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3 Zigma Acoustic & Electric
3 Zigma Acoustic & Electric
 
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List Price: $2,849.00
Our Price: $1,947.00


Availability: Usually Ships in 24 Hours
Product Code: 9999-17435

 

3 Zigma Acoustic & Electric Guitar Microphone Kit

The 3 Zigma Acoustic & Electric Guitar 2x6 Hybrid Microphone Kit gives you a custom optimized hybrid-mic kit, made specifically for giving you optimal tonal options for capturing both steel-string acoustic AND electric guitars, presenting them in the most flattering and natural light possible.

3 Zigma Acoustic & Electric Guitar 2x6 Hybrid Microphone Kit is inspired by the experience and findings of Multiple Grammy Award Winning Engineer & Producer Michael Wagener as well as Multiple Grammy Award Winning Artist Marty Stuart and his Engineer Mick Conley. When it comes to capturing guitar sounds, few people know more about what the recorded sound of guitars should sound like than these gentlemen. After all, Marty Stuart has a million dollar guitar collection and Michael Wagener has walls of electric guitars, amplifier heads, 4 x 12 speaker cabs, amp modules, pedals, processors... And what do they use to capture it all? 3 Zigma!

The 3 Zigma Acoustic & Electric Guitar Microphone Kit only differs from the Steel String Guitar Microphone Kit by substituting one of the of 2 x HA-TL transformerless Head-Amps of the Steel String Acoustic kit with a single HA-FX Transformer Balanced Head-Amp, making this system more adept and flexible for handling loud signals via the on-board PADs and Roll-Off settings, but still having the purity and sensitivity available with the HA-TL-II head-amp. However, the capsule compliment remains the same: 1 x C-Lol-12 lollipop capsule, 1 x C-Lol-67 lollipop capsule, 4 x SD Capsule Modules, and 2 x Shock-Mounts in Jewel Box.

The 4 x Small Diaphragm Capsules are configured as 1 x Matched Pair SD-C, 1 x SD-H , 1 x SD-O-F Free-Field Omni Unless you prefer Room Mics, in which case the SD-O-D Diffuse-Field PAIR can be substituted in place of the 1 x SD-H and 1 x SD-O-F at no additional charge.

3 Zigma Acoustic & Electric Guitar Microphone Kit

  • Headamps:
    • HA-TL II: Transformerless design offers a straightforward signal path with no superfluous circuitry to encumber or possibly distort the imaging of the capsule's character.
    • HA-FX: The Transformer-Coupled Model HA-FX Features a 3-Way Pad and 3-Way High-Pass Switch for maximum flexibility when recording LOUD sources... like 4 x 12 cabinets.
  • C-LOL Lollipop Capsules
    • C-Lol-12: Designed with the C12* in mind, this capsule will give the CHI head amp the color of the vintage Austrian condenser which became a favorite for pop vocal recordings. Nice predictable polar pattern control with deep bass response.
    • C-Lol-67: Designed with the U67* in mind, this capsule will give the CHI head amp the color of the "other" famous old German condenser which became the first choice for "present" vocal recordings when the U47* didn't deliver enough HF information. Nice, even Cardioid response, with predictable proximity effect.
  • Small Diaphragm Capsules
    • SD-C Cardioid: A very typical SD capsule, probably the one you'll use most often. Straight cardioids pattern with nice, flat frequency response with only minimal treble peak, giving a very true and neutral sound with just enough reach and directionality for most jobs. The proximity effect is totally predictable.
    • SD-H Hypercardioid: A more directional version of the Cardioid capsule, with more proximity effect. The treble response is still very realistic and to some people, will actually sound more "real" than the cardioid.
    • SD-O Omni, available with:
      • Diffuse Field response: to be used when a relatively flat treble is required off axis, for instance when the sound of the room needs to be accurately represented (darker source).
      • Free Field response: to be used when a relatively flat treble is required on axis, for instance when the source needs to be accurately represented (darker room sound).

3 Zigma Acoustic & Electric Guitar Microphone Kit Specifications

  • C-LOL-12
    • Acoustical operating principle: 27.5mm large diaphragm pressure gradient transducer
    • Directional Pattern: cardioid
    • Frequency range: 20Hz~20kHz
    • Sensitivity:
      • w/ HA-TL-II: -33dB (16mV/Pa)
      • w/ HA-FX: -35dB (12.6mV/Pa)
    • Output impedance:
      • w/ HA-TL-II: 100 ohms
      • w/ HA-FX: 200 ohms
    • Equivalent noise A-weighted:
      • w/ HA-TL-II: 7 dBA
      • w/ HA-FX: 9 dBA
    • S/N ratio (A-weighted, rel 1Pa):
      • w/ HA-TL-II: 85 dBA
      • w/ HA-FX: 78 dBA
    • Maximum SPL @ THD 0.5%:
      • w/ HA-TL-II: 137 dBA
      • w/ HA-FX: 135/143/151dB (pad on 0/-8/-16dB)
    • Maximum output voltage:
      • w/ HA-TL-II: 12 dBu
      • w/ HA-FX: 8 dBu
    • Dynamic range (A-weighted, THD 0.5%):
      • w/ HA-TL-II: 130 dB
      • w/ HA-FX: 126 dB
    • Supply voltage: 48 volts (P48)
    • Current consumption: approx. 4mA
    • Diameter: 22mm
  • C-LOL-67
    • Acoustical operating principle: 27.5mm large diaphragm pressure gradient transducer
    • Directional Pattern: cardioid
    • Frequency range: 20Hz~20kHz
    • Sensitivity:
      • w/ HA-TL-II: -36dB (22mV/Pa)
      • w/ HA-FX: -37dB (17.8mV/Pa)
    • Output impedance:
      • w/ HA-TL-II: 100 ohms
      • w/ HA-FX: 200 ohms
    • Equivalent noise A-weighted:
      • w/ HA-TL-II: 10 dBA
      • w/ HA-FX: 11 dBA
    • S/N ratio (A-weighted, rel 1Pa):
      • w/ HA-TL-II: 84 dBA
      • w/ HA-FX: 83 dBA
    • Maximum SPL @ THD 0.5%:
      • w/ HA-TL-II: 140 dBA
      • w/ HA-FX: 137/145/153dB (pad on 0/-8/-16dB)
    • Maximum output voltage:
      • w/ HA-TL-II: 12 dBu
      • w/ HA-FX: 8 dBu
    • Dynamic range (A-weighted, THD 0.5%):
      • w/ HA-TL-II: 130 dB
      • w/ HA-FX: 126 dB
    • Supply voltage: 48 volts (P48)
    • Current consumption: approx. 4mA
    • Diameter: 22mm
  • SD Cardioid
    • Acoustical operating principle: 17mm diaphragm pressure gradient transducer
    • Directional Pattern: cardioid
    • Frequency range: 20Hz~20kHz
    • Sensitivity:
      • w/ HA-TL-II: -36dB (22mV/Pa)
      • w/ HA-FX: -38dB (12.6mV/Pa)
    • Output impedance:
      • w/ HA-TL-II: 100 ohms
      • w/ HA-FX: 200 ohms
    • Equivalent noise A-weighted:
      • w/ HA-TL-II: 13 dBA
      • w/ HA-FX: 15 dBA
    • S/N ratio (A-weighted, rel 1Pa):
      • w/ HA-TL-II: 81 dBA
      • w/ HA-FX: 79 dBA
    • Maximum SPL @ THD 0.5%:
      • w/ HA-TL-II: 140 dBA
      • w/ HA-FX: 138/146/154dB (pad on 0/-8/-16dB)
    • Maximum output voltage:
      • w/ HA-TL-II: 12 dBu
      • w/ HA-FX: 8 dBu
    • Dynamic range (A-weighted, THD 0.5%):
      • w/ HA-TL-II: 127 dB
      • w/ HA-FX: 123 dB
    • Supply voltage: 48 volts (P48)
    • Current consumption: approx. 4mA
    • Diameter: 22mm
    • Length: 19mm

3 Zigma Acoustic & Electric Guitar Microphone Kit Includes

  • 1 x HA-TL transformerless Head-Amp
  • 1 x HA-FX transformer-balanced Head-Amp
  • 1 x C-Lol-12 lollipop capsule
  • 1 x C-Lol-67 lollipop capsule
  • 4 x SD Capsule Modules
    • Standard configuration:
      • 1 x Matched Pair of SD-C Cardioid
      • 1 x SC-HC Hypercardioid
      • 1 x SD-O-F Free Field Omni
    • Optional "Room Mic" Configuration:
      • 1 x Matched Pair of SD-C Cardioid
      • 1 x Matched Pair of SD-O-D Diffuse-Field Omni
  • 2 x Shock-Mounts
  • 2 x 6 Jewel Box

3 Zigma Acoustic & Electric Guitar Microphone Kit Downloads

What People Are Saying...

" After hearing the 3 Zigma C-LOL-12 Lollipop on the Pre-War Martin D-45 that Johnny Cash got from Hank Williams, Sr., Marty Stuart and I looked at each other and both agreed - this is OUR NOW and FOREVER Acoustic Guitar Mic !!! Yet when we were tracking a small Taylor fingerstyle guitar, the C-Lol-67 turned out to be the perfect Capsule. The CHI System just works great!!!"
Mick Conley - Producer/Engineer: Kathy Mattea (25 years), Patty Page, now Marty Stuart TV Show

What We Think

The 3 Zigma Acoustic & Electric Guitar Microphone Kit is THE perfect solution for capturing the both 'perfect' acoustic and electric guitar sounds. Why? Microphones are often like "Goldilocks' bed" - few have the 'just right' balance of detail against a very musical 'cushion.' In fact, too many microphones in this over-saturated market really don't bring much to the table beyond a strong marketing campaign. 3 Zigma microphones are BOTH incredibly musical and incredibly versatile while also being incredibly impressive sounding.

Here's what they're not: "Hypey"... especially the SDC. The current trend is for Small Diaphragm Condensers to 'impress you' with a big bottom end and an aggressive presence. Why would you want an SDC with the bottom-end of an LDC? That's a pretty puzzling approach... unless the idea is to saddle someone their emotional first impression as opposed to their carefully chosen victor of a useful evaluation. In the SDC category, the 3 Zigma strikes a balance between the famed Neumann KM 84 and the Schoeps CMC6 Colette series. The result is a microphone which slips into the mix effortlessly instead of 'bullying it's way in.' Make sense?

What I find particularly refreshing about the 3 Zigma microphones (and this goes for the ADK Custom Shop mics [their sister company] as well) is that they work incredibly well when you either remove all barriers by using them with Millennia Media preamps, or when you go to the polar opposite of the spectrum, as would be the case with pairing with DW Fearn preamps for their supreme valve-based flavor.

On steel string guitars, I find these microphones to sound very even and balanced. Again - they're not out to 'prove' something to you on first impression. Their beauty ultimately reveals itself to you the more you use them and you find that you aren't working as hard to place the guitar into the mix.

If you have any questions about these mics, or any others, please do not hesitate to call me at 888-228-4530 x 106
Alan Moon - Front End Audio

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