Warm Audio WA-47 Tube Condenser Microphone

The Warm Audio WA-47 is a large-diaphragm tube condenser microphone with a switchable polar pattern, designed to emulate the sound of the classic Neumann U 47. (Presumably the 1958-1965 version with the VF 14 tube and the K 47 capsule.)

WA-47 price: $1 200 CAD

Neumann U 47 (second-hand in 2021): $15 000 CAD (Yes, fifteen thousand.)

Uses: The WA-47 can be used on any source as long as the volume isn’t high enough to overload the tube. Especially pleasing results can be achieved if a warm and slightly dark sound is desired for your source. The WA-47 also has a switchable polar pattern, which allows it to be used in many different multi-mic configurations such as A/B, X/Y, or M/S. Its ability to switch polar patterns would also allow you to control room reflections and the amount of proximity effect when close-miking.

Components:

  • Capsule: Neumann K 47-style capsule, with the same hole pattern and frequency response as the original. Externally biased, centre-terminated, dual 6μ mylar diaphragms, single backplate.
  • Electronics: 5751 Vacuum tube, TAB-Funkenwerk transformer, Wima, Solen French, and polystyrene capacitors.

Technical Specifications:

  • Frequency Response (Cardioid): 20Hz-20kHz / 50Hz-18kHz, ±3dB
  • Selectable Polar Patterns: Full range from omnidirectional to figure-of-eight.
  • Self-Noise: 10dBA
  • Signal/Noise Ratio: 82dBA
  • Maximum SPL: 140dB (<0.5% THD)
  • Output Impedance: 200 ohms
  • Rated Load Impedance: ≥2kOhms

Warm Audio link: https://warmaudio.com/wa47/

Neumann U 47 Wikipedia link: https://en.wikipedia.org/wiki/Neumann_U47

-Nick Andreev

Sevish – Midnight Cascade

In Midnight Cascade, Sevish employs just intonation in tuning their instruments.

A just intonation tuning system is any tuning system that attempts to tune musical intervals as whole-number ratios. Such whole number ratios appear naturally in almost all sounds as the harmonic series, and when sounded, no beating is heard. That being said, attempting to create rigid tuning systems using the rules of the harmonic series doesn’t work as one would first expect, as music commonly requires more notes than just one harmonic series can provide. As such, just intonation tuning systems frequently sound just as, if not more, out of tune than standard twelve-tone equal temperament. However, if one is using a scale-free instrument like a trombone, voice, or any instrument of the violin family, they would naturally be inclined to play in what is called adaptive just intonation, which is basically what all just intonation tuning systems attempt to emulate.

– Nick Andreev