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Microphone hire

Please click here for radio mic hire

Below are a list of microphones we have available to hire.

If you are unsure of the what the best mic may be for your situation, then please contact us for advice.

We have microphones below such as Shure SM58, Shure SM57, Shure Beta 57, Shure Beta 58, Shure Beta 87, Shure SM81, AKG D112, AKG 414, Sennheiser e604 and DI boxes available for hire.

Picture of mic	About
	SHURE SM58 Vocal microphone The SM58 is a legendary industry standard unidirectional (cardiod) dynamic microphone. Consistently the first choice of performers around the globe. For use in live performance, studio recording, speech, the list goes on. Very rugged construction. Type: Dynamic microphone Frequency response 50HZ to 15,000HZ. Polar pattern: Unidirectional (cardiod)
	SHURE BETA 58 The equivalent Beta to the classic SM58, the Beta 58A, is exactly the same shape as the regular SM58, the main outward difference being the blue trim and the bluish tinge to the body colour. A pneumatic shockmount is used to minimise handling noise, and the frequency response is designed to suit close-miked vocals, though some engineers also like to use 58s on electric guitars and even drums. With a useful frequency range extending from 50Hz to 16kHz, the mic has a falling bass response below 500Hz to compensate for the proximity bass boost that results when the mic is used up close. The top end features a dual peak presence rise at around 4kHz and 10kHz which helps to produce a sound capable of cutting through a loud backing track. Because all these mics have a supercardioid pattern, they are slightly more sensitive to sounds coming directly from the rear than cardioid mics, so stage monitors are best placed between 60 and 30 degrees off axis.
	SHURE SM57 Instrument microphone Dynamic microphone, similar to the SM58, but the SM57 is generally used for instrument mic'ing, especially snare and guitar, can also be used as a vocal mic. SM57 Type: Dynamic microphone Frequency response 40 HZ to 15,000HZ Polar pattern:Unidirectional(cardiod)
	SHURE BETA 57 Almost as famous as the SM58 is the SM57, and this too has its equivalent in the Beta 57A. Designed for miking drums (mainly toms), amplifiers and brass/woodwind, the 57A also holds its own as a vocal mic, making it an excellent choice for somebody needing a high quality all-rounder. The frequency response is very similar to that of the Beta 58A, and the mic can be distinguished by its barrel-shaped grille.
	SHURE BETA 87 This has a barrel-shaped grille similar to that of the Beta 57. Like the dynamic mics in the range, this model has a robust capsule suspension system and manages a useful frequency range of 50Hz to 18kHz. The presence peak is similar to that of the Beta 58, but because of the extended frequency response, the sound is noticeably more 'open' than you get from a dynamic mic. A phantom power source of between 12 and 52V can be used to power the microphone. The maximum SPL when running into a 150(omega) input is 134dB. Surprisingly perhaps, the Beta 87 isn't a great deal more sensitive than the dynamic mics in the range, but as it's designed for close use, perhaps this isn't a bad thing. It does, however, make the mic less suitable than some other capacitor and back-electret models for recording acoustic guitar. On the plus side, this mic has a rich warmth which combines the punch and presence of a dynamic with the top end clarity of a capacitor.
	AKG D112 Instrument microphone The D112 is mainly used for kick drum, but also can be used on bass guitar cabinets and trombones, tubas etc. Handles up to 160 db SPL with no audible distortion. Has a narrow band presence rise at 4KHZ, so no extra eq need be added to lift the sound of the beater when mic'ing up a kick drum. D112 Type: Dynamic microphone Frequency response:20HZ to17KHZ Polar pattern:Cardiod
	SHURE BETA 52 Equipped with an integral swivel stand adaptor, the Beta 52 has a large body, and can accommodate the very high SPLs encountered inside kick drums. The maximum SPL is calculated as being 174dB at 1kHz -- evidently Shure couldn't find anything loud enough to actually test it with! The frequency response plot extends from 20Hz to 10kHz and shows this to be anything but an honest mic -- it is specifically designed to bring out the deep kick and the high-end impact sound of the kick drum. Used up close, the proximity effect results in a hefty boost in the 30 to 50Hz region, and the top end features an almost violent presence peak at 4kHz which really helps bring out the head impact 'click'. This, coupled with a lower mid-range dip results in a very confident tone, with bags of edge and minimal 'muddying'.
	SHURE SM81 This microphone is a high quality unidirectional condenser microphone for studio recording, broadcasting and sound reinforcement. Especially good for guitar, piano and cymbals.
	AKG C414 B-XLS A reference-quality microphone especially used for accurate, beautifully-detailed pickup of any acoustic instrument. With the introduction of the Next Generation C 414 B-XL models, AKG sets new benchmarks for useful features, improved technical specifications, ease of use and available accessories. All of these improvements are answers to requests from ever-demanding recording studios, broadcast stations and concert engineers, but with the basic sonic character of the legendary C 414 unaltered. High sound pressure level capability and wide dynamic range Completely immune to electrostatic and electromagnetic interference from digital gear, computer monitors, etc. thanks to solid metal housing and transformerless output stage Three switchable bass cut filters and three pre-attenuation pads with LEDs for quick visual indication
	AKG C1000 Ambient mic Condenser microphone(battery powered or phantom) AKG C1000 Type: Condenser microphone Frequency response:50HZ to 20KHZ Polar pattern:Cardiod,or hypercardiod with plastic PPC 1000
	AKG C-419 For hardwire applications, with standard XLR connector for phantom powering. Microphone for wind instruments and toms. The AKG C 419PP is response tailored for use with both brass, woodwind and toms. The gentle low frequency roll-off compensates for proximity effect and the high frequency boost adds presence and clarity. Its hypercardioid polar pattern gives the C 419 additional isolation from floor monitors and other instruments. The microphone is small, light weight, and can be easily clipped to the bell of an instrument, or a rim of a drum. The flexible gooseneck allows for precise capsule placement, while the rubber-tipped clamp ensures secure mounting and protects the instrument from damage. The C 419 features a 10 ft. (3 meter) cable terminated with an XLR-M connector. It accepts phantom voltages over the range of 9 to 52 volts. Transducer type: Condenser pressure gradient Frequency response: 20 Hz - 20 kHz Polar pattern: Hypercardioid Impedance: 200 ohms Output connector: XLR, mini XLR (C419/L)
	SENNHEISER EW 135 Handheld System
	SENNHEISER EW335 Handheld System
	SENNHEISER EW 312 Lapel System This system is ideal for theatre and presentation use. The ME 2 clip-on microphone is virtually invisible. The extremely small SK 300 G2 bodypack transmitter and the EM 300 G2 rack-mount receiver feature nine frequency banks with eight directly accessible presets each – ready for immediate use. 1440 tunable UHF frequencies for interference-free reception. Absolutely reliable transmission and extended range due to high RF output power. High-quality true diversity reception Pilot tone squelch for eliminating RF interference when transmitter is turned off Automatic frequency scan feature searches for available frequencies Transmitter and receiver with rugged metal housings Receiver features user-friendly menu operation via two-colour backlit graphics display (green = OK; red = warning) Lock function avoids accidental changing of settings HDX compander for crystal-clear sound
	SENNHEISER Headset system Same specifications as above, only with headset microphone instead
	SENNHEISER E-604 Instrument mic Clip on dynamic microphone, works exceptionally well on toms, but can be used on brass and woodwind. Can handle high SPL's, and the casing is a reinforced glass fiber able to take knocks, shocks and suppress impact noise. Type: Dynamic microphone Frequency response 40HZ-18KHZ Pickup pattern:Cardiod
	The Pro 45 has Hi-SPL handling that is perfect for suspension over choirs and orchestras. With a wide-range condenser element and low-mass diaphragm for superior performance. It also has self-contained electronics which eliminate the need for an external power module. Element: Condenser Polar Pattern Dynamic Range (Typical) Cardioid 106 dB, 1 kHz at Max. SPL Maximum Input Sound Level Output Connector 134 dB SPL, 1 kHz at 1% T.H.D. XLRM-type on cable
	Audio-Technica - Pro 44 - Boundary Microphone Low profile for minimum visibility Wide-range condenser element with low-mass diaphragm for superior performance Self-contained electronics eliminate need for external power modules Rugged design and construction 25' (7.6 m) detachable cable (TA3F to XLRM-type Capsule: Condenser Polar Pattern: Unidirectional Frequency Response: 70-16,000Hz Impedance 100 ohms
	Klark Teknik DN 100 DI BOX Industry standard DI box
	BSS AR-133 The unit includes phantom power and battery supplies as standard. Should the phantom power from the console fail or be accidentally switched off, the AR-133 automatically switches over to the internal 9V battery providing uninterrupted use. The unit is housed in a rugged aluminum extrusion case, with robust polyurethane end- cheeks, which give the AR-133 a very distinctive look. Input connectors are both 1/4" jack sockets and an XLR socket, the latter meaning that the AR-133 can be used to convert unbalanced signals to a balanced output on XLRs throughout.The arched case allows cables to run back underneath the unit from the end for neat cable management. Input attenuation is 0, - 20 or -40dB, making the box suitable for instrument, line or amplifier levels on inputs. On the output side, a ground-lift switch is provided for quick solutions to ground loop problems.