|
|
Microphones
Roland Studio and Stage Microphone.
|
Roland Studio and Stage Microphone.
|
Roland Studio and Stage Microphone.
|
The Shure Beta 181 is an ultra-compact, small-diaphragm side-address condenser microphone, designed for discreet placement and control in live and studio environments.
|
The BETA 53 is a fully adjustable omnidirectional condenser headworn vocal microphone, designed for applications where unconspicuous appearance and incredible sound quality are required.
|
The Shure BETA 54 is a subminiature, electret condenser headworn microphone. It provides uncompromised sound quality and reliability with minimal visibility in applications such as broadcast, theater, and touring.
|
Excellent for touring professionals, the Beta 87C premium vocal microphone delivers studio-grade performance and a smooth, extended high-end frequency response in a cardioid condenser design.
|
The Shure Beta 91A is designed for use with kick drums, as well as other traditional low-frequency applications including piano.
|
The Shure Beta 98AMP is a precision-engineered miniature cardioid condenser microphone for professional sound reinforcement and studio recording.
|
The PG185 is an electret condenser microphone for clip-on use with a wireless bodypack transmitter.
|
Headset Condenser Microphone for use with Shure Performance Gear and PGX Wireless Systems.
|
The SM2 is a comfortable, self-adjusting headset with dual-enclosed ear receivers and an attached broadcast-quality boom-mounted microphone.
|
The KM-2 features a well balanced zinc alloy body with low handling noise and has a durable mesh steel grille that is dent resistant.
|
The KM-3 is a small diaphragm end address condenser microphone
|
The KM-4 is a dynamic kick drum microphone with a neodymium capsule designed to provide a deep and powerful low frequency response
|
KM-5 is a dynamic microphone specifically tuned for snares and toms with plenty of upper bass and low mid punch. A fast transient response in the upper mid region gives an open and detailed delivery.
| |
|
|