NUNO BETTENCOURT, Guitarist/Vocalist/Producer (Extreme)
"If someone told me they have a live vocal mic that sounds as warm and clear as a vintage classic tube mic, and that I can get it loud on stage over my band's blistering volume, flat with nearly no EQ, I would laugh... and then tell them I've been touring the world for 20 years and am yet to hear that microphone.

"At a soundcheck in the UK on the 'Take Us Alive' tour they showed me the Sontronics STC-80. I sang through it and I DID laugh... with disbelief at how incredible it sounded! So much so that we wouldn't give them back and bought them. And we used not only the vocal mics but also a pair of insane, silky-sounding ORPHEUS for overheads.

"It wasn't just an exciting affair with a new product because, when we did the last leg of the tour in Indonesia and the Sontronics mics couldn't come with us, we suffered. Not only in sound, but also in headroom on stage.

"We were spoiled. I have never endorsed any product unless it is essential to me. And it is very rare that a musical product comes around that you can't live without. Someone finally got it right. In 20 years I've never endorsed a microphone company... until now. And by the way, they are built like workhorses. I can't wait to try them in the studio. Nice work guys!"

Extreme website • Nuno on myspace

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 them ready, we want more of them!"

QOTSA website • QOTSA on myspace • Eagles of Death Metal website

MICHAEL 'FISH' HERRING - Artist/Producer (Prince, Christina Aguilera, NKOTB, 2Pac)
"The SIGMA captures performances with a special warmth and vibe that only vintage ribbon mics do. It IS the new vintage standard!"

Fish's website

MILES HUNT - Singer/Songwriter (The Wonder Stuff, Dirty Ray, Erica Nockalls)
"I've found the STC-2 microphones perfect for vocals, acoustic guitars, violins, violas and cellos - they really have shone in their versatility. In recent months The Wonder Stuff have re-recorded our first two albums for our 20th Anniversary Souvenir purposes. All of the vocals, acoustic guitars and violins on those two albums have been recorded with the STC-2.

"Likewise on the album I recorded with violinist Erica Nockalls - 'Catching More Than We Miss' and the 'Shared' acoustic compilation album that was released last year. My most recent project has been the production of Dirty Ray's album (former vocalist with UK band Immaculate Fools). Ray has an absurdly powerful vocal style and the STC-2 handled him admirably.

"The STC-2 has a warmth to it that I found microphones in a similar price range could not deliver. But mostly it's the versatility and sensitivity in coping with so many different instruments and vocalists that impresses me most.

"I think the mics look wonderful; the case and mounts put their competition to shame!"

Miles & Erica on myspace • Wonder Stuff website 

MICHAEL J LANGLEY, Producer/Engineer, Big Noise Audio
"I first came across Sontronics mics while browsing through the mic stock at an online music shop and was struck by first the stunning good looks and then by the incredible prices! On the Sontronics website I saw that two of my favourite artists - Extreme and Queens of the Stone Age - were using and loving them so without hesitation recommended them to my business partner (Steve Plews) who was seeking a great set of new mics.

"We ordered the APOLLO, the STC-1S and the STC-2 and our first outing with them was with Steve's jazz ensemble (see the video here). Set-up was very fast, as we were filming the show as well as recording. We set the APOLLO on piano, STC-2 on sax and the STC-1S as kit overheads (double bass was DI'd). This went through a long loom to an Alesis IO26 into a laptop running Nuendo. Very basic set-up. Only six tracks. Retro!!

"When I got the files back to BigNoiseAudio to mix, I hit Play with the faders set to 0dB on all tracks with slight left right pan on the piano and kit, centred bass and slightly panned sax. No effects, no EQ, no plug-ins or outboard at all and the result is what you hear on the video. Perfect!

"On previous projects our usual mics were Red5Audio mics, AKG C3000, Schoeps stereo mic and a lot of plug-ins and mixing. Sontronics mics have revolutionised the way we work completely. The sound they produce is hard to describe as they don't colour the sound, they just seem to know what you want to hear and give it to you
perfectly shaped!

"It's some kind of audio voodoo!

"Since then we've used the mics on the Edward Germann album: APOLLO on piano, STC-1S as ambients and STC-2 on violin. We've bravely recorded straight to stereo with the APOLLO for the British Quartet Volume 3 album, live school concert recordings at a high school were involved with and also on our own project DSM-IV, which is due for release around March.

"I don't think we'll ever be using any other mics again! In fact I've just sold most of my others as they won't see the light of day! Next we're going rock and roll with the Sontronics mics by setting up a project recording school rock bands for release through BigNoiseAudio.

"It's looking good! We could do with about a million more mics though. They're just too damn good! Many thanks."

BigNoiseAudio website • ASC Records website

BARRY BARTLETT - Audio Designer/Engineer (Glyndebourne Opera House)
"Using an APOLLO for the Magic Flute at Glyndebourne, I have to say that I and all concerned were enormously impressed by this fantastic microphone.

"I used the mic as the sole means of pick-up for the orchestra, located in the pit, the majority of which is underneath the stage and set at a lower level to accommodate brass and percussion. I consequently positioned the mic about 50cm in front and very slightly above the conductor’s (raised) music stand. I then carried out a quick EQ without anything particular happening in the pit, ringing out the mic to eliminate of any primary resonances. With minimal filtering – high passes at 140 and a couple of minor midrange cuts made purely with channel EQ (no insert necessary) – it appeared I was able to amplify reasonably adequately.

"A little later the conductor and a pianist arrived for the evening’s rehearsal. The piano, a smallish grand was about 2.5m away to the left of the APOLLO, when the pianist started to play I brought up the faders and… whilst I stood there for a second in complete amazement at the APOLLO’s beautiful clarity, astonishing pick-up and image, a cry of “Too loud!!” came from one of the house lighting persons, whom I had already suspected of being a little dubious of amplification. In truth they were correct (albeit quick to criticise), so I pulled it back a little. I noticed during the course of the evening that if I did ‘push’ the APOLLO when nothing musical was occurring, I got a fantastic stereo image of the conductor turning the pages of his score!

"The following day the Glyndebourne Orchestra arrived. About 30 musicians: strings, woodwind, brass and a small percussion set-up. The primary purpose for putting the APOLLO in had been to afford some orchestral foldback to the stage to assist the opera singers. The Director did not think the orchestra would require reinforcement in the auditorium. I had put in a number of mics on and around the stage area to pick up the vocal elements, this being the prime brief.

"In rehearsal, after getting a decent vocal balance and giving them some orchestra on stage, I introduced a small amount of orchestra into the house. Although I was sure it had got a bit louder I was uncertain if I actually had anything coming out of the PA and literally had to run down to the speakers and check they were on! I was staggered at the neutrality and evenness of the pick-up, and the level of detail in instruments that were a fair way off.

"In the performance that evening with an audience in, the room ‘dried out’ a little, and I did find a definite need for some orchestra in the mix, but it never sounded amplified or ‘false’. Afterwards the Director, cast and Glyndebourne technical staff all commented how good the whole thing sounded. Even the previously critical lighting person was surprisingly complimentary, although she had wrongly assumed I hadn’t used any reinforcement for the orchestra. I confess I rather enjoyed correcting her perception.

"I can honestly say that I have never encountered a mic in the live field that is suitable for picking over large areas that matches APOLLO in terms of its tonality and its ability to generate level without sacrificing that tonality. Many thanks to all at Sontronics."
 

OLIVIER TOTTI UNIA - Guitarist/Producer
"The first time I came across Sontronics was in studio with a sound engineer friend of mine. He said to me, 'Trust me, I think I'm gonna surprise you.' My response after listening to the result was simply 'WOW! OK, how much?" When he told me the price I thought he was joking. These microphones have a sound quality that I would expect from something three times the price!

"I now have a SIGMA and two ORPHEUS and generally use the SIGMA for electric guitars as it adds so much roundness and warmth to the sound. Fantastic! The ORPHEUS are great for vocals, acoustic guitar, piano... in fact, all acoustic instruments. I have also been using an APOLLO.

"The mics are manufactured to a high professional standard and have a beautiful, original design. Their solid build and practical method of fitting make them a winner each time, every time. Now, when anyone using the studio says, 'Hey, what's that?' I say, 'Trust me. I think I'm gonna surprise you!'"

(photo by Pierre Caubel)

TOMMY SMITH - Saxophonist, Composer, Director of Scottish National Jazz Orchestra
"The SIGMA is the coolest mic you'll ever play. It's so good it makes you play better!"

Tommy's website

SIMON GOGERLY – Producer/Mixer (U2, New Order, Little Boots, Texas, N-Dubz, Gwen Stefani, No Doubt, Underworld)
“I’ve been using Sontronics mics for two 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. One of the bands I worked with christened the ORPHEUS ‘Twiki’ after the Buck Rogers robot! The build quality is great, particularly on the SIGMA. It really looks and feels substantial.

“In general these are really useful, usable mics with an individual look and a great price.”

Simon's website • Simon on myspace

UMAIR CHAUDHRY - Keynote Studios (Radiohead, Nine Inch Nails, Amy Winehouse, Shed 7, Manic Street Preachers)
"The SIGMAs are great mics. We pretty much swear by it to fatten up our drums. We mainly use them as ambient mics but sometimes on guitars and bass too. It's an awesome general-purpose ambient mic! They have amazing detail in the mid range and low end which gives the sound a warmth and depth of tone that other microphones seem to lack.

"The design of the SIGMA is elegant and the shockmounts are very good indeed. They're rugged mics but as they're ribbons they have to be handled with care. The cases they come in are very secure and look great! Now I'm keen to try out the new DELTA ribbon and the HELIOS valve mic!"

Keynote Studios website • Keynote Studios on myspace

LUCA MARTELLO - Even More Vast
"The DELTA sounds really good. It's really warm and it's hard to believe this microphone isn't a tube one! Its sound is kind of vintage but with a modern feeling, really amazing. Very good! I've tested it on a Fender all tube combo. DELTA will be my first choice for the recording sessions of our next album.

"The STC-80 is characterised with a very open sound, which means it convinces us to use it at our live gigs from now on, in other words, STC-80 will replace the Shure SM57 we've always used until now."

Even More Vast website • Even More Vast on myspace • HSound Music website

STEVIE CRIPPS - Voiceover artist/Producer/Radio Producer (Sky, BBC, Radio 1, Kiss)
"The ORPHEUS is very special. Whether I'm belting it out or doing close mic work it captures the tonal qualities of my voice perfectly without the colouration that other mics can bring.

"Having trust in your gear is important and working with Sontronics equipment has enhanced each of my performances in a natural and transparent way. I would seriously recommend this to any professional voiceover, vocalist and producer.

"The STC-2 as a secondary mic really comes into its own and complements the ORPHEUS on double-headed mic projects. These mics are unbelievable... they sound as solid and professional as they look. For recording voice they're an excellent choice, comparable to microphones three times the price!

"If you're starting out I would seriously recommend this mic as it gives a great sound you won't find anywhere else for its price point"

Stevie's website • Stevie on myspace

MATIAS LEHTOLA - Producer, DJ and Teacher at ORCA
"I'm using the Sontronics OMEGA on a daily basis in the studio for everything… from commercials and jingles to vocals recording. It's also the main microphone we use for our radio show every week - Captured Radio - which is one of the leading dance radio shows with over 70,000 listeners each week.

"What I really love about the OMEGA is its fair sound and the lovely 'crispy' in-your-face boosts at the top. Even without any proper preamp it sounds totally awesome.

"I've worked with many talented singers over the years and I can honestly say that nothing works as well with everyone as the OMEGA. I've got two new tracks coming up with Nik Saletta (MTV, 7th Heaven, LA) and Cozi (David Guetta) and I can't wait to use this microphone during our recording session.

"My colleagues keep telling me to get a bunch of microphones so we've got different mics for different voices, but I'll keep telling them we don't need that… I've got the OMEGA. The best all-round microphone that everyone can afford!"

Matias's website • Matias on myspace • Captured Radio website

AL DI MEOLA - Jazz fusion guitarist
"These are the most amazing preamps I've ever tried on guitar!"

Al di Meola website

XAVIER MARQUES - Artist/Producer
"I have recently been using Sontronics mics with recording projects in London and Portugal for More Than A Thousand, Fabricated Artifacts, Portugues Suave, Bonelife and Mad Math.

"I love the STC-1S as overheads. The OMEGA has been a favourite of mine ever since I heard the vocals on a project from a friend of mine. It captures all the subtleties in a vocal line! These microphones are built to last and really capture the attention of anyone in the studio. I have been carrying OMEGA everywhere I go and the wooden case is a mess but the microphone is still delivering amazing results!"

" I have been truly amazed at the vintage sound of APOLLO and SIGMA. The APOLLO is a must-have for a room mic. It is so simple to set up and the results are astonishing. I can see myself replacing some reverb machines with this microphone! So far the SIGMA has sounded really good on highly distorted guitars. With its vintage sound, it is a really good add-on to my classic guitar-mic set-up. I love their retro design, especially the SIGMA!

"These mics are definitely part of my everyday recording needs and the sounds range from really sharp-sounding modern mics to vintage 50s sounds. I can't wait to try the new preamps. I've had a glimpse of CHIMERA already and am sure it'll be the next addition to my studio!"

Xavier on myspace

ALAIN JOHANNES - Producer/Engineer (Eleven, QOTSA, Chris Cornell, No Doubt)
"The SIGMA has quickly become my favourite ribbon mic. It has warmth and a natural open sound yet carries enough presence to command its own space alongside hypey modern mics. On vocals it is classy and creamy-sounding with a wonderful immediacy. It excels as a room mic for drums because of its ability to balance the weight of the kit with the cymbal sizzle. I often use it to anchor the drum sound.

"The SIGMA has become essential for recording electric guitars because it can handle the volume and it captures the feeling of being in the room with the amp.

"The HELIOS has an edge over modern and even classic mics for vocals because of its incredible definition and presence. It almost brings a protective bubble with it into the track. I love the way it translates a singer's emotion even in the midst of a raging guitar track."

Alain on myspace

TED PERLMAN - Producer/Arranger/Guitarist/Composer
"I use SIGMA constantly for recording guitar amps, percussion, accordions and much more.

"The problem now is that the new Sontronics ribbon mic DELTA is absolutely amazing for guitar amps - I was totally knocked out when Trevor brought it in here! The combination with CHIMERA is absolutely spectacular. Best recorded sound I ever got from a guitar amp, hands down!"

Ted's website • Ted on myspace

MATTIAS EKLUND - Recording Artist/Producer
"Sontronics microphones deliver the sonic quality that I always look for when I record or produce. I've used Sontronics mics on two of Toontrack's latest products - Claustrophobic EZX and Twisted Kit EZX - and I couldn't be happier with the results.

"I used SIGMA ribbons as overheads and I really loved the way they captured the sound of the cymbals. Very smooth and natural.

"The tube mic, HELIOS, is also a huge favourite of mine, especially on acoustic guitar and vocals. We also used it as the bass drum mic on Claustrophobic EZX. It's awesome stuff!

"I'm now using Sontronics' newest innovation, the CHIMERA preamp. It'll blow people's minds!"

Mattias on myspace

AARON SLATER - Artist/Songwriter
"I definitely rate Sontronics for build and quality, especially considering their great price! Their SIGMA ribbon is lovely - it's solid and feels like a classic from the Motown era. Such warm and well rounded response that's ideal for recording acoustic guitar.

"For a brighter tone, you'd do well with their STC-1S matched pair of condenser mics as well. Stereo mic near the fretboard and you get a really clean presence."

Aaron's website • Aaron on myspace

Mark is using...
HELIOS on vocals
• ORPHEUS as drum overhead & on bass drum
• STC-1 as direct mic on snare, tom & guitar cab

MARK JOSEPH - Artist/Songwriter
"When looking for a new vocal mic the HELIOS quite simply blew me away! It has to be one of the most natural-sounding mics I've ever heard. On vocals its beautiful, natural, warm low end really brings the sound to life without having to plaster it with compression or EQ, while at the top end there's none of the 'fizzing' or harshness you'd associate with a mic of this price. The HELIOS just seems to love you the closer you get to it.

"The HELIOS also comes up trumps on acoustic guitars and drums, giving a far better low-end response than my Sennheiser 421 and capturing the sound exactly the way I hear it."

"The ORPHEUS seems to kick into life whenever I use it in any sort of distant miking application - it's amazing as an overhead for my drumkit and brilliant on bass drum. Meanwhile my friend swears by it for vocals.

"The STC-1 is a great find. It's fantastic on snare, giving a real crack but with great clarity and definition. On guitar cab, the natural response of the STC-1 completely captured the gritty guitar I'd dialled into my amp. But I find the tom is where STC-1 excels giving a strong, true replication with an impressive low end. This one has become a big part of my live set-up.
A great mic!"

PIP WILLIAMS - Producer (Status Quo, Elton John, Prague Symphonia)
"The ORPHEUS has proved fantastic as a drum overhead and acoustic guitar mic. The HELIOS is a beautiful vocal mic and has also been wonderful on flute and other woodwinds."

"As a big fan of ribbon mics, I've loved the transparency of the SIGMA when used on all saxes and violin. Very effective too on acoustic guitar. The whole ribbon mic thing is vastly overlooked in the industry!"

"They've all been impressive in their versatility. They are well suited to all applications from hard rock right through to jazz, orchestral instruments and vocals. This means that a project studio as well as a professional facility can safely buy these microphones knowing they'll cope adequately with pretty much all their needs.

"They are also very well built, with a lot of thought gone into providing secure, practical mounts. They are beautifully made, invoking a long-gone era of attention to aesthetics as well as functionality and one can be confident that they will withstand the rigours of daily studio usage.

"One is tempted to use that old saying 'great for the price' but that simply isn't accurate. These mics compare very favourably with established industry favourites costing far more. These are first-class mics full stop. I have no hesitation in recommending the Sontronics brand to anyone who uses microphones and wants an organic, musical sound!"

JOE BROWN - Front of House Engineer (Extreme)
"On our Saudades of Rock tour we used two Sontronics ORPHEUS condenser mics on Kevin's drumkit and an STC-1 for the hi-hat. The difference was amazing. I could hear every detail of the drumkit.

"The pair of ORPHEUS overheads gave me so much presence and clarity but without any harshness... they were a revelation!

"And the STC-80s on Nuno's and Pat's vocals were incredible. Nuno has never asked me to kill the EQ on any vocal mic before!"

GARY BROMHAM - Producer (Natalie Imbruglia, Zucchero, Nylon)
"I like to have different flavours of mics, especially combining the best of FET and valve mics, even on the same instrument. For example, if I record a vocal with a valve mic, I like to record backing vocals with a FET mic (or vice versa) to give the track some colour. The combination of ORPHEUS and OMEGA is particularly great for this. I've just used them on a track I did for major Italian artist, Zucchero, and I'm using them on new Icelandic girlband, Nylon.

"The ORPHEUS can be used for almost anything; it's very clean and precise at reproducing exactly what I'm hearing. The OMEGA is similar but with more character. Being a valve mic it is slightly more present but without the harshness often associated with mics in this price range.

"The HELIOS is definitely a vocal mic for me - rich in the lower mids with a silky top end. Its characteristics are not dissimilar from a C12, which can never be a bad thing! I'm particularly fond of the figure-of-eight on this.

"These mics are for the person who puts quality first in their studio, which sounds obvious but is unfortunately very rarely prioritised. I'd have no reservation in recommending these mics to someone who knew nothing about mics or to a seasoned professional engineer. The build quality, ease of set-up and ultimately the sound quality make them a no-brainer for me to recommend to anyone serious about making great recordings.

"In my humble opinion there is nothing out there in the sub-£1,000 market that even comes close to these mics for sheer quality and sound.

"The SIGMA ribbon mic is quite simply the warmest mic I have heard in years. I simply loved it and I can't wait to try them as overheads. The only thing missing was Nat King Cole to sing the vocal!"

CIARAN BYRNE - Engineer/Producer (U2, Elvis Costello, Gabrielle, Van Morrison)
"I'd been looking for a microphone that could capture the true sound of our grand piano but despite trying the usual C414s, M149s and 103s, I'd never been 100% satisfied.

"A friend suggested that I try the Sontronics ORPHEUS and I was simply amazed at the results! I used a pair of them in their various pattern configurations and they delivered exactly what I was looking for: rich lows, tight mids and clear highs. They are now my first choice for any piano recordings that I make!

"I also used them to capture room ambience, especially drums, and they were great at this too. I'd happily recommend them to anyone."

DAVEY RAY MOOR - Artist/Composer & Lecturer (Bath Spa University)
"Here at Bath Spa Uni, we encourage our students to listen to the quality and tone of various pieces of audio gear. In an age where there is an enormous amount of pro equipment, there is a growing universal appetite for uniqueness and character. Consumers of music, more than ever, are looking for something human and believable from their musicians.

The Sontronics range, from the mellow SIGMA to the detailed and focused ORPHEUS, are tools that bring the performers' personality forward and for this they are invaluable."

MARK MACLAINE - Engineer/Producer/Artist (The Silence, Second Person, City Rats)
"These microphones are truly amazing! We were first introduced to them a couple of years ago and now we only use Sontronics in the studio. So far I have recorded five full albums with them (including everything Second Person has done), four TV series and we're now working on two feature film scores and they're my mics of choice!

"I've recently worked with a number of actors, including Charles Dance, Joanna Lumley, Lindsay Duncan and Dennis Lawson, and they have all commented on the quality of the recording we've been able to get with these mics. We use the HELIOS on almost everything we record and are so glad to have one.

"We're now looking to take the whole Second Person show on the road and we'll be checking out Sontronics' live mics before considering anything else!"

Mark on myspace • Second Person website

ALEX KETENJIAN - Studio Producer/Technician (Unreal Studio, SAE Athens)
"We went back to the studio to try out the SIGMA on male Byzantine chant vocals (kinda like Gregorian chants, a bit more melancholic). These type of chants require massive amounts of reverb in order to make them 'feel' properly. On most occasions, singers cannot perform adequately if they can't hear the reverb in their cans. The SIGMA provided a smooth dark sound, which is typical of ribbon mics, with two notable exceptions.

"Firstly it lacked that certain 'graininess' that can be heard on other ribbon mics (usually passive), providing a creamy quality. Secondly the reverb did not exhibit any kind of artifacts from any sibilant sounds, which can get really annoying, and really hard to get rid of when using typical condenser mics. Highly recommended for choirs."

Unreal Studio on myspace • SAE Athens

"As a special project, I recorded a regular Yamaha five-piece drumkit in our live room with just one HELIOS on to Radar with no EQ. I now play that same recording to our students and ask how many mics are being used to record it... and three is the lowest guess I ever get. I love watching them try to guess!"

JON JACOBS - Producer/Engineer (Sting, Laura Pausini, Yes, Elvis Costello, Paul McCartney)
" I first used Sontronics’ mics in the summer of 2005 – I had a HELIOS, ORPHEUS and an OMEGA. The first time I put
them to work was during an opera recording. I used them in various ways, recording with string quartet, piano and vocal.

"I set up the session using tried and trusted mics as well as the Sontronics ones, and in a blind test I ended up choosing the Sontronics, simply because they sounded better to me. In particular the HELIOS impressed me on vocals when working with the singer really close. It didn’t have the annoying sibilance that the other mics I'd been using previously were revealing.

“I’m looking forward to using the mics again on the next record for Laura Pausini (a Grammy-winning Italian diva I’m working with at the moment) and in particular on her voice. She has the loudest voice I have ever had to deal with!”

ALAN BAILEY - Sound Engineer (Snow Patrol, Chemical Brothers, The The, Vega 4)
“I first used my STC-1S pair last April. I find it a much more effective and uncoloured than my existing Rode NT1. As well
as being much more versatile, it gives a much more natural recording than the Rode.

“I’ve been using the STC-1 on acoustic guitar, vocals and percussion. In the near future I’ll be using it for recording a
country/blues band who have released a number of albums independently. I’ll be using the STC-1S with electric guitar,
amps, acoustic guitar, violin and vocals.

“I’m going to be speaking to Snow Patrol’s producer about using the Sontronics range, and I’ll be offering trials of the mics to Chemical Brothers, The The and Vega 4 too.”

STEVE EVANS - Producer at Riverside Studios (The Girls, Lockdown Project, Tiny Elvis, Clive Langer)
“You need different mics for different jobs, but when someone is performing well or the studio clock is ticking, you haven’t got time to experiment. I had a good collection of dynamic mics and a good set of valve mics, but what I was lacking was some U87/ 414 type switch pattern workhorse condensers. The other factor is always budget and I thought that the ORPHEUS offered real value for money.

“I wanted mics that had a neutral, clear sound with low noise and a high SPL tolerance, and the ORPHEUS compares very well with its more expensive counterparts. I often choose them over 414s when I don’t want such a thick sound from a close sound source. As ambient mics they are perfect, the switchable patterns make them a good middle and side option, and of course they’re a lot less expensive. People always comment on the look of them too, they definitely look groovy.

“Right now, I’m using the ORPHEUS mics on the rack and floor toms of the drumkit I am recording for an album by The Girls, a new British guitar band. They are helping us achieve a fat 70s sound.

“I would highly recommend the Sontronics range, especially where money is tight, or you don’t need recognised brands to impress people who expect to see certain mics in the cupboard. As an all-rounder for the project studio you can’t go wrong with the ORPHEUS.

DUNCAN WILLIAMS - Music Technology lecturer at City of Westminster College
“We’ve been using the Sontronics mics on a range of student projects and professional recordings. The build quality and presentation of the microphones is superb, but more importantly so is the sound.

“Using the STC-1S stereo pair as overheads, the far pricier German counterparts in our mic cupboard were blown away. Highly recommended.”