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"I'm a huge fan of the
ARIA… it sounds good
"I love how ARIA sounds so intensely beautiful
when it's close up to an instrument but at the same time it feels very natural."
"To win an Oscar for
The White Helmets was
such a surreal moment…
I'm not sure if it's
sunk in yet!"
"I feel really confident with
ARIA when handing
music over to dubbing
mixers, which is something
I didn't feel with previous
mics I used to own"
PATRICK JONSSON, Oscar-winning composer
(White Helmets, Virunga, Moon Shot, Frame By Frame, Dog Days)
"The first time I heard ARIA was at my friend Joe [Rubel]'s studio, Pixel, on a cello recording by Peter Gregson who is an avid ARIA user. I loved how it sat in the mix; I felt the sound captured both the depth and roundness of his cello while being present and sounding really open. Needless to say I picked one up very shortly thereafter!
"I am a huge fan of the ARIA, it occupies a space in my studio right next to where I sit and I can swing the stand over and record anything very quickly. Clients love how it looks, and the power supply and cable are both a really solid build. I also really like the inclusion of the high-pass filter and pad switches on the power supply.
"A lot of modern mics require help in the mixing stage in terms of EQ and saturation to bring things to life, but the ARIA sounds good to me on everything. If you take the time to find the correct mic placement, in my experience you'll virtually never have to do any corrective EQ. I record all kinds of instruments all the time and need them to be able to hold up all the way up to big cinema systems, and I really feel confident with the ARIA when handing things over to music mixers or dubbing mixers in a way which I wasn't with previous mics I used in my own studio.
"I use the ARIA for every mono source I record at my studio: cello, violin, trumpet, guitar, hand percussion, glockenspiel... all sorts of stuff. I love how it sounds so intensely beautiful when it's close up to an instrument, but at the same time it feels very natural as well when you get more of an overall perspective on an instrument. When we were recording the score for The White Helmets I rented in a Neumann U47 and put that alongside the Aria as I think the 47 also sounds great on cello. We were layering a cello choir of various parts on top of each other and it was fascinating to see how the two mics complemented each other in a great way; I was able to pick and choose either mic or a blend of the two depending on how I wanted each particular voice to sit in context. It was a way of EQing without actually having to reach for an EQ. Considering the U47 costs about ten times more, I think it's a real testament to the quality of the sound of the ARIA, and that exercise really reinforced it as a top-quality mic for me.
"As well as being all over the The White Helmets and Virunga scores, the ARIA can be heard on every project I've worked on since I got it in 2014. One place you can really hear it is on the cello solos on Miracle Baby from The White Helmets original soundtrack album: https://open.spotify.com/track/5dxlf5m8rVZDjCRMefgsI5
"The team for The White Helmets was the same as the one that worked on the 2015 film Virunga and I've worked with director Orlando von Einsiedel for many years. For White Helmets we worked in a slightly different way because, from early on, Orlando and I wanted to write a 'suite' for the film that could be used in the edit. This is certainly not an uncommon way of working but for us it was one of the few times when we started writing anything more than sketches before there were full sequences of picture strung together. I think we both enjoyed it and I feel that as long as you're still open to completely reshuffling things further down the line then it's a good way to work. The danger is always that you get attached to things, but it's important to continually question whether you're making the best decisions, but Orlando has a great sense of the overall picture always, so he helps steer the ship and it's such a blast to be part of a talented team like that.
"Everyone involved is brilliant and we work really hard to try and tell the story in the best way we can. I love working with those guys. Orlando and I definitely have a shorthand after working together for so many years, but every new project is different and throws a new set of challenges our way. I think when you know the team involved it's helpful in terms of everyone having trust in one another and knowing that sometimes certain scenes take longer to find the solutions to than others and giving you that space to experiment and really find the heart of it.
"To win an Oscar for The White Helmets was such a surreal moment. I'm not sure if it's sunk in yet. On one hand it feels amazing that the film has been recognised for its craft, but more importantly, it's brilliant that more people will get to know about the White Helmets and the struggles they're still facing in Syria. It was such a humbling moment to see Orlando and Joanna [Natasegara] accept the award and read out a powerful reminder of whom we made this film for. When all of Hollywood gave a standing ovation in solidarity with the heroic rescue work those guys are doing over there every day, it was a really emotional moment and we all felt really proud to have been able to bring this important story to the world.
"I'm also really proud of Virunga, a feature documentary about the park rangers in the oldest national park in Africa. It was such a special film to be involved with; it's a documentary but feels more like a thriller in many ways. Another project I'm very proud of is Moon Shot, a beautiful web series, executive-produced by J.J. Abrams (Star Wars: The Force Awakens, Star Trek Into Darkness, Lost, Super 8), that tells the story of various teams around the world who are developing low-cost robotic methods of space exploration. It's very inspiring and was a joy to write music for.
"In terms of new stuff that you'll hear ARIA on, I've got an exciting BBC Three series called Five by Five directed by Kate Herron and starring Idris Elba, which was a lot of fun to compose for. I'm also working on my first album, which is a new and exciting way to work for me as I'm so used to writing to picture. I hope to release that later this year."
• Patrick on Instagram • Patrick's website: www.patrickjonsson.com
• Watch The White Helmets on Netflix: http://www.netflix.com/title/80101827
• Watch Virunga on Netflix: http://www.netflix.com/gb/title/80009431
• Watch Moonshot online (free): http://lunar.xprize.org/moon-shot
"The SIGMA is where
vintage equals timeless
classic… I've always
like a beauty with brains!"
JOSH HOMME, Artist/Producer
(Queens of the Stone Age, Eagles of Death Metal)
"The SIGMA ribbon mic is where vintage equals timeless classic instead of dated; where modern equals sonic class, versatility and durability instead of over-hyped mimicry. I've always liked a beauty with brains!"
JUSTIN SMITH, Engineer
(Queens of the Stone Age, Eagles of Death Metal)
"The DELTA is amazing. It handles anything you throw at it from quiet, non-distorted
guitar to balls-to-the-wall, amp-on-11 type stuff. As soon as you've got the final models ready [QOTSA beta-tested our DELTA prototypes], we want more of them!
"We love the HALO too, and we go out live with HALOs all over Josh and Troy [van Leeuwen]'s cab set-ups. They sound awesome!"
QOTSA website • Eagles of Death Metal website
"I love ARIA… it's superb
on vocals and I haven't
yet found a voice that it doesn't suit. It's an
all-round beautiful mic!"
TIM BRAN, Producer
(Bloc Party, London Grammar, Walking On Cars, James Morrison)
"I love the ARIA. It's superb on both female and male vocals and I haven't yet found a voice that it doesn't suit. I take it everywhere I go!
"I always describe ARIA as being warm like a vintage mic, but bright like a modern mic. It's a great combination of old and new technology. And it's not just good for vocals – we've been using it on percussion (tambourine and handcaps) and it's great! It's an
all-round beautiul mic. You guys should be proud!
"I first heard about your mics from Ed Harcourt who said ARIA was lovely on vocals. Then I saw them 'in the flesh' at Paul Epworth's Church Studios when we were in there producing a Marlon Roudette single. I noticed these cool looking ribbon mics on the piano [APOLLO and SIGMA] and then an ARIA and I asked the engineer what they were. Sontronics of course!
"So far you can hear my ARIA on vocals and percussion for Foxes Better Love, On My Way and Scar, it's on all the vocals on Bloc Party's new Hymns album, plus it's been indispensable on Birdy's latest album Beautiful Lies plus some top-secret new projects that I can't tell you about yet!"
• Tim on Twitter • on Facebook • on Instagram
• Bloc Party's Hymns on iTunes • Birdy's Beautiful Lies on iTunes
"APOLLO is truly
stunning… and ARIA is
even more versatile than
I imagined it might be.
The two together are absolutely amazing!"
BEN CHRISTOPHERS, Artist/Songwriter/Producer/Multi-instrumentalist
"I couldn't quite believe it when I first heard the APOLLO on my piano, it's truly stunning! I also use it as room mic which has totally transformed my recordings. Everyone comments on the APOLLO, firstly because it looks like a space-travelling device, secondly because it's so effective. I can't really believe I didn't think of getting one before.
"The ARIA is such a rich-sounding mic and even more versatile than I imagined it might be. I love it! I have used it for percussion, guitar and vocals, Marxophone and other strange instruments like phonofiddles and harmonium as well.
"I have been really struck by how easy it is to get so much out of it, I tend to work quite fast and hate to get drawn in to the right or wrong way of doing things and the ARIA certainly forgives me for all that.
"I like to mic up the guitar amp with the ARIA and use the APOLLO to pick up everything in the room. The two together are absolutely amazing and that's the sound I didn't know I was looking for!"
• Read more about Ben: www.jaxmanagement.co.uk/roster/177-ben-christophers
"We did a blind test of ten mics and the ARIA won
all rounds. We loved the sound of it… it's the only
mic I own now!"
PETER GREGSON, Cellist/Composer
"Over the years I've kept hearing about Sontronics from a wide range of friends and everyone seemed to have a good word to say!
"The first Sontronics mic I used was the prototype ARIA that was being beta-tested at Abbey Road Studios. I intercepted it to use at the studio I share at Tileyard with Joe Rubel. We were gearing up for some recordings with composer Michael Price (Sherlock, The Inbetweeners 2, Delicious) and in the market for a new cello mic, so we put ARIA to a blind test against about ten other 'by the book' cello mics. The ARIA won all rounds of the tests – we loved the sound of it – and, being Scottish, I was amazed it wasn’t going to bankrupt me! Michael and I bought a matched pair and haven’t looked back.
"I’m really fussy with my cello sound. I don’t like when it gets too nasal in the 1k territory or too 'apple-y' lower downl I just want that elusive 'totally flat sound with lots of character that just "sounds like I sounded in the room". The issue with a lot of the big-name mics is they add so much colour that it slightly overcooks the sound to my ears, and sounds like a 'recording' of a cello. I love it when it just sounds like a cello and the ARIA just captures that sound in a really simple, clean way.
"I do a lot of 'scary noises' as well as the melodic stuff, so a microphone mustn’t colour the sound too much; it needs to just capture the sound as it hears it. The ARIA does exactly that, plus it's super simple to use, and doesn’t require an immense amount of mic technique to get a cracking sound really quickly!
"I love the Aria's build quality (I’m occasionally pretty clumsy, especially at 4am) and the box looks like it could contain an expensive cigar, which is pretty cool. People should also know that the Sontronics customer support is brilliant and hilariously witty and occasionally tasty too (the bag of branded M&Ms were inspired).
"If you want to know what ARIA sounds like, it's all over my album TOUCH, my Spitfire Audio sample library, some amusingly oversized Hollywood movies (including my soundtrack to A Little Chaos), and some smaller films and TV stuff too. It’s really versatile, and lets me just get on with scraping Mr Cello.
"I love the ARIA on both my acoustic cello and my electric one. It's such a terrific mic with a clean, honest sound and it's built like a tank. It's the only mic I own now!"
• Peter's album TOUCH on iTunes • A Little Chaos soundtrack on iTunes
• Peter's Igneous sample library for Spitfire
• Peter's website: www.petergregson.com
"I immediately loved the SIGMAs… they sounded natural and unhyped,
the top end smooth but
not lacking in detail"
ANDREW TULLOCH, Producer/Engineer
(Norah Jones, Amy Winehouse, Faithless, Magic Numbers, Jamie Cullum)
"I first came across Sontronics microphones while producing and recording Janette Mason's D'ranged album at Flood's Assault & Battery 2 studios. We had a pair of Coles for drum overheads and one developed a fault so my assistant suggested trying the Sontronics SIGMAs.
"I immediately liked the sound (and looks). They added the right amount of thickness, but without making the cymbals sound like they were inside a sock as many ribbon mics do. They sounded natural and unhyped, the top end smooth but still detailed.
"I used the SIGMA to record several other sources while tracking that album. Guitar cabs really benefited from the warmth and mid-range thickening. I also used it on brass and woodwind; it found it sounded particularly great on soprano sax. It worked really well where I didn't want too much low end, but needed to go darker and fuller than a typical condenser.
"I went out and bought a SIGMA and have recently been using it to record an album with guitarist John Etheridge (Soft Machine, Nigel Kennedy, John Williams, pictured left). He really loved the sound of it on his Cornell combo amp. It's a stunning sound. It also shines on clean harmonica sounds, adding weight and bottom end while de-emphasising and smoothing the upper mid range that can be so aggressive when using a dynamic vocal or condenser mic. It also responds to EQ very well.
"Did I mention it looks great? Very unique design and it comes in a velvet-lined aluminium attaché case!
"I now have my eyes (and ears!) on an ARIA for vocals. Having read great reviews and comments from other people, the mic looks beautiful too. I have also found the company great to deal with; friendly and professional with very good customer support."
• Andrew's website: www.andrewtulloch.com
"My Les Paul just 'agrees' with the DELTA. It gives
a natural and realistic
view of the sounds
coming from my amps…
I never need to EQ it!"
BERNARD BUTLER, Artist/Writer/Producer
(Suede, McAlmont & Butler, The Tears, Ben Watt, Nerina Pallot, Paloma Faith)
"My DELTA is permanently in front of my Vox AC30, which is fed from a combination of heads that I keep in my control room: a '64 AC30 coppertop head, which I've used forever; a Custom Equestrian Vortexion head (made for me from an old Vortexion mixer); and a Vox 1964 AC10. The AC10 is for the cleaner stuff, the AC30 screams so I use it for the more just-clipped sounds so as not to overload the cab, and the Equestrian has a beautiful smooth fuzz but also a master so I can control what I send.
"I used the Coles 4038 ribbon a lot but you have to be careful sticking it in front of guitar amps so I loved the fact that the DELTA was developed to solve that problem. It actually sounds quite different on both sides. I'm favouring the side [the back] with 'ribbon microphone' written on it and it tends to suit being a couple of feet off. I’m not having the problems with odd speaker frequencies as I was before and hence not EQing or compressing, which I prefer.
"My Les Paul just 'agrees' with the DELTA. It gives a natural and realistic view of the noisy sounds coming from my amps. I never need to EQ it!
"I also have an ARIA, which is generally in the middle of the room for vocals but I've ended up using it as a drum room mic and mono on the upright piano or indulgently for tambourine! ARIA has certainly replaced my trusty U87s.
"The ARIA is a lovely vocal mic, very open top end, particularly with female vocals and it sounds great on piano too. It adds a classy smooth refinement to anything I try it on ….it’s now my first choice for vocals.
"Your mics are good looking chaps, which means you want them on show in the studio and people tend to ask, “What the hell is that?' and, 'Let's use it!' I've been recording newish artists Eden Ley, The Anchoress, Kate Jackson and Laura Welsh with them. The cases are handy too if I need to carry them around. And quality shockmounts too - you've no idea how frustrating bad shockmounts can be!"
• BB's website: www.bernardbutler.com • BB on Twitter • on Facebook
• McAlmont & Butler's website • on Twitter
"The SATURN is my go-to mic… it's so versatile and incredibly detailed and
clear. It really does sound good on everything!"
"The APOLLO absolutely blew my mind… it sounded so lush and silky and big, even from a distance"
ED HARCOURT, Singer/Songwriter/Producer
"I was introduced to the wonderful world of Sontronics by Paul Epworth who used to have the studio below me in Queens Park, London. He was always going on about how great they were so I was intrigued, especially by the idea of their phantom-powered ribbon mics. I tried some of the mics Paul had in his studio (he's bought most of their range!) and decided to get an APOLLO, SATURN, DELTAand HALO for myself.
"The APOLLO absolutely blew my mind. I used it as a piano overhead and it just sounded so lush and silky and big, even from a good distance. It's a tour de force.
The APOLLO is permanently set up above me so I can use it when I want.
"I really feel the possibilities are endless with APOLLO. It's beautiful! I ended up using APOLLO on my song Come Into My Dreamland on my new Time Of Dust album. I used it on the piano and that's what gives it such a warm, open feel... much more preferable than the result from the pencil mics I keep under the piano.
"I tend to use the SATURN on lots of different things; it's my go-to mic at the moment, especially when I'm working with Fem Fel (great rapper from London) and I use it for pretty much everything: percussion, double bass, guitars... SATURN is so versatile and incredibly detailed and clear but without getting too bright. It really does sound good on everything.
"I use the SATURN with Ren Harvieu and she loves it. I've also used it with a new singer called Norma Jean Martine and she actually prefers the SATURN to the Neumann U-47 with M7 capsule!
"The DELTA has an amazing smooth richness to it. I've been using on my mariachi guitarron bass a lot and also on my guitar cabs. It really captures the body of the amp... you can't go wrong! I've also been trying out the DELTA on my drums, particularly the toms. They sound massive!"
Here are just some great artists that Ed's been working, performing and using our mics with lately: Fem Fel, Foe, Rae & Christian, Jamie N Commons, Magic Numbers, Carl Barat, Kate Miller, Kathryn Williams, Laura Jansen, Ren Harvieu, Marianne Faithfull plus...
"Sophie Ellis Bextor's 'Wanderlust' album is something I'm very proud of. It's quite a departure from her usual dance music. There's a guy called Timothy Bloom in the States, his record is really great. Oh and Fiona Bevan and Catherine A.D are both brilliant songwriters whom I did remixes for recently. At the moment all my free time I have is spent writing my next record which I'm making with Flood."
• Ed's website • Ed on Facebook • Buy Ed's Time Of Dust EP here
"For PJ Harvey's latest album we also added an ARIA for her vocals… she won't record her voice with anything else now!"
"I have DELTAs, SIGMAs, HALOs, a SATURN, ARIA, ORPHEUS, ARIA and
DM-1B, and they all have
that immediacy of things sounding great without
having to do anything!"
FLOOD, Grammy award-winning Producer/Engineer/Mixer
(The Editors, Orbital, Foals, PJ Harvey, U2, Depeche Mode, Nine Inch Nails, Smashing Pumpkins, Glasvegas, Karima Francis)
"Sontronics was recommended to me by Alan Moulder who had just been working with Josh Homme (Queens of the Stone Age). I tried the DELTA and SIGMA and fell in love straight away. To be able to get clarity and depth so close to the amp was amazing!
"The whole thing about Sontronics is that immediacy of things sounding great without having to do anything. The ORPHEUS has such a great bite to it and all the Sontronics mics seem to have a great natural compression without losing any clarity or detail.
"There is only praise to add about value for money, amazing customer support and the knowledge that Trevor [Sontronics MD and mic designer] cares about every aspect of the mics: the sound quality, build quality, design... and I love his ability to be as caring with the everyday consumer as he is with us professionals. And the mics look amazing!
"I use the mics all the time, be it with Editors, Orbital, Karima Francis, Foals or anyone else. The mics were used on PJ Harvey's Mercury Prize-winning album Let England Shake mainly DELTA, SIGMA, ORPHEUS and HELIOS. We used DELTAs on amps; ORPHEUSs on Polly and John's vocals, brass and ambience. ORPHEUS was our go-to mic for anything and everything: voices, snare drums, acoustic guitars, autoharp, ambience and piano. For Polly's latest album The Hope Six Demolition Project we also added an ARIA for vocals… she won't record her voice with anything else now!
"Both of those albums were the sound of Sontronics, firstly because they were used on so many sources but also, more importantly, because every time we put up a Sontronics mic it gave us what we wanted: clarity, character, purity and openness. The whole album was recorded flat, which is a tribute to engineer Rob Kirwan but also to the Sontronics mics!"
"Across the board, Sontronics' mics have a balance and clarity that
I'd previously only heard
in vintage and often extortionately priced mics!"
"The SATURN sits right
next to me, permanently ready to go. That way at
least I know the recording
will sound good even if
some of my playing doesn't!"
STEVE PRICE, Oscar-winning Film Composer
(Fury, Gravity, Suicide Squad, The World's End, Attack The Block)
"I'm lucky enough to count a few of the engineers at Abbey Road Studios as friends, and over dinner one night one of them was raving about these Sontronics mics which he'd been using at the studios. I'd just moved into a new writing studio and was looking to improve my mic collection so the timing was perfect.
"Whilst we all know it's the sound that really matters, I'd be lying if I didn't say that my first reaction was a smile about how great the mics looked. I think the SATURN was the first Sontronics mic I saw in action, and the slightly retro styling is fantastic... it's one that visitors to the studio always ask about and head towards. Sound wise, I was impressed by the high-end quality. Across the board Sontronics' mics have a balance and clarity that I'd previously heard only in vintage and often extortionately priced mics.
"Much of what I record in my own studio is solo instruments and voices. I have a slightly compulsive collecting habit for string instruments of all varieties, so it's been a lot of fun trying various mics with each instrument and experimenting, depending on what sound I'm attempting to achieve. Again, with voices, each of the different mics has proved its worth at some point. On The World's End, when I needed to make the sound of a strange, hellish choir, I ended up huddled around the SATURN with my children, us all wailing away. Overdubbed and processed in peculiar ways, it made a great sound and made it into the film, much to the children's amusement.
"When I record instruments in my own place, I'm largely looking to accomplish one of two things, either the best sound I can achieve for an exposed solo instrument, or, more often, a clean well balanced signal that I can play with in myriad ways. Something I love is to take a sound and transform it to make something unique, something that belongs to and complements the unique mood of a particular film. Even though I'm no engineer, it's been very easy to get sounds that work for me using my Sontronics mics. Rather than spending ages 'saving' sounds with EQ and compression after the event, I'm finding I'm getting good results quickly that suit my needs and let me stay in a creative mode rather than becoming distracted by technical fiddling.
"Apart from the orchestra that we recorded at Air Studios, everything else from my score for Edgar Wright's The World's End was recorded here in my studio, the majority of it using my Sontronics mics. There are lots of guitars and percussive overdubs, along with manipulations of sounds which have their origins in anything from mobile phone interference to the tape drive from an old computer.
"A huge amount was recorded with the SATURN as it seems to just work wherever I put it. I was particularly pleased with the vocal sound we got when recording two choristers from Winchester Cathedral. A combination of the SIGMA and OMEGA seemed to provide just the right balance of clarity and warmth. The mics were also used extensively for my score for the film Gravity.
"Sontronics is a rather impressive company... everything I've seen from them, from the products themselves to the way they're packaged, to the direct and friendly support offered by Trevor and Lisa, has been fantastic. It's very easy to recommend Sontronics. I'm looking forward to trying whatever products they come up with next!
"The SATURN sits right next to me at my writing desk, permanently plugged in and ready to go to capture any ideas I may want to try when I grab an instrument. That way I know that whatever I record is going to be in good shape. Or at least that the recording will sound good, even if some of my playing doesn't!"
• Steven on Twitter
"SATURN brings a warm clarity to vocals that I found difficult to get with a U87… with SATURN it just sits perfectly without the need
for extra EQing"
CAREY WILLETTS, Artist/Writer/Producer (Athlete, BOXES)
"While mixing my first solo album as BOXES – Stickers – with Simon Gogerly, I wanted to re-record a vocal. It needed to be dark but intimate and Simon suggested trying a Sontronics DELTA, a ribbon mic designed for electric guitars! It was perfect: dark, warm and intimate. The next day I bought one... soon followed by a HALO and a SATURN!
"I know the HALO is designed for guitar amps but so far I've used it on percussion, backing vocals, roomy thin piano and acoustic. I've found it's great for recording things that need to poke out of a mix but not take up loads of room. Its sound has also inspired some songs to take a different direction. Lots of fun!
" have mostly been using the SATURN on vocals. I think it is particularly good on female vocals – it brings a warm clarity that I found difficult to get with a U87. The U87 is a great mic but I often found it a little harsh especially on girl vocals but with the SATURN it just sits perfectly without the need for extra EQing after the fact.
This might sound funny but it's honestly true: the way SATURN looks actually is a massive positive. People really enjoy singing into it! They say the first bite is with the eye? Well... the SATURN is delicious!
"I've been doing lots of writing with different artists from well known people like Matt Cardle to more up-and-coming artists like Laurren Aquilina and Daniel James, and the SATURN has had a good outing!! They have all enjoyed singing into it!
"I've also used SATURN as a one-mic-in-a-room for a male acoustic artist. Once I found the right position to capture both vocals and guitar, the whole track came to life. Every time I listen to it it still feels like he's sitting in the corner singing to me... in a non-weird, non-creepy way! The SATURN has made a big difference to me, especially when recording female vocals or falsetto. Warm precise but not in a 'by-numbers' way.
"I have often used Coles ribbon mics for acoustic guitar and pianos but have had trouble with them on electric guitar and I would never use them for vocals. So the Sontronics DELTA has really plugged a hole for me. It's great on electric guitars; it has that ribbon sound but doesn't break!!!! Plus I really like it vocally, especially on softly sung tracks.
"The biggest plus, outside of sound, for me is Sontronics' customer service! Not only are the Sontronics guys helpful, engaged and passionate, they also do the Lifetime Warranty! Brilliant!"
Carey's BOXES website • Carey/BOXES on Twitter
"I'm using DM-1B on cab (amazing!) and on kick
drum. When you get it in
the right place it sounds as good as my U47!"
"It's incredible how Sontronics get even their most affordable mics to sound like they should be
ten times the price!"
ANDY GRAY, Composer/Producer/Mixer
(Big Brother, TT3D: Closer To The Edge, Swordfish, Paul Oakenfold, Gary Numan,
Hard-Fi, Liz Frazer, Craig Douglas Project, John Foxx)
"Quite a while back I read a cool write-up on Sontronics mics and I had to try them. I'd used their ribbon mics before and now I'm using their drum mics – DM-1B on kick and bass, DM-1S on snare, DM-1T on toms – plus DELTA and HALO on guitar cab, and they've featured on all my recent stuff: tracks co-written with Gary Numan, the soundtrack to US telelvision series Hunters and the music for movie TT3D, plus a sample library I'm recording for Spitfire Audio.
"My first try of the DM-1B was on bass cab and it was amazing. I'm now using it on kick drum and when you get it in the right place it sounds as good as my [Neumann] U47fet does outside the kick, which is amazing!
"The DM-1S is one of the best close snare mics I have ever used. It is working amazingly well. It gives you a real open snare sound, unlike the snap/crack you get with a 57. I've just started using the DM-1T on toms and again I found that even with close miking you get a nice open sound. It's great!
"Sontronics HALO is amazing on guitar – it gives you a real direct, in-yer-face sound. It can make your amp push through the mix like a DI guitar with a plug-in. I love it!
"I've now got Sontronics ARIA which is just stunning. I spent the first six months using it alongside my vintage Neumann M49, tracking everything on both mics, and pretty soon it was obvious that the ARIA was better on everything… I ended up putting some of my Neumanns on ebay because of it.
"It's just beautiful. I used it on everything from guitar to percussion to operatic vocals to double bass to overhead on bass drums… ARIA is a phenomenal mic and it's always set up ready to swing round and use on whatever I'm recording. I couldn't live without it.
"My daughter is now writing and recording her own tracks, and she's been using Sontronics mics at her college. She's got an STC-3X for her own set-up, and it's incredible how Sontronics get even their most affordable mics (STC-3X is about 250 quid, I think) to sound like they should be ten times the price. When she's not using it, I steal it for my own studio - it's a brilliant mic!"
• Andy's website: www.andygrayproductions.com
• Look around Andy's studio in this Spitfire Audio 'Cribs' episode on YouTube
"I'm really happy with the ORPHEUS… it sounds full bodied with good presence"
SIMON GOGERLY, Grammy Award-winning Producer/Mixer
(Paloma Faith, U2, New Order, Little Boots, Texas, N-Dubz, Gwen Stefani, Underworld)
“I’ve been using Sontronics mics for years and recently I’ve been using the ORPHEUS
as a drum room mic (pointing at the floor) on tracks by Angry vs The Bear, Ilanois and Bogdana Chivas (all projects in progress) and the SIGMA has been used for guitar amps on the same projects.
“I’m really happy with the results I’ve had from the ORPHEUS – full bodied with good presence. The SIGMA is nice and warm as you’d expect and quite sensitive, which is why I’ve just bought a DELTA as well, for more raucous amps!
“The design of the mics is wonderful – really special. It’s great to see a mic manufacturer taking an individual approach to the way these things look. The build quality is great, particularly on the SIGMA. It really looks and feels substantial.
“These are really useful, usable mics with an individual look and a great price.”
Simon's website • Simon on twitter
"APOLLO is phenomenal.
We used it on horns and all the strings… it just made
the room come alive!"
JACK DOUGLAS & WARREN HUART, Producers/Engineers (Aerosmith)
We caught up with legendary producer Jack Douglas and Warren Huart in LA's Swinghouse Studios to find out how they used Sontronics mics on the Aerosmith's Music From Another Dimension album…
Jack: "That beautiful string sound that we got in this room… a great deal of that is because of the Sontronics APOLLO."
Warren: "It was phenomenal – we used it on horns and all of the strings that we recorded. It just made the room come alive."
Jack: "We love ribbon mics especially on guitar amps and we used Sontronics DELTA on Joe Perry's combo."
Warren: "This is a beautiful mic. We shot out a lot of ribbons… but we need something with a silky smooth top end and that's why we went with the DELTA."
Jack: "It also handled the level… we didn't have to put it three feet away… it's quite an amazing ribbon… a fantastic shaped and sounding microphone!"
Jack: "We love the characteristic of a FET 47… but we didn't have anything that would work on bass, but this [Sontronics DM-1B] did the job perfectly for Tom Hamilton's bass."
Warren: "I love it… an amazing microphone."
Jack: "The Sontronics STC-1S matched pair… they worked GREAT! They're so versatile and we used them on pretty much anything that you would want to use a stereo pair on. Look at the amount of control. The two rolloffs are in perfect places and then the zero to 20dB pad… we've got to try it on acoustic guitar!"
Warren: "They're very flexible. We used them on hi-hats, overheads, pianos… with the 150Hz rolloff they'd sound amazing on acoustic guitar and with the -20dB they'd handle a very loud drummer as well… astounding sounding mics for the price!"
CLICK HERE to see our full video interview with Jack and Warren at Swinghouse Studios
"Sontronics mics play a massive part in what we
do… the drum mics sound amazing, the SIGMAs
sound awesome and I'm
so pleased with SATURN
HENRY DARTNALL, Artist/Producer (Young Knives)
"I'd been looking for a pair of ribbon mics after working with a guy on our second album Superabundance who used different ribbons on the kit and we really liked the results. Then I heard SIGMA in a little studio we were demoing in and thought, 'That's the one!'
"Sontronics mics look awesome, which was a great starting point, then I read some good reviews and thought it would be great to have mics from a British company. We're now working on our fourth album and Sontronics mics are playing a massive part… they are the mic bit of the whole thing!
"As for the drum mics, I find it so easy to get a good sound. Initially I just put them in front of the kit, moved them around a bit (so it looked like I knew what I was doing) then pressed Record. The drum mics with the SIGMAs out front sounded amazing... they just add some really cool vibe to the sound that brings it alive. We use the STC-1S as overheads to add brightness to the whole drum sounds, and I tend towards using the OMNI capsules for a more accurate sound.
"The SIGMAs are in a stereo configuration in front of the drumkit. I have them as far apart as I would studio monitors, just in front of the kick. They sound awesome. Basically I get the sound right with them and then bring in the DM-1B, DM-1T and
DM-1S for punch.
"I'm just so pleased with SATURN on vocals. They sit so well in a track and it seems to suit everyone I put in front of it, including me and I'm a terrible singer! I've put it on my Mesa Boogie MkIII guitar amp too and it captures all the dirt and punch of the amp."
• Young Knives on Facebook
"The SIGMA gives a
very pleasing and warm characteristic to the
sharpest of guitar cabs and we use it on a daily basis"
"I'm always blown away by the consistently high build quality and sonic attractiveness of all Sontronics mics!"
WILL JACKSON, Producer/Engineer
(Kaiser Chiefs, Pigeon Detectives, The Cribs, Wiz Kahlifa, Embrace)
"I first saw Sontronics mics in a local shop. I loved the retro-styling and immediately bought two HELIOS valve mics! In addition I now have two ORPHEUS and a SIGMA ribbon mic as well.
"I've found the HELIOS to be the best all-round mic – it seems to be able to handle anything from guitar cabs to strings to horns and drums with no problem. I would have to say that the HELIOS gives the U47 some serious competition!
"The HELIOS, being my particular weapon of choice for vocals, has been used for the Kaiser Chiefs, Pigeon Detectives and The Cribs, cutting through the mix with consummate ease. Also Wiz Khalifa used the HELIOS for vocals on a recent session for Atlantic Records (New York).
"The ORPHEUS is brilliant on acoustic and electric guitars, and for overheads.
"The SIGMA gives a very pleasing and warm characteristic to the sharpest of guitar cabs, and is used on a daily basis, including as a secondary mic for acoustic instruments, adding body to the sound.
"Over the years I have used many different brands of mic and I am always blown away by the consistently high build quality and sonic attractiveness of all Sontronics mics. Whenever I have needed any support (eg, replacement valves), Trevor [Coley, founder & MD] has always been totally on the case and has supplied by return of post. A fantastic service for a professional studio!
"Another important factor is to be able to rely on a good, accurate performance and these mics consistently deliver! There's a certain coolness to the retro designs, so they attract much comment. Only one last thing to add: the quality.. it's extremely impressive! Keep it up!"
Soundworks Studios website • Soundworks on Facebook • on Twitter
"Your ORPHEUS and
drum mics sound great
right out of the box with
no need to add any EQ.
They truly capture what
my drums sound like…
and they look very
sharp as well!"
PETE PARADA, Drummer (My Chemical Romance, The Offspring, Devo)
"Sontronics mics were suggested to me by my friend Mike 'Fish' Herring who's a big fan of your guitar mics. On his recommendation I bought the drum mics – DM-1B on kick, DM-1S on snare, DM-1Ts on my toms – and a pair of ORPHEUS as overheads for the cymbals. My first impression was that they sounded great, right out of the box, with no need to add any EQ. They truly captured what my drums sounded like in the room without any need for enhancement. Not to mention the fact that they look very sharp as well! Everyone who visits my studio comments on them first thing.
"So far I have used the mics for recording projects with The Offspring and Operation MD, as well as for recording instructional videos for my drum lesson website www.drumbunker.com
"The results have been amazing. I'm recording in a fairly small room and these mics capture the sound of the drums with all the punch and clarity that I need. The detail of the close mics is incredible and the ORPHEUS condensers capture the scope of the entire kit perfectly.
"The design is really great. They've taken a few direct hits from my sticks without any problems and their size makes it very convenient to place them anywhere I need to.
They came packed securely and the wooden boxes for ORPHEUS and flightcase for DM-1B were a nice touch. The customer support is outstanding – they're a great company. I am always interested in what they will come up with next! The drum package has been simply outstanding."
Follow Pete on facebook and Twitter • Pete's website
"I was very impressed with how the DELTA captured
the bottom end of the guitar cab sound and smoothed
out some of the spikier transients. I love it!"
STEPHEN STREET, Producer/Writer
(Blur, The Smiths, Morrissey, Cranberries, The Maccabees, Kaiser Chiefs, Babyshambles, New Order, Ordinary Boys…)
"I first came across Sontronics whilst recording in Flood's room at Assault & Battery where I tried the SIGMA and DELTA whilst recording guitars. I also saw a brochure detailing the mics that Sontronics makes and was struck by the range available.
"I was interested in trying the SATURN as I wanted to try a new microphone for recording the vocals for a new album project. I was also looking for a microphone to add to my collection of gear in my studio (THE BUNKER) at Miloco that would work well recording vocals but also be useful for recording acoustic guitars.
"SATURN captured the performance of the lead vocalist with plenty of clarity and a nice natural sound. I was also impressed by the choice of polar patterns plus filter and pad control, which give it a great versatility and I soon tried it recording acoustic guitar. The results were very positive, a good open sound being achieved without having to resort to external EQ.
"I used the DELTA alongside a Shure SM57 on the guitar cab whilst recording guitars and was very impressed with how it captured the bottom end of the sound and smoothed out some of the spikier transients. It definitely captured some of the sound spectrum that the 57 failed to catch! I love it"
Stephen's website • Stephen on twitter
"We were blown away by how good Sontronics drum mics sounded… we had to keep checking the patching because we thought the
DM-1S sounded like the £1,000 microphone!"
MARK RANKIN, Grammy-winning Recording & Mix Engineer
(Florence & The Machine, Plan B, Adele, Cee-Lo Green, Queens of the Stone Age)
"I was involved in the road-testing of the prototypes of Sontronics' drum mics – the
DM-1B, DM-1S and DM-1T – at Flood's studio Assault & Battery where we were blown away by how good they sounded.
"On a session for the Friendly Fires album we were recording drums and had two microphones on the snare: your new snare mic [the DM-1S] and a Josephson E22s (which costs about ten times as much).
"Basically we had to keep checking that the patching was correct because we thought the Sontronics mic sounded like the thousand-pound microphone. Incredible!
"We've also got the SATURN into action… and it's winning on everything at the moment! Drum overhead… acoustic guitar… and of course, vocals. It sounds great with Florence, although we're using some of your other mics on her as well. The DELTA has been sat in front of the guitar amp and hasn't moved so that's definitely working!"
Mark's website • Mark on twitter
"With the STC-80 I can't believe my voice sounds this good… Don't let the price fool you; whatever dynamic mic you're already using, the STC-80 is an upgrade!"
JON GOMM, Guitarist/Singer/Songwriter
"I first came across your STC-80 when I was in a Leeds store [Production Room] testing another mic, which I was really disappointed by. I asked if they had anything else that could come close, and they gave me your STC-80 to try.
"Wow! Amazing clarity and stunning top end, the sweet breathiness you'd expect from a condenser and the bottomless low end too. It doesn't sound hyped, just better! I don't know if it's some magic EQ trickery or a magic diaphragm but I was blown away. And then the price... Amazing! And a British company too!
"I'm hands on with my sound and use my own vocal effects processor live, which has all my EQ on too. For my previous mic, I had to dip out the mids where my voice gets nasal and boost the bass to get some extra warmth but with the STC-80, I can have it flat. Bam! I can't believe my voice sounds this good! It took me a while to get used to, because it seems counter-intuitive when you're used to EQing a familiar thing the same way for years. Also now I can set the preamp gain however I want, rather than spending ages finding the spot where it gives good level but doesn't clip or drive.
"Last week I was in the studio, recording some songs for my YouTube videos and to get that live feel I decided to use a live vocal condenser (a Neumann) which costs around five times the price of the STC-80... but it just sounded really thin and popped on all my plosives. Back to the STC-80!
"Don't let the price fool you. Whatever dynamic mic you're already using, the STC-80 is an upgrade!"
Jon Gomm website • on Facebook • on Twitter • Jon's YouTube channel
"The APOLLO was great
on strings, and I also used it as a drum overhead and for acoustic guitar… it excelled at everything I tried it on"
CAMERON CRAIG, Producer/Mixer/Engineer
(Baxter Dury, Brigitte Fontaine, Brett Anderson, Ren Harvieu, Adele)
"Whilst recording a large string section for Brigitte Fontaine at Abbey Road Studio 2, my usual stereo ribbon was being used in Studio 1 and they recommended the Sontronics APOLLO as a substitute. It was great and after the strings were done I tried it as a drum overhead and then acoustic guitar… it excelled at anything I tried it on.
"I had been looking for a snare drum mic but couldn't bring myself to pay £1,000 for one and was having to use a combination of common studio mics to get what I wanted. After checking out Sontronics' website I came across the DM-1S and DM-1T and I asked to try them.
"I used them on tracks for The Enemy and Baxter Dury, they did the job brilliantly and I ordered some straight away... my wallet isn't going to wince if one takes a hit with a drumstick! I've got a lot of microphones but there are certain go-to mics, and the DM-1T and 1S have become my go-tos for tom and snare.
"I really can't fault the build quality, Trevor at Sontronics has been great – so supportive and helpful – and to be honest I'd like to try everything in the range!"
Cameron's website • Cameron on twitter • on instagram
"The APOLLO gave a
wonderful 'glue' to the
sound of the kit… the
stereo image was fantastic!"
JOE HARLING, Front of House Engineer
(Tom Chaplin, Ellie Goulding, Michael Kiwanuka, British Sea Power)
"I tried out several mics on our European tour with Michael Kiwanuka and the real winners for me were the Sontronics DM-1T and the DM-1B.
"The DM-1Ts were deployed on the percussion player's vintage congas. The DM-1T is so small that you can whack it on a LP claw and you can get it in the tightest of spaces in a busy percussion set-up, and it handles EQ very well. There was actually not too much spill at all, but what there was sounded 'nice' not harsh. I've actually now bought some more to use on all of the close miked percussion!
"The DM1-B was used in front of the bass amp, in combination with a good DI box. I am not generally a fan of using a bass mic live, as I tend to feel that most kick drum mics are too 'sculpted' sounding to use, and there is too much proximity effect with many of the standard dynamic mics. However, the DM1-B gave me a nice compromise in between these two extremes. It sounded natural, provided super-lows that the DI could not, and didn't muddy the sound at all.
"I was using APOLLO over the drumkit. I was used to using overheads just to capture the top end of cymbals and relying on close miking for the rest of the drums. However, with this gig it quickly became apparent that the overheads would actually be the main drum mics, as the kit is tuned very 'jazz', and the cymbals are lovely and dry.
"My approach was to place APOLLO as near the centre of the kit as possible, hi-pass it only up to about 250Hz, and use a fairly aggressive fast attack/release compressor to tame the snare. Being a ribbon mic, the APOLLO required a bit more EQ than a condenser mic might, but the mic really gaive a wonderful 'glue' to the sound of the kit. The stereo image was fantastic.
"I'd definitely like to deploy the APOLLO in a studio situation, especially to capture room ambience."
"Sontronics mics rule!
They have very high quality sound, they're strongly built and elegantly designed…
more than awesome!"
JB PILON, Producer/Artist (Wax Studio, Grace Moon & The Jaguar)
"The first time I encountered Sontronics was seven years ago at Microbes Studio in Paris where they had a SIGMA. I used it on a few sessions to record some tasty guitars and vocals. I loved it straight away, both its sound and its look, and I was hooked!
"I now own a DELTA, OMEGA and DM-1B and I use the Sontronics DELTA on every single guitar cab I record. It's an awesome mic, it captures the tone of the amps with precision and style. I also use it when I record horns and sometimes as a room mic when recording drums. It's my favourite weapon. It's a killer mic!
"The OMEGA is lovely too. I often use it on vocals or for mono piano miking and it definitely beats all its opponents in the same price range.
"The DM1-B is a great microphone for kick drum; very precise with a very nice low end. I also often use it on bass cab where it does a great job and tried as a complementary mic on double bass too where it did well. A wicked mic!
"Sontronics mics rule! They have a very high quality sound and, placed wisely, they always enhance the tonal character of the source with great beauty. They are strongly built and elegantly designed, the customer support is super efficient and the lifetime warranty... is just more than awesome!"
JB's website • JB on Facebook • Wax Recording Studio
Grace Moon & The Jaguar on Facebook • on Vimeo
"I'm very fussy about how
my cello is recorded but
I have found the SIGMA
produces a very true
picture of the sound"
JULIAN LLOYD WEBBER, Cellist
"Recently I was recording at Abbey Road Studios and asked to use a vintage STC mic. The head engineer there [Andrew Dudman] mentioned that he had 'another ribbon mic [a Sontronics SIGMA] so we did a blind side-by-side test and I went for the SIGMA!
"My Stradivarius Barjansky cello is a huge part of my life and it is my 'sound' as a musician, I'm very fussy about how it's recorded! So often microphones do not reproduce its true sound, but I have found the SIGMA produces a very true picture of the sound.
"We've used the SIGMA for the Audio Network session at Abbey Road, for a reworking of the South Bank Show theme tune [at Sphere Studios] and a first recording with my cellist wife Jiaxin for the Classic FM/HMV series 'The Full Works'.
"Everything seems thoroughly professional and the microphones are beautifully packaged. I would certainly recommend Sontronics microphones to other people.
"It is wonderful to find mics that refer to the best of the past and work so truthfully in the present."
READ THE FULL INTERVIEW HERE
Julian's website • Watch Julian & SIGMA in action, recording South Bank Show theme
"The DELTA is stunning… what a fantastic sounding ribbon mic!"
STEVE STEVENS, Grammy award-winning Guitarist/Songwriter
(Billy Idol, Michael Jackson, Bozzio Levin Stevens)
"Finally a company that has designed microphones that are guitar amp-specific!
"The Sontronics DELTA is stunning... what a fantastic sounding mic. It pretty much sounded great right in front of the speaker with no EQ. I recently got a 1965 Sears Silvertone amp and the combination of the DELTA microphone and this vintage amp is just perfect.
"If it sounds good coming out of the amp, I can guarantee you that the DELTA will translate that perfectly, in almost 3D clarity. It blew away ribbon mics costing twice as much!"
• Steve Stevens on Facebook • on Instagram
"We were so impressed with how well Sontronics mics stand up to classic mics, but at a fraction of the cost"
BOE WEAVER, Producers/Composers/Label Owners
"We first came across Sontronics mics at a listening session arranged by a friend of ours. We spent the day comparing a heap of mics and were SO impressed with how well the Sontronics mics stood up to classic mics but at a fraction of the cost. The builds are solid and reliable.
"We are currently using the DM-1B and the DM-1S and we use them on all sorts! We have used the DM-1B on kicks, double bass, bass cab, cello and toms. The DM-1S we use mostly on our undersnare but again, we have used it on guitar cabs and lots of loud sources.
"We've also been using the ORPHEUS which is an incredible room and overhead mic. Stick it high up on a tall mic stand and it's our go-to reverb plug-in!
"Sontronics mics have a great presence and clarity in a mix and can really help to push out important elements. I can say honestly that a Sontronics mic has been on all our session for the past few years. Ribbons are used heavily here at Studio Humbug so before long we will be trying out the Sigma and Delta... and we also fancy that Halo for cabs! We also heard the Aria in action the other day... Impressive!"
Boe Weaver website • Boe Weaver on Facebook • Boe Weaver on Twitter
photo by Luke Hodgkins
"The ORPHEUS really enhances my performance and my sound… there is
no comparison between
this and the mic I was
HANNAH PATTERSON, Voiceover artist/presenter
"I was introduced to Sontronics by a male voiceover friend who raves about their mics. On his recommendation (and after chatting with Trevor and Lisa at Sontronics HQ) I bought an ORPHEUS mic, which is apparently designed with a female vocal in mind. I loved the fact that it was specifically for girls, as there is a definite difference between the male and female tone and range.
"I find the ORPHEUS really enhances my performance and sound. There is no comparison between this and the mic I was using before. The quality of the sound is far richer now!
"As soon as I bought my ORPHEUS mic, I felt I could take the voiceover work seriously. It gave me an air of confidence as I know it delivers quality audio. The style of the mic is fabulous too – obviously there is a technical reason for this but it just looks really glam and that's what gives it the edge for me! The producers I work with at UKRD were also really impressed when they saw the spec.
"Sontronics' ORPHEUS is an investment from which you'll reap the rewards for years to come. It's a great British broadcast quality mic to be proud of!"
Hannah's website (all showreels and imaging examples recorded on Orpheus)
"I started out with a DELTA
& HALO on my amp and
and the results are amazing!
We now have four HALOs
and four DELTAs that
we use for our live and
PETER G HOLMSTRÖM, Writer/Producer/Guitarist
(Dandy Warhols, Pete International Airport, Young Man Grand)
"My discovery of Sontronics mics came about when I was looking online for a Helios Electronics preamp and I stumbled across the Sontronics HELIOS mic. It looked really cool, as did all the other mics on the website. I read up a bit more and couldn't find a bad review so was interested in getting hold of some for myself.
"I started out with a DELTA and HALO combination and the results are amazing! Not just on guitar amps either... I use them on everything. In my little studio I've been using them on my '60s Kalamazoo and my '50s Ampeg amps.
"I'm starting a band with my friend Herman Jolly, and he's been singing into a HALO. We've been using the DELTA on the acoustic guitar too.
"We've now got four HALOs and four DELTAs that we uses on the Dandy Warhols set-up live and in the studio. I've now got my eye on the SIGMA, SATURN and HELIOS mics and hoping to see a 500-series Sontronics preamp added to the range. The build quality and design are excellent, I'd recommend Sontronics to everyone... in fact, I already have!"
Dandy Warhols website • Pete International Airport website
"APOLLO is my new best friend… I recently recorded an entire song using it on every instrument… talk
about juicy and warm!"
"I met up with Sontronics' founder Trevor Coley and it was immediately obvious
that he is very passionate about what he does.
I think that energy translates into the products - they
ADAM WATTS, Composer/Producer
(Colton Dixon, Jonas Brothers, Disney Channel, Miley Cyrus, High School Musical, Jeremy Camp, Switchfoot, Chronicles of Narnia)
"After coming across the Sontronics stand at Winter NAMM 2012, I couldn't leave wthout buying some of their mics and so far I own a HELIOS, HALO and APOLLO. After using the mics for a year, at NAMM 2013 I met up with Trevor [Coley, founder, designer & MD of Sontronics] and it was instantly obvious that he has an infectious energy and is very passionate about what he does, while being equally thoughtful about his designs. I love seeing that, and I think that energy translates into the products.
"I use HELIOS on vocals or acoustic guitar when I want a very present, exciting, focused sound. I also use it as a mono room for drums sometimes. I love using the dial to move it slowly into omni mode – great for group vocals or for the room application.
"HALO is my top snare drum mic. I like the mid range and the way it sounds when you add low-end to it to get that beefy snare sound that still has a lot of crack to it.
"APOLLO is my new best friend. This mic sits on top of my 110-year-old Steinway upright and acts as my piano mic and my room mic when tracking drums. I recently recorded an entire song using only the APOLLO on every instrument. Talk about juicy and warm… man… and without being muddy. I'll also use the APOLLO when I'm recording ethereal guitars along with a close mic so I can get a spacey sound that really has space, rather than relying on digital effects alone.
"Most recently I've used the mics on American Idol finalist Colton Dixon's new album A Messenger… Sontronics mics are all over this album. My solo album Out From The Ashes has Sontronics mics everywhere. You can really hear the natural tone of the APOLLO on the drums on the song Life On Earth and the crispy tone of the Helios on My Heart My Head. http://songbone.com/adamwatts
"Microphones are tools we use to capture performances, so it's really great when one of those tools can actually give you something back and help inspire the process. It's all about the sonics, but I must say the mics are great looking too! It's an interesting thing, to have access to super-expensive mics but know that you can get something unique and worthwhile in a less expensive package. You know there's something cool going on; when a Sontronics microphone is the choice over a mic that costs two, three or four times as much."
Adam's website • Adam's production project Red Decibel • Adam on AllMusic
"SIGMA has become my
go-to mic and is
permanently set up in
my home studio"
JOHN PARISH, Producer/Artist/Composer
(PJ Harvey, Tracy Chapman, Sparklehorse)
" I first came across Sontronics through Toybox Studios in Bristol. Trevor [Sontronics MD] had delivered some mics to the studio, I was working there that day and I took a couple of mics home with me to try. I ended up buying the SIGMA!
"SIGMA has since become one of my 'go to' mics and is permanently set up in my home studio. I use it for guitars – both electric and acoustic – percussion, amped keyboards and anything that I want to sound 'natural', ie, without that artificial high-end boost that can make a lot of mic'ed signals sound very different when recorded to how your ear (and brain) perceive them in the room.
"I've had the SIGMA for nearly seven years now and I've used it on almost every session I've recorded in that time. It's been dropped a couple of times, it's been knocked over, it's had some very loud amped signals blasted at it... yet the only problem I've had with it is that the plaque saying SIGMA has fallen off. I can deal with that. Recommended!"
John's website • John on myspace • PJ Harvey's website
"STC-1S and SIGMA always hold their own and sound much better than other mics at many times the price"
ALEX McCALL, Composer/Producer/Musician (LX Mac Productions)
"A friend of mine who was using Sontronics mics in his TV work recommended them to me, and I'd read features about them in Sound On Sound and Music Tech magazine. I was impressed straight away with what I read... they just seemed to give a great sound over all these applications so I knew I had to have some for myself, so I bought an STC-1S matched pair and a SIGMA.
"SIGMA I've been using mostly on acoustic guitar and pianos to give a really vintage ribbon aesthetic but also used it recently for some analogue synth sounds I utilised in the LX Mac remix of Merinla by DJ Jel & Vincent M (both tracks digitally released on the Freemasons 'Freemaison' label). Whenever I've done side-by-side mic shootouts on particular instruments, the SIGMA and the STC-1S always hold their own and sound better than othe mics at many times the price.
"The STC-1S have been used frequently on the drums and tuned percussion instruments in pieces I've done for The Africa Channel. I also used them for some live work at Love Supreme Jazz Festival. I've found they are great as overheads, ambient or brass section mics and they really capture the nuances and detail in the sound.
"I've used the STC-1S for live and studio work and they sound fantastic everywhere. Even if I'm not using them as the main mic, I always have them as ambient room mics now as they can work really well in that application as well as when they are focused on the main instrument. Great all-rounders! Oh, and when they first arrive, the packaging is sublime: an engraved wooden box opening out into the nicest microphone case I've ever seen! The design looks very vintage and slick yet they are also built solidly and feel robust. All in all, great mics!"
LX Mac website • Alex on Soundcloud • on Twitter
"During a session with a
funk band I DI'd the rhythm guitar with HALO and it
KEITH LINES, Sound Designer/Composer/Lecturer
(Adele, Barbara Dickson, Monks Dyke Tennyson College)
"Using Sontronics mics during a session with a funk band, I DI'd the rhythm guitar with HALO for the lead and it was fantastic. Positioned close to the amp but with an ambient condenser, the tonal colour of the HALO helped the solo cut through even without any EQ.
"This is not a neutral-sounding mic (but then it's not intended to be), and I have found positioning has an even greater impact on response. The built-in shockmount helps to isolate it from those tapping feet too.
"I've also been using HALO on some non-guitar projects, recently using it in combination with a large condenser on a student doing some rapping. The blend of the two is just great with some parallel compression on the HALO!
"The STC-1 has become my go-to mic for small, hand percussion, where the three-stage filter comes in amazingly useful. It seems accurate and detailed without the slight brittleness of other small diaphragm condensers. The switchable filter is an added bonus at this price point, as is the ability to swap capsules (though right now, I am just using the standard cardioid pattern). Putting my teacher hat back on, when needing to make budgets stretch as far as possible, a pair of STC-1S is a bargain option in terms of value for money, if you're just building up a mic box.
"The Sontronics MATRIX-10 stand is great value for money with a really good ratio of weight to reach (previous stands that I've used that give this same reach tend to be cast-iron and something you wouldn't or couldn't move between recording spaces!)."
"The STC-80's sound
quality is incredible… it always cuts through the mix"
PAUL MUIR, Singer/Songwriter (Albany Down)
"Our drummer, Donna, recommended Sontronics to me when I was looking for a new vocal mic for Albany Down's 2014 tour. Donna has a set of Sontronics drum mics that she loves, and suggested the STC-80 for my vocals. After reading a lot of rave reviews and speaking to the (very friendly) Sontronics staff I decided to give it a try... and I haven't looked back!
"The sound quality is incredible and, even in venues with poor monitoring, it always cuts through the mix. The STC-80 feels robust rather than heavy; the build quality is second to none. I love that it comes with its own flightcase as well, it makes me feel a bit more important when I have something to go along with all the guitar cabs, amps and drum cases!
"Engineers and roadies frequently ask what the mic is; most know the Sontronics name, a few of them don't, but all of them are impressed with the sound!"
Albany Down website • on Facebook • on Twitter
"For live performances in all genres I rely on Sontronics mics… in the studio and
on stage my ears tell me
that Sontronics mics are
not just good, they are amazing!"
MARITO MARQUES, Composer/Producer /Drummer
"I try to keep on top of new studio releases and I kept hearing about Sontronics from other musicians and reading about them on the internet. The first time I encountered them for myself was on a tour with Anna Maria Jopek in Poland. I was using Sontronics DM-1B on kick, DM-1S on the top and bottom of my snare and a DM-1T on toms and I was extremely impressed with the sound.
"I'm a session and freelance drummer and percussionist and I've been using Sontronics mics for recording all kinds of percussion instruments. For live performances in all genres (jazz, rock, fusion, world music) I rely on Sontronics mics. For the longest time I had been looking for a specific snare mic for the snare, not only to capture and amplify the extremely wide range of dynamics (from hard sticks to quiet brushes) but also to have a really clear in-ear feed. All of this is now possible, because the Sontronics
"In the studio I obviously use the drum mics but I also have a SATURN (which I love) and a pair of SIGMA ribbon microphones, which I use mainly for ambient room miking. For my album Magic Everywhere the sound engineer and I chose SIGMA for accordion and also for room miking on drums, on guitar and on percussion.
DM-1S captures all of the dynamics and sounds.
"Finally there is a brand that came out with something new. They have the vintage look but still have a fresh, new design. Everything else, from the build quality and packaging to the customer support, it really matches the mics' quality, top notch!
"Using Sontronics mics in the studio is an easy choice to make – my ears tell me that Sontronics mics are not just good, they are amazing!"
Marito's website • GMP Studios website
"The DELTA is genuinely
my favourite mic… no
other ribbon mic has the fatness or character of
DELTA and the noise floor
is way lower than most
TOM FULLER, Producer, Writer, Mixer & Engineer
"When I first moved to London I worked at The Dairy studios in Brixton where there was a Sontronics SIGMA. I didn't know much about it back then, and I was a bit wary of feeding 48V to a ribbon, but that is where my love affair with Sontronics began. Flood and the Assault & Battery 2 studios also have an extensive Sontronics collection, so I got to use some up there too.
"I’ve used so many Sontronics mics, including the SIGMA, STC-1S pencil mics and Saturn, which is so impressive on vocals. I own the DELTA, which is genuinely my favourite mic. It is one of the most used mics in my collection. No other ribbon mic has the fatness or character of DELTA and the noise floor is way lower than most ribbon mics and a lot less gain is needed, meaning the choice of preamp you can use with it isn’t limited.
"I use the DELTA as my main front-of-kit mic for all my drum sessions (I take it with me if I'm at a studio away from my own), it is a major part of all my drum sounds. It can suck in and bring out the ambience of a small room in an amazing way when paired with the right compressor (I usually use an 1176 or Standard Audio Level-Or set to crunch).
I also use it for electric guitars going through an API 560, sometimes in combo with a dynamic mic, sometimes on its own. I use it for a lots of percussive instruments too, tambourines, woodblocks, glockenspiel, toy piano... anything you want to get a solid, chunky sound from without the harsh transients associated with these instruments.
"DELTA lets me get a great chunky sound with a natural, old-school top end. It takes EQ really well so you can easily carve out the chunky mids and add highs if you want a thinner (or more modern) sound, but the result never sounds artificial or overly processed the way a lot of mics would. With drums in particular DELTA excels at getting a full, in-your-face sound without bringing the cymbals forward. There's nothing worse than not being able to properly turn up your ambient/FOK mics because they're full of cymbal wash!
"I also own the ST-PAD/PHASE inline gadgets, which are so handy; they are built to a high standard and get the job done. It's so very useful having two lots of -10dB pad stages rather than one -20dB."
Tom's website • Tom on Twitter
"The ORPHEUS is our
first choice for acoustic guitars and its detail and pronounced but smooth
highs make it great for a variety of acoustic instruments, voiceovers, vocal tracks and all kinds
of foley work"
"Our Sontronics STC-1S
are put to work on a daily
basis… and we use them
for every interior film
shoot that we do"
Toby Thirling, Sound Designer (Fulsonic)
"We first came across Sontronics mics at London College of Music where we were lucky enough to use almost the full range in our studies. We've been using them happily for over four years now. As well as sounding great, they also look amazing and are often a talking point of the studio session!
"Our Sontronics STC-1S pair of pencil mics are put them to use on everything from acoustic guitar to foley recording. We use STC-1S on every interior film shoot we do: one as a boom mic and one as an ambient spot mic. In confined spaces it’s possible to take advantage of their brilliant rear rejection to reduce unwanted room reflections whilst exploiting the cardioid polar pattern to capture dialogue between characters, even at a hefty distance! The nice shallow lift at the top end helps add clarity and definition to dialogue, often working to bring it to the front, leaving many unwanted background sounds at a manageable level.
"Recently, the STC-1S proved an ideal track-side companion on a teaser ad for the Honda Civic Type R teaser to capture the engine as it ripped past on one of its record-breaking time trials at the Nürburgring. The mics were also used for the sound design and foley recordings for the advert!
"We regularly use SIGMAs and they work an absolute treat for distorted guitars and re-amped synths, often working well to physically soften DAW-based sound design tracks while adding a gutsy warmth!
"The ORPHEUS is first choice for acoustic guitars and as an ambient drum mic. Its detail and pronounced but smooth highs make it great for a variety of acoustic instruments, voiceovers and vocal tracks, providing strong detail in the lower mid region, giving some body and a touch of class to the recordings. We find ORPHEUS delivers the clean, distinct results required for corporate voiceover work. It sounds extremely classy. We also used ORPHEUS for tracking vocals on Bermuda Lies, a single by The Whisky Jax of V2 Records, which featured in a Jack Wills advert.
"Another thing that impresses us is the output level achievable. With other mics at a similar price you really have to slam those preamps to get the level you want, whereas Sontronics mics give us a strong level with a judicial amount of gain! Even when that’s not enough, we’ve found that the 10dB boost on the ORPHEUS really helps to bring the quietest of sounds to a manageable level, while preserving the mic's virtuous signal-to-noise ratio!"
"One of the best things about your mics (apart from the sound!) is that they’re built like nuclear bunkers! Perfect for film production sound and work on the road such as location, foley recording and SFX gathering where they have to put up with cold, heat, damp and the odd knock. Sontronics mics tick every box on our list! All our mics still work flawlessly, even after years of daily use and abuse!"
Fulsonic on Facebook • on Twitter
"Sontronics mics are so accurate at capturing what I can hear when I'm sat at the drums… each DM mic perfectly captures the drums they were intended for"
"Theye look as great as they sound too, it really is as simple as that!"
PAUL GLOVER, Drummer/Clinician
"I was looking around for mics for my studio and heard about Sontronics through some muso friends I have a lot of respect for. When it came to choosing mics for my studio, I needed mics I could trust to deliver quality every time. When I had the opportunity to try Sontronics for the first time, I was blown away!
"I use a DM-1B on my kick, DM-1S on snare top, DM-1Ts on toms, STC-1 with a Hyper capsule on my hats (and occasionally in a pair for overheads) and two ORPHEUS for overheads both in the studio and live. Primarily I've been using them to record in my home studio in Reading. The response has been great, with producers being happy with the results and coming back for more. Projects of late that have featured the mics have included alt hip hop artist Polar Bear (an amazing spoken word guy) and producer Yila, some audio library stuff for producer Freethos, and the Tomcats, a jazz quartet that I often work with.
"When I take the mics to other studios, the experience can be different with a different room and a different engineer in control, but the results are consistently outstanding. In live settings the feedback from engineers has always been enthusiastic and positive.
"They sound great on my kits... I'm a sucker for tuning and using various dampening and tuning methods to get the drums to sound and feel great in the room. What I love about Sontronics mics is they're so accurate at capturing what I can hear when I'm sat at the drums.
"Each mic perfectly captures the drums they were intended for. For instance, the
DM-1B has a boost at 100Hz that is perfect for a great kick sound! The ORPHEUS I've found to have clarity, presence and 'air' in the high end. At the lower end of the spectrum, I've found it to have great detail in the 1.5 to 5Hz range, which I've found really helpful. It takes no prisoners too! When I experimented with different mic positions, the ORPHEUS helped me choose the best positioning, revealing unwanted overtones in some and warmth in others. I often favour the 'recorder man' position so it captures what I'm hearing behind the kit as honestly as possible. On several occasions I've found the ORPHEUS has outperformed an AKG 414, which is no mean feat!
"They look as great as they sound too! It really is as simple as that. The classic look of the ORPHEUS never fails to impress. This is actually very useful because convincing a producer or live sound engineer to use a mic they're not familiar with when they have their preferred models is very difficult. But when they open the beautiful wooden box and see the ORPHEUS, we're halfway there!"
Paul's website • Follow Paul on Twitter • Paul's band RedKite
"I love how APOLLO captures the detail and
body of a drumkit, and I
also use it as a stereo
guitar and vocal room mic too. It's a contender for
the most-used mic on
LEWIS JOHNS, Producer/Engineer/Mixer
"I first came across Sontronics mics when working at The Ranch production house, who had the APOLLO stereo ribbon mic, DELTA ribbon mic for guitars and DM-1B kick mic. I found myself using them a lot and liked them all, but the APOLLO was my favourite and is the one I use most. I love it!
"I've been using APOLLO for just over a year now, and it nearly always finds a way on to my recordings, mainly as the stereo drum room sound. I love how it captures the detail and body of the kit without it being too harsh or hyped. I also use it as a stereo guitar or vocal room mic too. I'd say it was a contender for the most-used mic on any session, actually. It sounds lovely in our big live room!
"On an album I recorded for the band Sharks we tracked mostly live in the same room and the APOLLO was the main room mic, which glued everything together nicely... guitar spill and all! I remember raising the mic up when the band were listening back and them commenting on how great it sounded. It captured the vibe perfectly. You can see and hear one of their tracks here: www.youtube.com/watch?v=8D6nHMX-8QA
"I recorded the seventh Funeral For A Friend album at The Ranch and the APOLLO and my new DM-1S played a big part in that recording!"
Lewis's website • Follow Lewis on Facebook • Funeral For a Friend on Facebook
"I love the usability of Sontronics mics... they let you get away with much more than some other
ribbon mics and therefore allow use on a greater
range of sources"
TIM MORRIS, Sound Engineer/Producer
"I use Sontronics mics regularly at studios and first came across them at Mike Pelanconi's place, The Ironworks, in my hometown Brighton, where we were using a SIGMA to record various brass instruments. One of the main studios I use in the London, The Dairy, have several different models.
"I most frequently use the DELTA or SIGMA ribbon mics and have used them on a bunch of different sources including drum overheads, guitar amps, cello, choir and even lead vocals! I love the results. I find the mics really smooth, warm and natural but with a modern edge that I really like.
"Having previously reached for 'classic' ribbon mics, I really love the usability of Sontronics models; they let you get away with much more than some other ribbon mics and therefore allow use on a greater range of sound sources.
"For instance, I used the DELTA (a ribbon mic for guitar amps) for vocals on a track This Time Around on an EP that I produced and mixed for Brighton artist Tom Staniford. I also used a pair of SIGMAs on the cello throughout the recording. I also engineered the forthcoming Kids In Glass Houses album Peace and the Max Raptor album Mothers' Ruin. Both were recorded at Chapel Studios in Lincolnshire and feature Sontronics mics throughout.
"Other recent projects of mine that feature Sontronics mics are Enter Shikari's The Paddington Frisk single and the What Starts With A U, Ends With An I EP for Us Baby Bear Bones. I did some additional production and mixed this EP and I have a feeling this band are going to be ones to watch! For a lot of the synth bass sounds I reamped the direct signals through a combination of different guitar and bass amps and pedals, using the DELTA on the cabs consistently and with great results!"
"A week after starting to
use the SATURN and my Blue and Røde mics had become obsolete"
"The HALO is my go-to
guitar mic… it sounds
brilliant and just demolishes an SM57 on guitar cab
JAMES HORWOOD, Soundlab Studios
(Piranha, We Are The Ocean, Eliza & The Bear, The Ladykillers, Great Cynics)
"My first experience with Sontronics was when a friend turned up at the studio with a Sontronics SIGMA and an STC-80, which sounded clear, crisp and brighter than an SM58. I got chatting to Trevor and Lisa at Sontronics and ended up buying a SATURN. My love affair with Sontronics had begun! In fact, I don't have any sessions without using Sontronics mics any more.
"I was in desperate need of a good-quality vocal condenser, and a week after using the SATURN, my Blue and Røde mics had become obsolete! About 90 per cent of the vocals I've recorded in the past two years have been with SATURN. The brightness and clarity on all vocals is like nothing I have used before.
"I use the DM-1B and DM-1S on almost every drum session. The DM-1B is the best kick mic I have ever used and is great on bass cabs too. The DM-1S works better on harder hitters; it picks up a real warmth and thud of a snare, better than any mics I've used in the past.
"The SIGMA is always used as a room mic; it adds a great vintage quality to the drum sound. It's my favourite Sontronics mic thanks to its beautiful old-school quality. I personally love the sound of old funk and soul recordings, but when people use digital equipment to record on, sounds can be harsh and hard… however, the SIGMA in a room sounds like a gorgeous old recording from the Motown era. My only problem is I only have one… maybe I need to try the APOLLO?
"The HALO is my go-to guitar mic; it sounds brilliant and just demolishes an SM57 on a guitar cab. It adds beautiful high frequencies needed to cut through a mix without being too harsh. I find I spend a lot less time processing guitar sounds now!
"The STC-80s are great for live recordings… they suit most people better than 58s. They have that little curve in the top end to make everything sound brighter and clearer. People sometimes turn their nose up when I put an STC-80 in front of them because it's not what they're used to, but it doesn't take long to convince them!"
• Soundlab Studios website • on Twitter • on Facebook • on Instagram
"The HALO mics are a real godsend. They may be designed for guitar amps but we use them on everything!"
"The STC-2 gives guitar tones a lovely clarity and sparkle… and we use them as overheads for all our
TOM CARTER, Sound-Hub Studios & record label
(Whitemoor, These Mortal Cities, The Further, Vida, ICYMI, Joseph Hecklin)
"I've known the Sontronics guys for years, but only got my hands on their amazing mics when I started Sound-Hub Studios. We're building up our collection and they all sound awesome!
"The HALO mics are a real godsend. They may be designed for guitar amps but we use them on everything! HALO on guitars is great – it gives you a clean, crisp, direct sound; exactly what you require when recording a band like Whitemoor. We also use HALO on the bottom of a snare; thanks to its nice, flat design it helps you get the direct sound without too much bleed from other instruments.
"Our Sontronics STC-2 mics get used on various things. The STC-2 gives the guitar tones a lovely clarity and sparkle, and, if blended correctly with the HALO, it can help sit the guitars in the mix really nicely. We also use STC-2 mics as overheads for all our drum recordings.
"All of the Sontronics mics that Sound-Hub have ever owned or tested have been fantastic! We have some of the STC-80 handheld dynamic mics in our rehearsal room and they are still working four years on, whereas others (mentioning no names) have died.
"We also use MATRIX-10 stands all around the studios. They're so well built and it's an essential piece of studio equipment. Whether you're recording a drum sound high in the eaves of a building or just recording vocals, it stands up to every aspect of the job. An added bonus is the wheel dolly, which allows you to move this very robust stand around the live room much more easily. You just flick the brake lever with your toe and you're off! It gives you greater confidence that you can place a heavy microphone on to it and it's not going to topple over or slowly drop down. It stays exactly where you want it to!"
• Sound-Hub Studios website • on Facebook • on Twitter • on Instagram
"SIGMA with its
smoothness in the high end was exactly what my mic locker was missing"
JIM BORDNER, Composer/Producer (Gravity Music)
"I first heard of Sontronics mics through UK producer Stephen Tayler, who recommended them highly when I was shopping for a ribbon mic with some real 'character'.
"After doing some reading online, I decided to try the Sontronics SIGMA ribbon mic. The smoothness in the high end was exactly what I was hoping for (I'd already tried a KSM313 and found it too bright, too condenser-like), and the mic's 'old-school' character was just what my mic locker was missing.
"I've used it on both acoustic and electric guitars and have been amazed by the 'you are there' quality it gives tracks. Now I'm starting to experiment with it on cello, woodwinds and vocals. I love the pre-war look, love the solid feel of the housing and the unusual shock mount. Incredible value for the price. I'm ready to buy a second one!"
• Gravity Music website • on twitter
"For live vocals the
STC-80s sound perfect and they never let us down!"
"All Sontronics mics are amazing value for any musician, producer or live technician… the lifetime warranty adds that seal of confidence too"
RICARDO DIAS, Guitarist/Vocalist/Producer (Heavenwood)
"As manager of a music store in Porto, Portugal, I'd heard a lot about Sontronics microphones. After seeing them in the flesh, and after testing and comparing Sontronics with the 'classics', it was 'love at first sight'!
"We are using STC-80 and DELTA. The DELTA proved extremely important when recording for our album Abyss Masterpiece. My guitar playing is very much about my right-hand picking and having complete control over the dynamics and expression of my crunchy sound. When you listen to this album you're actually listening to the Sontronics DELTA capturing my soul and personality! DELTA was one of a kind at the studio!
"For live vocals, Ernesto Guerra [pictured] and I use and abuse the STC-80s. They sound perfect and they never let us down! For Heavenwood we have two main vocal styles: one is really heavy and hard while the other is more melodic and rocky. STC-80 is great for both! The STC-80 sounds fantastic at a small venue or at a live open air festival. For the price, it's an amazing mic!
"As for the sound, DELTA is great especially for that headroom feeling and for the hotter sound on leads and melodic guitar lines.
"All Sontronics' mics are amazing value for any amateur or professional musician, producer or live technician. The Lifetime Warranty adds that seal of confidence for those who need to be convinced and even the simple things are great, such as the pop filters that have two cartridges for the price of one.
'I recommend Sontronics to lots of people, and the best feedback is seeing that smile on their faces after testing them for themselves!"
• Heavenwood website • on twitter
"The STC-20 may be one of Sontronics' most affordable mics but I can guarantee no corners have been cut…
it's an amazing piece of kit!"
eLAY, Singer/Songwriter (BoneWax Records)
"There is a massive choice of microphones out there, some of which cost the earth, but I am a true believer in choosing with your ears... which is what I did with Sontronics.
"I came across this brilliant British brand when at a music show in London in autumn 2012. They had a range of their mics on demo, and even in the noisy hall I could immediately hear the quality of their mics compared to others I'd tried that day. I absolutely loved SATURN and ORPHEUS, but as budget was an issue, I went with their STC-20 PACK.
"This mic may be one of the most affordable in their range, but I can guarantee that no corners have been cut. It's shaped like something real good to look at – a real classic microphone shape lots ofattention to detail like the rounded edges of the grille and that lovely gold section at the base.
"To work with the microphone is brilliant with a capital B – it gives me a sharp, clear, crisp response, giving me amazing results on vocals, but it can also turn its hand real adeptly to anything and everything else from drums to guitar. The STC-20 is an amazing piece of kit!"
• Bonewax Records website
"I love the look and feel of all the mics. When asked if I'd recommend the mics to anyone, to be quite honest I talk about little else!"
PAUL FAWCUS aka JAZZMOUSE, Producer/Engineer
(Syd Lawrence Orchestra, BBC Big Band, BBC Concert Orchestra, Raymond Gubbay,
The Prodigals, Simple Minds)
"I'm always busy with all kinds of jobs from album recordings to live tech-ing to massive Raymond Gubbay orchestra tours and I can safely say that Sontronics mics get used on everything!
"I first came across Sontronics a couple of years ago. I was at BBC Maida Vale where trombonist Pete Beachill and the BBC Big Band were using Sontronics ribbon mics on a concert with Jack Bruce from Cream. I loved the way they looked, and then I loved the way they sounded!
"I did a whole string quartet recording using SIGMA, DELTA, ORPHEUS and OMEGA with the STC-1S as overheads… that was lots of fun. The Gordon Campbell Big Band (very retro-style acoustic big band) I mixed live with just the DELTA and ORPHEUS in figure-of-eight pattern… superb! And for the Syd Lawrence Night At The Musicals album the DELTA was used for all the solos and overdubs.
"They're all great, but the SIGMA and DELTA I've loved from minute one. It's a very satisfying feeling when you push a fader up and all you can do is smile! DELTA is my favourite. It sounds so natural and takes an obscene amount of level without needing much EQ, if any.
"I love the look and feel of all the mics. At one live gig, someone commented on them asking if I'd raided the BBC archives! The boxes and cases are well made too. When asked if I'd recommend the mics to anyone, to be quite honest I talk about little else!"
• Paul's Jazzmouse website • on Twitter