BH1- Acoustic Guitar

V47 - Acoustic Guitar

V67 - Acoustic Guitar

BB29 - Acoustic Guitar

V67 MONO CLOSE ACOUSTIC

V47 MONO CLOSE ACOUSTIC

BH1 MONO CLOSE ACOUSTIC

BB29 MONO CLOSE ACOUSTIC

JZ V67 Microphone - Male Vocals

JZ V12 Microphone - Male Vocals

JZ Black Hole Microphone - Male Vocals

JZ V67 Microphone - Female Vocals

JZ V47 Microphone - Female Vocals

JZ V12 Microphone - Female Vocals

JZ Black Hole Microphone - Female Vocals (silent)

2x V67 on piano
Music: www.terrysampson.com

JZ V67 - Piano (A Moment Of Heaven - Terry Sampson)

Recorded with Gibson Gibson LP Studio w/EMG81/85 mid position and Marshall JVM410H amp and 1960A cabinet. No EQ's, compression or other effects. www.jzmic.com

Black Hole on Electric Guitar

JZ Microphones Vintage 67

Black Hole - Drum Overheads (close)

JZ Microphones Vintage V11 - Acoustic Guitar

JZ Microphones Vintage V11 - Grand Piano

Neumann TLM102 - Mix for Song "Shelter"

JZ Microphones Vintage V11 - Female Vocals

JZ Microphones Vintage V11 - Male Rock Vocals

Electric Guitar Clean Custom - GDC67

Electric Guitar Dist Custom - GDC67

BH1: 
Really brings out the crispness in the high end of the vocals. 
It even sounds good sitting in the track with no eq or compression. 
Accentuates the sibilant “s” sounds Cardioid pattern was nice and tight. Interesting and useful mount, well built and easy to position.
V47: 
Strong sound in the mids but lacks a bit in the high end. 
Emphasises “f” sound in the vocals. 
It would be a great microphone for double tracking as it doesn’t overload the high end frequencies compared to other microphones. Bit of a show stopper as regards its looks.  Not  as easy to mount as equivalent microphones with shock mount.  We did a direct comparison of this microphone with a Neumann TLM49, and in terms of frequency response, it appeared to be as good, if not better, giving a rich timbre to the vocals.  Both microphones were routed through an SPL Class A valve pre-amp.

Aidrian & JP
tribarac Studio.


JZ Microphones

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