Nashville multitrack and mobile recording

GARNET

List Price: $4,450.95
Our Price $3,999.00

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The Violet Design Garnet is an electrostatic vacuum tube microphone. Its vintage sound is warmed by vacuum tube circuitry and an output transformer. The Garnet uses a specially designed large dual-diaphragm transducer, which can be adjusted to nine different polar patterns.

The Garnet’s multi-layer brass mesh grille keeps frequency response and sound details clear while its massive body construction provides low mechanical noise and solid bass response. An external elastic suspension shockmount is included to protect the Garnet from stand rumble, subsonic vibrations, and external shocks. Its Class ‘A’ fully discrete internal vacuum tube preamplifier provides high output, low impedance and low distortion. The Garnet has a large humbucker, custom-wound audio transformer that balances the microphone’s output, separating it from external interference and providing additional analog warmth to the sound. A soft starting, smart power supply is included.

Applications:

The Garnet is perfectly suited for hi-end professional recording. It excels when capturing vocals, speech, and choir, but also performs well for capturing musical instruments, orchestra and most other sound sources. The Garnet is a solid solution for broadcast and television studios, as well as the film and video industries. It can be used effectively for other professional applications including sound reinforcement and installed sound systems. Using the Garnet for project studio and home recording will upgrade your work to a higher quality, professional sound level.

FLAMINGO STEREO

List Price: $4,140.95
Our Price $3,500.95

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PEARL STANDARD

List Price: $879.00
Our Price $719.00

PEARL VOCAL

List Price: $1,020.95
Our Price $900.95

GRAND PEARL

List Price: $1,050.95
Our Price $920.95

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Please specify Standard, Vocal or Grand model.

“The Pearl” Series of professional electrostatic microphones are designed for studio vocal recording and now hand-held stage applications, where sound quality and musical character is of the utmost importance. The Pearl Standard uses a medium single-diaphragm transducer, which provides a modern, detailed vocal sound with airy highs, extended vocal presence and optimized low-end response. The Grand Pearl uses a large dual-diaphragm transducer, which provides the warm, classical vocal sound usually associated with vintage vocal studio microphones. The Pearl Vocal is specifically designed to be the ultimate condenser hand-held stage microphone. The newly developed medium-sized single diaphragm capsule provides high acoustic transparency and can handle sound pressure levels up to 144db without overload.

These innovative microphones introduce a new physical design with a rear-ported spherical head and a special narrow tapered form reflector to reduce internal resonances and reflections and optimize the unidirectional cardiod polar pattern.

A soft center band around the circumference of the head minimizes shock and handling noise. Rugged microphone construction and internal shockmounts effectively reduce stand rumble, outside infrasonic interference and mechanical shocks.

The internal phantom powered preamplifier’s Class ‘A’ fully discrete transformerless circuit provides high output, flat audio response and ultra low distortion and noise. The output connectors are gold plated for best possible signal transfer. “The Pearl” is ready for noise-free handheld or stand use. A flexible stand holder is supplied with microphone. FRR is an optional unique reflection ring accessory which is used as a tool to slightly alter directional characteristics and frequency response by positioning at different points along the microphone body.

Applications:

The Pearl Standard and The Grand Pearl microphones are designed primarily for vocalists, but are also capable of capturing piano, guitars, drums, percussion, strings, wind and many other instruments. The larger diaphragm of The Grand Pearl is specially tuned to provide a deep warm vocal tone ideal for jazz or pop music. These are unidirectional cardioid microphones and should be mounted so that the rear openings behind the capsule are not obstructed. In vocal applications, best results are obtained when the microphone is 1″ to 6″ away. Microphone overload is not a problem, however, we recommend the use an optional pop filter in the studio for further protection from plosive sounds and breath, pop or wind noise.

The Pearl Vocal has been tuned specifically for a modern, detailed vocal sound with extended vocal presence and optimized low-end response. The newly developed advanced suspension system effectively reduces handling noise to an absolute minimum and the unidirectional cardioid polar pattern has been optimized for maximum side and rear rejection while providing maximum gain before feedback. This is the ideal microphone for live jazz, pop and rock vocalists but also will provide superior sound for brass, woodwinds, percussionists, drummers and in capturing guitar amplifiers.

“The Finger” uses a single medium diaphragm transducer to provide detailed sound with smooth transparent highs, optimal presence and natural low-end response with a unidirectional polar pattern. “The Finger” has a unique body design with an integrated tapered reflector which reduces resonances, removes reflections and optimizes the microphone’s cardioid polar pattern. Integrated damping of the transducer reduces stand rumble, outside infrasonic interference and mechanical shocks.

The optional and unique FRR Reflection Ring (shown here) is a reflector disc which can be positioned at the head or anywhere along the body of the microphone to alter the polar pattern, frequency response and sensitivity. Positioning the FRR at the end point of “The Finger’s” reflector alters low-frequency response and adds proximity effect. The FRR can also be used to separate the front and rear sides of the capsule and to reduce reflections and reverberation from reaching the capsule. Positioning the FRR on the capsule head’s top produces a polar pattern closer to a half-sphere pattern with less coloration at different angles, less proximity effect and adds sensitivity to all except high frequencies. It is even possible to use 2 FRRs, positioning one on the top of the head and one elsewhere on the body for effect.

“The Finger” is available in 2 styles. “The Black Finger” has polished nickel-plated hardware and a matte black body. “The Gold Finger” has polished gold-plated hardware and a matte black body. Matched stereo pairs can be special ordered.

Applications:

“The Finger” microphone suits a wide range of studio and stage situations. It is ideal for capturing vocals, speech, choir, and musical instruments as well as orchestral and most other sound sources. It is an excellent choice for broadcast radio and television, film production, sound reinforcement and other professional applications. In the home studio where there are generally fewer microphones available, it offers superb performance giving it outstanding value. Use of a studio pop filter and/or polyurethane open-cell foam windscreen is necessary for close voice applications, to protect the capsule from plosive sounds and breath, pop or wind noise. Matched stereo or surround sets can be special ordered to provide balanced recordings.

WEDGE

List Price: $1,140.95
Our Price $990.95

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“The Wedge” condenser microphone from Violet Design is meticulously designed for the highest quality of studio recording. Re-engineered from Violet’s original “Dolly” model, The Wedge produces deep, dimensional sound, and boasts a wider range of applications than its predecessor. Its multi-layered, wedge-shaped head effectively reduces plosive sounds and other noises such as wind or breath. The Wedge’s capsule is made of high-quality, 6-micron Mylar film, and it’s innovative freestanding design results in a more open and detailed sound. The critical first stage circuit is located close to the capsule to further improve sound quality. The large dual-diaphragm is precisely tensioned, adjusted on back plates, and sputtered with Violet’s exclusive gold alloy mixture. This process allows The Wedge to give a faster impulse transient response without sound coloration or low-frequency reduction, and also makes it capable of handling high sound pressure levels.

The internal solid-state preamplifier of The Wedge is a Class-A fully discrete transformer-less circuit, built using high quality, hand selected components. The circuit is designed to achieve the highest audio standards and provides flat frequency response, high dynamics, low self-noise, and very low audio distortion of all types. The Wedge should be used with high quality, regulated 48V phantom power. Gold-plated pins on the XLR output provide a clean and noise-free connection. The Wedge has a dark red body with black trim and comes in a fine hardwood box.

Applications:

The Wedge has a warmer tone with very high output and low noise. It is designed for a wide range of studio recording situations. The fast transient response, crystal clear highs and loud SPL handling make it excellent for recording drums, especially for snare drum, overhead and hi-hat. The recommended placement is 2″ to 4″ from the drum rim, but you will want to experiment with different positions and angles. It is also excellent for piano, electric and acoustic guitars, bowed strings and brass instruments. For the clarinet and soprano saxophone use the microphone 4″ to 12″ above the horn and lowest pads. For other saxophones place the microphone 2″ to 6″ in front of the lip of the bell. For the flute place the microphone above the middle of the instrument. Place within 20″ from the bell of trumpets, trombones, French horns, tubas and other brass instruments.

When used as a vocal microphone, position The Wedge 1/2″ to 4″ away to get the best results. There is no need to worry about overload but using a pop-filter in the studio or a foam windscreen in live applications can help reduce plosive sounds and breath, pop or wind noises.

GLOBE

List Price: $2,740.95
Our Price $1,919.00

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Please specify Standard or Vintage.

FLAMINGO JUNIOR

List Price: $1,370.95
Our Price $1,150.95

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Please specify Standard or Vintage.

“The Flamingo Junior” Series of studio microphones are side-addressed unidirectional microphones designed for professional audio recording where sound quality and musical character is of the utmost importance. “The Junior” uses a single-diaphragm cardioid electrostatic transducer, providing vintage tone with transparent highs, optimized vocal presence and fundamental low-frequency register with minimal proximity effect. The acoustically transparent head construction reduces internal resonances, optimizes the polar pattern and keeps sound details as close to unaffected as possible. There is an integrated shockmount within the head and an external compact studio shockmount included to reduce stand rumble, outside infrasonic interference and mechanical shocks.

The internal Class ‘A’ fully discrete, 48V phantom powered preamplifier provides high output, flat audio-response and ultra-low distortion and noise. A custom-wound large humbucking audio transformer balances the output circuits, isolates the microphone from external interference and adds “analog warmth” to the sound. Gold-plated contacts on the output XLR connector provide a noise-free connection.

“The Junior” is available in 2 styles. “The Flamingo Junior Standard” has a polished violet body and “The Flamingo Junior Vintage” has a matte black body. Matched stereo or surround sets can be special ordered. The use of an external pop filter is recommended for close vocals.

Applications:

“The Flamingo Junior” has a medium bright tone and is designed for all-around recording studio applications including vocals and instrumental work. The custom-tuned frequency response has smooth enhancement at the lowest registers, mid-range at 2kHz – 3kHz, and also in the 12kHz region, yielding recordings with low-end punch and high-end air. You will find it to be very pleasing on a wide range of musical applications, especially as a vocal microphone when used with an external pop filter.

BLACK KNIGHT

List Price: $670.95
Our Price $580.95

STEREO PAIR

List Price: $1,330.95
Our Price $1,160.95

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“The Black Knight” uses a large dual-diaphragm, side-terminated, condenser capsule. It possesses a natural musical sound with transparent highs, smooth midrange with a subtle vocal presence bump at 3kHz, flat low-frequency response and a unidirectional cardioid polar pattern. The acoustically open transducer head minimizes internal resonances and reflections so that even the most minute sound details are authentically captured. An integrated swivel-mount allows for fast and handy positioning of the transducer head. The internal phantom powered preamplifier’s Class ‘A’ fully discrete transformerless circuit provides very high output, flat audio-response and ultra-low distortion and noise. Gold-plated contacts on the output connector provide a noise-free connection.”The Black Knight” microphone is also available in matched stereo or surround sets as a special order.

Applications:

“The Black Knight” microphone has a very detailed and uncolored sound. It is perfect for overheads, acoustic guitar and many other instruments as well as vocal applications. The swivel mount head allows for easy minor re-positioning, without adjusting the stand. It is an excellent solution for broadcast studios, film and video production, sound reinforcement and other professional applications. It has a very open, single layer head grill so use of a pop-filter or foam windscreen is recommended when working the microphone closely.

AMETHYST STANDARD

List Price: $1,820.95
Our Price: $1,520.95

AMETHYST VINTAGE

List Price: $2,270.95
Our Price: $1,930.95

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Please specify Standard or Vintage.

STANDARD with ASM Shock Mount
List Price: $2,020.95
Our Price: $1,690.95

VINTAGE with ASM Shock Mount
List Price: $2,460.95
Our Price: $2,100.95

VINTAGE STEREO PAIR
List Price: $4,560.95
Our Price: $3,850.95

“The Amethyst” Series of studio microphones utilize capsules with 6-micron gold sputtered Mylar diaphragms tensioned and adjusted on precisely made brass backplates. They possess very fast impulse transient response without sound coloration or low frequency reduction, as well as the ability to handle louder sound pressure levels.

“The Amethyst Standard” has a dark amethyst red body and uses a single large-diaphragm center-terminated capsule to provide a modern, detailed sound with airy highs, medium vocal presence and accentuated low-end response. The internal phantom powered preamplifier is a fully discrete Class ‘A’ transformerless circuit which provides high output, flat audio response and ultra-low distortion and noise.

“The Amethyst Vintage” has a grey/blue body and uses a dual large-diaphragm, center terminated dual back plate capsule which provides a classical, wide-spectrum, vintage microphone sound. Both models have a unidirectional cardioid polar pattern with minimal proximity effect and are linear over the wide frontal incidence angle. An acoustically transparent head construction reduces internal resonances and reflections. The internal capsule shockmount along with the massive body construction, reduces stand rumble, outside infrasonic interference and mechanical shocks.

Both microphones can be mounted directly on a standard microphone stand or in the optional ASM elastic shockmount. Gold plated contacts on the output XLR connector provide a noise-free connection.

Applications:

The handy compact size and versatile mounting, combined with high SPL capability make these microphones ideal for close instrumental situations. “The Amethyst Standard” is particularly recommended for percussion and stringed instruments. For vocal applications “The Amethyst Standard” is more oriented for a male voice and “The Amethyst Vintage” for a female voice. Use them up close, within 2″ to 4″ to get best results. The internal amplifier and capsule are hard to overload and are well suited for close miking of vocals.