recording, tho

they can be used to isolate instruments in a studio setting, lik

bass drum or piano.

Pressure Zone Microphone (PZM)Pressure Zone Microphones are a unique type o mic cap(usually omnidirectional) mounted to a plate. While not ordin

used to record instruments during multitrack recording, they

be used as room mics. A PZM also allows or recording in enclo

spaces, like being taped to the underside o a grand pianos

which may need to be closed when recording with a band in

same room.

(Polar Pattern images Galak76)

OmnidirectiOnal

Hyper-cardiOid

Bi-directiOnal (Figure-8)

Super-cardiOid

cardiOid

unidirectiOnal

Pickup Patterns


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Beyond the pickup patternAdditional pickup patterns can be achieved

using multiple microphones, including:

XY Small or large diaphragm condensers, crossed at a 90

angle, which provide a wider pickup pattern than youll get

rom a single mic. Oten used or a stereo feld, but sometimes

ust used or coverage on a drum kit or a piano, or instance.

MS (Mid-Side) The MS technique provides more controlover the width o the stereo spread. Set a cardioid or hypercar-

dioid mic acing the sound source (the mid mic), then aim a

bi-directional mic 90 o axis rom the source (the side mic)

placed as close as possible above the mid mic.

oRTF Devised in the 60s at the Ofce de Radiodiusion

Tlvision Franaise (ORTF), this technique uses two cardioid

mics mounted on a stereo bar, typically 17 cm apart at a 110o

angle. This technique can be used to create depth in the ste-

reo feld or a single instrument, or used in mono to create a

wider pickup pattern. Rather than using multiple mics around a

room, you can use this technique to limit and control the width

o your pickup pattern.

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36 Mic Picks for theHome Studio (and beyond

Behringer C-1$44Condenser(Large Diaphragm)For anyone working with a small budget, this card

mic delivers crisp, clear voice recordings and accu

reproduction o acoustic instruments. Its a lot o mic

the price.

Shure SM 57$99DynamicThe cardioid dynamic microphone you see everywh

on so many dierent instruments and applications

cabinets, drum kits, horns so its versatility is a big p

Its also very rugged, dependable, and incredibly aable. Good or studio and live situations.

Shure SM 58$99DynamicThe sibling o the SM 57, includes the ball grille with

oam lining to provide an extra degree o pop and w

protection. For the record, SM stands or studio mi

phone, as this was originally to be an alternative to

notoriously ragile ribbon mics (the grey matte color

designed to cut down the glare o the typical silver mIts durability has made it a live perormance staple.

Audi Technica AT2020$99Condenser (Medium Diaphragm)This medium diaphragm condenser was designed

the home studio owner in mind. Use it to record vo

acoustic instruments, strings, and even as an overhead

or drums.

Shure Beta 57A $139DynamicThe supercardioid cousin o the SM 57, the Beta

provides a slightly brighter sound and higher out

level. It has a bit more warmth and presence than

57, and works well on drums, guitar amplifers, br

and woodwinds.

UNDER $250

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$250 $500

Shr KSm141 $399Condenser (Small Diaphragm)Switches rom cardioid to omnidirectional with a

midrange sound that works well or drum overhe

and snare, vocals, percussion, and nylon and st

string acoustic guitars.

B mic. Baby Btt$400

Condenser (Large Diaphragm)Blues entry-level large-diaphragm cardioid

denser is a lot o mic or the money, recommen

or vocals, percussion, and any acoustic ins

ment. By the way, Blue stands or Baltic Lat

Universal Electronics. Impress an engineer with

next time youre in a studio.

Rd NT5$429Condenser(Small Diaphragm)The price listed is or a matched pair o th

cardioid condensers. For stereo eld record

the NT5 provides depth and detail in most

recording situation.

ectrvic Re20 $449DynamicDesigned or broadcasting, this dynamic cardio

well-suited or vocals and works great on upr

bass and bass drums.

Rd NTK$529Condenser (Large Diaphragm)A cardioid vacuum tube condenser that w

equally well on wooden futes and loud voca

boasts being used on vocals or Nickelbacks

Long Road). Described as warm and fatter

without adding its ngerprint to the recorded tr

Shr Bta 58A$159DynamicThe supercardioid cousin o the SM 58, the Beta

58A is really designed to be a live vocal mic, but its

home studio applications can be likened to the 57

and Beta 57As (you can always remove the ball grille

and stick it on an amp).

mXl 990$200Condenser (Medium Diaphragm)Cardioid condenser that is quiet and smooth with

enough mids to cut through the mix when recording

vocals, acoustic guitar, and piano.

Rd NT3 $269Condenser (Small Diaphragm)Cardioid condenser recommended or acoustic

guitars, percussion, and anything where youre

looking to capture mids and highs.

Adi Tchnica AT4022$349Condenser(Small Diaphragm)Omnidirectional condenser at an aordable price

well-suited or midrange requencies. As with any

omnidirectional mic, a good acoustic environment

is key to capturing great tones.

Shr Sm7B$349DynamicClassic cardioid vocal mic with bass roll-o and an

impressive resume, including many o Michael Jack-

sons most amous vocal recordings. Also widely

used in broadcasting, e.g. Robin Quivers rom The

Howard Stern Show.

Snnhisr mD 421 II$380DynamicCardioid mic with a ve-position bass roll-o switch,

which allows you to lter out unwanted low requen-

cies. Good mic or live and recording situations,

particularly or bass drum, brass, and narration.

$500 $1,000
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7/8PAGewww.sakers. | 1-800-468-9353

mjav Adi mA-100$795Condenser(Small Diaphragm)Tube condenser with interchangeable cardioid

omnidirectional capsules, the MA-100 gets

reviews or use on string ensembles, snare dr

toms, guitar amps, and acoustic guitar.

Ryr R-101$799

RibbonThe little (less expensive) brother o the R-121

accolades or sounding almost exactly as g

Both are ribbon mics with a bi-directional polar

tern, Royer has sound clips o the 101 vs. 12

their website.

Nann Km 184 $850Condenser (Small Diaphragm)A studio staple cardioid condenser describe

accurate and exceptional on all things string

Best used in rooms with good acoustics as

accuracy can accentuate your rooms tro

spots, particularly i there are any extrane

sound sources (computers, ans, etc.).

Shr KSm44A $999Condenser (Large Diaphragm)Multi-pattern (cardioid, omnidirectional, and g

8) condenser mic that works well on just about

sound source, including piano, acoustic guitar,

strings. Also a nice choice when a little more ness in tone would benet a vocalist.

AKG C414XlII$999Condenser (Large Diaphragm)The C414 eatures multiple pickup patterns (o

wide cardioid, cardioid, hypercardioid, gur

and our intermediate pickup patterns) and

handle high SPL. An excellent mic or aco

instruments, and one that adds a bit o bright

on guitar amps.

AKG C414 XlS $999Condenser (Large Diaphragm)Featuring nine polar patterns or a wide variet

uses, the C414 is a thoroughbred vocal mic w

long history (it was rst introduced in 1971).

exceptional on acoustic guitar and piano.

Adi Tchnica AT4050$699Condenser(Large Diaphragm)A condenser with three polar patterns omnidi-

rectional, bi-directional, and gure-8 this mic

can handle walloping sound levels and is suited or

vocals, acoustic instruments, and loud percussion.

Rd K2$699

Condenser (Large Diaphragm)Another vacuum tube condenser rom this Austra-

lian company (note, thats Australia, not Austria).

A warm and versatile mic that sounds particu-

larly good on acoustic guitar. Has multiple polar

patterns (omni, cardioid, gure-8, and everything

in between).

Byrdynaic m 160$699RibbonHypercardioid mic with two ribbons with a wide

range o uses, including strings, horns, electric

guitar amps, and drums. Ever hear When The

Levee Breaks by Led Zeppelin? Thats an M 160

on Bonhams drums.

Byrdynaic m 130$699RibbonFigure-8 (bi-directional) dual ribbon brother o

the M 160.

Nann Tlm 102$700Condenser (Large Diaphragm)Neumann has owned the studio mic universe or

years, and while the TLM 102 isnt exactly a budget

mic, its the entry-level Neumann. The TLM 102 is

a transormerless (TLM stands or transormer-

less microphone), xed cardioid condenser with

no switches, no pad, and no additional pickup

patterns. This is specically designed to sweeten

vocals, but is a great choice or amps and drumskits as well.
http://www.discmakers.com/http://www.discmakers.com/http://www.discmakers.com/http://www.sweetwater.com/store/detail/MA100/http://www.sweetwater.com/store/detail/MA100/http://www.sweetwater.com/store/detail/MA100/http://www.sweetwater.com/store/detail/MA100/http://www.sweetwater.com/store/detail/MA100/http://www.sweetwater.com/store/detail/MA100/http://www.sweetwater.com/store/detail/R101/http://www.sweetwater.com/store/detail/R101/http://www.sweetwater.com/store/detail/R101/http://www.sweetwater.com/store/detail/R101/http://www.royerlabs.com/R-101.htmlhttp://www.sweetwater.com/store/detail/KM184Ni/http://www.sweetwater.com/store/detail/KM184Ni/http://www.sweetwater.com/store/detail/KM184Ni/http://www.sweetwater.com/store/detail/KM184Ni/http://www.sweetwater.com/store/detail/KSM44A/http://www.sweetwater.com/store/detail/KSM44A/http://www.sweetwater.com/store/detail/KSM44A/http://www.sweetwater.com/store/detail/KSM44A/http://www.sweetwater.com/store/detail/C414XLII/http://www.sweetwater.com/store/detail/C414XLII/http://www.sweetwater.com/store/detail/C414XLII/http://www.sweetwater.com/store/detail/C414XLII/http://www.sweetwater.com/store/detail/C414XLII/http://www.sweetwater.com/store/detail/C414XLS/http://www.sweetwater.com/store/detail/C414XLS/http://www.sweetwater.com/store/detail/C414XLS/http://www.sweetwater.com/store/detail/C414XLS/http://www.sweetwater.com/store/detail/AT4050/http://www.sweetwater.com/store/detail/AT4050/http://www.sweetwater.com/store/detail/AT4050/http://www.sweetwater.com/store/detail/AT4050/http://www.sweetwater.com/store/detail/AT4050/http://www.sweetwater.com/store/detail/AT4050/http://www.sweetwater.com/store/detail/K2Tube/http://www.sweetwater.com/store/detail/K2Tube/http://www.sweetwater.com/store/detail/K2Tube/http://www.sweetwater.com/store/detail/K2Tube/http://www.sweetwater.com/store/detail/K2Tube/http://www.sweetwater.com/store/detail/M160/http://www.sweetwater.com/store/detail/M160/http://www.sweetwater.com/store/detail/M160/http://www.sweetwater.com/store/detail/M160/http://www.sweetwater.com/store/detail/M130/http://www.sweetwater.com/store/detail/M130/http://www.sweetwater.com/store/detail/M130/http://www.sweetwater.com/store/detail/M130/http://www.sweetwater.com/store/detail/TLM102/http://www.sweetwater.com/store/detail/TLM102/http://www.sweetwater.com/store/detail/TLM102/http://www.sweetwater.com/store/detail/TLM102/http://www.sweetwater.com/store/detail/TLM102/http://www.sweetwater.com/store/detail/C414XLS/http://www.sweetwater.com/store/detail/C414XLS/http://www.sweetwater.com/store/detail/C414XLII/http://www.sweetwater.com/store/detail/C414XLII/http://www.sweetwater.com/store/detail/KSM44A/http://www.sweetwater.com/store/detail/KSM44A/http://www.sweetwater.com/store/detail/KM184Ni/http://www.sweetwater.com/store/detail/KM184Ni/http://www.royerlabs.com/R-101.htmlhttp://www.sweetwater.com/store/detail/R101/http://www.sweetwater.com/store/detail/R101/http://www.sweetwater.com/store/detail/MA100/http://www.sweetwater.com/store/detail/MA100/http://www.sweetwater.com/store/detail/TLM102/http://www.sweetwater.com/store/detail/TLM102/http://www.sweetwater.com/store/detail/M130/http://www.sweetwater.com/store/detail/M130/http://www.sweetwater.com/store/detail/M160/http://www.sweetwater.com/store/detail/M160/http://www.sweetwater.com/store/detail/K2Tube/http://www.sweetwater.com/store/detail/K2Tube/http://www.sweetwater.com/store/detail/AT4050/http://www.sweetwater.com/store/detail/AT4050/http://www.discmakers.com/



B micrphns Kiwi $1,999Condenser (Large Diaphragm)Multiple polar patterns (controlled by a ro

switch) range rom omni to cardioid to gu

with three intermediate positions in between.

Kiwi is described as smooth as silk and is i

or all kinds o acoustic instruments and percus

and provides clarity or male and emale vocalis

Rd Cassic II $2,099Condenser(Large Diaphragm)Tube mic with a warm and rich tone. Its prim

purpose is or vocals, but with nine polar patt

(cardioid, omni, gure-8 and all the in betwe

its great or use on all sorts o acoustic instrum

and even drum overheads (with a good stu

mic stand).

Nann u 87 Ai $3,200Condenser (Large Diaphragm)Proessional-studio, multi-pattern (omni, card

gure-8) condenser mic that delivers unparall

detail and dynamic sound. The U 87s sonic si

ture can be heard on many hit records. Sele

by Sound on Soundmagazine readers as the

microphone, period.

AKG C12 VR $4,999Condenser (Large Diaphragm)The AKG C12s history dates back to the early

Manuactured in Austria, it is widely regarded as

most exclusive and sought ater mic ever buil

vacuum tube mic with nine polar patterns, AK

C12 VR is a modern take on the original.

B mic. Wdpckr$1,000RibbonAn active (accepts phantom power) ribbon, the

Woodpecker has an output signal that exceeds

typical ribbon mics. Great or brass, acoustic

guitars, and amps, though the higher output might

require mic placement experimentation to quiet

down some o the high end output.

Nann Tlm 103$1,100Condenser (Large Diaphragm)The next step up rom the 102, the TLM 103 is also a

cardioid mic used by proessional broadcasters and

pro studios around the world. Boasting a very natu-

ral sound, or a high-level home studio, this is a

high-quality general purpose mic.

mjav Adi mA-300 $1,295Condenser(Large Diaphragm)Mojave, which is Royers non-ribbon division,

expanded on the MA-200 tube condenser (a

xed cardioid) to include multiple patterns

(continuously variable rom omni to gure-8). Use

on vocals, as overheads, percussion, and especially

acoustic guitar.

Ryr R-121 $1,295RibbonA gure-8 ribbon mic that delivers clean and warm

tones and can take a huge amount o SPL. Use them

on everything, rom vocals to drums to horns.

se ectrnics Gini II$1,599Condenser(Large Diaphragm)A dual tube cardioid condenser that is physically

heavy (a big mic with two tubes will tend to be), that

provides a balanced sound with good string deni-

tion on acoustic guitars and colored, detailed midson vocals.

$1,000 $2,000

OVER $2,000
http://www.discmakers.com/http://www.sweetwater.com/store/detail/Kiwi/http://www.sweetwater.com/store/detail/Kiwi/http://www.sweetwater.com/store/detail/Kiwi/http://www.sweetwater.com/store/detail/Kiwi/http://www.sweetwater.com/store/detail/NTC/http://www.sweetwater.com/store/detail/NTC/http://www.sweetwater.com/store/detail/NTC/http://www.sweetwater.com/store/detail/NTC/http://www.sweetwater.com/store/detail/NTC/http://www.sweetwater.com/store/detail/U87AiMT/http://www.sweetwater.com/store/detail/U87AiMT/http://www.sweetwater.com/store/detail/U87AiMT/http://www.sweetwater.com/store/detail/U87AiMT/http://www.sweetwater.com/store/detail/C12VRhttp://www.sweetwater.com/store/detail/C12VRhttp://www.sweetwater.com/store/detail/C12VRhttp://www.sweetwater.com/store/detail/C12VRhttp://www.sweetwater.com/store/detail/Woodpeckerhttp://www.sweetwater.com/store/detail/Woodpeckerhttp://www.sweetwater.com/store/detail/Woodpeckerhttp://www.sweetwater.com/store/detail/Woodpeckerhttp://www.sweetwater.com/store/detail/TLM103/http://www.sweetwater.com/store/detail/TLM103/http://www.sweetwater.com/store/detail/TLM103/http://www.sweetwater.com/store/detail/TLM103/http://www.sweetwater.com/store/detail/TLM103/http://www.sweetwater.com/store/detail/MA300http://www.sweetwater.com/store/detail/MA300http://www.sweetwater.com/store/detail/MA300http://www.sweetwater.com/store/detail/MA300http://www.sweetwater.com/store/detail/MA300http://www.sweetwater.com/store/detail/R121/http://www.sweetwater.com/store/detail/R121/http://www.sweetwater.com/store/detail/R121/http://www.sweetwater.com/store/detail/Gemini2http://www.sweetwater.com/store/detail/Gemini2http://www.sweetwater.com/store/detail/Gemini2http://www.sweetwater.com/store/detail/Gemini2http://www.sweetwater.com/store/detail/Gemini2http://www.sweetwater.com/store/detail/Gemini2http://www.discmakers.com/http://www.sweetwater.com/store/detail/C12VRhttp://www.sweetwater.com/store/detail/C12VRhttp://www.sweetwater.com/store/detail/U87AiMT/http://www.sweetwater.com/store/detail/U87AiMT/http://www.sweetwater.com/store/detail/NTC/http://www.sweetwater.com/store/detail/NTC/http://www.sweetwater.com/store/detail/Kiwi/http://www.sweetwater.com/store/detail/Kiwi/http://www.sweetwater.com/store/detail/Gemini2http://www.sweetwater.com/store/detail/Gemini2http://www.sweetwater.com/store/detail/R121/http://www.sweetwater.com/store/detail/R121/http://www.sweetwater.com/store/detail/MA300http://www.sweetwater.com/store/detail/MA300http://www.sweetwater.com/store/detail/TLM103/http://www.sweetwater.com/store/detail/TLM103/http://www.sweetwater.com/store/detail/Woodpeckerhttp://www.sweetwater.com/store/detail/Woodpecker

home studio series vol4

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