Lauten Audio now available in France at Musikia

We are happy to announce Lauten Audio is now available in France exclusively at Musikia. Alain Pluchot has welcomed us with open arms and says “the entire sales team is really impressed with the mics”.

We get requests each month from engineers, producers and studio owners located in France who want to acquire a Lauten Audio microphone, so it is great finally have an experienced team of Pro Audio sales professionals dedicated to the line.

For more information about Musikia and Lauten Audio microphones in France please use the contact information below.

Musikia Professionnels

11 Bd. de Sébastopol

75001 PARIS

Tel: +33 (1) 55 34 99 39

Musikia.com

Lauten Audio Announces New “Atlantis” Microphone

Versatile New FC-387 “Atlantis” solid-state large diaphragm condenser microphone debuts at NAMM

Anaheim, CA — January 19, 2012 — At the 2012 Winter NAMM show, Lauten Audio announced a new microphone, the FC-387 “Atlantis” model, a solid-state multi-functional, large-diaphragm condenser. The uniquely appointed Atlantis microphone features multiple switches for three different polar patterns, gain, and unique timbre settings. The FC-387 is for recordists seeking an incredibly diverse and useful modern FET studio microphone. It offers a blend of full and rich low and mid-range, as well as smooth and unique high-mid and high-frequencies. Audio Plus Services, the distributor for Lauten Audio microphones in North America, is showing the new Atlantis microphone in their NAMM Booth 6998, in HALL A. The Atlantis FC-387 microphone retails for $1599. US and will be available in Q2 of 2012.

Brian Loudenslager, Founder of Lauten Audio reveals, “The idea of the FC-387 ‘Atlantis’ microphone was conceived over several years during conversations with engineer Fabrice DuPont of Flux Studios and Puremix.net. Fab had acquired several Lauten microphones over the years and I would pick his brain at industry tradeshows about the mics. I always try and speak to owners of our products to learn where they’re using a mic most, where they feel it’s shining and where it’s not working for them.”

“We’re pleased to be at NAMM with Lauten Audio to introduce the Atlantis FC-387 microphone,” said Simon Côté, Manager of Professional Products at Audio Plus Services. “We believe in Lauten Audio’s product direction and especially their dedication to serving respected recording engineers with special designs. The ‘Atlantis’ mic will no doubt be very popular.”

Loudenslager adds, “What I am most impressed about Fab is that he is always brutally honest and never sugar-coats his opinions. It was during conversations with him that I made a challenge to myself; I wanted to design a microphone that Fab would love, one that would be part of his first choices at the beginning of a session! Over the past year I’ve had the opportunity to work with Fab and create that mic. It’s been challenging with a very rewarding end result.”

Multiple switches located on each side and back of the FC-387 Atlantis microphone allow the engineer to uniquely configure it. First is a polar pattern switch giving recordists the option of choosing between Cardioid, Omnidirectional or Figure-8 polar patterns. Borrowing the much-loved gain options from its sibling the Lauten Audio ‘Clarion’ FC-357 microphone, the Atlantis features a -10db and +10dB switch. The +10dB gain switch increases versatility by allowing a choice of whether to have more character from the preamplifier gain or directly from the microphone. While the -10dB switch reduces its output and increases the maximum SPL level allowing it to record very loud sources.

What makes the Atlantis microphone truly unique is its voicing switch. This feature gives recordists three very different timbres to choose from that satisfy an extremely wide range of recorded sources. The options are: Gentle, Neutral and Forward. The ‘Gentle’ position provides maximum control of bright or peaky sources like S’s in vocal recordings. The ‘Neutral’ position offers a nice even response with good control over vocal S’s and other audio peaks, while the ‘Forward’ position can help bring life to dull sources without having to use EQ, but while still maintaining control over any peaks.

As are all Lauten Audio microphones, the FC-387 Atlantis is built with extreme attention to detail. From the individually hand-tuned capsule and premium high-resolution electronics, the microphone is a high-quality precision instrument that will meet or exceed the demands of any studio recording environment.

Technical Specifications for Atlantis FC-387:

Type: 31.25mm dual large diaphragm pressure gradient transducer microphone

Polar Patterns: Omnidirectional, Cardioid and Figure-8 selectable

Circuit: Low-noise solid-state FET

Frequency Range: 20Hz - 20Khz

Dynamic Range: 120dB minimum

Impedance: < 200 ohms

Max. SPL: 0.5%THD@1000Hz: 130dB

Self-noise Level: < 12dB(A)

Sensitivity: 16mV/Pa OR -36±2dB 0dB=1V/Pa 1000Hz

Special Features:

3-way -10 dB attenuation, 0dB and +10dB gain switch

3-way Gentle, Neutral, Forward voicing switch

3-way Polar pattern switch

Connector: 3-Pin standard XLR

Power Requirement: +48V phantom power

The Atlantis FC-387 microphone retails for $1599. US and will be available in Q2 of 2012.

About Lauten Audio

Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. Their product line includes the award-winning “Horizon” LT-321 tube microphone, the “Oceanus” LT-381 transformer-less tube condenser microphone, the ST-221 “Torch” small diaphragm microphones, and the new FC-387 “Atlantis” solid-state multi-functional large diaphragm condenser microphone. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in San Jose California, for more information visit http://www.lautenaudio.com or call 1-877-721-7018.

About Audio Plus Services

Established in 1979, Audio Plus Services is a leading North American importer and distributor of premium consumer and professional electronics brands including Focal monitors, Vovox cables and Lauten Audio microphones. Based in Montreal with U.S facilities in Champlain, NY, Audio Plus has sales personnel located throughout the United States to professionally service their active roster of more than 300 specialty A/V and Pro Audio dealers. Audio Plus specializes in products and services for the professional audio and performing musician markets, and the home theater and custom integration (CI) market – both residential and commercial – for North America. Visit the Audio Plus website at http://www.audioplusservices.com/ or call (800) 663-9352 for more information.

Allow me to Introduce the FC-387 Atlantis from Lauten Audio

The idea of the FC-387 Atlantis was conceived over several years during conversations between me, Brian Loudenslager, founder of Lauten Audio and Fabrice DuPont of Flux Studios and Puremix.net. Fab had acquired several Lauten microphones over the years and I would always pull Fab aside to pick his brain at industry tradeshows.

I always try and speak to owners of our products to learn where they’re using a microphone most, where they feel it’s shining and where it’s not working for them. Every microphone designer knows there is not one microphone that will sound best on every application. What I loved most about Fab is he was always brutally honest and never sugar coated anything. Whether Fab knew it or not, it was during these conversations that I made a challenge to myself; I wanted to design a microphone that Fab would love, one that would be part of his first choices at the beginning of a session.

The general idea of how to make the microphone e.g. components etc. came to me out of left field one day when I was not working. It was one of those; that’s it, Bam! moments. So, in January 2011 I started to build rough prototypes and run them through some of our tests. Rather quickly and by then end of February I had something I thought sounded great and looked interesting during frequency response analysis. I assembled a studio testable prototype and sent an email to Fab saying "I have something I want you to test". He responded the next day saying “send it; we’ll put it through its paces.”

A week later Fab responded with “I like the direction very, very much. It's a GREAT mic. Definitely like no other modern mic I've heard. The bottom is very fat but not muddy. Could you model the top a little to get closer to an Oceanus or is that just not possible?“

This response led to a deeper conversation and where to take this new microphone. I took Fab's ideas to our engineers to evaluate how to make them a reality. Within a short time Fab and I agreed on the theoretical timbre and functionality the microphone would have.

A few more tweaks and I sent Fab another version. I didn’t hear back for a bit, and I feared I didn’t meet the expectations and had lost Fab’s interest. However, during a conversation with Simon Cote, at Audio Plus Services, Simon said, have you heard from Fab? I said, no unfortunately not, he said, he loves the version 2 microphone and can’t believe you were actually able to translate what he told you into reality.

Now we had, in prototype form, found the sweet spot of our new microphone design; well, one sweet spot, we now wanted 3 sweet spots via a switch. This was a whole other challenge in itself. In the end we found those sweet spots and the FC-387 Atlantis was born. The Atlantis name actually came from Fab while brainstorming during dinner in NY.

I am very excited about the FC-387 Atlantis and it has been a pleasure working with Fab and his team. This microphone not only has a very sweet sound, but it’s also perhaps one of the most versatile in the Lauten Audio line up.

If you are attending the 2012 Winter NAMM show, I invite you to stop by booth 6998 to see and learn more about the Atlantis.

Sincerely,

Brian Loudenslager

Founder

Lauten Audio

Country Vocals with the Oceanus from Lauten Audio

Lauten Audio's Oceanus is a large diaphragm tube condensor with a rich tone, perfect for male or female vocals. In this video demonstration, country singer GW Pierce sings an original composition.

Summer NAMM - Come see Lauten Audio in Nashville!

Come see Lauten Audio at the Summer NAMM show in Nashville, TN. We will be located in Booth# 1328 at the Nashville Convention Center.

Show Location & Hours

Nashville Convention Center

601 Commerce Street

Nashville, TN 37203

Thursday, July 21 10 a.m.-6 p.m.

Friday, July 22 10 a.m.-6 p.m.

Saturday, July 23 10 a.m.-4 p.m.

Oceanus captures female jazz vocals in a smooth and musical manner

From our friends at SoundPure.com

The Lauten Audio Oceanus large diaphragm tube condensor microphone is one of the most versatile and unique sounding microphones on the market. In this performance, the Oceanus captures the female jazz vocals in a smooth and musical manner, while also adding subtle tube warmth. The physical design and circuit topology of the Oceanus provides incredible clarity and a superb ability to capture even the most minute details of any performance, completely free of any harsh artifacts. Contact the professional engineers and sales associates at Sound Pure with any further questions regarding this fantastic, versatile microphone from Lauten Audio. Special thanks to Adia Ledbetter for her performance.

Classical Trumpet and the Lauten Torch ST-221

Lauten Audio Torch ST-221 pair - a video demonstration from SoundPure.com on how to record classical trumpet with XY, AB Spaced Pair, and Near, Far mic techniques with omni and cardioid capsules. As you can no doubt hear, the Torch pair from Lauten Audio does a wonderful job capturing the trumpet due to its fast transient response.

Mike Terry's tips on Micing Drum Kits

Mike Terry's tips on Micing Drum Kits

First thing first, drum kit preparation.

Drums are very often recorded first; recordings are frequently built piece by piece on top of the drum foundation, so it’s very important that the fundamentals are in place first.

Tune the drums, if this is something you can't do yourself, call someone in for it. This is done all the time, don't feel bad. If the heads need to be replaced, do it, not a time to skimp, get the appropriate heads for the style and get them tuned up.

If you have recorded in this room before and have already found the sweet spot, cool, move ahead. If not, try setting up the Kick and snare all around the room and just listen, you'll find the spot that work's the best. This way, when you do get the mics up, you will have something nice to listen to pretty quickly.

There are many techniques, approaches, even philosophies as to how to properly mic a drum kit, and without going into too much detail of these, work on getting the phase of the mics aligned properly to one another. This is a skill that that takes time and experience, but well worth it.

I start as minimally as possible and add mics as needed and as desired by the band and or Producer, if there is one. Some Producers like to have lots of mics, in order to provide lots of options later on, I'm indifferent on that one, so I'll keep sticking them up until I get lots of smiles.

My first step is to align the overheads with the kick and snare mics, once this is established all other mics can be referenced from these three points. Using the phase switch on your preamp, find the position where you lose low end the most. Move the mics until you have maximum loss of low end (out of phase), then switch the phase switch back the other way and now you will have maximum gain of low end (in phase). It is usually quicker and easier to hear the low end loss rather than the low end peak.

To get things started, I will put up a pair of Oceanus tube mics, set in Cardioid mode for the overheads. Getting a rough position, I will observe the 3 to 1 rule; 1 foot above the cymbals means I need to keep them 3 feet apart. I like to keep them as low as possible and try to maintain the snare drum as the center point; this will help keep the snare mic in phase with both overhead mics. I really like the Oceanus for overheads because it captures a nice balance of the overall kit, and can provide a lot of body to the drums, while keeping the cymbals nice and shimmery, if I later decide to use mics on each drum, it’s easy to go in and filter out low frequency from the overheads, letting them be more cymbal and air mics, which the Oceanus excels at.

Next I always add the snare mic, I want to get it nice and close, yet maintain phase with my overheads, the combination of direct snare and the sound of the snare in the overheads when properly set in phase is pure gold. The one mic I reach to first for this is always the Lauten Horizon, it can take the SPL and it is fat, warm, and almost always perfect once the phase is set. I will usually have to go into the room to raise or lower the overheads in order to fine tune the phase, typical movement is within 6-12" up or down, just move them around, find the low end loss on the snare and switch the phase again, and you should be good. Once the phase is set between the Overheads and the snare, you will not be moving them again. From this point, each additional mic added will be moved to gain phase alignment to the overheads and the snare.

Next comes the kick, this is often times a double mic situation, one for the inside to get the attack and punch, one for the outside to get the body and depth. I start from the outside, and then move inward. Do a little listening while sitting in front of the kick and have the drummer step on it a few times, find a good spot, 3-8" away from the head, and set the mic there. Again, I really like the low end capabilities of the Lauten Horizon, and because it can handle the SPL, it’s a great choice for outside kick mic. Go listen to this mic mixed with the overheads, listening in mono helps. With the phase switch on the kick preamp, find the low end loss, now move this mic forwards and backwards a little to find the point of maximum loss. Once found, flip the switch and now you are ready to move on to the inside mic, I like a Beta 52. Start by moving this mic in reference to the outside Kick mic, the Horizon, once these are locked in phase turn all the mics back on, pan your overheads, and you will have a nice full, well balanced drum sound.

If you choose to keep adding mics, such as close tom mics, reference them to the overheads and move them until locked in phase. If you're adding room mics, reference them to your kick and snare. It’s also a good idea to use gaffers tape to secure your mic stands down, once locked into place; this will insure consistency and eliminate the worry of somebody bumping them out of position.

For more information on Lauten Audio microphones visit www.LautenAudio.com

Who is Mike?

Mike is the ears behind Lauten Audio microphones. He has multiple Grammy nominations and has worked in some of the most sought after studios and with some of the most sought after clients in the world. His credits include Foo Fighters, The Eagles, Jessica Simpson, Eric Hutchinson and many more…

Mike Levy -11:11 Studios owner, Musician and Lauten Audio Loyalist

A couple months ago I heard from one of our many owners. This owner was a little different however. Most recordists own one or two Lauten Audio microphones as well as many others which all help paint their sound pallet. Mike Levy also owns a number of models from other microphone manufacturers; however, he has discovered Lauten in a big way and now owns all of our models.

Mike’s discovery of Lauten was done on his own and prior to receiving an email from him thanking us for such great microphones, he had only communicated with one of our dealers. I called Mike to hear a little more about him and his studio and why he had chosen Lauten. Mike offered to write a brief history of himself and what led him to Lauten. What follows is a brief story of a musician turned studio owner; I'm sure a couple of you can relate. Thanks Mike for being one of our most loyal customers!

Mike Levy, 11:11 Studios owner, Producer, Engineer, Composer, Musician and Lauten Audio Loyalist

Being a performing musician came first to me for many years. I started gigging at 15, toured with Maynard Ferguson at 19, and have spent my entire life as a professional musician in the South, New York City, and now the Southwest. My life as an audio engineer started in the 1980’s creating my own music, bouncing tracks back and forth between two cassette recorders. I made the logical progression to 4 track cassette and then on to multi track open reel decks. In the mid 1990’s, I was in an alternative rock band when the ADAT came out. Since the band had financial backing, we were able to build our own recording space before everyone and their brother had a studio. With access to the studio, I began recording some of the other acts that I was playing with. My first client was a great singer/songwriter named Ansel Matthews. For the next several years, my live playing remained my main focus. When I relocated to Tucson, AZ, my passion for recording really took root. Within a short period, I’ve been fortunate enough to become a very in-demand producer/engineer in a great little town that breeds a lot of creativity without many of the stifling pressures of the bigger cities.

As an engineer, to say that I’m self-taught is selling my experience short. As a musician, I’ve spent countless hours on the other side of the glass which has given me an invaluable education about how to produce great recordings, from a technical and creative stance. I’m a “musician’s” producer and engineer. I’ve been micing instruments since I was 11 years old and making records since not much older than that! I now operate a successful project studio with a very classy analog front-end and a nicely stocked mic cabinet (see www.1111studios.net for more info).

While building up my space, 11:11 Studios, I took a fairly typical route. I started with what I could afford. As my client base grew, so did my appetite for a more varied sonic palette to work with. In addition to this, I needed the gear that people (in the know or otherwise) expect from a professional. I know we’ve all been asked by a prospective client, “Do you have a Neumann?” My U87 is a great mic and essential in order to answer yes to that question. I had a singer in the room looking into an AEA R84 ribbon mic ask me, “So, is this a Neumann U87?” So as time has gone on, I’ve grown my mic locker to include the above mics, plus some of AT’s nicer mics, Josephson, Sennheiser, Heil, and a varied assortment of others.

My intro to Lauten microphones came through a pair of Torches. I was working on a new solo CD from classical guitarist, Brad Richter. Brad is regularly featured on NPR’s Performance Today as well as being a past winner of the National Finger-picking Championship. He wanted to do some duets with a native flutist. I was using a pair a Josephson C42’s for the guitar and wanted another flavor for the flute. After reading nothing but positive comments about Lauten mics, I decided to give the Torch pair a try. Given their street price, it made taking a chance even easier. Soon after came overhead duties for a record with International Blues Challenge finalist Arthur Migliazza and the band The Clamdiggers. This is the moment I became a Lauten convert. A simple live recording with overheads, kick, and snare gave such a powerful sound to the drums. I was floored. The toms were thunderous and clear, and the cymbals cut without the harshness of many of today’s modern microphones. I love one of these paired with a ribbon for acoustic guitar.

Next came the Oceanus. I’m currently working with American Idol finalist Crystal Stark on her debut solo CD. During the demo process, I’ll usually throw up the U87 and forget about it. On a recent session, I had the Oceanus mic waiting for her. She immediately noticed the new mic. The size of the Oceanus makes it hard to not notice! She and I were both thrilled with the results. The Oceanus is rich and detailed and requires little to no EQ to sit right in a mix. It’s my new “go-to” for clean, present vocals that still have more character than a typical LDC.

Next to arrive was the Clarion. In its short tenure here at 11:11 Studios, it’s seen plenty of action for some vocalists and acoustic guitar. It excels in front of a loud guitar cab, too!

The final nail in the audio coffin, for me, is the Horizon. As I’ve mentioned to people already, up until now, I've plugged in my new Lauten mics and thought, "Man, this sounds great. I can't wait to try it out on a client or instrument, etc." The Horizon, on the other hand, I plugged in and put the headphones on, started a little track, started singing and thought, "This is MY microphone!" It sounds gorgeous! Of course I’m excited to try it out on other people, but I know that when it’s time for me to sing anything in the studio, the Horizon is coming out.

All in all, Lauten Audio is bringing a useful, musical set of quality tools within reach of today’s project studio. Each mic has a distinct character, yet they all share a warmth and presence that is usually associated with mics costing two to three times as much. When researching Lauten microphones, the comment that comes up again and again is that no one can understand why they don’t cost more. I guess this will have to be Brian’s secret. As an added bonus, they’re built like tanks. I imagine when the majority of today’s cheap imported mics are taking up space in landfills; the Lauten’s will still be going strong!

Mike Levy

Owner/Producer/Engineer

Tucson, AZ

www.1111studios.net

Now Shipping - Single Torch small diaphragm vacuum tube condenser microphone

Now Shipping

Single Torch small diaphragm vacuum tube condenser microphone

We’re excited to announce that we are now shipping a single version of our Torch small diaphragm vacuum tube condenser microphone. The ST-221s Torch includes our 15.25mm diaphragm cardioid and omni capsules, hard mount clip, shock mount, power supply and Gotham Audio tube microphone cable. The package lists for $999.00 with an estimated street price of $799.00

Our Torch microphones have received rave reviews around the world from end-users and industry journalists including making the “Best of Class” list for Upper Class Microphones in the German Professional Audio Musik and Equipment magazine.

For more information please visit www.lautenaudio.com and contact a dealer or distributor near you.