Brauner VMA Multipattern Tube Microphone
The Brauner VMA Multipattern Tube Microphone is the joining point of Brauner's "Natural" series and "Charming" series of microphones. The VMA rivals and in many ways, exceeds the performance of the longstanding legends of the recording studio.
The Brauner VMA Multipattern Tube Microphone is the joining point of Brauner's "Natural" series and "Charming" series of microphones. Switch between VM1 (natural) and VMX (charming) modes at a flick of a switch on the power supply. With this flexibility, you will have more shades of amazing to choose from when deciding on the perfect sonic color with which to paint.
More realism or rather more character in the reproduction? Normally a question such as this implies a choice between two completely different microphones. This question is no problem for the VMA, it unites these two basic sound characters in one. Through simple switching, you can select between the very natural transparent sound of the VM1 or the markedly full character sound of the VMX, thus you actually have two different Brauner microphones in one single body enabling in essence the sound of a VM1 or a VMX.
In the development of the VMA, valuable feedback and input on the tonal qualities of the microphone from some of the world's most highly regarded sound engineers was incorporated. The VMA thereby represents the essence of more than 10 years experience with our flagship model, the VM1. Paired with the possibility of switching to the VMX mode, the VMA is an outstanding achievement in tube microphone design. The adjustments of the directional characteristics, as in the VM1, are infinite and therefore enable superior flexibility.
The VMA marks a milestone in modern microphone technology.
Brauner VMA Multipattern Tube Microphone Features
- Equivalent Noise: < 11 dB A (IEC651)
- Signal to Noise: > 83 dB (1 Pa/1 kHz-Cardioid)
- Sensitivity: 28 mV / Pa-Cardioid
- Pattern: all, infinitely variable
- Frequency Range: 20 Hz - 20 kHz
- Maximum SPL: 142 dB SPL @ 0,3 % THD
- Power Supply: 115 V or 230 V
Brauner VMA Multipattern Tube Microphone: What People Are Saying
" Never before did I come across a microphone of this caliber. The VMA is the best microphone I have ever worked with"
"I would be honored to be mentioned on your website. I actually got a call today from a friend of mine who was working on a Janet Jackson mix that we had recorded vocals on and the producer, Rodney Jerkins, kept asking about the vocal sound, what mic we used, if it was a vintage mic, and how much were they. I had to smile when I told him it was not a vintage mic but a Brauner VMA! I LOVE my mic!"
John Horesco IV (Jermaine Dupri, Janet Jackson, Usher, Mariah Carey, ...)
What We Think - Brauner VMA Multipattern Tube Microphone Review
"Perhaps the most incredible mic that you'll ever lay ear to, the Brauner VMA frankly packs Brauner's best of their "Natural" and "Charming" lines (the Brauner VM1and Brauner VMX, respectively) into one fully featured microphone. Let's dig in...
The first thing that strikes you about the VMA when opening the fantastically robust and elegant case is the gorgeous metal work. Everything is precision cut out of very unique and forward thinking design. For starters, the shockmount is a tube that fits entirely around the body of the microphone. It's clasping system essentially is, again, a precision milled eliptical clamping mechanism which essentially closes via a simple turn of the hand to the precise size to securely hold the microphone at the top and the bottom of the mount. The 360-degree pop-filter totally surrounds the microphone's head-grille by attaching to the inside of the outer ring of the shockmount. This is a really revolutionary pop-filter design as it has the microphone covered for use in omni and figure eight modes. Also, all controls are on the microphone's mountable power supply and what is usally a -10dB pad is now the switch that allows switching between the VM1 and VMX modes. In the manual Brauner explains that the VMA can handle everything short of a jet engine, so the pad is not a necessity.
In one of my conversations with Dirk Brauner, he emphasised that there are no corrective filter networks to account for deficiencies in capsule design anywhere in his microphones. Basically, the custom, boutique, German-made capsule is about as perfect a capsule as you will ever find. When testing the VMA with musical artist Danielle Howle, I dialed between the various patterns with her singing on axis in each mode. Basically, the differences are not extremely radical from omni to figure-8, save for the actual pattern itself. Of course, there is a very slight bump in high frequency response as you move toward figure-8, which is the natural characteristic of that pattern. The pattern characteristics follow true to form when switching between modes, which is to be expected. Basically, each pattern was just another shade of what you'll swear is the best microphone you've ever heard. Now I'm begining to understand why I remember engineer (and 2008-2009 AES President) Jim Anderson always showing up at Clinton Recording in New York with a cache of Brauner microphones for his jazz dates.
The VM1 mode (lower position - red light) is the "Natural Character" position. At first listen, the sound is certainly not "wild", meaning that there is no fake bottom and top happening here - a character only achieved with excellent capsule design and construction and no corrective filter network.
Finally, the VMX mode (upper position - green light) takes the mic into a slightly more 'vintage' arena that adds a slightly emphasized presence boost to a softer bottom that will undoubtedly help a vocal to 'pop' out of the mix. All this is achieved without compromising the fundamental character, which is flat-out stunning.
When tracking a song for Josh Roberts, who for this particular song was playing acoustic guitar and singing simultaneously, I tended to prefer the VMA in the VM1 mode, simply for what it is supposed to give, the natural character (I also had the new sE Electronics RNR 1 Ribbon Microphoneon the acoustic). There was just a certain something about the focused clarity and extra detail that I didn't want to lose any of had I switched to the VMX mode. Though, truth be told, I could have recorded him in VMX mode and nobody would have been unhappy with the results. The VMA is really such a good microphone that it just flat out works and puts the vocal right up to the forefront of the mix without the need for eq or much compression if any at all.
Do you need ALL the flexibilty of the VMA? Well, I say Yes, if you can afford it - and if you want to be using it for mono background group vocals all around the mic. There is no denying that the VMA is a fabulously expenisve microphone, but it's a microphone that, as far as microphones go, is the equivalent of a car that cooks your breakfast for you. Maybe you have a partner who'll make you breakfast and you don't need another cook in the kitchen. Well, Brauner has the standard ala' carte' versions, the VM1 and the VMX, and have also released the new Pure Cardiod versions of the VM1 and the VMX, which reduces the out of pocket expense considerably... which helps!
Dirk Brauner has really come up with a special line of microphones that rival (and in many ways, exceed) the performance of the longstanding legends of the recording studio."
- Front End Audio
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