SUPPORT & ADVICE
Whether you need advice about your Sontronics product, you want to learn a bit more about microphones and recording or you need some specific support, you've come to the right place...
How do I activate the Lifetime Warranty on my microphone?
Click HERE to go to our Warranty Registration form and enter your purchase details and microphone serial number. We'll email you back with your warranty activation within 48 hours. Welcome to the family!
Why am I getting no sound from my microphone?
Our condenser and ribbon microphones require phantom power to operate, so ensure that this is activated (usually via a "48V" or "phantom" switch) either on the front panel of your interface, soundcard or mixer, or in the control software.
I've accidentally damaged my microphone, what can I do?
First of all, don't panic! We've only once had to deal with a mic beyond repair, and that had been submerged in flood water for two weeks. Everything else, we are confident to say, is fixable.
Could my mic be picking up interference/buzz/hum?
Some microphones, ribbons in particular, are very sensitive to electrical interference, so if you are hearing a low hum or buzz in your recordings, check to see if there's anything in the space that could be affecting the mic.
How do I get hold of spare accessories for my mic? (shockmount, clips, elastics, valves, etc)
Some of our larger stockists have these accessories available, but use our online form to contact us and we'll help you out directly if you can't find what you need online.
Where do I find the tech specs and frequency response graphs for each microphone?
From our PRODUCTS page, choose the mic you're interested in. Scroll down the page to the tech specs section where there is also a button to download the full Technical Data sheet, which includes the frequency response graph.
The lever arm of my shockmount won't tighten. What can I do?
All our mic shockmounts are now fitted with lever arms as this gives a more secure fix on the mic stand and reduces the need for constant screwing and unscrewing which can damage the thread.
My ribbon mic has gone silent / is making a strange sound. Could the ribbon inside be damaged or broken?
If you are getting a buzzy sound from your ribbon mic or if it has gone completely silent, it's very likely to be down to a damaged or broken ribbon motor. This can happen if the extremely delicate element inside has been placed too close to a loud sound source or if the mic has taken a knock.
My mic is a few years old and the signal occasionally drops out. Can it be fixed or is this goodbye?
Don't worry, you won't have to part with your microphone just yet! An intermittent signal or muffled sound in an older mic is usually a symptom of dried moisture/saliva and/or dust build-up on the capsule which stops the signal being as clear as it used to be.
What is the difference between Halo and Corona?
Sontronics Halo dynamic microphone was launched in 2012 and had been specifically designed by Sontronics' founder Trevor Coley for guitar amps. As a guitarist, Trevor was fed up with using (and seeing) handheld dynamics in front of a guitar cab, so set about creating something that looked visually interesting and worked much better than the other options out there.
"Sontronics is one of those rare companies that actually treats all its users like members of an extended family and nothing is too much trouble for the support team. They're amazing!"
Ed Harcourt, Artist/Composer/Producer
TECHNICAL ADVICE & TOP TIPS
Click the links below for specific advice articles and information or scroll down for more info
Quick Guide to Condenser Microphones
Quick Guide to Dynamic Microphones
The capsule inside the head of a dynamic microphone also employs a diaphragm, but rather than being mounted on a backplate with a connecting wire, the diaphragm in a dynamic mic is attached to a tiny copper coil set within the field of a permanent magnet.
When sound waves reach the diaphragm, it vibrates and therefore moves the coil, so creating a varying current in the electromagnetic field.
Although the coil is tiny, its mass means that the capsule in a dynamic mic responds more slowly than that of a condenser mic, and therefore it does not capture as much subtle detail, especially in the highest and lowest frequencies.
Some dynamic microphones use low-strength magnets which means they have poor sensitivity and a low output level, and therefore can sound dull. You will also need a lot of additional gain to obtain a useful signal. However, all of our Sontronics dynamic mic capsules use high-power neodymium magnets, which improve not only output sensitivity but also frequency response.
Dynamic microphones tend to be more sturdily constructed than condenser or ribbon microphones, making them far less prone to accidental damage. They are often designed to provide high signal levels before feedback occurs, and these factors have led to dynamic microphones being used for stage vocal performance and many other live sound reinforcement applications.
Quick Guide to Ribbon Microphones
Quick Guide to Valve/Tube Microphones
A valve/tube microphone most commonly refers to a condenser microphone which uses a small vacuum-tube in its amplification electronics.
The vacuum tube is an antiquated electronic component which was superseded in the 1950s by the ‘solid-state’ transistor. Compared to the outdated tube, the transistor was developed to be a far more reliable device which could be consistently and accurately mass produced in huge numbers. However, despite the improvements and efficiencies brought on by the transistor, the vacuum tube continues to hold its place in the hearts of many an audiophile, thanks to some very specific and some non-specific characteristics.
One of the key characteristics of a vacuum tube is that is adds harmonic distortion to the signal. This is not a ‘heavy-metal overdrive’ type of distortion, but something very subtle and delicate and very pleasant to the human ear.
When subjected to high sound pressure levels (SPLs), vacuum tubes exhibit natural compression, resulting in an output signal full of energy and tonal balance. The low-frequency response can often appear to sound stronger than the high-frequencies, leading to valve/tube microphones being described as sounding ‘warm’.
It’s worth noting that the majority of the iconic and most coveted vintage studio condenser microphones were all valve/tube models, and therefore there can be no doubt that there is also a degree of nostalgia which continues to influence the popularity of the vacuum tube to this day.
Since vacuum tubes require high-voltage power supplies to operate, this naturally increases the level of the microphone’s ’self-noise’, a very common issue associated with vintage valve/tube mics. However, the high-quality modern electronic circuits we use in both Aria and Mercury are expertly designed to provide you with the classic vacuum tube tone but with a minimum of self-noise.
A vacuum tube has a finite lifespan and will need to be replaced if the microphone begins to exhibit noise or if its sound response changes in any way, often indicated by a loss of low-frequency output. Find out more about this in the *Valve Mics section* [hyperlink to this section] of our Support pages.
A cardioid pattern picks up sound
from the source it is pointed at but
also offers a graduated rejection of sounds from the side and very
little input from the rear.
When shown on a graph, the pickup response resembles a heart shape,
Cardioid mics are also referred to as 'pressure-gradient' and are ideal for recording vocals and spoken word, guitar, piano, guitar amp, strings and other instruments.
Cardioid mics exhibit the proximity effect (more on this below).
An omni-directional pattern picks
up sound equally from all directions,
like a large sphere around the head of the microphone.
This pattern is useful for recording groups, ensembles and choirs, for using overhead on a large instrument such as piano or drumkit as well as for capturing the natural ambience of a room or performance space.
Omni-directional mics can also be referred to 'pressure-sensitive'.
Mics in omni mode do not exhibit the proximity effect.
Another common polar pattern is
figure-of-eight, which picks up an
equal response from the front and the rear of the microphone with complete rejection at the sides.
A single figure-of-eight microphone can give a very intimate reproduction of sung vocals or solo instruments, and also for use in stereo applications where rejection of sound and noise from the off-axis is critical.
A figure-of-eight mic can be used in combination with a cardioid mic for mid-side stereo technique.
By controlling the voltage and phase cancellation to a capsule, it is possible to create other kinds of directional polar pattern, such as subcardioid, hypercardioid and supercardioid.
Sitting between cardioid and figure-of-eight, HYPERCARDIOID offers good side rejection and a flatter frequency response (compared to regular cardioid) while having a low sensitivity to sounds coming from the rear of the microphone.
Use this pattern if you need greater focus on a particular source, such as recording hi-hat within a drumkit or a violin in a string quartet.
Sitting somewhere between cardioid and omnidirectional, a subcardioid pattern reduces the level of proximity effect (see below) while maintaining excellent
This pattern is useful if a vocalist has a habit of moving while singing, keeping the signal as focused and uninterrupted as possible.
This pattern is related to both cardioid and hypercardioid, but has an even tighter pickup with more rejection on the sides and a slight pickup from the rear.
It’s ideal for use on stage as it offers superior feedback rejection too. You’ll find this pattern in the capsule used for our best-selling Podcast Pro, Solo, Halo and Corona dynamic mics.
Often, when talking about microphone placement, you'll hear the term 'proximity effect'.
This describes the phenomenon you experience when a cardioid (or 'pressure-gradient') microphone is moved closer to its sound source (or the source moves closer to the mic) and its bass response increases.
When recording vocals, the singer can move closer to the microphone and achieve a richer, more intense sound.
It's also a classic technique for voiceover artists to sound deeper and more intimate.
If you're experiencing too much proximity effect but don't want to change your mic positioning, you can take advantage of the mic's low-cut filter (see below), which can be found on most of our condenser microphones.
PAD & FILTER CONTROLS
As instruments and voices can vary wildly in character (as can the methods by which they can be captured), you need to be flexible. In order to make our mics as versatile as possible and to help you get the best possible recording every time, most of our mics feature filter and attenuation or pad controls.
The low-cut (or high-pass) filter reduces the output of lower frequencies captured by the microphone.
As mentioned above, this is particularly useful when the proximity effect may not be desired or where low-frequency sounds such as vibrations or distant traffic rumble are being picked up.
It is also very useful when your sound source exhibits little or now low-frequency output. In this case, the filter can be switched in to add definition to your recording while limiting unwanted noise.
The pad switch is used to attenuate (or reduce) the sensitivity of the microphone by a number of decibels (usually -10 or -20dB).
This is very useful when recording a loud sound source (for example, a trumpet played directly at the mic) which could overload the sensitive internal electronics and cause unpleasant distortion.
In this case, the pad can be switched in to reduce the level of sound being captured by the microphone while still allowing it to pick up and reproduce the characteristics of the instrument.
3 THINGS TO REMEMBER
ABOUT RIBBON MICROPHONES
Ribbon microphones capture a beautifully natural picture of whatever you're recording. This can lead to incredibly intimate results, especially on vocals and wind instruments. You will love it!
The ribbon element suspended between the two magnets can only react to sound pressure coming from the front and back, hence its figure-of-eight bi-directional polar pattern.
Our ribbon mics are more rugged than vintage ones but they're still delicate, and a blast of sound can stretch or completely disintegrate the delicate ribbon, so handle them with care.
Any microphone that has active electronic circuitry inside (this includes all Sontronics condenser and ribbon microphones) will require DC current to be sent into the microphone via the third pin of an XLR cable.
Most audio interfaces, soundcards and mixers offer an option to supply phantom power, usually via a switch labelled 48V (even though some interfaces don't even supply half of that voltage!).
If you are using a Sontronics condenser or ribbon mic, simply make sure phantom power is switched on so that the internal circuit of the microphone is powered up and the mic will work perfectly!
Our Aria and Mercury microphones are supplied with their own power unit and don't require phantom power. Ensure your device has the phantom power switched off when using these mics so no harm is done to their internal electronics.
CARE & CLEANING
Now matter how many microphones you have in your set-up, it's important to treat them with care so that they continue to operate to their full potential as long as possible.
Get into the habit of wiping down your microphone with a clean, dry cloth after each session.
Acid in your fingerprints can start to eat into the surface of the microphone body leading to corrosion, so regular cleaning each time you handle the microphone will prevent this from happening.
Dust and dirt can settle on the delicate capsule surface, which is so microscopically thin, it's impossible to clean. A build-up of dirt and dried moisture can stop the capsule reacting to the incoming soundwaves and lead to dull or fuzzy sound.
Keep your microphone covered between sessions to protect from dust in the air and always use a popshield when recording vocals to reduce the amount of moisture entering the microphone.
As with any electronic equipment, you should do what you can to protect your microphone from extremes of heat and humidity.
Using a cold microphone (either in a cold room or brought into the studio from a cold storage cupboard) to record vocals will cause condensation to gather on the mic body and the electronics inside, which can lead to corrosion, capsule damage and short circuiting.
Today we are more aware than ever of the need to keep strict hygiene rules to stop the spread of viruses, and microphones are no exception.
It is advisable to use anti-bacterial wipes (or a clean cloth sprayed with anti-bacterial liquid) to clean the exterior surface of your mic and its clip, shockmount and any accessories, especially if the mic will be used by another person. However, you MUST ensure that all surfaces are then wiped with a second dry cloth to stop any moisture settling on or in the microphone.
We suggest that you have spare grilles and inner windshield foam for mics such as our handheld Solo (right). These can be swapped out and cleaned with anti-bacterial spray, scrubbed carefully with a small brush, then patted dry with kitchen roll and left to dry fully before replacing on the mic.
Our ST-POP popshield is supplied with a spare nylon-mesh cartridge so you can clean one (wash in warm soapy water, rinse and leave to dry) while the other is in use.
INTERACTIVE PRODUCT TABLE
This handy table lists all our mics in alphabetical order, but can be rearranged to list mic by type, by polar pattern or by application simply by clicking on the header. Use the SEARCH box to find what you need.