A Signature Made Sound
For years I have devoted myself to building and refining microphones—out of a passion for sound and respect for the details that are so often overlooked.
Over the coming weeks and months, I will introduce my microphone collection: microphones with character, history—and soul.
Each one was hand-built, modified or carefully tuned. And each carries its own signature.
The series begins with the centrepiece of the collection: an interpretation of the Manley Reference Gold—a microphone that stands apart not only visually.
01 / Concept
A microphone that listens—and remembers
What makes this microphone special is not only its sound, but its flexibility.
It is a stereo-capable system that allows the polar pattern to be defined even after recording—a technique also known from microphones such as the Austrian Audio OC818 or the Universal Audio DLX system.
The principle is simple—and ingenious: a dual-diaphragm transducer records both sides, front and rear, simultaneously. Their combination can later produce different polar patterns—from omni and cardioid to figure-eight.
This makes it possible to shape not only the room sound afterwards, but also the placement of a voice or instrument within the stereo field.
The microphone becomes a sonic camera with an interchangeable lens—a tool for creative decisions even after the recording.
02 / Transducer
The Thiersch STW7 Red Line
At its heart is the Thiersch STW7 Red Line—a capsule based on the legendary M7 design and manufactured in Germany. It uses a Mylar diaphragm known for its durability and consistent performance.
The STW7 Red Line offers a warm, detailed sound with balanced midrange presence and silky highs. Its design enables precise capture, making it an excellent choice for both vocals and acoustic instruments.
03 / Circuit
OPA Alice – Dual Channel
The sonic framework is provided by a specially developed circuit: the dual-channel OPA board.
Unlike conventional condenser microphones, this solution amplifies both sides of the diaphragm separately—the foundation of the variable polar-pattern concept.
The design uses the OPA1642, a high-resolution, low-noise operational amplifier. Power is supplied entirely through phantom power, allowing the system to integrate elegantly and easily into existing setups.
This circuit is not a compromise, but a creative promise:
Creative freedom where it matters most—in the sound itself.
04 / Design
A unique piece in colour and form
Sound does not begin only inside—the exterior matters too.
The body of this microphone was originally plain: raw, functional, industrial—a blank canvas.
I had it engraved—like an instrument bearing its name. Then the artistic process began: primer, colour and clear coat, applied by hand layer by layer.
No copy, no production model.
05 / Isolation
The shock mount: elegant stability
A microphone is only as good as its connection—and this is where the shock mount comes into play. It is the invisible link between sound source and technology, between movement and stillness.
I chose the same shock mount used for the Manley Reference Cardioid microphone. This specialised mount keeps the microphone secure and isolated from vibration, minimising unwanted mechanical noise.
The construction allows easy adjustment while maintaining stable microphone positioning. Thoughtful design and high-quality materials make the mount an essential part of the system.
It ensures that the sound is captured in its purest form—without interference.
06 / Connection
The Y cable: craftsmanship meets function
The equally hand-built stereo cable combines aesthetics and technology.
The colourful fabric sleeve gives the cable an individual appearance while protecting it from external influences. Inside, four conductors per channel provide balanced signal transmission, minimising interference and preserving clarity.
Cross-wiring further reduces noise and improves signal stability.
At the end of the cable is a high-quality five-pin Neutrik XLR connector for a reliable, durable connection. This configuration transmits both signals from the dual-diaphragm capsule separately, offering maximum flexibility in post-production.
07 / Transport
The case: character with a history
The microphone does not travel in a new case, but in a carefully restored classic.
An old case, restored with attention to detail: a blue leather look outside and cream-coloured velvet within.
08 / Post-production
Analogue meets digital: complete control
Modern digital tools expand the possibilities considerably. They make it possible not only to capture sound but to shape it actively—a close union of analogue warmth and digital precision.
With Austrian Audio’s PolarDesigner plug-in, the polar pattern can be adjusted precisely after recording in up to five frequency bands. Omni, cardioid, figure-eight or any nuance between them—the sound is shaped not only by positioning but through deliberate post-production, enabling creative control.
Programs such as StereoCreator extend these possibilities by enabling stereo techniques such as X/Y, M/S or Blumlein to be realised in post-production.
With a single microphone in dual-output mode or two stacked microphones, stereo width, orientation and spatiality can be adjusted flexibly—even long after the recording.