Static Large-diaphragm, max SPL (156 dB with the pad!) Seems to intend at the outset of the transplanted amp or brass.
Ultimately his dynamic and musical qualities make this microphone a model that has versatility that will quickly find its place in any studio microphone like everything. All essential home studio that respects: its broad scope SAVINGS you may be buying multiple microphones DDIS.

The characteristics are trs well think: spl max pad (10db) sectional bottom (80 hz) impdence 100 ohm ...

OVERALL OPINION

First prcisons I am not a sound engineer for "just" a musician (mainly guitar) but, say, with a experience in the studio I think significant that allows me to give my opinion of the depths my home studio Breton. I also specific on all his feelings are trademarks of subjectivity and bass are not on technical knowledge of the theory of microphones that I did not fawn all.

It's been a week since I tested the length and breadth (membrane hihi), through a Soundcraft (pramplis Class A) and an M-Audio interface.
I have many presents in my ears sounds Rode NT1, 2 and 5, the E609, the SM57 (of course), Studio Project C3etc ... etc ...
Difficult to compare what is not always but here's my feeling:

- Voice: a is not my Speciality but I got a full and sweet. That's less than brilliant Rode with less presence but also less plosives and sibilants ... so it's perfect for me: much easier process. I place voice into 10 minutes l o I must three hours with NT2A. In rsum: very good but not his specialty.

- Acoustic guitar: same feeling, although this time making a more presents. Cons by the lack of sensitivity of the microphone and made a little felt was less than with dtails SM81 for example. Shoeps not talking about, I was fortunate to have my guitar rcemment before (couple "ORTF"), because the one is more in the same realm " I find the r RESULT very good, precise all the same, but lacking in "grain", not making small default of the guitar which prcisment his personality. On the other side once again we are left with a signal very easy to deal with immediate results. In rsum: very good, even perfect, for models in the studio but I would prfrerais a SM81 placed well or better a couple "ORTF" with good "cigar".

- Bass: always the same result "IMMEDIATELY" but the lack of micro ball for a low brightness but also the necessary precision. It is very easy to mix but not a bass sound. In rsum: not suitable in my opinion.

- Guitar amplifier: I saved the best for last Fantastic. The acute so difficult to place guitars delicately become saturated, the medium is full and soft, low-medium is rich and smooth the low-cut is ideal site (80Hz) to avoid the draft of serious. the mic makes perfect grain of my all-tube. The crunch sounds are clear and classy, ​​the solos in "shred" of all beauty! Small BMOL: I prefer the grain more "dirty" studio project for everything 70's riff into overdrive (ac-dc / led zep, jeff beck, etc. ...). but overall I found the quality of the good old 609 with the lower medium as a bonus, and I bump the gum the SM57 in the top med, much appreciated for its presence, but I found even when a bit "hard". the AE3000 to the HP, the Rode 45 cm is heaven! In rsum: If your guitar and you did not test this micro there is still time will repair the breach

Conclusion: A great microphone for guitarists, a Swiss army knife for home-studio owners very "confortabilisant" in the mix, but not a personality or a lightning "machine screw" (albeit with a real test prampli ) an investment that worth (and cluck!) and treadlife.
Too bad we have not allowed a pretty box with ...

Depending price into nine I put 10 for amp guitar and 7/8 everything else.
As this micro saves me precious time to mix and offered his classy my guitar amp he deserves his good 9!