The APEX 460 is a mic that more than once has been found to be identical to re-branded mics costing 3 to 6 times its asking price. Its also a favorite amongst the do it yourself mod crowd for capsule and tube swaps. I admit my only experience with it is right out of the box, stock, but here goes.

The mic is kind of bright, but I will say its less of an issue than others Ive heard in this price range. The mids arent real forward which can give it that forgiving sort of sound by pulling back potentially nasty stuff. Low end response is tight, not a big deep sounding mic. There is some sparkle to the sound and a decent amount of air, I find it better suited as a budget mic for acoustic instruments as it might be a little too pointy or bright on voice.

Conclusion: Bang for the buck it is, and has a fan base for a reason. Amazing what some other companies have gotten away with by selling this same mic dressed up, as high end. The 460 is a good addition to the home studio looking for a mic with cut and air.

Another character offering from AT, the AT4060 excels at what you think about when you think about tube mics. In other words, it has that sound whereas a lot of tube mics on the market are impossible to distinguish sonically from solid state models in terms of personality. It is also transformer coupled which certainly adds to the sort of vintage sound. Cardioid only, ships with shock mount and power supply.

Smooth and silky, slightly darkish but with a nice energy to it. The midrange is definitely featured on this mic. It has a slight fizz to the sound (I dont mean that in a negative way) in that it has a soft edge around it on most sources. Vocals are pretty easy with the AT4060 as it doesnt accent the sibilant range much. Acoustic sources come across a bit darker and thicker in the mids.

Conclusion: It has a sound, but its a good sound. If a vintage tube type of sound is what you seek, AT did a great job on this mic providing it.

Inspired by the old Neumann bottle mic designs of the past, the Bottle is BLUEs flagship tube microphone that gives you your choice of 8 capsules (dubbed the Bottle Caps) that give you wildly different choices in frequency response and pattern. For truly high end sound and versatility, the Bottle has been sought after for many years.

The Bottle is surprisingly light weight, for how HUGE it is. This mic in person is gi-normous and impressive. Trust me, nobody would ever perceive it as anything but expensive (and lets face it, it kind of is). Being able to tilt and position the capsule eaily is a real plus since this mic isnt exactly built to fit into tight places. Capsules mount with a bayonet style mount, so you dont have to thread them into place and they exchange quickly with a small push and twist. The power supply seems very well built as well. The Bottle normally ships with the B6 capsule from the factory. Overall there is a big sound with the Bottle but it has a smooth sound on its own. Its kind of hard to say much more since each capsule choice makes such a difference with the Bottle (I have given some short reviews of the capsules also).

Conclusion: Versatility and vibe are king with the Bottle, how you can go wrong with being able to completely change the sound of the mic in 5 seconds with a swap is beyond me. Vocals, drums, acoustic sources, serious performance here waiting for you.

The Stage I is the solid state system, the Stage II is the tube and power supply system. Build quality is quite good, as is known from BLUE in California USA. The Stage I is transformerless and low noise, you get a fast clean response and open sound. The Stage II is a creamier, tube-y sound when you like a more vintage sort of vibe. When it comes to rich sound and versatility, I think these systems are some of the best buys around (and it utilizes the same Bottle Cap capsules that the heavyweight Bottle mic uses). The Stage I and II ships with the B8 capsule, shock mount and wooden case.

These systems are sort of what you make of it, since you have 8 capsules of different response patterns and range available beyond the stock B8 capsule. From the B0 (251 reference, big, airy, present) to the B4 (M50 reference, omni that sounds big even at a distance), B6 (C12 reference with gently set back mids and rich upper mids) and the B7 (U47 reference, dark-ish response with forward mid / low-mid and big bottom) theres lots of flavors to reach for. Recording lots of vocals? Id say a system with B0, B6, B7 and B8 would take care of most anyone who walked up to the mic. The bayonet quick swap rocks (you dont have to thread it, this is much easier and built to last) and is done on the fly.

Conclusion: For the most clarity and realism, grab the Stage I and a variety of capsules. For a creamier, somewhat softer sound the Stage II is your best bet. The Stage I is NOT a compromise because its cheaper! In fact, in most ways I prefer it on more sources. Either way I have always loved these systems and highly recommend them.

Another knock out looker from BLUE! Seriously, it seems there is no limit to the diverse appearance these guys are able to crank out time after time. This multi patterned mic utilizes a version of the B7 capsule (U47 reference) in a dual capsule formation, which allows 9 patterns to be selected from the power supply. The mic is all Class A tube and utilizes a transformer output for a thicker sound that oozes vibe.

Overall Id say the Cactus has a somewhat muscular sound in the midrange, a lot of power there to be had. Thick and slightly dark, it has a focused and tight sound. On guitar cabs its one of those rare condensers that deliver it right without too much buzzy top end. Vocals arent real airy and open, just focused almost like how a good dynamic does in some ways. Still, a dynamic mic cant deliver this kind of gut punch and detail in the mids! The Cactus is also one of those tube mics that well, sounds like a tube mic (or what you expect).

Conclusion: For a thick and muscular sound that handles everything in a smooth manner, the Cactus is a great reach. Its multi pattern capability means it would be one of the more useful yet smooth sounding mics in your arsenal.

One of the original CAD tube mics, the M9 has been around for a long time now. I know this is at least the second incarnation of the mic, so at this point I kind of have to do an average of what I know about the M9! Its a fixed cardioid pattern with a large diaphragm, a 100hZ hi-pass filter and a -16dB pad. The M9 ships with power supply and cable, and shock mount in a case.

The M9 is one of the few condenser (tube or not) mics that I enjoy using on guitar cab, its just not a regular source I think to put condensers on. It has this nice smooth midrange thing happening and the top end doesnt buzz around in your inner ear, and low end response is subdued enough for close placement. The M9 really is a smooth sort of sound, theyve done a good job with delivering what most expect with a tube microphone as far as a bit of warmth is concerned. On voice it has a soft but detailed sound, acoustic instruments arent spike-y sounding etc but again are a bit rounded.

Conclusion: A smooth sounding mic with a soft midrange, definitely a low cost bit of vibe to add to your studios collection.

The true standout in the Trion series, the 8000 got my attention quickly. This multi patterned tube microphone has a very cool bottle look to it that I really dig. The thing is though, the Trion 8000 has a unique sound that I found particularly airy but in a different kind of way. The Trion 8000 ships with power supply and cable, and a spider shock mount in a metal case.

There is this really cool soft and airy thing that I totally like with this mic! The stand out application for me was close micd voice particularly in omni mode (with almost no bass buildup). Talk about airy and detailed with this almost smoke-y kind of movement in the high frequencies, and the soft midrange just takes it all in stride. There is this slight upper midrange dip that lands right in the sibilance area (on voices I used it on) and it just handles sibilance like a champ. Very rich and intimate, but softer than what you expect. Acoustic instruments arent going to sound bite-y or overly bright, but again the air and space around them has this movement that is very nice. On drum room etc I thought it was a little too delicate, but its not like it was ever bad on anything.

Conclusion: For home and project studio owners looking for that cool and close micd vocal sound, the Trion 8000 delivers it in abundance. Dont think sparkle, think smoky which is the best way I can describe the atmosphere it catches very well.

A small diaphragm tube mic? Yup, and it makes sense beyond marketing hype too, to my ears. The TS-1 ships with a cardioid and omni capsule so you can swap out for pattern choices (the omni of course a true pressure omni), the power supply, cable, shock mount, windscreen and a carry case. The build quality seems very nice as well.

The TS-1 has a slightly rounded sound, sort of what you expect from a tube mic. Transients arent spiky, and the top end is smooth and ever so slightly darker than you are prepared to hear. This is not a bright mic. Midrange is smooth and full and low end response is strong as well. On a drum kit, it tends to bring out more of the body of the kit rather than the cymbals. You can easily achieve balance in the overhead position though. Acoustic guitar has a slightly soft sound to it, not an accented scrape of the pick on metal strings, with a forward midrange sound and big body to it. The omni capsule has a nice big bottom and slightly darker top end, you can stick it right on the source with no noticeable bass buildup. The omni capsule to my ears seems not quite even in response in the upper frequencies, a little bit more directional than your average omni cap anyhow.

The TS-1 is a smooth sounding mic that does its own thing. Not the most all purpose set, but a great complement to owners of bright and detailed SDC mics and are looking for that gentle flavor.

The V69M was one of those early Chinese made mics that people noticed was different, it kind of was at the start of the coming of age of companies like MXL who started to strive for a richer sound and smoother sounding mics. This transformerless tube mic has a way of delivering a high quality sound in still a pretty low price range.

The V69M-EDT (Mogami Edition) gets a lot of praise like being dark but still with some air. I agree with that, Its sort of softer and smoother in the right spot up top, but doesnt just close up and eliminate detail and the sound of the room and space. It has a forgiving upper midrange for vocals in that it doesnt tend to deliver highly sibilant sounds. The midrange has a punch and motion to it that moves nicely. Low end is full and round, work the mic closely and you will get some size on the low end. Acoustic instruments are delivered with decent harmonic content and transient response, yet still not as tingle-y but more of a vintage vibe sound. The V69 sounds like what you think a tube mic should sound like really, for lack of a better way of saying it.

Conclusion: If youre looking for a tube-y sound and a mic that delivers punch and air without being annoying in the upper range, the V69M still excels at delivering a high quality and smooth sound that most would associate with more vintage type of mics. MXL did a nice job on delivering a lot of mic for the money here.

This large diaphragm tube condenser mic is hand assembled by John Peluso & company in Virginia USA. The 251 ships with an off the shelf power supply, a briefcase style heavy duty storage case, shock mount and 7 pin cable. The 251 is a nice looking mic (like all Peluso stuff) and has that vintage vibe to it for sure.

The sound of the 251 is big and open. It has a bit of that disco smile EQ curve sound to it really, the mids being gently pulled back and the upper mids and top end coming back on strong as well as the bass response. Its not just a big bottom though, the 22 251 delivers a big top end response too that is airy and smooth (great for breathy male or female vox). Vocals come with detail and size, acoustic instruments have air and sparkle to them and come across fairly bright. The mids being back a bit makes it a somewhat non-offensive sound on lots of sources. Drums have plenty of cut and boom too.

Conclusion: The smiley face response of the Peluso 22 251 will put a smile on your face if youre looking for big response on the top and the bottom. As a female vocal mic or an all rounder delivering air, cut and size, the 22 251 fills a nice gap in the mic locker for sure.

John Pelusos U47 clone excels at many things, first of all not sounding like all the other clones! The LE & SE models have a decidedly more natural and present top end vs what were all used to in the land of the 47 clone: dark top end response. When I asked John about this, he explained that he was going for the sound of a NEW 47 rather than what many of the mics sound like now, after having aged for many decades and in who knows what condition. The 2247LE is a 9 pattern large diaphragm tube condenser mic. The 2247LE ships with shock mount, briefcase style case, 7 pin cable and a stock power supply. The LE model utilizes a steel VF-14 Telefunken style tube. The SE model uses a more readily available 5693 tube and has a slightly better noise floor, and very similar performance at a slightly lower price.

I very much consider the 2247LE / 2247SE a workhorse mic that can get lots of stuff done in a classy manner without adding too much of its own character. The low end response is strong, and low-mid and midrange is well represented as well. Again, the top end response is more along the lines of natural, not adding or taking away from the original source and not being bright or dark. Smooth with a forward presence is the best way to put it. The midrange has an easy sound about it that is pleasant also. Voice, acoustic instruments and amps and drums are delivered with punch too. This is one of the lesser sibilant mics for vocal recordings, and does intimate close work well.

Conclusion: Big and smooth and no obvious bumps in the response curve all add up to make the 2247LE / 2247SE shine as a workhorse do all mic. I like the fact that its not a dark offering. I would consider this mic as a multi pattern addition to any collection.

John Peluso does it again! The P12 looks eerily like a classic AKG C12 and carries along with it many of the attributes of the classic sound. The P12 ships with a shock mount, 7 pin cable and stock power supply, all inside of a nice briefcase style storage case. Its all hand assembled in Virginia USA.

The P12 has a bit of a specific sound to it really. First of all, the low end response is tight and doesnt provide a lot of size. This is NOT a negative thing, it means you can place it closer to the source and doesnt get all muddy on you. The midrange is a rich sort of sound, and there is a dip in the upper midrange that gives the mic a more obvious sort of sonic signature. The top end is open but smooth. Acoustic sources, this is your pre-EQd sound really! It delivers great attack and transient response, crisp string and cymbal sounds, and a midrange that is just set back enough to keep things very clean sounding. Drum kit has a hyped presentation that I especially thought was cool, snare drums crack and cymbals jump out nicely too. The sizzle it brings is very nice. The upper midrange dip make it a little tougher to match to a voice, but like all vocal recordings you need to spend time getting that relationship right every time!

Conclusion: The P12 delivers acoustic sources with crack and powerful transients, the tight but clear bottom response make it great for delivering a clear presentation. The upper midrange dip is fairly obvious sounding to me, making it maybe less of a workhorse and more of a tailored sounding mic.