Sphere L22 Overview The Sphere L22™ microphone system from Townsend Labs models the characteristics of the most sought-after large-diaphragm condenser microphones with amazing accuracy and allows selection of different mics and patterns even after tracking. The Sphere ® system consists of a high precision dual channel microphone, which when paired with the included Sphere plug-in (UAD, VST, AU, AAX Native) accurately models the response of a wide range of mics, including transient response, harmonics, proximity effect and three-dimensional polar response. Now You Can:. Record with the sound of microphones many have only dreamt about. Change mic type, polar pattern, and other microphone characteristics, even after tracking!. Audition the sound of different microphones without tiring the vocalist.
I don't seem to be able to get this up and running. It is activated in my ilok and installed but I can't find any vst dll anywhere. This is crazy.
Reduce bleed, undesirable room coloration, and other common issues using Off-Axis Correction™. Record in stereo from a single microphone. Breakthrough Microphone Modeling Technology Sphere’s three-dimensional approach captures the spatial nuances, proximity effect and off-axis frequency response of a wide range of microphones, which until now was not possible with any other product. Dream Collection Access some of the most prized microphones of all time, including a 47 (with VF14 tube), a 67, an M49, and a C12. (NOTE: hi-res files can be downloaded directly from Soundcloud) Sphere L22 Microphone The Sphere system employs the high-resolution, dual-channel L22 large-diaphragm condenser microphone, custom designed to capture the three-dimensional soundfield with exacting detail. Manufactured to extremely tight tolerances, the L22 ensures that modeling is consistent and accurate. Realtime UAD Processing With Universal Audio Apollo, achieve extremely low latency (approx.
1.6ms round trip at 96kHz) for guaranteed real-time performance. Also supports native AAX, VST and AU. Polar Pattern Modeling Because Sphere captures the three-dimensional response of target microphones, it precisely emulates the polar patterns and other off-axis characteristics of vintage microphones which are essential to their unique sound. Listen to the LD-67 model with omni, cardioid, and figure-8 patterns: The next clip is with the L22 microphone facing directly away from the guitar cabinet, while the pattern is adjusted from omni to figure-8. Dual Mic Models Dual Mode in the Sphere plug-in makes possible phase-coherent mixing of multiple virtual mic models from the same physical microphone, before or after tracking.
It's also possible to adjust the relative phase alignment of the two mics with the Align control. Record In Stereo (With One Mic) With just one Sphere L22 mic it’s possible to make coincident stereo recordings, and even have different mic models on the left and right channels, using the Sphere 180 plug-in. This acoustic guitar track was recorded with one Sphere microphone and processed only using the Sphere 180 plug-in first with the LD-47 and then with the LD-12 mic model. Axis Shift Virtually rotate the axis of the mic to give a more off-axis sound before or after tracking.
Off-Axis Correction™ Create more accurate polar patterns to reduce bleed, room coloration, and susceptibility of feedback before or after tracking. For more information see the Off-Axis Correction chapter in the. Polar Meter The Sphere plug-in features a visually informative (and very cool) Polar Meter that dynamically displays the direction and level of sound being picked up by the microphone, as well as the currently selected polar pattern. Low Noise The microphone hardware has a self-noise level of 7dB-A SPL, well below most vintage microphones and comparable to many of the best modern microphones.
High SPL Handling The L22 can handle in excess of 140dB SPL before clipping and is remarkably rugged. It won’t be damaged by high SPLs or air blasts as some vintage microphones can be. Sphere – How It Works Using a dual-capsule microphone with dual outputs makes it possible to more completely capture the soundfield—including the directional and distance information otherwise lost with a conventional single-channel microphone. This allows the Sphere ® system to precisely reconstruct how different microphones respond to the soundfield. In contrast, other microphone modeling technologies apply EQ to filter the sound from what is essentially a conventional microphone. This is fundamentally no different from using EQ to process a recorded track.
The Sphere L22 microphone modeling system comprises this precision dual-channel microphone, plus an audio plug-in for your DAW. The software plug-in does all of the DSP processing used to create the microphone models. Using a plug-in, instead of DSP processing built into the mic, has the major advantage of allowing the user to change all of the modeling settings, such as mic type and polar pattern, after the audio is recorded. For more information about the technology behind Sphere take a look at the. Precision Microphone. Sphere L22 Microphone – high precision, dual-capsule, large-diaphragm condenser studio microphone, which can be used with or without modeling.
Bundled Accessories. 10 Foot (3 Meter) Breakout Cable.
Shock Mount. Swivel Mount. Hard Carrying Case. Plush Dust Cover Sphere Plug-in. Sphere ® Core plug-in – accurately models a wide range of the most sought-after microphones in the world.
Re-Mic technology – allows the user to change the mic type and polar pattern even after tracking. New patented features – including Off-Axis Correction™, which can produce more accurate polar patterns for reduced bleed, room coloration, and feedback.
Supports a wide range of plug-in formats – including UAD, VST2, VST3, Audio Units, and AAX Native on Mac and Windows. Voucher included for free UAD Sphere plug-in. LD-47K For many, the 47 is the ultimate vocal mic. Rumor has it that Frank Sinatra would not sing without his. The specimen we modeled is an original 47 with a fully brass K47 capsule with a mylar diaphragm and a VF-14 tube. LD-12 Released in 1953 the C12 is another iconic mic which has a gorgeous high-end sheen and sparkle, due to the uniquely designed CK12 capsule.
It's a great choice for lush, breathy vocals, without overly accentuating sibilance. LD-67 The 67 is a very unique and wonderful mic that tends toward warm, yet without sounding dull. We modeled a mid-1960s version. It really shines on distorted guitar amps where it can reduce harshness while maintaining detail. LD-49K Although the M49 used the same capsules as the U47, it has a number of “enhancements” which give it its iconic and distinctive sound.
The center position on the pattern knob is approximately cardioid, but often the pattern was dialed in a little more exactly to get the best cardioid pattern possible. The model uses this “best” cardioid position. Sphere Linear The Sphere Linear model provides ruler-flat frequency response from 20Hz to 20kHz, as well as an extremely smooth and well controlled off-axis response. A first of its kind, for a directional microphone.
Other Models Include:. LD-251. LD-800. LD-67 NOS. LD-87.
LD-87 TK. LD-414 Brass. LD-414 Nylon. LD-414 US. LD-414 T2.
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SD-451. RB-4038. RB-77DX Satin. RB-77DX Umber. DN-57. DN-7. Sphere L22 Basics and FAQ Why does the Sphere L22 microphone output have two channels even when I just want to model a mono microphone?
Having a two-channel microphone makes it possible to capture directional and distance information from the soundfield, which allows the DSP algorithms to reconstruct the three-dimensional response of a wide range of microphones. Can I use the Sphere L22 microphone without DSP plug-in processing as I would with a conventional mic? The Sphere microphone is a very high-quality mic in its own right.
One output of the mic is a forward-facing cardioid and the other is a rear facing cardioid. You can just connect the front output and use that as a conventional cardioid microphone, leaving the rear channel disconnected. Is the Sphere L22 microphone digital or analog? The Sphere microphone hardware is entirely analog. The Sphere modeling technology occurs in the digital domain using an audio software plug-in, which supports UAD, VST2, VST3, AU and AAX Native. The UAD version can run on a Universal Audio Apollo with guaranteed low latency processing.
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Visit this page for a list of well over 250 preamps and audio interfaces that have precision matched inputs. Can I use the Sphere microphone with any preamp I want? Yes, as long as it has 48V phantom power and two available channels; although we have some recommended guidelines which will generally produce the best results. We strongly recommend using a preamp with precision-matched gain controls, to make setting levels super easy. Audio recording interfaces with digitally controlled preamps, such as the Universal Audio Apollo series (excluding Apollo 16), RME Fireface UFX, and the Apogee Duet or Quartet, are a great choice for use with Sphere. With these interfaces the gain between two channels can be linked, so equal level will always be maintained. Pure analog designs with stepped attenuators, such as a Neve 1073 or a Millennia HV-3D, can also work very well, as long as they are not overloaded and are instead used in their linear range.
If the preamp has adjustable input impedance, we generally recommend using the highest setting, which in some cases can provide slightly better gain matching between channels. Visit the page for a list of over 250 preamps and audio interfaces that have precision matched inputs.
Can I use the Sphere plug-in on material recorded with some other microphone? While there is nothing stopping you from doing that, the results will most likely be extremely poor. The Sphere microphone is specifically designed and calibrated to work with the plug-in.
There are very tight tolerances on frequency response and polar response of the Sphere L22 microphone, so that the modeling is consistent from mic to mic. But even more importantly, the microphone is dual-channel, which encodes the directional information for the plug-in which would be entirely lost with a single channel microphone. Does the included Sphere plug-in use copy protection? No copy protection is used.
How accurate is Sphere microphone modeling? The Sphere microphone uses a large diaphragm condenser capsule, and is optimized to model large diaphragm mics most accurately. For vintage large diaphragm condenser microphones, in particular, our target is to meet or exceed the accuracy of currently available reissues, clones or other modern versions of the corresponding mic. In most cases we achieve or surpass that standard of accuracy.
For other types of microphones, such as dynamics, ribbons, and small diaphragm condensers, the models are generally accurate when used on-axis. Beyond about 45 degrees off-axis the models may deviate substantially, but still maintain the same overall polar pattern. Generally this means that for these models close miking will be more accurate than distant miking. The Sphere microphone uses a capsule with very tight tolerances, so that the models will sound consistent no matter what mic hardware is used. These tolerances are typically much tighter than most current or vintage microphones. Does Sphere technology model nonlinear distortion of microphones?
Yes, it models the subtle harmonic characteristics of tube and FET mics, but it does NOT model the full overload characteristics. The Sphere microphone is designed to have a large amount of headroom and dynamic range, so it can handle a very soft and very high sound pressure levels. Our approach provides maximum headroom even if the original microphone being modeled doesn’t have as much headroom. We believe this is a major benefit of the technology, since an overloaded microphone is rarely a desirable thing. Does Sphere technology model the noise and hum of microphones? The Sphere microphone is designed to have a very low amount of noise.
Our approach is to provide the user with the lowest noise possible, even if that is substantially lower than the original mic being modeled. What kind of cable does the mic use and is it included? The included 10 foot cable has a 5-pin XLR female connector, which connects to the Sphere microphone, and a dual 3-pin XLR on the other side, which connects to your preamp. Equivalent cables are available from various other manufacturers. I want to record in stereo. How can I do that using a Sphere microphone? With two Sphere microphones you can record stereo using any standard miking technique, such as ORTF, XY, or spaced pair, just as you would with two conventional microphones.
But it is also possible to record a 180 degree coincident stereo arrangement from a single Sphere microphone. You can even have the front of the microphone have one model and the rear have a different mic model. For more information see the Stereo Recording chapter in the Sphere Hardware and Software Guide, which can be found in the “Doc” tab. Do you plan on modelling additional microphones? Some are already under development. Will there be charges for plug-in updates, such as for additional mic models? We have no plans to charge for software updates for the bundled Sphere plug-in, but we are considering releasing other plug-ins as separate products.
I already have a great microphone collection. Why should I buy Sphere?.
Even the best mic collection has its limits. What if you want multiple U47s or U67s for different sources? Unless you are Ocean Way, most studios are lucky to have one U47 or U67. Vintage mics of the same type can sound very different depending on age, condition, and original production. For example, there are a number of distinctly different sounding flavors of U47s, such as those with an M7 capsule, an original K47 capsule and a later production K47 capsule with plastic diaphragm mounting ring.
With Sphere you can have them all. Auditioning and switching between mics can be tedious, and might tire a vocalist. Don’t risk trashing your vintage U47 by putting it on a guitar amp or kick drum. Don’t risk blowing out a ribbon mic with a plosive or a loud source. Adjust the polar pattern and mic type while tracking and after recording!. You can actually adjust the amount of proximity effect of the microphone. With Off-Axis Correction™ you can greatly reduce bleed from other instruments.
Use the mic in adverse acoustic environments, such as a hotel room. With Off-Axis Correction you can reduce the influence of poor acoustics. Take it with you on the road, leaving your irreplaceable vintage mics at home. When paired with an Apollo or Apollo Twin you have access to a complete world class vocal or instrument signal chain at your fingertips, all with ultra-low latency processing. Has a substantially lower noise floor than virtually any vintage microphone, and most modern ones as well. Requires far less time and money for microphone maintenance (VF-14 tubes are expensive, if you can find one!) Where can I find more information about Sphere?
For the complete FAQ visit our knowledge base at. Specifications and System Requirements Sphere L22™ Microphone. Equivalent Noise Level: 7 dB-A. Max SPL at 0.5% THD: 140dB (with -20dB pad engaged). Pad Attenuation: -10db and -20dB. Sensitivity: 22 mV/Pa. Output Connector: 5-pin male XLR.
Breakout Cable: 10’ (3m) 5-pin female XLR to dual 3-pin male XLR. Weight (mic only): 1.7 lbs.
Re-mike your mic with the sound of world’s best studio microphones Mic Room is a microphone-modeling tool for T-RackS that puts a world-class collection of over 20 classic and contemporary microphones at your fingertips. It gives you the power to process and 're-mike' your physical microphones to sound and perform like some of the most coveted mic models of all time. With dynamic, condenser and ribbon microphone models to choose from (plus other unconventional and highly creative models), it offers an inspiring and essential array of tone sculpting tools that are conveniently ready for use as a T-RackS module in your DAW of choice. Technicolor sound If you’re serious about sound, you don’t just see microphones as recording devices you view them like a painter sees brushes. Each microphone has its own unique and colorful character that contributes to the tone of each mix. This is why a-list recording studios around the world are always stocked with a range of microphones that can suit any situation.
Not everyone has access to an a-list studio, but with Mic Room, you have something even better: A virtual microphone collection inside your computer that can transform the sonic character of any recording to suit the tone and feeling of your mix. Creative tone control Beyond its high-fidelity sound, Mic Room also comes packed with a number of additional tone control features that have been designed to enhance your recording experience. The proximity adjustment effect emulates the “proximity effect” that occurs when your source and microphone are close. Dial it in to make it sound like you’re source is right next to the mix for those deep, rich and vibey tones associated with “FM radio vocals.” Or, alternatively, you can scoop out the bass frequencies by turning the control counterclockwise.
The harmonic content adjustment effect gives you the full power and rich harmonic complexity of a tube condenser. This control lets you add saturation, character and texture to your recordings. Or, in other words, this is precisely the kind of thing that can give a lackluster vocal track that little extra bit of personality and warmth. You can also get creative and unusual sounds by completely maxing out the controls. T-RackS® is a registered trademark property of IK Multimedia Production. All other product names and trademarks are the property of their respective owners, which are in no way associated or affiliated with IK Multimedia.
Product names are used solely for the purpose of identifying the specific products that were studied during IK Multimedia’s sound model development and for describing certain types of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply any cooperation or endorsement. LA-2A and 1176 LN are registered trademarks of Universal Audio, Inc. IK Multimedia's products, specifically, the T-RackS 3 Black 76 Limiting Amplifier and T-RackS 3 White 2A Leveling Amplifier, are manufactured and developed by IK Multimedia based on its own modeling techniques. Universal Audio has neither endorsed nor sponsored IK Multimedia's products in any manner, nor licensed any intellectual property for use in this product. Leslie is a trademark property of Hammond Organ/Leslie, wholly-owned brand subsidiaries of Suzuki Musical Instruments Mfg., Ltd. Of Hamamatsu, Japan, used under license.
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