Violet Design Microphones

Violet Design Microphones
Futuristic designs hand-built with extreme precision in Latvia
www.violetdesignusa.com
WHY VIOLET DESIGN?
superb performance
Violet Design microphones offer exceptional performance resulting from meticulous
attention to electronic and acoustical design and component selection. We utilize our own
unique handmade true electrostatic brass body capsules with 6-micron Mylar diaphragms
with sputtered gold coatings. Each capsule is carefully tensioned and tuned to deliver excellent
transient response and high SPL handling capability. The internal electronics are Class ‘A’ fully
discrete designs for flat audio response, high output and very low noise and distortion. Most
of the designs are transformerless, but where transformers are employed, they are custommade Permalloy humbucking transformers which handle high levels without saturation.
CONSISTENCY
Violet Design applies old-world craftsmanship with meticulous attention to component
selection, capsule tensioning, manufacturing processes, and rigorous testing of individual
completed microphones in an anechoic chamber to assure high unit to unit consistency.
EXOTIC STYLING
The physical designs are unique, focusing on minimizing acoustic reflections and resonances
which could color the sound, while also providing a tool of beauty, executed with extraordinary
fit and finish.
violet design
contents
FLAMINGO .................................................................4,5
FLAMINGO STEREO........................................................5
FLAMINGO JUNIOR ........................................................6
BLACK HOLE..................................................................7
GLOBAL PRE ..................................................................8
VIN SERIES .....................................................................9
GLOBE .........................................................................10
AMETHYST ..................................................................11
DOLLY..........................................................................12
BLACK KNIGHT ............................................................13
The Amethyst shown with optional
ASM shockmount. on page 11.
FINGER ........................................................................14
PEARL ..........................................................................15
ACCESSORIES ..............................................................16
SPECIFICATIONS......................................................17-19
2
INTRODUCING
Violet Design Microphones
www.violetdesignusa.com
FLAMINGO SERIES
“The Flamingo” Series are top-of-the-line vacuum-tube studio microphones designed
for high-end quality audio recording. “The Flamingo Standard” uses a side-address,
dual-diaphragm electrostatic transducer tuned to provide a classical wide-spectrum vintage
tube-microphone sound with extended top end. “The Flamingo Vintage” is tuned to provide
a sweet, warm vocal sound with high-frequency roll-off as associated with the most
famous vintage tube microphones. “The Flamingo Magic Ear” uses an extra large ear-shaped
transducer which provides a unique, resonance-free, warm and full vocal sound. The irregular
shape of the capsule removes circular resonances and reflections. As a result, it has a warm,
clean, more dense and natural tone without the typical round capsule resonance effect.
All models have unidirectional cardioid polar patterns and introduce a new physical
design in the industry. The large, acoustically-transparent head construction keeps sound
details as close to unaffected as possible. The combination of massive body, internal capsule
shockmount, integrated head shockmount and the included compact external shockmount work
together to reduce rumble and outside infrasonic interference as well as mechanical shocks.
Flamingo Magic Ear
applications
“The Flamingo” is intended for the highest level of recording studio
applications. It is a superb vocal and instrument microphone, limited in
application only by it’s large physical size.
“The Flamingo Standard” has a polished violet body
and “The Flamingo Vintage” has a black matte body.
The “Magic Ear” version is available only by special order.
flamingo
Shown with optional VSM47-FL shockmount.
4
FLAMINGO SERIES
(CONTINUED)
The internal vacuum tube preamplifier is a Class ‘A’ full discrete circuit and provides very high
output, flat audio-response and ultra-low noise and distortion. The carefully selected 6267 vacuum tube
is mounted inside a massive heat sink on an isolated internal shockmount. The large custom-wound
Permalloy humbucking audio transformer balances the output signal, isolates the microphone from
external interference and adds even more “analog warmth” to the sound with wide frequency response
and minimum saturation.
“The Flamingo” microphones come with a sequential, soft-starting power supply unit
which protects the tube from excessive currents while cold, and mutes audio until
high voltage has been applied and the tube is stable. Sequence progress is indicated
by LEDs while a digital readout shows actual plate voltage. The output connector uses
gold-plated contacts for noise-free termination.
flamingo
stereo
FLAMINGO STEREO
“The Flamingo Stereo” is the latest member of the Flamingo line and has a FET
preamp with two large diaphragm cardioid condenser capsules for stereo pick-up.
Rotating large spherical metal mesh heads can be easily positioned and the microphone includes an integrated
elastic studio suspension with swivel mount. The original visual design and handmade expertly finished components
complement the superb sound quality of the twin JZ capsules.
5
FLAMINGO JUNIOR
“The Flamingo Junior” Series of studio microphones are side-addressed unidirectional microphones
designed for professional audio recording where sound quality and musical character is of the utmost
importance. “The Junior” uses a single-diaphragm cardioid electrostatic transducer, providing vintage
tone with transparent highs, optimized vocal presence and fundamental low-frequency register with
minimal proximity effect. The acoustically transparent head construction reduces internal resonances,
optimizes the polar pattern and keeps sound details as close to unaffected as possible. There is an
integrated shockmount within the head and an external compact studio shockmount included to reduce
stand rumble, outside infrasonic interference and mechanical shocks.
The internal Class ‘A’ fully discrete, 48V phantom powered preamplifier provides high output, flat
audio-response and ultra-low distortion and noise. A custom-wound large humbucking audio transformer
balances the output circuits, isolates the microphone from external interference and adds “analog warmth” to
the sound. Gold-plated contacts on the output XLR connector provide a noise-free connection.
“The Junior” is available in 2 styles. “The Flamingo Junior Standard” has
a polished violet body and “The Flamingo Junior Vintage” has a matte
black body. Matched stereo or surround sets can be special ordered.
The use of an external pop filter is recommended for close vocals.
flamingo jr
applications
“The Flamingo Junior” has a medium bright tone and is designed for all-around
recording studio applications including vocals and instrumental work. The
custom-tuned frequency response has smooth enhancement at the lowest registers,
mid-range at 2kHz – 3kHz, and also in the 12kHz region, yielding recordings with
low-end punch and high-end air. You will find it to be very pleasing on a wide range
of musical applications, especially as a vocal microphone when used with an external
pop filter.
Shown with optional VSMJ shockmount.
6
BLACK HOLE
“The Black Hole” is a multi-pattern studio condenser microphone with a unique
physical design involving two large condenser capsules placed back to back in
a wire mesh head. The capsules feature a single large diaphragm, no center
electrode, and an adjustable backplate. This dual capsule configuration allows the
user to select between omnidirectional, cardioid, and figure 8 polar patterns. The
internal phantom powered preamplifier’s Class ‘A’ fully discrete transformerless
circuit provides high output, flat audio response and ultra low distortion and noise.
The output connectors are gold plated for the best possible signal transfer. “The
Black Hole” comes ready for stand mounting with the included shockmount/stand
holder system.
The combination of adjustable polar patterns,
very high SPL handling, and quiet electronics with
very low distortion make it an ideal tool for many
difficult applications.
black hole
applications
“The Black Hole” is intended as a versatile studio workhorse
microphone suitable for a very wide range of vocal and instrument
applications. For close vocal applications, we recommend the use of
foam or mesh windscreen/pop filters to protect the capsules.
7
GLOBAL PRE
“The Global Pre” is a compact high-quality electrostatic microphone preamplifier body designed to be used
with vintage German-made M-series interchangeable capsule heads, as well as B-series and VIN-series
interchangeable capsule heads made by JZ in Latvia. It was designed as an alternative to expensive historical
vacuum tube microphone preamplifiers and fully meets today’s high resolution audio recording demands. The
electronics are phantom powered, with a linear, Class ‘A’ discrete solid state transformerless design to provide
extremely low self-noise and distortion. Polar patterns and applications fully depend on which capsule head is
used. (Capsule heads are not included.)
Shown with optional capsule.
Global Pre with optional
capsule attached.
“The Global Pre” provides a low-impedance, balanced output on a
3-pin XLR connector with gold-plated pins. It comes in a wooden
box and includes the GSM compact studio shock mount.
global pre
8
vin series
VIN Series vintage are standard mount changeable capsule heads for GLOBAL PRE, CVM563, RFT CM7151 and other
bottle type microphones.
vin series
mic capsules for global pre
VIN12
Cardioid, bright, large diaphragm capsule head. Similar sound to C12.
VIN26
Cardioid, medium bright, large diaphragm capsule head.
VIN27
Cardioid, natural sounding, large diaphragm capsule head.
VIN44
Figure 8, large diaphragm capsule head.
VIN47
Cardioid, classic sounding, large diaphragm capsule head. Similar sound to U47.
VIN55
Omni directional, large diaphragm capsule head.
VIN67
Cardioid, large diaphragm capsule head. Similar sound to U67.
VIN89
Cardioid, medium diaphragm capsule head. Similar sound to U89.
9
GLOBE
“The Globe” Series of cardioid studio microphones are designed for world-class recording situations
where sound quality and musical character is of utmost importance. “The Globe Standard” is
tuned for a classic, wide-spectrum microphone sound ideal for instrument or orchestral
applications. “The Globe Vintage” uses a different dual-diaphragm capsule providing a
sweet and warm, vintage vocal microphone sound. Both models utilize an isolated spherical
head assembly constructed of brass mesh for maximum acoustical transparency. The large
dual-diaphragm true electrostatic condenser capsules use the highest quality 6-micron
Mylar film. The diaphragms are tensioned and adjusted on precisely-made brass backplates
and sputtered with a special-formula gold mixture. This process gives a faster impulse
transient response without sound coloration or low-frequency reduction and adds the
ability to handle louder sound pressure levels.
The internal solid state preamplifier of the microphone is a Class ‘A’ fully discrete
transformerless circuit, built using only the highest quality components. The circuit is designed to
achieve the highest audio standards and provides a flat frequency response, high dynamics, low self-noise,
and very low audio distortion of all types. “The Globe” should be used with high quality, regulated 48V
phantom power. Rugged microphone construction and 2 internal shockmounts (one for the capsule and one
for the electronics) effectively reduce stand rumble, outside infrasonic interference and mechanical shocks.
“The Globe” is ready for operation on
the supplied GSM compact studio shock-mount.
Shown with
optional VPF pop filter.
globe
applications
“The Globe” is an excellent choice for studio recording of vocals, piano,
guitars, drums, percussion, strings, wind and most other sound sources. “The Globe
Standard” model is especially good for articulated female vocals and other full range
lead sounds. “The Globe Vintage” has a warmer lead tone and is ideally suited for
close male vocals. When used for vocals, close miking from 1/2” to 4” generally
achieves the best results, so we recommend the use of metal or foam pop filters for pop protection. The
fast impulse transient response, crystal clear highs and high SPL handling make it excellent for recording
drums; especially for snare drum, overhead and hi-hat. It is also excellent on piano, electric and acoustic
guitars, bowed strings, and brass instruments.
10
AMETHYST
“The Amethyst” Series of studio microphones utilize capsules with 6-micron gold sputtered Mylar
diaphragms tensioned and adjusted on precisely made brass backplates. They possess very fast
impulse transient response without sound coloration or low frequency reduction, as well as the
ability to handle louder sound pressure levels.
“The Amethyst Standard” has a dark amethyst red body and uses a single large-diaphragm
center-terminated capsule to provide a modern, detailed sound with airy highs, medium vocal
presence and accentuated low-end response. The internal phantom powered preamplifier is a
fully discrete Class ‘A’ transformerless circuit which provides high output, flat audio response
and ulta-low distortion and noise. “The Amethyst Vintage” has a grey/blue body and uses
a dual large-diaphragm, center terminated dual back plate capsule which provides a classical,
wide-spectrum, vintage microphone sound. Both models have a unidirectional cardioid polar
pattern with minimal proximity effect and are linear over the wide frontal incidence angle. An
acoustically transparent head construction reduces internal resonances and reflections. The
internal capsule shockmount along with the massive body construction, reduces stand
rumble, outside infrasonic interference and mechanical shocks.
Both microphones can be mounted directly on a standard microphone stand or
in the optional ASM elastic shockmount. Gold plated contacts on the output
XLR connector provide a noise-free connection.
amethyst
applications
The handy compact size and versatile mounting, combined with high SPL capability make
these microphones ideal for close instrumental situations. “The Amethyst Standard” is
particularly recommended for percussion and stringed instruments. For vocal applications
“The Amethyst Standard” is more oriented for a male voice and “The Amethyst Vintage”
for a female voice. Use them up close, within 2” to 4”to get best results. The internal
amplifier and capsule are hard to overload and are well suited for close miking of vocals.
Shown with optional
ASM shockmount.
Use pop filters in the studio, or foam windscreens in live
applications to reduce plosive sounds and breath, pop or wind noises.
11
DOLLY
“The Dolly” Series of cardioid condenser studio microphones uses large dual-diaphragm
gold-sputtered 6-micron Mylar capsules which provide detailed and uncolored sound.
They feature transparent highs, smooth midrange with an optimized slight presence bump
centered at 3kHz, and close to flat low-end response. The multi-layered brass mesh head design
effectively reduces plosive sounds and breath, pop or wind noises. The isolated spherical
shape with internal capsule damping reduces internal resonances and refelections, and
maintains an unobstructed cardioid polar pattern with little off-axis coloration. The internal
solid state preamplifier of the microphone is a Class ‘A’ fully discrete transformerless circuit,
built using only the highest quality selected components. The circuit is designed to achieve
the highest audio standards and provides flat frequency response, high dynamics, low
self-noise, and very low audio distortion of all types. “The Dolly comes in three different
finishes–violet, white and black. When used as a close vocal microphone, “The Dolly
Black” has a somewhat more compacted low frequency response due to the smaller
holes in the black painted grille.
“The Dolly” should be used with high quality, regulated
48V phantom power. Gold-plated pins on the XLR output
provide a clean and noise-free connection.
Shown with optional DPF pop filter.
applications
“The Dolly” Series has a warmer tone with very high output and low
noise. It is designed for a wide range of studio recording situations. The
fast transient response, crystal clear highs and high SPL handling make
it excellent for snare drum, overhead and hi-hat. The recommended
placement is 2” to 4” from the drum rim, but you will want to experiment
with different positions and angles. It is also excellent on piano, electric
and acoustic guitars, bowed strings, flute and brass instruments.
When used as a vocal microphone, position “The Dolly” 1/2” to 4” away
to get the best results. There is no need to worry about overload but
using a pop-filter in the studio or a foam windscreen in live applications
can help reduce plosive sounds and breath, pop or wind noises.
Dolly-DLX
Dolly-Black
Dolly-White
dolly
12
BLACK KNIGHT
“The Black Knight” uses a large dual-diaphragm, side-terminated, condenser
capsule. It possesses a natural musical sound with transparent highs, smooth
midrange with a subtle vocal presence bump at 3kHz, flat low-frequency
response and a unidirectional cardioid polar pattern. The acoustically open
transducer head minimizes internal resonances and reflections so that even
the most minute sound details are authentically captured. An integrated
swivel-mount allows for fast and handy positioning of the transducer
head. The internal phantom powered preamplifier’s Class ‘A’ fully discrete
transformerless circuit provides very high output, flat audio-response and
ultra-low distortion and noise. Gold-plated contacts on the output connector
provide a noise-free connection.
Shown with optional VSMD-BK shockmount.
black knight
applications
“The Black Knight” microphone has a very detailed and uncolored
sound. It is perfect for overheads, acoustic guitar and many other
instruments as well as vocal applications. The swivel mount head
allows for easy minor re-positioning, without adjusting the stand. It is
an excellent solution for broadcast studios, film and video production,
sound reinforcement and other professional applications. It has a very
open, single layer head grill so use of a pop-filter or foam windscreen
is recommended when working the microphone closely.
“The Black Knight” microphone is also available in
matched stereo or surround sets as a special order.
13
FINGER
“The Finger” uses a single medium diaphragm transducer to provide
detailed sound with smooth transparent highs, optimal presence and natural
low-end response with a unidirectional polar pattern. “The Finger” has a unique body
design with an integrated tapered reflector which reduces resonances, removes reflections and
optimizes the microphone’s cardioid polar pattern. Integrated damping of the transducer reduces
stand rumble, outside infrasonic interference and mechanical shocks.
The optional and unique FRR Reflection Ring is a reflector disc (shown below) which can be positioned at
the head or anywhere along the body of the microphone to alter the polar pattern, frequency response
and sensitivity. Positioning the FRR at the end point of “The Finger’s” reflector alters low-frequency
response and adds proximity effect. The FRR can also be used to separate the front and rear sides of
the capsule and to reduce reflections and reverberation from reaching the capsule. Positioning the FRR
on the capsule head’s top produces a polar pattern closer to a half-sphere pattern with less coloration at
different angles, less proximity effect and adds sensitivity to all except high frequencies. It is even possible
to use 2 FRRs, positioning one on the top of the head and one elsewhere on the body for effect.
“The Finger” is available in 2 styles. “The Black Finger” has polished
nickel-plated hardware and a matte black body. “The Gold Finger”
has polished gold-plated hardware and a matte black body.
Matched stereo pairs can be special ordered.
finger
applications
“The Finger” microphone suits a wide range of studio and stage situations. It is ideal
for capturing vocals, speech, choir, and musical instruments as well as orchestral
and most other sound sources. It is an excellent choice for broadcast radio and
television, film production, sound reinforcement and other professional applications.
In the home studio where there are generally fewer microphones available, it offers
superb performance giving it outstanding value. Use of a studio pop filter and/or
polyurethane open-cell foam windscreen is necessary for close voice applications,
to protect the capsule from plosive sounds and breath, pop or wind noise. Matched
stereo or surround sets can be special ordered to provide balanced recordings.
Shown with optional FRR reflection ring.
Shown with optional PSM shockmount.
14
PEARL
“The Pearl” Series of professional electrostatic microphones are designed for both handheld
stage performances and studio vocal recording where sound quality and musical character is
of the utmost importance. “The Pearl Standard” uses a medium single-diaphragm transducer
which provides a modern, detailed vocal sound with airy highs, extended vocal presence and
optimized low-end response. “The Grand Pearl” uses a large dual-diaphragm transducer which
provides the warm, classical vocal sound usually associated with vintage vocal studio microphones.
These innovative microphones introduce a new physical design
with a rear-ported spherical head and a special narrow tapered
form reflector to reduce internal resonances and reflections
and optimize the unidirectional cardiod polar pattern.
Shown with optional GSM shockmount.
A soft center band around the circumference of the head minimizes shock and handling noise. Rugged
microphone construction and internal shockmounts effectively reduce stand rumble, outside infrasonic
interference and mechanical shocks.
The internal phantom powered preamplifier’s Class ‘A’ fully discrete transformerless circuit provides high
output, flat audio response and ultra low distortion and noise. The output connectors are gold plated for
best possible signal transfer. “The Pearl” is ready for noise-free handheld or stand use. A flexible stand holder
is supplied with microphone. FRR is an optional unique reflection ring accessory which is used as a tool to
slightly alter directional characteristics and frequency response by positioning at different points along the
microphone body.
pearl
applications
“The Pearl” Series microphones are designed primarily for vocalists, but are also capable of capturing
piano, guitars, drums, percussion, strings, wind and many other instruments. The larger diaphragm
of “The Grand Pearl” is specially tuned to provide a deep warm vocal tone ideal for jazz or pop
music. These are unidirectional cardioid microphones and should be held or mounted so that the rear
openings behind the capsule are not obstructed. In vocal applications, best results are obtained when
the microphone is 1” to 6” away. Microphone overload is not a problem, however, we recommend
the use an additional pop filter in the studio or a foam windscreen in live applications for further
protection from plosive sounds and breath, pop or wind noise.
15
VIOLET ACCESSORIES
VSM47-FL
FRR
BKS
ASM
VPF
DSP KIT –SILVER (shown)
Also available in Black
Fits Dolly microphones
VSMD-BK
accessories
ASM
Shockmount for Amethyst Microphones
BKS
Alternate Shockmount for Black Knight Microphones
DSP-KIT-Silver
Silver Shockmount and Pop Filter for Dolly Microphones
DSP-KIT-Black
Black Shockmount and Pop Filter for Dolly Microphones
FRR
Reflection Ring for Finger and Pearl Microphones
GSM
Compact shockmount for Black Knight, Globe, Flamingo, Flamingo Junior,
Pearl and Finger Microphones
PSM
Shockmount for Pearl and Finger Microphones
VPF
Pop Filter for Globe, Global Pre, U47, U48, JZ-2, JZ-3
(60mm body microphones)
VPF-FL
Large Pop Filter for Flamingo Microphones (not pictured)
VSMD-BK
Shockmount for Black Knight Microphones
VSMJ
Shockmount for Flamingo Junior Microphones (not pictured)
VSM47-FL
Shockmount for Flamingo Microphones
PSM
GSM
16
VIOLET SPECIFICATIONS
SPECIFICATIONS
UNITS
FLAMINGO
FLAMINGO Stereo
Diaphragm’s diameter
inch/mm
1”/26mm
1”/26mm
1”/26mm
cardioid
cardioid
cardioid
Polar pattern
FLAMINGO Junior
Output impedance
ohms
100
50
100
Rated impedance
ohms
1000
1000
1000
Suggested load impedance
ohms
>250
>500
>250
Hz
20Hz-20kHz
20Hz -20kHz
5Hz-50kHze
mV/PA
26
21.5
20.5
dB
76
76.5
76.5
S/N Ratio DIN/IEC
651 A-weighted
dB-A
87
87.5
87
Equivalent noise level
dB-A
7
6.5
6.5
Max SPL (<0.5% at 1000Hz)
dB
134
133.5
134
Preamplifier’s dynamic range
dB
127
275
127.5
Electronics type
SS/VT
VT
SS
SS
Powering +48V
Phantom or PSU
PH/PSU
PSU
PH
PH
pin 2 in phase
pin 2 in phase
pin 2 in phase
Frequency range
Sensitivity at 1000 Hz
S/N Ratio CCIR
468-3 weighted
Polarity
Output transformer
Y/N
Y
N
Output connector
XLR
XLR-7M
XLR-3M
XLR-3M
inch/mm
8.86 x 7.08”/307 x 68mm
6.3 x 8.66”/157 x 219mm
8.27 x 1.89”/210 x 48mm
lbs/grams
2.2lbs/998g
2.4lbs/1080
1lb/453g
Included accessories
GSM
Power Supply with Cable
Wooden Box
Wooden Box
GSM
Wooden Box
Optional accessories
VSM47-47
VPF-FL
Dimensions
Weight
VSMJ
17
VIOLET SPECIFICATIONS
SPECIFICATIONS
Diaphragm’s diameter
UNITS
inch/mm
Polar pattern
GLOBE
AMETHYST
DOLLY
N/A
1”/26mm
1”/26mm
1”/27mm
N/A
cardioid
cardioid
cardioid
Output impedance
ohms
50
50
50
50
Rated impedance
ohms
1000
1000
1000
1000
Suggested load impedance
ohms
>250
>250
>250
>250
Hz
5Hz-50kHz
20Hz -20kHz
20Hz-20kHz
20Hz-20kHz
mV/PA
N/A
19
21
26
S/N Ratio CCIR
468-3 weighted
dB
N/A
76
76
77.5
S/N Ratio DIN/IEC
651 A-weighted
dB-A
N/A
87
87
88.5
Equivalent noise level
dB-A
N/A
7
7
5.5
Max SPL (<0.5% at 1000Hz)
dB
N/A
134
134
133.5
Preamplifier’s dynamic range
dB
128
127
127
128
Electronics type
SS/VT
SS
SS
SS
SS
Powering +48V
Phantom or PSU
PH/PSU
PH
PH
PH
PH
pin 2 in phase
pin 2 in phase
pin 2 in phase
pin 2 in phase
Frequency range
Sensitivity at 1000 Hz
Polarity
18
GLOBAL PRE
Output transformer
Y/N
N
N
N
N
Output connector
XLR
XLR-3M
XLR-3M
XLR-3M
XLR-3M
Dimensions
inch/mm
2.36 x 2.51”
60 x 64mm
8.66 x 1.73”
133 x 64mm
6.6 x 2.5”
168 x 63mm
8.66 x 1.7”
220 x 44mm
Weight
lbs/grams
8.8oz/250g
8.8oz/250g
12.3oz/400g
12.3oz/400g
Included accessories
GSM
Wooden Box
GSM
Wooden Box
Wooden Box
Holder
Wooden Box
Optional accessories
VIN-Series
VPF
ASM
DSP–Kit
GSM
PSM
VIOLET SPECIFICATIONS
SPECIFICATIONS
Diaphragm’s diameter
UNITS
BLACK KNIGHT
FINGER
PEARL
inch/mm
1”/27mm
.5”/14mm
.67”/14mm
cardioid
cardioid
cardioid
Polar pattern
Output impedance
ohms
50
50
50
Rated impedance
ohms
1000
1000
1000
Suggested load impedance
ohms
>250
>250
>250
Hz
20Hz-20kHz
20Hz -20kHz
20Hz-20kHz
mV/PA
33
12
12
S/N Ratio CCIR
468-3 weighted
dB
76.5
71
71
S/N Ratio DIN/IEC
651 A-weighted
dB-A
87.5
82
82
Equivalent noise level
dB-A
6.5
12
12
Max SPL (<0.5% at 1000Hz)
dB
134.5
140
140
Preamplifier’s dynamic range
dB
128
128
128
Electronics type
SS/VT
SS
SS
SS
Powering +48V
Phantom or PSU
PH/PSU
PH
PH
PH
pin 2 in phase
pin 2 in phase
pin 2 in phase
Frequency range
Sensitivity at 1000 Hz
Polarity
Output transformer
Y/N
N
N
N
Output connector
XLR
XLR-3M
XLR-3M
XLR-3M
Dimensions
inch/mm
8.2 x 1.7”
208 x 44mm
8.1 x .94”
207 x 204mm
8.15 x 1.67”
207 x 42mm
Weight
lbs/grams
1lb/450g
7oz/200g
11.8oz/250g
Included accessories
Holder
Wooden Box
Holder
Wooden Box
Holder
Wooden Box
Optional accessories
VSMD-BK
BKS
GSM
PSM
GSM
FRR
PSM
GSM
FRR
19
www.violetdesignusa.com
Exclusively distributed in the Americas by:
8001 Terrace Ave |
Middleton, WI 53562 USA
toll free: 800-828-0509 | tel: 001-608-831-1946 | fax: 608-831-1890