
John Bohlinger with his club rig in downtown Nashville on a Monday afternoon.
I've been gigging in downtown Nashville, Tennessee, for over two decades. Here's an inside look at Music City's club scene.
Within Nashville's club scene, there are roughly 100 stages crammed into 40-plus clubs stacked side by side along and around lower Broadway. Every day, these bars run four consecutive, four-hour sets of live music starting at 10 a.m. and ending at 2:30 a.m. One band stumbles off and the next group is up and playing in as little as 15 minutes. The music and chaos never stops.
For Broadway musicians, it's as organized as a freshly stamped-on ant colony. There are frequent double-bookings, last-minute cancellations, and changeups. Sometimes a player doesn't show and a replacement is recruited on the street or from the band just leaving. I've been onstage when the cops arrested a singer who then left the stage in handcuffs, kicking and screaming. I've seen players pass out mid-performance. I've seen fights break out onstage and work their way into the crowd. Speaking of crowds, last week a man removed his full colostomy bag and swung it around his head during a friend's gig. It's a shit show.
Although the attrition rate is high, I've been playing these clubs for over two decades. There's never been a set schedule. I get a text and go if I'm available. Last week, I played five gigs in four days, which included a double shift on Saturday (2 to 6 p.m. on pedal steel at Johnny Cash's, followed by 6 to 10 p.m. on guitar at Tootsie's). There are no breaks, no soundcheck, no setlist. You'll be onstage with some of the best and worst musicians you'll ever play with. The gigs are fun, frustrating, grueling, rewarding, good for you, and bad for you. Here's the scoop.
Pay
Base pay in clubs ranges from $30 per player on the low end to as much as $150. That dough is augmented by tips that can run between zero and as much as $500 per person if an extravagant fan throws in big. Musicians usually walk with about $100, but there are times you'll be earning less than minimum wage at the end of four hours. Yes, this is exploitation, but the clubs know that if a musician grumbles, there are hundreds of players in line hoping to be exploited. I am one of them.
Gear
All of the clubs have a PA, sort of. There are usually floor wedge monitors and often offer options for in-ear monitors. If you want to go full nerd, some clubs allow you to log on with your phone and adjust your own mix. The clubs will provide mics but bring your ownāsome house mics are as clean as a bar's bathroom floor. Sometimes they mic your amp, sometimes you just blow and go.
"For Broadway musicians, it's as organized as a freshly stamped-on ant colony. There are frequent double-bookings, last-minute cancellations, and changeups."
Clubs all have a house drum kitāsome rough, some surprisingly good. Drummers bring their own snare, cymbals, and kick pedal. Usually a bass amp is provided. Some spots like Tootsie's and Rippy's have backline guitar amps (solid-state Orange Crush Pro CR60C). Honky Tonk Central has a nice Marshall with a slant 4x12. I always opt for the house amp, to travel as light as possible. I bring one guitar and a modest pedalboard crammed into the front pocket of the gig bag, with extra strings, a slide, cables, and a capo stuffed in the other pocket. When I carry an amp, I usually use my Boss Katana. It's light, loud, and has built-in drive and effects if my pedalboard goes down. Downtown power is glitch: I've fried two tube amps down there. No cork-sniffing gear here.
Logistics
Parking is expensive and inconvenient, but the Nashville Musicians Association Local 257 gives vouchers to members for $5 parking at a downtown garage. Some clubs offer parking vouchers for players. Most players who have a lot of gear schlep it on a hand truck/dolly. Post-pandemic lockdown, the sidewalks are crammed with tourists. It's slow going when you're hauling gear behind a gaggle of bridesmaids teetering on high heels, but that's the gig.
Getting a Gig
If you want to jump into downtown Music City gigging, go to Broadway and spend a few nights listening to bands. Then go to the Spotify playlist The Sound of Lower Broadway, which currently has 264 songs that you'll likely be asked to play. Bands try to cover all requests from a good tipper. You'll need to know the old-school country classics as well as classic rock, modern country, and current pop/rap hits. There will be embarrassing train wrecks. Get on Facebook and check out Nashville Gig Finder and local musician community pages, where you can find people looking for players. Gigs lead to gigs, if you play well with others.
There are some downsides. That loud environment destroys your ears. There's a physical toll to these gigs. Hold a guitar for four to eight hours after hauling your gear and you'll wake up feeling like you've been beaten with a bag of doorknobs. And yet, I will play these gigs as long as I get the call, because players only love you when they're playing.
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Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashvilleās Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, Iām going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computerās file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Abletonās built-in browser (on the left-hand side). Navigate to the sampleās location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your projectās tempo.
Organize your samples into collections using the āAdd Folderā option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sampleās location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select āImport Audioā to locate and add your sample.
Tips: Use LUNAās built-in varispeed capabilities to match your sample to the sessionās tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or āFā key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logicās flex time feature to sync samples to your projectās tempo. Organize samples into Logicās library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click āConvertā or āAddā to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio Oneās browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the āStretch Audio Files to Song Tempoā option in the browser for automatic tempo synchronization. Create sample folders within Studio Oneās browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last monthās installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sampleās tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, weāre off to āconsoleā land and Iāll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more āstudioā sound. Until then, blessings and namaste.
The shredder and son of legendary artist Frank Zappa gives a tour of his up-to-date gear, including a complex stereo switching system, four racks of pedals, and some of his fatherās favorite guitars.
Dweezil Zappa was always going to end up being an incredible guitarist. His dad, Frank Zappa, is celebrated as one of the most talented and creative guitarists in history, and by age 12, Dweezil was recording music produced by Eddie Van Halen. (Little surprise that heās covering Van Halenās 1981 stunner āPush Comes to Shoveā lately.) Heās been a bona fide guitar star ever since, releasing seven original solo records, six tribute records, two LPs with his brother Ahmet Zappa, and guesting on recordings across the music universe.
Ahead of his gig at Memphisā Minglewood Hall on his 2024 Rox(postroph)y tour, which celebrated the 50th anniversary of Frank Zappaās Apostrophe (') and Roxy & Elsewhere records, Dweezil gave PGās John Bohlinger a boot-to-bonnet look at his current road setup. Thereās a lot of ground to cover between his and his fatherās catalogues, and Dweezil loves the challenge, which he meets with a mix of his own gear and some special vintage assists courtesy of his dad.
Brought to you by DāAddario.Shut Up ān Play Yer Les Paul
This coveted GibsonĀ Les Paul Custom, featured on the cover of Frankās 1981 record Shut Up ān Play Yer Guitar, came out on the road this tour. Dweezil says that around 1986, his dad swapped in Dan Armstrong-made ceramic pickups. At one point, Frank installed a second input to try to use the guitar as a synth controller, but it didnāt track well enough to continue the experiment.
Along with the standard controls, the guitar includes switches to turn on different parts of the onboard preamp, which boosts the signal and adds plenty of gain. A rotary knob controls a wired-in parametric EQ set up to emulate different settings along the sweep of a wah pedal. Dweezil didnāt get much of the lowdown from his father on the complex operations; it was more trial-and-error. āYou just have to turn knobs until you find something that you like,ā he says. He connects to his rig with ZZYZX SnapJack magnetic cable connectors.
Rockin' with Roxy
Also out on the Rox(postroph)y tour is Frankās iconic Roxy & Elsewhere-era Gibson SG. Like the Les Paul, itās got a preamp circuit to boost the signal, a sweepable EQ, and can achieve acoustic, piezo-adjacent sounds. The preamp configuration in this one is red-hot; it dishes out tons of gain.
Signature Shabat
For Strat-style tones, Dweezil calls on his signature Shabat Lynx DZ, which has been used to dial in his cover of āPush Comes to Shove.ā Per Shabat, it has a ābody-mounted HSS configuration with a push/pull phase shift on the middle pickup, simplified single-knob layout, custom-cut 3-ply parchment/gold pickguard, and ā¦ a Vega-Trem VT1 tremolo."
The Lynx DZ is constructed with an alder body and a quartersawn hard maple, medium-C-profile neck with a 25.5" scale length. Itās loaded with Lollar Special S and Lollar El Rayo pickups, and the middle Special S is wired for phase shift. The Lynx, as well as the SG and Les Paul, are strung with Optima Gold-Plated 2028 FZ Frank Zappa strings (.008ā.046), and struck with DāAddario .50 mm celluloid picks. (Dweezil likes them for pick slides.)
On the Ground
Zappa keeps a significant board at his feet, which he controls with a Fractal FC-12 controller. He runs his sound in stereo, with different effects going to each side, so he keeps volume pedals for each side in front of him, plus a wah and expression pedal.
The row of pedals perched atop the pedalboard includes a TC Electronic Polytune 3 Noir, a Marshall-style prototype pedal, J. Rockett Audio Designs PXO, Union Tube and Transistor Lab, SoloDallas Orbiter, a Jext Telez White Pedal (to nab a specific tone for playing āNanook Rubs Itā), and a 29 Pedals FLWR.
In the Rack
On our 2013 Rig Rundown, Dweezil was using the Fractal Axe-Fx II, and this time around, heās upgraded to the Axe-Fx III as the basis of his sound. Given the sonic territory covered in his shows, it simply became too unwieldy and expensive to tour an analog rig.
The brains of his show are held in a rack system. A couple of out-of-sight splitter boxes help with the complex stereo signal paths, as do a pair of Voodoo Lab HEX audio switchers. The Axe-Fx III lives on the top shelf, and just below it are an Eventide H90 and TC Electronic TC 2290 that go to both sides.
The next rack down runs only to the left side, and includes a BK Butler Tube Driver, DigiTech FreqOut, Red Panda Radius and Raster, Krozz Devices Airborn Analog Flanger, and a Paul Trombetta Design Tornita! fuzz.
The level below it runs to the right side, with a āClown Vomitā fuzz, Chase Bliss Warped Vinyl, Korg FLG-1 Flanger, Chase Bliss Generation Loss, Goochfx Holy Cow, and another Red Panda Raster.
Wrapping up the rig is the bottom rack, which again runs to both sides. It carries most of Zappaās exquisite dirt sounds, thanks to a Union Tube and Transistor Tsar Bomba, Chase Bliss Automatone Preamp MKII, Goochfx Dirty Hippie, Tru-Fi Two Face, Foxrox Electronics Paradox TZF2, and a Paul Trombetta Design Rotobone that ā¦ somewhat reasonably apes a trombone sound. Paul Trombetta, we salute you.
Kepma Guitars introduces the new Fenix Series of Grand Auditorium acoustic guitars, offering premium features at an entry-level price, plus their new travel-sized FC Mini Series.
Designed for both aspiring players and seasoned musicians, the Fenix Series offers premium features typically found in higher-priced instruments, all starting at just $249.99.
āThe new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,ā said Kepma USA president Tony Moscal. āWith their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instrumentsāall at an entry-level price.ā
The Kepma Fenix Series features a Grand Auditorium body style with a solid torrefied Sitka spruce top, delivering exceptional tonal resonance and stability. The proprietary Kepma Torrefication Process uses a precise combination of heat and humidity to remove moisture, oils, and sap from the wood, resulting in a stronger, more stable top that enhances string vibration and ensures consistent performance in any environment.
Back and sides are crafted from layered African mahogany, providing a warm, balanced sound. The neck, made of durable nato wood, is reinforced with a two-way adjustable truss rod and finished with a smooth satin coating for effortless playability.
The Fenix Series is packed with cutting-edge features to elevate the playing experience:
- New 4-Point Bolt-On Neck Joint: Ensures unparalleled stability that allows for easy adjustments and maintenance - a first at this price point.
- Ultra-Thin Water-Based Finish: Environmentally friendly and just 0.042mm thick, this finish protects the guitar while maximizing tonal projection and preserving the natural beauty of the wood.
- Beveled Binding for Comfort: High-quality ABS beveled binding enhances durability, prevents edge damage, and ensures a comfortable playing experience.
- C-Shaped Fast Neck: A player-friendly design that reduces hand fatigue, enhances playing fluidity, and supports all playing styles.
For players seeking even more versatility, the optional AcoustiFex K-10 Pro Pickup, Preamp & FX System transforms the Fenix into an all-in-one performance and practice powerhouse. This system includes built-in reverb, delay, and chorus effects, Bluetooth audio streaming, and a companion app for rhythm looping, metronome functions, and more. Whether youāre performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
The Kepma Fenixā¢ Series offers four configurations to suit every playerās preferences:
- FGA1-130 (Natural Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides. MAP: $249.99
- FGA1-130A (Natural Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
- FGA1-130SB (Sunburst Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish. MAP: $249.99
- FGA1-130ASB (Sunburst Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
The new Fenix models are designed to inspire beginners and seasoned musicians alike, setting a new benchmark for performance and value in the industry.
Kepma Guitars is thrilled to announce the introduction of its versatile FC Mini Series, packed with cutting-edge technology that redefines expectations for travel-sized guitars.
The new FC Mini models include a variety of configurations to suit every playerās needs. The Spruce/Rosewood and Spruce/Mahogany options feature solid torrefied spruce tops paired with layered rosewood or mahogany back and sides, available in natural and sunburst finishes. The Mahogany/Mahogany model features a solid torrefied mahogany top with layered mahogany back and sides in a natural finish. Each guitar is offered in three versions: no pickup, with the AcoustiFexĀ® K-10 Pro system, or equipped with the Elfin Sound System, and all come with a deluxe gig bag. Prices range from $399.99 to $549.99 MAP.
Big Sound in a Compact Package Traditionally, smaller guitars have been associated with compromised sound and tone. Kepmaās FC Mini Series shatters this notion by integrating advanced innovations and meticulous design to create a guitar that offers the full resonance and projection of a standard acoustic.
Premium Materials and Construction The torrefaction process removes moisture, oils, and sap from the wood, enhancing stability and delivering superior tonal richness. Back and sides crafted from high-quality mahogany or rosewood ensure durability and warmth in every note.
Technological Innovations
- Proprietary Bolt-On Neck Design: Kepmaās neck contour bolt-on neck joint ensures a perfect and stable connection between neck and body, offering ultimate playability and infinite adjustability.
- Rosewood Bracing: Solid rosewood bracing enhances top stability and reduces energy loss, resulting in superior articulation and sustain.
- Arched Back Design: A unique arched back improves resonance and eliminates the need for back bracing, allowing for harmonious vibrations and a fuller sound.
Enhanced Playability The FC Mini Series is engineered with the player in mind. The slightly thicker neck provides added stability, while the ergonomic C-shape design reduces fatigue during extended playing sessions. The sleek cutaway provides access to the higher notes on the fretboard for better playability. Lower string action, beveled binding, and redesigned precision sealed tuners further enhance comfort and ease of use.
Attention to Detail Kepmaās commitment to excellence is evident in every detail of the FC Mini Series:
- D'Addario XS Strings: Coated strings extend playing life and offer superior projection.
- Elegant Aesthetics: Features include a magnolia inlay on the fretboard, upgraded rosette, and a refined rosewood veneer headstock.
- Eco-Friendly Finish: A thin, water-based matte finish minimizes vibration damping for a clear, transparent sound.
Advanced Electronics for Modern Musicians
AcoustiFex K-10 Pro System Each new FC Mini Series model is available with the AcoustiFex K-10 Pro System, offering:
- Built-in reverb, delay, and chorus effects
- Bluetooth audio streaming for playing along with backing tracks
- An on-the-go USB interface for app connectivity, enabling looping, rhythm tracks, and practice tools like a metronome and tuner
- Whether youāre performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
Elfin Sound System The FC Mini Series are also available with the new Elfin K-13 Sound System, developed collaboratively by Kepma and Double Acoustics. The system offers high sensitivity, accurate sound reproduction, strong output power, and low noise. The under-saddle piezo pickup delivers sweet treble and punchy bass, making it ideal for fingerstyle playing. Additionally, the preamp features a rechargeable battery system that can be conveniently charged using a standard USB-C phone charger cable. The Elfin K-13 Sound System was developed and voiced specifically for the Kepma Ā¾ size FC Mini Series guitars.
Complete Package Each FC Mini guitar comes with a padded deluxe gig bag and an accessory kit that includes a custom truss rod wrench, microfiber polishing cloth, bridge pins, picks, extra saddle, and string height gauge.
Purchase Options
Spruce/Rosewood, Natural Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides
- No Pickup: Model FCM-SR, MAP: $449.99
- With AcoustiFex K-10 Pro: Model FCM-SRA, MAP: $549.99
- With Elfin Sound System: Model FCM-SRE, MAP: $549.99
Spruce/Rosewood, Sunburst Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SR-SB, MAP: $449.99
- AcoustiFex K-10 Pro: Model FCM-SRA-SB, MAP: $549.99
- Elfin Sound System: Model FCM-SRE-SB, MAP: $549.99
Spruce/Mahogany, Natural Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-SM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA, MAP: $499.99
- With Elfin Sound System: Model FCM-SME, MAP: $499.99
Spruce/Mahogany, Sunburst Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SM-SB, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA-SB, MAP: $499.99
- With Elfin Sound System: Model FCM-SME-SB, MAP: $499.99
Mahogany/Mahogany, Natural Finish
- Solid Torrefied Mahogany Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-MM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-MMA, MAP: $499.99
- With Elfin Sound System: Model FCM-MME, MAP: $499.99
The new Kepma FC Mini Series combines portability, premium materials, and advanced technology to offer an unparalleled sound and playing experience. Whether youāre a traveling musician or a beginner seeking comfort and quality, the FC Mini Series is your perfect companion.
For more information, please visit kepmausa.com.
Shure introduces the Nexadyne line of dynamic instrument microphones.
Each Nexadyne super cardioid microphone boasts Shureās patented Revonic Dual-Engine Transducer Technology. While typical instrument microphones use a single transducer, Nexadyne microphones feature two precisely calibrated transducers working together to achieve optimal performance that delivers natural, authentic clarity while minimizing unwanted noise.
Nexadyneās combination of acoustic signal processing and exceptional polar pattern linearity, enables the microphoneline to deliver a stronger and clearer output. This output is more authentic to the performer and reduces audio engineersā need to apply typical EQ corrections.
Featuring compact industrial designs and a discreet, black finish for low-profile visibility, Nexadyne Instrument Microphones provide exceptional sound quality, industry-leading durability, and stage-friendly functionality. Each Nexadyne microphone surpasses real-world reliability requirements show after show and stands as the road-ready choice for modern touring.
Nexadyne 5 Dynamic Guitar Amp Microphone
Capture the full detail and power of your signature amplified guitar tone. The Nexadyne 5 ensures the full range of your guitar tone is captured and ready for the mix every time. The incredibly small dynamic cartridge design enables a side-address form factor for improved placement. It can be positioned by hanging off any amp or used with a standard mic clip and stand.
Nexadyne 2 Dynamic Bass Amp / Kick Drum Microphone
Kick drums will just sound bigger. The Nexadyne 2 delivers true, low-end clarity and fullness on every stage, with contoured EQ, protection from stage rumble, and improved high-frequency extension and attack definition. The microphone is designed with its swivel joint separated from the XLR output source for secure placement without strain on output cables.
Nexadyne Instrument Microphones carry these street prices: The Nexadyne 5 is available for $219. The Nexadyne 2 is available for $249.
Each microphone includes a zippered bag and brass adapter. The Nexadyne 5 includes the A25E mic clip.
For more information please visit shure.com.