Warm Audio WA-47 operation manual

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WA-47

TUBE CONDENSER MICROPHONE

• ENGLISH (PG 1) • FRANÇAIS (PG 12) • ESPAÑOL (PG 18) • DEUTSCH (PG 24)

THANK YOU!

Thank you for purchasing the Warm Audio WA-47 condenser microphone. We feel this product offers the best in terms of sound, function, and vibe from the classic era of analog recording. We don’t cut corners when it comes to what goes into our products, and the WA-47 is no exception. The WA-47 is an all vacuum tube, large diaphragm, transformer balanced, multi-pattern (9), large condenser microphone, based on the classic ‘47 that has been used on countless hit records for the last 50+ years. The WA-47 is designed for pro studio, home studio, live, and broadcast applications and sounds great on vocals, acoustic/electric guitars, acoustic/electric bass, drums, piano, strings, brass/woodwind instruments, and an array of other sources. The classic ‘47 became extremely popular as a vocal microphone in the 1960’s and is now considered to be one of the greatest microphones ever built. The classic ‘47 mic is still widely used today in professional recording studios, and has become extremely expensive to acquire. We at Warm Audio are very excited to bring this all vacuum tube, large diaphragm, transformer balanced, multi-pattern (9), large condenser microphone to the market at such an affordable price. We’re confident you will enjoy a lifetime of beautiful recordings with the WA-47.

Bryce Young

President

Warm Audio

Liberty Hill, Texas USA

Before we begin, please take the time to visit www.warmaudio.com to register your product. To ensure you receive proper and uninterrupted warranty support for your product, please register your unit within 14 days from purchase.

WARRANTY STATEMENT

Warm Audio warranties this product to be free from defect in materials and workmanship for one year from the date of purchase, for the original purchaser to whom this equipment is registered. This warranty is non-transferrable.

This warranty is void in the event of damage incurred from unauthorized service to this unit, or from electrical or mechanical modification to this unit. This warranty does not cover damage resulting from abuse, accidental damage, misuse, improper electrical conditions such as mis-wiring, incorrect voltage or frequency, unstable power, disconnection from earth ground (for products requiring a 3 pin, grounded power cable), or from exposure to hostile environmental conditions such as moisture, humidity, smoke, fire, sand or other debris, and extreme temperatures.

Warm Audio will, at its sole discretion, repair or replace this product in a timely manner. This limited warranty extends only to products determined to be defective and does not cover incidental costs such as equipment rental, loss of revenue, etc. Please visit us at www.warmaudio.com for more information on your warranty, or to request warranty service.

This warranty applies to products sold in the	United States of America. For warranty
information in any other country, please refer to	your local Warm Audio distributor. This

warranty provides specific legal rights, which may vary from state to state. Depending on the

state in which you live, you may have rights in	addition to those covered in this statement.
Please refer to your state laws or see your local	Warm Audio retailer for more	information.
NON-WARRANTY SERVICE
If you have a defective unit that is outside of our	warranty period or conditions;	we are still

here for you and can get your unit working again for a modest service fee. Please visit us at www.warmaudio.com to contact us about setting up a repair or for more information.

With the proper care, your Warm Audio gear should last a lifetime and provide a lifetime of enjoyment. We believe the best advertisement we can have is a properly working unit being put to great use. Let’s work together to make it happen.

NOW LET’S GET STARTED!

INTRODUCTION

The WA-47 was created to offer a classic microphone design to a new generation of recording artists at an affordable price. We spent a great deal of time listening to different vintage ‘47 microphones to determine what people liked about them and why, how various components impact the tone, and how to give our WA-47 microphone a signature that pays homage to the past but also stands out on its own.

The WA-47 is an all vacuum tube, large diaphragm, transformer balanced, multi-pattern (9), large c ondenser microphone, based on the classic ‘47 that has been used on countless hit records for the last 50+ years. The WA-47 is designed for pro studio, home studio, live, and broadcast applications and excels on vocals, acoustic/electric guitars, acoustic/electric bass, drums, piano, strings, brass/woodwind instruments, and an array of other sources.

The classic ‘47 became extremely popular as a vocal microphone in the 1960’s and is now considered to be one of the greatest condenser microphones ever created. The classic ‘47 is still widely used today in professional recording studios but has become extremely rare and cost prohibitive to acquire.

Designing our WA-47 to sound like the classic ‘47 was no easy task, especially since some of the vintage components are no longer manufactured or available. We compared and listened to 2 different vintage ‘47 mics and found that they both sounded amazing but also sounded a little different from each other. These comparison tests became the benchmark for tailoring our WA-47’s sonics to sit right in with these 2 vintage ‘47 mics. We are pleased to release such a gorgeous sounding classic to the market at a price that’s reachable to more people than ever before. We are also pleased to witness that our WA-47 sounds legitimately indistinguishable to the vintage ‘47’s we tested it against on several sources.

A LOOK INSIDE THE WA-47

The Capsule

The WA-47 utilizes a custom reproduction of the vintage 47-style (K47) capsule that was used in the classic ‘47 microphone - designed with the same hole pattern and frequency response. Our version of this capsule (model# WA-47-B-80v) is carefully manufactured by an Australian capsule supplier and is precisely reproduced to the vintage specs. We are pleased to offer a legitimate 47-style capsule re-incarnation because it allows us to nail the sonics of the most important piece of the classic ‘47 formula.

The Tube

A Slovak Republic JJ 5751 vacuum tube is a low gain, low noise tube that forces much of the sonics of the capsule and transformer in the WA-47 to be heard more significantly than high gain tubes might allow. The transformer and capsule in the vintage ‘47 mics are very critical to the classic tone and we found this particular tube to really allow these 2 components to be accentuated. We auditioned 4 different tube brands and fell in love with the JJ 5751. The frequency response of the JJ tube, and the way it contributes to the circuit is smooth and vintage in nature. We found this tube gave us the essence of the vintage ‘47 tube circuit without electrically mirroring the original VF14 steel tube that is no longer available.

The Transformer

The WA-47 utilizes an American made TAB-Funkenwerk (AMI) USA transformer with large core imported German laminations. This transformer helps provide the creamy smooth top end and the LARGER THAN LIFE bottom end one would expect from a 47-style microphone.

The Cable

One component of a tube microphone that is often overlooked is the 7 pin cable that connects the microphone to its power supply. When auditioning the WA-47 and other tube microphones we learned quite a bit about 7 pin cables and how the shielding and wire gauge size can change the sonics. We have partnered with Gotham Audio in Switzerland to use their very carefully built high-end 7 pin “GAC-7 cable”. Using this cable increases top end presence and the overall size of the recorded image in the stereo field by reducing phase shift and the parasitic effect often experienced in poorly built cables. Gotham Audio Cabling is very expensive and boutique in nature and shouldn’t be considered a small addition to the WA-47 package.

The Capacitors

The WA-47 proudly uses a polystyrene coupling capacitor, wima film capacitors throughout, and an imported Solen French capacitor on its output.

FEATURES

1. Contents

Your WA-47 package includes; the WA-47 microphone, power supply, IEC power cable, shockmount, 7 pin Gotham Audio cable, and wood storage box.

2. Power Switch

The power switch is located on the power supply.

3. IEC Power Inlet

The IEC power inlet is located on the rear side of the power supply and allows for a standard IEC cable to connect the power supply to your wall power outlet.

4. 115v/230v Voltage Selector Switch

A voltage selector switch is located near the IEC inlet on the power supply and allows for the user to set the appropriate voltage for the country they are located. We advise to be careful with this switch because plugging in the unit at the wrong voltage setting will likely damage the WA-47 and its power supply. Plugging in the WA-47 power supply at the incorrect voltage could even cause injury or death. Typically the voltage selector switch will be pre-set to the proper voltage of the country where the product was purchased and should not be changed.

5. Polar Pattern Select Switch

The polar-pattern selection switch is located on the power supply and provides 9 different pattern options. Patterns are: Cardioid, Omni, Figure-of-eight and 6 additional “in-between” patterns.

6. 7 pin microphone cable connector (female)

A 7 pin female microphone cable connector is located on the power supply. The 7 pin Gotham branded cable included in the WA-47 box is connected to this connector on one end and to the WA-47 microphone on the other.

7. XLR Output

A standard 3 pin XLR male connector is located on the power supply. The microphone’s signal will exit this connector. Connect this connector to a preamp via a standard 3 pin XLR microphone cable.

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SPECIFICATIONS

Cardioid at 1kHz

Omni at 1kHz

Figure - 8 at 1kHz

•Custom true 47-style capsule - WA-47-B-80v

•TAB-Funkenwerk (AMI) USA output transformer

•JJ Slovak 5751 vacuum tube

•Gotham 5 meter GAC-7, 7-pin tube microphone cable

•Wima, Solen French, and Polystyrene capacitors

•Polar Patterns: 9 patterns - Cardioid, Omni, figure-of-eight + 6 mixed patterns

•Self-noise: 11dBA

•Dynamic range: 130dBA

•Maximum SPL: 140dB (<0.5% THD)

•Frequency Range: 20 Hz~20 kHz

•Output Impedance: 200 ohms

•Rated Load Impedance: ≥2kOhms

•S/N Ratio: 82dBA

•Equivalent Noise: 10dBA (IEC651)

•External IEC grounded PSU

•Total Weight (Mic, PSU, shockmount, cables) - 9 lbs.

•Mic Diameter: 90mm, Mic Length: 254mm

TIPS AND INSTRUCTIONS

GENERAL USES IN CARDIOID MODE
The classic ‘47-style microphone	is known	first and	foremost as		a lead	and	backing	v
ocal microphone. It has been used to capture powerful			vocal	performances		in rock, country,
hip-hop, gospel, blues, metal, voiceover/spoken word, and just about every						other	genre	out
there. Two ‘47-style microphones for drum overhead recording,				either	in an	X-Y configuration,
or as a spaced pair, is a classic	choice.	Likewise, a pair		of ‘47-style microphones in				an

X-Y configuration is a great way to achieve a big acoustic guitar sound. A single ‘47-style

microphone is a good choice for	capturing	many guitar amps, either alone or in
conjunction with additional dynamic	or ribbon	microphones. Since the pioneering days of

Joe Meek, ‘close mic’ing’ a sound source has become the norm in most genres outside of classical music. This has made near cardioid pattern-only recording a fairly common practice. The downside to this technique is an exaggerated proximity effect and lack of perceived space to an instrument, the advantage is much greater isolation and control of individual instruments in a mix. Close cardioid mic’ing’ also tends to capture less reflections and other unwanted information.

USES IN OMNIDIRECTIONAL MODE

Omnidirectional pattern is most often associated with room mic recording, be it a room mic on a drum kit or an ambience mic placed farther out from a guitar or bass cabinet, or other instrument. Omnidirectional stereo recording is also sometimes associated with ‘live’ recording techniques and classical recording. Additionally, an omnidirectional mic can be one ingredient, along with a figure-of-eight microphone, in creating a Mid/Side stereo recording array. It is also worth noting that most condenser microphone capsules are, by nature, designed to be omnidirectional devices. For this reason, omnidirectional patterns tends to yield the most linear frequency response and suffer the least from proximity effect.

USES IN FIGURE-OF-EIGHT MODE

Figure of eight pattern recording is often used with pairs of the same microphone for advanced recording techniques such as the Blumlein Pair array; but has several more common practical applications as well, some of which only require a single microphone. One figure-of-eight application is to record a ‘duet’ or group vocal with a single microphone. Two or even four vocalists can stand on either side of the microphone, each getting the full attention of one side of the mic capsule. A variant of the duet application is when someone plays an instrument, such as acoustic guitar, into one side of the microphone while a partner sings into the other side.

TIPS AND INSTRUCTIONS

MICROPHONE PLACEMENT & SPACING

When it comes to distancing a microphone from its sound source, one may think of this process, among other things, as choosing a desired ratio of original sound source to reflections and acoustic space. The closer to the source, the less space and ambience will be captured. In some cases, this is fully desirable; and ambience will be added in later via the magic of digital delay and reverb. In other cases, natural acoustics are critical. A great illustration of this is the recording of a gunshot or cannon fire: at very close range, the sound is surprisingly thin; however, at a distance, the sound becomes more full and explosive. This is a great reference to keep in mind; because to some degree, this phenomenon holds true with anything where natural acoustics is an important part of the sound, most notably with percussion. Beware that all processes do have boundaries and microphones do have a maximum SPL level they can be subjected to without distortion. Both microphones and preamps have a signal to noise ratio that tends to get poor in cases where more gain is required to make up for a distant signal. It’s generally good advice to place a microphone about 12 inches from a source, and to fine-tune it from there until you have exactly what you are looking for.

A BRIEF WORD ON ROOM TREATMENT

Room acoustics can be just as important as the microphone you choose. Even the best microphone won’t sound great if you are picking up unwanted reflections that can smear or comb-filter the sound you are recording. Just because a microphone is set to cardioid pattern will not always mean that it is not picking up unwanted room reflections or outside noises such as street traffic, footsteps, or air condition vents. Though a walk-in vocal booth is hardly necessary for most situations; a good quality ‘vocal shield’ type of product can make an enormous difference, often making the difference between a demo quality and a professional quality recording. Likewise, when recording combo amps and other instruments, using gobos or other acoustic isolation products can be hugely beneficial. Getting proper isolation and just the right amount but not too much room ambience is one thing that really cannot be effectively corrected later in the process. It is of the utmost importance to put in the extra time to set things up well in the beginning.

TIPS AND INSTRUCTIONS

SIGNAL INTEGRITY

When recording vocals, it’s a good idea to use the niest pop filter you can afford. This not only protects the microphone; it protects the recorded tracks by keeping plosives (a clipping that occurs from sudden air pressure on the capsule) to a minimum. Pop filters can also be creatively used in other situations where sudden air pressure changes can occur, which include large loudspeaker movement, the sound hole of a kick drum, or the gap between the two brass pieces of a hi-hat cymbal. As a general rule, a higher quality pop filter will have less audible impact on the sounds passing through them; while less expensive, improvised, or foam windscreen type filters can sometimes have a muffling effect on high frequencies.

Microphone placement is as much an art as it is a science, and takes a great deal of patience, attentive listening, and trial and error. The more music you record the greater instinct you will have for knowing which microphones to first try for given situations, and how to place them. One thing to keep in mind is that what a microphone hears will often be radically different from what a casual observer hears when standing several feet back from where a microphone is. It’s good practice to get down and put one’s ear close to a speaker cabinet or right in front of a bass drum’s resonator head, and hear what that microphone is hearing from its position. Get a sense for how different your source sounds close up, farther back, and from different angles. Begin to move a microphone around very slowly and listen for the changes in sound that you get. Notice how a small change in mic position can make an under-snare microphone go from bad to good. Notice how moving a guitar cabinet mic further to the side of the center cone, or further off axis will affect the sound.

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