Universal Audio Sphere DLX Modeling Microphone System Microphone Modeling System with 38 Mic Models, Large-diaphragm Condenser Mic, and Sphere DSP Software Plug-in - Mac/PC VST2, VST3, AU, AAX Native
The Universal Audio Sphere DLX microphone modeling system consists of a high-quality large-diaphragm condenser mic that works in concert with software that meticulously models the sonic attributes of 38 of the most coveted microphones ever made. The Sphere DSP plug-in even lets you change your mic selections and polar patterns after recording, accurately modeling the response of a variety of microphones, including transient response, proximity effect, harmonics, and three-dimensional polar response. The Sphere DLX, a dual-capsule mic with dual outputs, enables a more thorough capture of the sound field — and also offers the option of coincident stereo recordings, even with different mic models in left and right channels, using the plug-in. The Universal Audio Sphere DLX: it's a brave new world of sound capture.
Why does Universal Audio use a dual-capsule microphone with dual outputs? Because it more thoroughly captures the sound field, including the distance and directional information you'd lose with a conventional 1-channel mic. This allows the Sphere DLX microphone modeling system to accurately reconstruct how different mics respond to the acoustical environment. Other mic modeling technologies may apply equalization to filter the sound from a conventional microphone — which is essentially the same as applying EQ to process a recorded signal. Sphere's three-dimensional approach captures the spatial nuance, proximity effect, and off-axis response of a broad selection of microphones — 38 models in all — including legends such as the large-diaphragm 47, 67, 87, M49, C12, and other mics like the 451, 57, and even the classic ribbon 4038. You can also use the Sphere Linear (modified to flat) or Sphere Direct (the unchanged sound of the mic), which many listeners like with no modification at all. The DLX is precision crafted and — unlike some prized vintage mics — quite rugged, handling sound pressure levels in excess of 140dB before clipping. And boasting vanishingly low self-noise of 7dB-A, well below most vintage mics, the DLX is on par with the quietest contemporary models.
