The U95 is a multiple pattern tube condenser microphone, designed by David Bock and then sold by Soundelux. It was Soundelux’ flagship tube condenser in 1998.

The mic has 9 polar patterns, switchable via the external tube power supply (which is a dual-voltage design).

The capsule in the U95 was originally made by 797 Audio in China; it was a dual-membrane, large-diaphragm design made with a gold-coated Mylar membrane measuring 6 microns in thickness. Later, a single-diaphragm version of this capsule was developed and untilized in the Soundelux U915 (which is a cardioid-only microphone). The U95 amplifier circuit uses an 6072A dual-triode tube. The 6072 tubes must pass four tests before they end up in a U95; a distortion test at normal levels, a maximum SPL rating with less than .5% distortion, a microphonics check and a frequency correlative noise check.

Though the U95 has all the warmth and midrange detail usually associated with tube mics, it’s one of the few with extended response to 20kHz. This extended response gives it a sense of “air” and top end magic that is undeniable. Though its creation was inspired by the great mics of the past, its unique two stage tube electronics were an industry first. Top quality components are used exclusively in both the mic and power supply, which are designed for decades of trouble-free service.

The SF-12 is uncanny for creating “you-are-there” stereo recordings that capture not only the instrument being recorded, but, depending on positioning, the acoustic environment as well. If you pay careful attention to the sound of an instrument or ensemble in the recording environment, you will likely find a place where it sounds best to you. Position the SF-12 in that place and you will capture that sound.

The SF-12 stereo coincident ribbon microphone combines high quality audio performance with outstanding stereo separation and imaging. It is a modern ribbon design with no audible diffraction effects or cavity resonance. An SF-12 is actually two matched ribbon microphones placed one above the other; each aimed 45 degrees from center in the classic Blumlein configuration. The frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.

The SF-12 is an excellent choice for drum overheads, where its stereo imaging and realism help to create powerful, dynamic drum tracks. In a jazz setting, recording the kit flat provides extremely natural sounding cymbals, tom-toms and snares. In rock and pop recordings where you’d like to capture the meat of the kit but with more air on the cymbals to help them cut more aggressively, simply open the top end up with EQ. Ribbons take EQ extremely well because they generate virtually no self distortion. When you boost a frequency, even by many dB, you’ll bring up only the musical response you’re looking for without unpleasant distortion artifacts joining the party.