Microfono da studio Warm Audio WA-47JR nero

The WA-47jr is a contemporary multi-pattern, transformerless FET large-diaphragm condenser microphone that recreates the sonic character of the classic '47-style tube microphone. It uses a 34 mm K47-style dual large-diaphragm capsule and a discrete FET circuit to combine vintage analog warmth with clear top-end detail. With three selectable polar patterns, a switchable -10 dB pad and a 70 Hz high-pass filter, the WA-47jr is designed to cover a wide range of studio and live applications from vocals to drums and acoustic instruments.

Advantages

The microphone delivers the tonal warmth and depth associated with vintage 47-style designs while providing enhanced high-frequency clarity thanks to premium Toshiba FETs. Its multi-pattern design (cardioid, omnidirectional, figure-8) offers flexible directional control and effective rejection of unwanted noise. Robust components including WIMA film and Panasonic electrolytic capacitors ensure reliable signal transfer, and the fully discrete analog circuit avoids integrated circuits for an authentic analog signal path. The nickel-plated brass body provides durable, professional build quality.

Key specifications

• Capsule: WA-47-B-50v 34 mm dual large-diaphragm K47-style capsule
• Electronics: Transformerless discrete FET circuitry with Toshiba transistors
• Polar patterns: Cardioid, omnidirectional, figure-8 (selectable)
• Pad: Switchable -10 dB pad (allows handling up to 157 dB SPL)
• Filter: 70 Hz high-pass filter (switchable)
• Components: WIMA film capacitors, Panasonic electrolytic capacitors
• Body: Nickel-plated brass

How to use

Choose the appropriate polar pattern for the source: cardioid for focused sources such as lead vocals or guitar cabinets, omnidirectional for room ambience and natural acoustic capture, and figure-8 for mid-side techniques or capturing two opposite sources. Engage the -10 dB pad when recording loud sources (e.g., toms, guitar cabinets, close-miked brass) to prevent overload. Use the 70 Hz high-pass filter to reduce low-frequency rumble from stage noise or proximity effect. Position the microphone according to the instrument and genre — closer for more presence, farther for more room and natural tone — and adjust mic placement while monitoring to find the optimal balance of detail and warmth.

Recommendations

For vocals, start with cardioid at 15–30 cm and enable the high-pass if excessive low-end is present. For toms and loud sources, engage the -10 dB pad and experiment with distance to control attack and body. For overheads or acoustic guitar, try omnidirectional or cardioid and adjust placement to capture a balanced blend of body and cymbal/air detail.