Without a doubt, the WA-67 is a stellar vocal mic, but you’ll find that it sounds great in nearly every application. And it has incredible articulation and top-end detail, making it a no-brainer for use on any acoustic string instrument. There’s also enough SPL handling and a –10dB pad to handle big brass blasts, guitar amps, and bass cabs. And its three polar patterns — Cardioid, Omni, and Figure-of-Eight — increase this microphone’s already impressive versatility. The WA-67’s three switchable polar patterns — Cardioid, Omni, and Figure-of-Eight — give you immense flexibility when it comes to exploring the sonic possibilities offered by different recording techniques. Figure-of-Eight (bi-directional) is perfect for capturing face-to-face recordings such as two background singers on one mic. This pattern also features aggressive side rejection, which makes it a useful option for miking backline amps and speaker cabinets. With two of these superb mics, you can implement stereo techniques such as spaced pair (A/B), X-Y (including Blumlein), ORTF array, and mid-side (M-S). You could even mic an entire symphony orchestra — plus the ambience of the hall it’s recorded in — with three judiciously placed WA-67 microphones set to Omni.

FEATURES

• 3 switchable polar patterns: Cardioid, Omni, Figure-of-Eight
• Designed after a classic, studio-standard large-diaphragm tube condenser mic
• Incorporates a faithful reproduction of the original vintage 67-style circuit
• Custom all-brass re-creation of a large K67-style vintage capsule
• Exceptional build quality with premium, all-discrete components
• EF86 pentode tube and WIMA and Solen capacitors
• Custom Lundahl large-core transformer
• Nickel-plated brass body; 10dB pad; 80Hz highpass filter
• Diaphragm: 6 micron, 1-inch gold-sputtered membrane