There are a million places where you can find the first handful of mics you need when you start to record. But what about when you have the basics down and need to get to the next level? I’ve gathered info about eight different mics that might hit your wallet a bit harder, but the results will be well worth it.
Shure KSM137
A matched pair of these ubiquitous condenser mics works wonders on piano, acoustic guitars, and even drum sets. The KSM137s sport a gold-layered Mylar diaphragm, subsonic filter, and a 3-position pad.
$699/pair
shure.com
Sennheiser MD 441-U
This dynamic mic is perfect for when you need pinpoint precision. It includes a treble boost, 5-position low-frequency contour switch, and a hum-compensating coil.
$1,099 street
sennheiser.com
AKG C414 XLII
This multi-pattern condenser mic is a bona fide classic. It can handle nine different polar patterns, features three different bass-cut filters, and gives you an LED light to keep an eye on clipping.
$1,319 street
akg.com
Neumann U 87 Ai
As one of the most legendary mics ever made, this new iteration has been updated with modern circuitry, switchable 10 dB pre-attenuation, and three directional characteristics.
$3,295 street
neumann.com
AEA N22
This active ribbon mic houses a custom-made German transformer, and a maximum SPL of 141 dB, so let those amps cook! It combines both vintage and modern elements in the RCA tradition.
$1,099 street
aearibbonmics.com
Royer R-121
The company’s flagship microphone might be the only mic to win a Grammy. The figure-8 pattern offers increased sensitivity, can handle very high SPLs, and gives equal response from either the front or back of the element.
$1,499 street
royerlabs.comom
Earthworks QTC50
This omni-directional condenser mic has plenty of headroom to capture even the loudest of audio sources. QTC (Quiet Time Coherent) allows the mic to excel even at lower volumes with strings, vocals, and distant sound sources.
$1,399 streetearthworksaudio.com
Telefunken ELA M 260
Originally released in the ’60s, this modern version features a new-old-stock EF732 vacuum tube along with a thread-on TK6x Series capsule that provides cardioid, hypercardioid, and omni polar patterns.
$1,295 street
telefunken-elektroakustik.com
Silvertone Guitars is thrilled to announce a groundbreaking collaboration with Rio Grande Pickups to introduce a new Silvertone Lipstick pickup. This partnership combines Silvertone’s iconic legacy with Rio Grande’s expert craftsmanship to create a pickup that delivers a bold, traditional single-coil tone while retaining the classic Lipstick look.
The original Lipstick pickup, invented by Nathan Daniels, is celebrated for its distinctive sound with a bright, trebly top end and scooped midrange, offering a unique sonic character that stands out both in recordings and live performances. While the classic Silvertone Lipstick pickups are known for capturing this vintage tone, the new Silvertone/Rio Grande Lipstick pickups provide an exciting twist for players seeking a higher-output, traditional single-coil sound.
Designed and handmade in Houston, Texas, the new Silvertone Lipstick pickup features an Alnico 5bar magnet, plain enamel 44AWG pure copper wire, and a shielded 2-wire connection for versatile wiring options. This pickup strikes a perfect balance between a '60s Strat®-style sound and the powerful punch of a P90, offering a beefy midrange and enhanced output for dynamic lead playing and driving effects pedals.
“We’re thrilled to be working with Rio Grande Pickups on this new Lipstick design,” says Rick Taylor, Guitar Product Manager at Silvertone Guitars. “This collaboration has allowed us to expand the tonal palette of our Lipstick pickups while preserving the visual appeal that players love. The new pickups deliver rich, powerful sound that will inspire musicians to explore new creative possibilities.”
These new pickups are the perfect way to supercharge your guitar, combining the distinctive look of the Lipstick design with the versatile, high-output tone that modern players demand.
Pricing is $279 for the calibrated set, and $159 for the neck or bridge alone.
Silvertone Guitars proudly introduces the 1373 Baritone, a contemporary reimagining of the iconic 1958 6-string bass.
In 1958, Silvertone made waves with the revolutionary 1373 model, a 6-string bass tuned low E to E, paving the way for the distinctive tic-tac technique in Nashville. This technique involved doubling acoustic bass lines with the six-string bass played with a pick. This unique tuning was also famously featured in Glen Campbell's iconic six-string bass solo on the hit single "Wichita Lineman."
With the 1373 Baritone, Silvertone pays homage to this rich history by transforming the instrument into a baritone tuning marvel. The 28” scale neck is meticulously designed for B to B tuning, echoing the popular baritone tuning that left an indelible mark on 1960s surf rock and spaghetti western soundtracks.
Crafted with a solid mahogany body, the 1373 Baritone delivers unparalleled punch and sustain. The string-through body bridge enhances resonance, and the 28” scale strikes the perfect balance, allowing the lower strings to resonate authentically without sacrificing the comfort of standard tuning guitars.
Equipped with the new Alnico 5 Silvertone Lipstick pickups, the 1373 Baritone retains the clean tones and bell-like top end of the original pickups, with a bit more output. This additional output provides the flexibility to comfortably drive pedals, tube amps, or digital modelers, making the 1373 Baritone a versatile instrument across various musical genres.
The 1373 Baritone carries a $449 street price and is available in three striking colors: Black SilverFlake, Pelham Blue, and Silver Metal Flake.
For more information, please visit silvertoneguitars.com.
It wasn’t long ago that LA LOM—guitarist Zac Sokolow, bassist Jake Faulkner, and percussionist Nicholas Baker—were cutting their teeth together as the house band at the Roosevelt Hotel in Hollywood, playing poolside for guests. Now, with eight EPs and a full-length record (2024’s The Los Angeles League of Musicians) since 2021, they’re a full-blown sensation, celebrating and interpreting instrumental tropical guitar traditions.
The trio played Nashville’s The Basement back in December, where PG’s John Bohlinger caught up with Sokolow and Faulkner to see what road rigs they use to bring their psychedelic cumbia and Peruvian chicha dreams to life.
Brought to you by D’Addario.Red Rider
This vintage National Val-Pro, circa 1960 to 1962, belongs to Faulkner, who received it as his very first electric. When he switched to bass, the Val-Pro took a backseat, so Sokolow had been more than happy to borrow it long-term. All the controls are disconnected except for the volume knob. Sokolow strings it with a .012–.052 gauge set of roundwounds, and he’s partial to D’Andrea Pro Plec 1.5 mm picks.
Leader of the Pack
Sokolow’s other sidekick is this Kay Style Leader from 1960. Each of the three pickups has a volume and tone control. The body’s been mostly routed out, so it lends the resonance and darkness of a semi-hollowbody.
Live and Loud
While he’ll often play through Fender Deluxe Reverbs at home, Sokolow trusts the Twin Reverb to get the job done in performance settings. The stage volume is loud enough that he and his bandmates often don’t need monitors: They can just listen to each other’s instruments onstage.
Zac Sokolow's Pedalboard
From his guitar, Sokolow’s signal runs through a spicy-red Voltage Cable Co. coil cable into his board. A TC Electronic Polytune 2 starts things off, followed by a Fulltone Full-Drive 3 for just a hint of dirt, then a Boss DM-3 delay, followed by a Catalinbread Topanga spring reverb. A TC Helicon VoiceTone handles some more echo work along with the DM-3.
Flight-Friendly Upright
Jake Faulkner’s traveling upright is thisJohnson bass, which has been modded by Tom at Fantastic Musical Instruments in Pasadena, California. Tom gave the upright a bolt-on neck that comes off easily, making it a perfect travel mate. For amplification, Faulkner uses pickups from Underwood, based in Palm Springs. On a tip from Tom, he glued a small piece of wood to the side of the pickups to reduce noise issues, and two sound posts have been installed inside the body to reduce feedback concerns.
Thumbin' Through
For electric needs, Faulkner uses this Fender Vintera II ’60s Precision Bass; he’ll switch between the two basses depending on what he feels best suits the song. He uses a thumb pick from time to time to accentuate certain rhythms.
Lightweight Low End
Faulkner’s been converted to this Ampeg Venture V12, a compact bass head weighing less than nine pounds—a godsend for sore-backed bassists. It’s set for a pretty neutral, SVT-style sound and runs into a Fender Bassman 410 Neo cabinet, which has four neodymium-loaded speakers.
Jake Faulkner's Pedalboard
Rather than at the start of his chain, his Korg Pitchblack Advance tuner goes at the end, with everything running out of it to the Venture V12. An Origin Effects Bassrig Super Vintage lends color and tone to the V12, then the Fire-Eye Development Red-Eye Twin acts as an A/B switch to maintain output and gain between the Johnson and the P-bass. An MXR Ten Band EQ helps balance out the upright’s tone.
