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Sontronics Mercury Vintage

Sontronics Mercury Vintage

Mercury Vintage edition er en herlig versjon av Sontronics nyeste rørmikrofon. Denne leveres med et sjeldent Mullard M8162-rør, hentet fra det britiske militærets lager. Selve røret er garantert over 40 år gammelt, og har AAA-spesifikasjoner. (Dette røret kan ikke sammenlignes med rimelige kopi-rør som "flyter over" på ulike salgssider på internett.) Sontronics har igjennom årene opparbeidet seg en fin liste profilerte artister som bruker eller har brukt mikrofonene til sine innspillinger. Her nevner vi navn som Ed Sheeran, Gary Barlow, Eric Clapton og Adele, som i nyere tid har benyttet Mercury og Aria i sine produksjoner. Mercury har variable karakteristikker, og med et uvanlig bra headroom til å være en rørmikrofon, er dette en svært anvendelig studiomikrofon! Mercury Vintage Edition kommer i et svært begrenset antall, og vi anbefaler deg å sjekke ut det vi tror kan bli en riktig klassiker om noen år.

Lagerstatus: På lager

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kr 18 500,00


British microphone brand Sontronics has officially launched its new MERCURY variable-pattern valve microphone, with the first models shipping now! The Sontronics MERCURY builds on the amazing success of Sontronics’ multi-award-winning ARIA microphone and is designed to sound stunning in any application, from solo instruments, percussion and vocals to ensemble or orchestral work, overhead or ambient miking. 

Designed by Sontronics’ founder and designer Trevor Coley, and developed alongside UK artists and producers as well as the engineers at Abbey Road Studios, the MERCURY is hand-built in the UK and employs the highest grade components (most of which have less than 1% tolerance, unheard of for a microphone at this price) and a hand-selected and tested European-made ECC81/12AT7 vacuum tube, all of which result in absolutely impeccable results, whatever you’re recording. 

The MERCURY gives you an infinite choice of polar patterns from omnidirectional to figure-of-eight and everything in between via the sweepable control knob. The mic also boasts pad (0, -10dB) and filter (linear, 75Hz) controls, a professional power supply with medical-grade interference filter and boasts incredibly low self-noise for a valve microphone (less than 12dB A-weighted), making this a must-have for any studio serious about achieving the best quality results. 

Like all Sontronics microphones, MERCURY is covered by their unique Lifetime Warranty which you simply activate by sending an email to Sontronics after your purchase.

“MERCURY has been almost three years in the making.” says Sontronics’ designer and founder Trevor Coley, “and represents the pinnacle of quality components and British engineering, combined with our passion for making versatile microphones that don’t cost the earth. We’ve already had some amazing feedback from top artists who loved working with the prototype so much that they’ve already bought the real thing, and it’s being compared to vintage valve microphones that cost up to ten times the price.”

• valve/tube condenser microphone
• variable polar patterns
• designed to sound stunning on whatever you're working on
• beta-tested with top producers and artists including Gary Barlow

• male & female vocals
• voiceover
• piano & strings
• acoustic guitar & guitar amp
• brass, woodwind & ethnic instruments
• drums & percussion
• ensemble, choral & orchestral
• room & overhead miking

OUT OF THIS WORLD (utdrag av test i Sound on Sound):

Download sound examples from this review here.

"If I had to pick two words that best describe the sound of the Mercury microphone, they would be ‘present’ and ‘transparent’. There’s a clarity here, a definition and coherence all the way from the bottom to the top of the frequency response. It sounds modern, open, solid and defined.

The design choices, both electrical and mechanical, contribute to this — the relative separation of the headbasket from the body yields an increase in presence, and the tight tolerances in those capacitors yield advantages in terms of the phase between the dual diaphragms. Where two back-to-back diaphragms are combined to achieve variable patterns in this way, they would, in an ideal world, be identical. In practice they never can be, but the quality and stability of the circuit to which each is connected affects how close they can get to that ideal. There’s a distinct lack of that veiled smearing that affects some lesser products, and no part of the frequency spectrum that feels indistinct or cloudy, so it’s easy to imagine why Coley felt that there was some benefit to this additional production cost, even without the ability to make the comparisons that he himself made on the test bench.

I made a number of drum recordings at The Old Chapel Studios in Nutbourne, which showcase these qualities. Drums can tell us a lot about a microphone. They exhibit a wide range of frequencies, and in a relatively ambient space like this, they reveal off-axis coloration. Any loss of definition can have an obvious negative impact, and a lack of headroom quickly flags itself up as a ‘thwocky’, constrained character on louder transients. Both drummer James Ivey and I found none of those disadvantages — the clarity, presence and open nature of the sound was impressive. Transients were crisp and clear, but the low-end depth and definition indicate that this isn’t simply a question of being bright. Yes, the microphone is bright, but it’s a quality borne out of coherence and transparency, rather than artificial boost or deliberate resonance. Moving between omni, cardioid and figure-8 patterns, and between spaced and coincident positions, the flexibility of the mic reveals itself quickly. I found myself able to dial the room sound up and down in the transition between omni and cardioid, and exclude certain elements of the kit using the deep nulls of the figure-of-eight pattern. The room blended beautifully with the direct sound of the kit, allowing for a lively, natural portrayal.

At this point, it’s worth coming back to the subject of headroom. This is a mic with more apparent headroom than the specifications would suggest. Coley confirms this: the numbers are, he says, conservative, with several more decibels in hand. And so, as a drum overhead, this is a microphone that remains crisp and clear on the transients even without the use of the -10dB pad. This is a considerable advantage for a mic of this type; so often I find myself ultimately swapping a condenser overhead out because it just can’t cope with the louder sections of a track. I’m forced to go for a slightly different character as a result, but this microphone represents a legitimate option in this respect."

Teknisk informasjon

Polar pattern: Sweepable from omni to figure-of-eight & everything in between
Frequency response: 20Hz - 20kHz

Pad:0, -10dB
Filter: Linear, 75Hz
Sensitivity: 18mV/Pa -33dB ±1.5dB
(0dB = 1V/Pa @ 1,000Hz)
Impedance: ≤200 Ohms
Equivalent noise level: <12dB
Max SPL (for 0.5% THD @ 1kHz): 125dB
Power: 115/230V
*phantom power NOT required*
Connector: 8-pin connector (mic),
3-pin XLR-M (power supply)
Dimensions: 250 x 90 x 80mm
Weight: 2317g (mic only)
Comes with: wooden box (for Mercury mic), shockmount, cables, power supply, aluminium flightcase

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