The original behind Berlin 49T was a revolution on its own for its unique two cardioid condenser systems architecture. This would mean nothing if the resulting sound didn’t feature a next level smoothness with strong low-end and more than convincing highs. You’ll find this one on all your favorite 1950s and 1960s pop, soul and jazz recordings. It’s highly suitable for vocals but its great bass response makes it perfect for drums and brass as well.

Berlin 57 comes straight from 1957 and it sounds as great as you can expect. The mic owes its specific sound to a large-diaphragm capsule with a PVC membrane and a triode tube. Users can switch between omni, cardiod and figure of eight polar patterns. Just hear how this one captures vocals and you’ll fall in love with it.

This microphone is the way to go when recording piano, vocals, overheads, guitars, strings, brass section, percussion. Honestly, there’s almost nothing that Berlin 87 can’t handle. We’re bringing this 1970s classic straight from the good old times to your 21st century studio. No pro can live without an 87 so it was high time you got yours!

Berlin 67 carries the true sound of an iconic tube condenser microphone with multiple polar patterns. This German legend can record in omni, cardiod or figure eight. Its popularity is due to its signature sound and flexibility. Berlin 67 is powerful multi-purpose mic that is a must-have for any studio.

Another German studio legend is now available in the FPGA domain. Berlin M103 has been modeled after the iconic large-diaphragm condenser mic with a Berlin 87 style-capsule and transformerless circuitry. This cardiod micropohne is signature for its low noise-floor and wide dynamic range. Berlin M103 is praised not only by music engineers specialized in classical music but by sound designers and Foley artists from the top tiers of the movie industry.

Wondering what lies behind the silky and smooth vocals on your favorite records? Chances are high that it’s exactly the Japanese microphone legend we modeled our Tokyo 800T after. This vintage tube mic is a top choice for all masters of vocals recordings. With a super low noise-floor and extreme sensitivity, it’s also a great fit for recording acoustic guitar sessions.

A classic large diaphragm condenser and a highly sought after tube microphone. Vienna 12 is modelled after the latest revision of the original, which means – low noise, wide frequency response (from 30 Hz to 20 kHz) and switchable polar patterns. Those include cardioid, figure eight and omni.

Vienna 414 is a flexible multi-pattern condenser microphone. The original, which inspired our emulation, has been used in top recording facilities, broadcast studios and performance venues all around the globe. It allows users to switch between whole nine polar patterns and offers unique dynamic range, frequency response and spatial detailing. It’s perfect for lead vocals and solo instruments but also as a room mic for drum recordings or classical music sessions.

Before becoming a preferred tool for professional recording engineers, this bi-directional ribbon microphone was widely popular in broadcasting studios all around the UK. The reasons? Its ability to capture sound with a smooth and wide frequency response, its high sensitivity and lack of transient distortion. The resulting sound? Natural and clear, fitting both voice and delicate acoustic instruments. No wonder it’s highly sought after and still used to this very day.

The Sacramento 121R is modelled after the most commercialy used ribbon Microphone especially on guitars. It offers natural and pure sound plus extended dynamic range, which is actually even higher than its predecessor models.