d&b solutions

The D112 has earned a well-deserved reputation worldwide as the best kick drum microphone ever made. Heavy-footed drummers are thrilled with the D112´s ability to handle up to 160dB SPL without any distortion. The diaphragm has a very low resonance frequency to maintain a solid and powerful response below 100Hz. A narrow band presence boost at 4kHz punches through dense mixes with forceful impact – no additional EQ needed!

The D2 is used for stage, studio and broadcast applications. It is designed with a hypercardioid pickup pattern for isolation and feedback control and is equipped with a VLM™ diaphragm for natural, accurate sound reproduction. The D2 is an excellent choice for miking instruments with a percussive nature such as rack toms, congas, saxophones, guitar cabinets and brass. Transformer less design, low impedance and balanced output insure that the D2 will perform interference-free.

With a wide frequency response of 40 Hz – 18 kHz and the ability to handle SPLs in excess of 144 dB, the D4 is an excellent choice for miking instruments requiring precise, low frequency reproduction such as large rack toms, floor toms, cajon, djembe, tympani, leslie bottom, bass flute, saxophone and baritone saxophone, trombone, acoustic bass, bass cabinets and small kick drums.

The D6 is used for stage, studio and broadcast applications. Designed with a cardioid pickup pattern for isolation and feedback control, the D6 is equipped with a VLM™ diaphragm for natural, accurate sound reproduction. Lightweight, compact and easy to position, the D6 is an excellent choice for miking instruments requiring extended low frequency reproduction such as kick drums, large toms and bass cabinets. The D6s transformer less design, low impedance and balanced output allow for interference-free performance.

The 4066 Omnidirectional Headset Microphone offers clean and transparent sound quality with lots of headroom. For years, this has been the chosen headset mic for broadcasters as well as theaters on Broadway and London’s West End. This is due to its pristine sound and durability.

The PSM 900 In-Ear Personal Monitoring System from Shure offers a clear and accurate audio quality and robust RF performance. Innovative features allowing for ease of use and quick setup make it the ideal solution for the most demanding professional applications. All new, patent-pending CueMode allows the sound engineer to monitor different stage mixes with the touch of a button. Precision front-end RF filtering significantly reduces dropouts from RF interference.

The Radial J48 has been designed from the ground up to deliver the most natural tone. As a direct box manufacturer, we do not believe it is our task to alter the sound of your prized ‘1962 Fender Jazz Bass’, but retain and transfer the true character of the instrument to the mixing console without adding distortion or introducing artifact. This design philosophy has gained a tremendous following from many of the world’s most demanding musicians.

The Radial SGI is a high performance line driver that takes an unbalanced guitar signal and allows you to drive it as far as 100 meters (300ft) without noise. In the studio, it allows the guitarist to sit in the control room and connect to a distant guitar amp. On stage, the SGI can be used to play the guitar amp using off-stage isolation cabinets or be used to manage guitar signals to and from wireless systems, pedalboards and amplifiers.

Dynamic cardioid instrument microphone. Designed for drums and percussion. Compact with clip to attach to the rims of toms and snares. Excellent sound profiling, adapts to all percussive styles. Robust metal casing.

The Beta 27 is unique in the industry as the only side-address, supercardioid condenser mic designed for professional sound reinforcement.

Optimized for low-frequency bass punch and high-power SPL handling, the Beta 52A’s supercardioid design provides maximum isolation from other onstage sounds.

The Beta 58A dynamic vocal microphone is precision-engineered for live performance and project studio recording. A tailored frequency response accentuates vocals, and the supercardioid pattern isolates from other sound sources.

The Beta 91A is optimised for kick drums, as well as traditional low end applications including piano. It uses a half-cardioid condenser boundary microphone with an integrated XLR preamplifier that is tailored for a strong low-end response. It has a two-position contour switch for optimised sound signature depending on application.

The Beta 98/S condenser microphone is precision-engineered for high-SPL instrument applications. Its supercardioid polar pattern provides maximum isolation from other onstage sounds.

The KSM137 is a premium cardioid condenser instrument microphone with a switchable pad and low frequency filter.

The KSM32 is a premium condenser microphone which features an extremely flat, extended frequency response to provide a perfectly transparent or neutral reproduction of the sound source.

The SM27 is a rugged and versatile large-diaphragm, side-address cardioid condenser microphone, with premium components for exceptional stage and studio performance applications.