MICROPHONES
- Gefell UM70S
- Gefell MV691/M71
- Telefunken AR51
- Beyerdynamic m160
- Josephson C42 (2)
- Beyerdynamic M201 (2)
- AKG C451E/CK1
- AKG D-12 E
- EV RE-20 (2)
- Shure SM7b
- Sennheiser e902
- Blue B6 Lollipop
- Blue Baby Bottle
- AT 4033
- AT 4041 (stereo pair)
- Shure SM57 (a few)
- Shure SM58 (a few)
- MXL A55
- Beyerdynamic M-02
- Sennheiser e604 (3)
- Realistic 33-1090B PZM
- Concord mic for tape recorder
IN/OUT
- Lynx Aurora AD/DA
- Daking Mic Pres (8)
- Audient ASP 880
- Lynx AES16eSRC
- Neumann KH120 monitors
- Benchmark DAC-1
- Countryman Type 85 Active DI (2)
- Homebrew Jensen passive DIs
- FMR Audio RNP
- Baggs active PADI (2)
- Yorkville YSM-1p monitors
- Behringer Ultramatch Pro 24/96
MISC
- Mr Coffee BVMC-PJX-23
- Mackie MCU Pro
- Oz Audio HM-6
- Various headphones
- '70 Fender Vibrolux Reverb
- FMR RNC stereo compressor
- SWR Workingman's 12
- Roland U-20 synth
- Akai AX-60 synth
- i9 10900 DAW
SOFTWARE
Realistic 33-1090B PZM
Oh Radio Shack, I miss ye. This is what's called a a boundary mic, generally mounted to a piece of plywood or plexiglass, and set on the floor, or the wall/barrier. This model is one of those "studio tales" mics, an original 33-1090B with the 'PZM' marking, meaning it was made by Crown and RS slapped their Realistic logo on it. I had long heard about people using these as room mics for drums, horns, etc. I saw this for sale pretty cheap, thought I'd try it. I have set it up a few times, but honestly, I haven't really used it a lot in the final mix. It has been used in a live setting a couple times and worked great for that. But this one is unmodded, even still has it's 1/4" unbalanced output, so I think I'll do the mods that increase the voltage, ditch the crappy transformer, and balance the output. Supposedly, these mods make it far more usable. When I get the time or motivation, I'll give it another go.