UAD Microphones

[Larry Shelby]

Check 'em out here

A huge moment in our 60+ years of audio recording history – we're proud to finally introduce our first microphone lineup to the world!

From handmade UA Bock tube & FET mics, to the award-winning Sphere L22 Modeling Microphone, to the new Standard Series, we're excited to see them work their way into projects of all kinds.

Learn more at

https://www.uaudio.com/microphones.html

Edited February 16, 2022 by cclarry

[Fleer]

Interesting. First those Volt interfaces. Now these. 

[smallstonefan]

Cosmetically they seem modeled off of Neuman.

[Grem]

2 hours ago, Fleer said:

Interesting. First those Volt interfaces. Now these. 

Got me wondering too.

Don't forget about those pedals also.

What direction are they going in?

 

Edited February 17, 2022 by Grem

[Fleer]

2 minutes ago, Grem said:

Got me wondering too.

Don't forget about those pedals also.

What direction are they going in?

 

I think they’ll do more peripherals now computers have become so powerful. 

[Zo]

mmmm why not  .....

[Grem]

13 hours ago, Zo said:

mmmm why not  .....

I am thinking that it's a good thing Zo. I would love to try one of those pedals!! But at $400 a pop!!! Whew! 

 

[jackson white]

Going with David Bock should be a great move, nice to see a 251 clone and the possibility? of a FET 47 clone. Been looking for a Bock Audio iFET (> FET 47 clone) excellent on bass but hard to find and a bit pricy. Not counting on UAD to be the "affordable price leader", but will keep this on the radar.

[Zo]

42 minutes ago, Grem said:

I am thinking that it's a good thing Zo. I would love to try one of those pedals!! But at $400 a pop!!! Whew! 

 

I'm forfait here , washing machine dead ....

[Grem]

6 hours ago, Zo said:

I'm forfait here , washing machine dead ....

My washing machine is leaking and I need to get a new one!! Been putting it off too long.

[Zo]

1 hour ago, Grem said:

My washing machine is leaking and I need to get a new one!! Been putting it off too long.

ouch , mine is just 3 years i'm pissed off , wife tells me " why buying top notch stuff since it goes down like that" ....  true either i go for a great tone with waranty extensions or a regular one  .... and keep in my mind that i will have to change it soon after the 2 years of waranty since it seem synced to that obsolescene

[e-cue]

On 2/16/2022 at 6:50 PM, Zo said:

mmmm why not  .....

The first reason that comes to my mind is that the Townshed Sphere mic system will be in direct competition with them.  

 

That said, I've enjoyed Bock's work since Soundelux.  With UAD, I'll expect them to be overpriced, or striped way down and sold as a great value.  I'm guessing overpriced.  

[Byron Dickens]

7 hours ago, Grem said:

My washing machine is leaking and I need to get a new one!! Been putting it off too long.

Two words: Speed Queen.

[ZokZTM]

 

10 hours ago, Zo said:

ouch , mine is just 3 years i'm pissed off , wife tells me " why buying top notch stuff since it goes down like that" ....  true either i go for a great tone with waranty extensions or a regular one  .... and keep in my mind that i will have to change it soon after the 2 years of waranty since it seem synced to that obsolescene

So true like they are programmed to stop working week after the warranty expires. I stick with Siemens and Bosch... my Siemens washing machine is going strong for 17 years now, but not a big family so easy use 

Edited February 18, 2022 by ZokZTM

[ZokZTM]

Just a quick heads up... Sphere L22 mic is amazing, have been using it for past 2 years... for me a true game changer... kid you not. But needs UAD Bill Putney plugin for amazingly sounding emulations

[Nick Blanc]

I know I'm probably not right and the same could be said about analog synths (but then you would be wrong! ?) Why should I pay $1500 (or a multitude) for a microphone when a $100 Sure mic plus a bit of EQ would give me 95% of the same result? Software EQ's don't cost 1400...

Every song out there is heavily produced, compressed, limited, eq'ed, mangled, reverbed and delayed. Surely the nuance difference is hardly noticeable? I think it made sense 50 years ago when the recording was everything. But honestly, pick any populair song with vocals, any. I'll bet it is impossible to hear which microphone was used or even what pricerange.

I just don't get mics. Yes to get it right without much processing saves valuable time. But then we circle back to the heavily produced part. That also takes time.  So how about an extra 15 minutes setting up an EQ and de-esser? Then you can slap on the 50 reverbs (we know you have them! I do too). No-one will ever know if you recorded it on a Behringer XM5800 or a gold plated Neumann which has only been handled and shipped by a Bavarian virgin who will be ritually sacrificed when the product is delivered, just to keep everything pure..

*rant off

Edited February 18, 2022 by Nick Blanc

[Brian Walton]

2 hours ago, Nick Blanc said:

I know I'm probably not right and the same could be said about analog synths (but then you would be wrong! ?) Why should I pay $1500 (or a multitude) for a microphone when a $100 Sure mic plus a bit of EQ would give me 95% of the same result? Software EQ's don't cost 1400...

Every song out there is heavily produced, compressed, limited, eq'ed, mangled, reverbed and delayed. Surely the nuance difference is hardly noticeable? I think it made sense 50 years ago when the recording was everything. But honestly, pick any populair song with vocals, any. I'll bet it is impossible to hear which microphone was used or even what pricerange.

I just don't get mics. Yes to get it right without much processing saves valuable time. But then we circle back to the heavily produced part. That also takes time.  So how about an extra 15 minutes setting up an EQ and de-esser? Then you can slap on the 50 reverbs (we know you have them! I do too). No-one will ever know if you recorded it on a Behringer XM5800 or a gold plated Neumann which has only been handled and shipped by a Bavarian virgin who will be ritually sacrificed when the product is delivered, just to keep everything pure..

*rant off

I'm not suggesting you need to pay $1500 for a good mic, but a $99 Sure SM58 and even a decent $700 consensor mic create a very different sound.  

This isn't so say you can't make a good sounding recording using a SM58, if you are in a terrible room you might "need" to.  But the difference in sound can be dramatic.  Plenty of mic shoot out videos out there which suggests that even with terrible youtube quality the differences show up.

[Tommy Byrnes]

39 minutes ago, Brian Walton said:

I'm not suggesting you need to pay $1500 for a good mic, but a $99 Sure SM58 and even a decent $700 consensor mic create a very different sound.  

This isn't so say you can't make a good sounding recording using a SM58, if you are in a terrible room you might "need" to.  But the difference in sound can be dramatic.  Plenty of mic shoot out videos out there which suggests that even with terrible youtube quality the differences show up.

Definitely off the OP (sorry) but an old philosophy about mics I try to adhere to has remained pretty much the same for a very long time. Make sure I have the mics on hand I'd require to run a typical session and get to know them really, really well. I personally don't have the need for 18 choices of kick drum mics or "The famous mic that captured Dean Martin puking in the corner during a Sinatra session at Capitol" mic or its clone. Though I bet it sounds cherry.

I have LDCs for the jobs I need them for.  4 good quality but not super expensive LDCs with different characters for addressing different vocalists, instruments, etc. One good tube LDC and one good ribbon. I have enough mics for drums to do a standard kit along with two pairs of SDCs for overheads or stereo miking of acoustic instruments. And two 421s and four 57s, some of which miked amps on the road for years and still do the job. It's taken me decades to build up the mics I have.

The whole locker is probably worth around a pair of u87s.

The collecting of gear for the sake of having a locker crammed with 60 year old microphones of every flavor and color has also never been in the budget.  It is a selling point for major commercial studios who can boast that sort of inventory to correspond with their history but I don't own one and have only occasionally worked in one. ? As a working musician/studio owner the budget rarely calls for boutique purchases, especially when what I have can do the job.

There are a million videos of studio tours and they'll get to the mic locker and pull out all these mics that they never use but they have because they're old or worse, rare! I once saw a picture of the inside of Joe Perry's guitar warehouse. Hundreds of guitars from floor to ceiling he just bought and put in this huge place. Almost none of them will ever get played or even see the light of day again. That really affected me and kinda bummed me out, like seeing caged animals in a zoo.

Plugins, on the other hand, are a problem. I blame Larry for that. 

[Brian Walton]

9 minutes ago, Tommy Byrnes said:

Definitely off the OP (sorry) but an old philosophy about mics I try to adhere to has remained pretty much the same for a very long time. Make sure I have the mics on hand I'd require to run a typical session and get to know them really, really well. I personally don't have the need for 18 choices of kick drum mics or "The famous mic that captured Dean Martin puking in the corner during a Sinatra session at Capitol" mic or its clone. Though I bet it sounds cherry.

I have LDCs for the jobs I need them for.  4 good quality but not super expensive LDCs with different characters for addressing different vocalists, instruments, etc. One good tube LDC and one good ribbon. I have enough mics for drums to do a standard kit along with two pairs of SDCs for overheads or stereo miking of acoustic instruments. And two 421s and four 57s, some of which miked amps on the road for years and still do the job. It's taken me decades to build up the mics I have.

The whole locker is probably worth around a pair of u87s.

The collecting of gear for the sake of having a locker crammed with 60 year old microphones of every flavor and color has also never been in the budget.  It is a selling point for major commercial studios who can boast that sort of inventory to correspond with their history but I don't own one and have only occasionally worked in one. ? As a working musician/studio owner the budget rarely calls for boutique purchases, especially when what I have can do the job.

There are a million videos of studio tours and they'll get to the mic locker and pull out all these mics that they never use but they have because they're old or worse, rare! I once saw a picture of the inside of Joe Perry's guitar warehouse. Hundreds of guitars from floor to ceiling he just bought and put in this huge place. Almost none of them will ever get played or even see the light of day again. That really affected me and kinda bummed me out, like seeing caged animals in a zoo.

Plugins, on the other hand, are a problem. I blame Larry for that. 

There is a lot to be said about the right mic for the source.

An SM57 can sound a whole lot better than a SDC on a guitar cab in a live band room as an example of a cheap $100 mic beating out an expensive one.  It is just better suited for the job generally speaking.  

[Tommy Byrnes]

3 minutes ago, Brian Walton said:

There is a lot to be said about the right mic for the source.

An SM57 can sound a whole lot better than a SDC on a guitar cab in a live band room as an example of a cheap $100 mic beating out an expensive one.  It is just better suited for the job generally speaking.