MICROPHONES

"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!"