AKG CK61/ULS

I studied Sound Recording and was employed as an engineer at a small studio. I've done many live recordings of choral, non-amplified instrumental, and rock band performances. I've worked as a musician and producer as well.

I have two main recording systems.

1) two akg C 480 + Ck61/ULS microphones into a TL Audio Duel Pentode Preamp into a Panasonic Dat.

2) I also do multitrack recording with a computer (PC) based Cubase SX3 system.

Additional gear includes a Joe Meek VC6Q British Channel, a Mackie 1212VLZ mixing board, and various guitar effects.

This is AKG's high end transformerless preamplifier that features an amazingly low noise floor, handles high SPLs with a 3 position pad, includes a built-in two position low-frequency roll-off switch, has very fast transient response (low slew rate), and accepts a number of capsules, including a Cardioid (CK61), Hyper-Cardioid (CK63), Omni-Directional (CK62), and shotgun (CK69). Additionally, with the CK61, the frequency response is dead flat from 150 - 15000 Hz, with a 2db drop from 50-150 Hz.

I have always been a fan of AKG microphones. Their build quality and performance have always made them a first choice for me. When I was looking to buy my first pair of 'pro' microphones, I considered a number of options. I even spent several hours comparing mics in a very controlled studio environment. At first, I was all but committed to the AKG C414. It is, in my opinion, one of the best mics available. One thing I realized, though, was that the large diaphram of the C414 was less responsive than the smaller CK capsules. Because of their lower size, and mass, they moved more easily, and captured more of the subtle transients that might be dampened or missed by other less sensative mics. Another thing I discovered was that the circuitry of the Mic preamps I used made a huge difference in the quaility of the sound. With my TL Audio pre, for example, the mics sound wonderfully open, with that elusive 'air' that so many folks speak of. The other great thing about these mics is their versatility. Because of their low noise, I can use them at the back of a church, and record every nuance of a choral performance. Because of their ability to handle high SPLs, I can use them in clubs to record bands. They're wonderful in the studio for recording acoustic instruments, including guitar, and I've had great success recording vocals with them as well. I don't think they like to be 'eaten' by singers but, with a pop filter in place, they are fantastic.

If you are looking for a high end work horse with impeccable performance and reliability, I heartily recommend these!