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The Blue The Pop Universal Pop Filter is a universal windscreen for use with any microphone. Simply clamp it to the mic stand and position where desired. The sturdy wire mesh and frame ensure years of durability. So be sure to pick one up today!…

Click here to learn more about Blue Microphones The Pop Universal Pop Filter

Sla 12v 18ahupg 85977/d5745 sealed lead acid batteries (12v; 18 ah; ub12180). Specs: used in ups backup systems, spotlights, flashlights, exit lighting & other equipment; 12v; 18 ah; ub12180. Refurb: n. Returnable: y. Warranty: one year…….

Click here to learn more about Sony ECM-DS30P Electret Condenser Digital Microphone

TASCAM’s DR-07 brings portable digital recording to an even smaller, more affordable package. A pair of highly-sensitive built in mics captures a wide stereo image, recording in either MP3 or 16/24-bit WAV format. The DR-07 is powered by AA batteries and it transfers files to a computer using a high-speed USB 2.0 connection. The versatile recorder even includes a windscreen, tripod stand mount and…

Click here to learn more about Tascam DR07 Portable Digital Recorder

These filters have the perfect fit and high performance for your Parrot or any hands free car kit. Theyre Parrot approved — and theyre exclusively available from Safewireless. They protect the microphone from dust and moisture and deliver the best hands-free audio quality on the planet.

We catch your drift!…

Click here to learn more about Parrot (All Hands Free Car Kits) Car Kit Microphone Windscreen Cover

At 28.7dB, the QFR Solo has the highest noise reduction rating (NRR) of any passive aviation headset. The low profile, padded headband allows for hours of comfortable use in constricted cabins. Adjustable gain pre-amp allows for field ‘balancing’ of mic sensitivities. Features cell phone interface, closed cell acoustic foam ear seals and includes a padded headset bag and electret microphone with w…

Click here to learn more about Lightspeed QFR Solo/c Flight Headset

Are you a visual learner? Do you prefer instructions that show you how to do something — and skip the long-winded explanations? If so, then this book is for you. Open it up and you`ll find clear, step-by-step screen shots that show you how to t…

Click here to learn more about Teach Yourself VISUALLY Mac OS X Snow Leopard (Paperback)

The Olympus WS-5 is a replacement windscreen for the LS-10 PCM handheld recorder. It helps you avoid wind noise and plosives in order to achieve the best possible sound capture from the LS-10′s built-in microphone.

Click here to learn more about Olympus Wind Screen for LS-10 mic

The Olympus WS-5 is a replacement windscreen for the LS-10 PCM handheld recorder. It helps you avoid wind noise and plosives in order to achieve the best possible sound capture from the LS-10′s built-in microphone.

Click here to learn more about Olympus Wind Screen For Ls-10 Mic

Using patented Spectral Shaping Tool technology, Antares have created precise digital models of a wide variety of historical classic and exotic microphones. Simply tell Mic Mod EFX what microphone you are actually using and what microphone you’d like it to sound like. It’s as simple as that. With over 125 microphones models included in Mic Mod EFX, you can afford to record each track through a model of the specific mic that will best produce that ideal sound you’re looking for. Or use it in live performance to get the sound of mics you’d never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track. Not only do the models reproduce all of the subtle sonic characteristics that make each microphone unique, but they also give you control of each mic’s specific options. Does the mic have a low cut filter? If so, it’s in the model. Wind screen on or off? Close or far placement? Each option results in the same sonic effect that it would have with the actual modeled mic. And for that final touch of perfection, you can even add some tasty tube saturation. Source Mic and Modeled Mic Simply select the mic you’re using (or used during your original recording) and the mic you want it to sound like. ProximityProximity Effect is a bass boost that results from placing a directional mic in close proximity to a signal source (e.g., a singer’s lips). With Mic Mod EFX’s Proximity controls, you can actually create the effects of different mic distances based on the specific physical properties of each individual modeled mic. Low Cut Filter If your source mic has a low cut filter, enter its setting in the Source Mic Low Cut menu. If your selected modeled mic has a low cut filter, you can model the effects of any of its settings with the Modeled Mic Low Cut menu. Pickup Pattern If your source mic has variable pickup patterns, enter the selected pattern in the Source Mic Pattern menu. If your selected modeled mic has variable pickup patterns, you can experiment with the effects of any of its patterns with the Modeled Mic Pattern menu. Tube SaturationBased on the same technology as Antares’ famed WARM Tube Saturation Generator, the Tube Saturation control lets you give your track the warmth of a high-quality tube pre-amp. Mic Mod EFX is available as a plug-in for RTAS (Mac & PC), VST (Mac & PC) and Audio Units. At a fraction of the cost of even a modestly lust-worthy mic.

Click here to learn more about Antares Mic Modeler EFX Native

Using patented Spectral Shaping Tool technology, Antares have created precise digital models of a wide variety of historical classic and exotic microphones. Simply tell Mic Mod EFX what microphone you are actually using and what microphone you’d like it to sound like. It’s as simple as that. With over 125 microphones models included in Mic Mod EFX, you can afford to record each track through a model of the specific mic that will best produce that ideal sound you’re looking for. Or use it in live performance to get the sound of mics you’d never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track. Not only do the models reproduce all of the subtle sonic characteristics that make each microphone unique, but they also give you control of each mic’s specific options. Does the mic have a low cut filter? If so, it’s in the model. Wind screen on or off? Close or far placement? Each option results in the same sonic effect that it would have with the actual modeled mic. And for that final touch of perfection, you can even add some tasty tube saturation. Source Mic and Modeled Mic Simply select the mic you’re using (or used during your original recording) and the mic you want it to sound like. ProximityProximity Effect is a bass boost that results from placing a directional mic in close proximity to a signal source (e.g., a singer’s lips). With Mic Mod EFX’s Proximity controls, you can actually create the effects of different mic distances based on the specific physical properties of each individual modeled mic. Low Cut Filter If your source mic has a low cut filter, enter its setting in the Source Mic Low Cut menu. If your selected modeled mic has a low cut filter, you can model the effects of any of its settings with the Modeled Mic Low Cut menu. Pickup Pattern If your source mic has variable pickup patterns, enter the selected pattern in the Source Mic Pattern menu. If your selected modeled mic has variable pickup patterns, you can experiment with the effects of any of its patterns with the Modeled Mic Pattern menu. Tube SaturationBased on the same technology as Antares’ famed WARM Tube Saturation Generator, the Tube Saturation control lets you give your track the warmth of a high-quality tube pre-amp. Mic Mod EFX is available as a plug-in for RTAS (Mac & PC), VST (Mac & PC) and Audio Units. At a fraction of the cost of even a modestly lust-worthy mic.Modeled Microphones The following is the list of the models that are included with Mic Mod EFX. Please Note: All trademarks appearing below are the property of their respective owners. The following manufacturer names and model designations are used solely to identify the microphones analysed in the development of our digital models and do not in any way imply any association with or endorsement by any of the named manufacturers. AEA R44C AKG C12A; C414; C414B/ULS Limited Edition Gold; C414B/ULS Modified by Audio Upgrades; 460B/C

Click here to learn more about Antares Mic Modeler Efx Native

A must have for field recording, this optional windscreen is designed for use with PCMD1 and PCMD50 built-in microphones. The windscreen reduces wind noise up to 20 dB and it’s made with 15mm long synthetic fur fabric.

Click here to learn more about Sony ADPCM1 Wind Screen for PCMD50

The Tour Grade Ball End Wind screen eliminates annoying microphone breath sounds and pops from plosive hard syllables. Made of high quality foam, the ball end microphone windscreen protects your favorite mic from moisture and dents. The mic cover’s unobtrusive black color looks great on any stage.Tour Grade products combine practical, state-of-the-art features with long term dependability. They’re designed in the USA and crafted with the finest quality materials and tried-and-true production methods, Tour Grade has what it takes to live up to its name. One microphone cover per package.

Click here to learn more about Tour Grade Black Ball End Microphone Wind Screen Black

The Gibraltar Wind Chime Mount sets up your wind chimes on any standard cymbal or mic stand.

Click here to learn more about Gibraltar Wind Chime Mount

The R-101 is a mono, passive ribbon microphone utilizing a patented offset-ribbon transducer and a 2.5-micron ribbon element. The R-101 is hand-built in Royer’s Burbank, CA facility and delivered at a price point suitable for home studio use and live applications. The R-101 is a new breed of modern ribbon microphone, designed for studio work and demanding live applications (particularly live electric guitar and brass). It incorporates many features pioneered by Royer Labs, including an advanced multi-layered wind screen for superior protection from air blasts and plosives, a patented offset-ribbon transducer, and an internally shock mounted ribbon transducer system which provides greater isolation from shocks and vibrations, and reduced proximity effect for closer miking with less bass buildup. Throw it on a guitar cabinet, hit record, play it back, smile. The ribbon element’s smooth frequency response and phase linearity impart a warm, analog feel to digital recordings, where the depth and realism on playback feels more like tape rolling than digits being computed. A perfect choice for electric guitars, brass instruments and drums, the R-101′s figure-8 pattern also conveys superb ambience and depth when used for room miking applications. Patented Offset Ribbon Technology The R-101 incorporates Royer’s patented offset-ribbon technology and a low mass, 2.5-micron aluminum (99.9% pure) ribbon element. The ribbon transducer’s flux-frame and rare earth Neodymium magnets create a powerful magnetic field which increases sensitivity while reducing stray magnetic radiation. The R-101′s offset-ribbon transducer (Patent # 6,434,252) positions the ribbon element towards the front (logo) side of the microphone body. This proprietary arrangement gives the ribbon element more room to move within the prime magnetic field and maintain full frequency response during high SPL recordings. It’s an integral part of the magic in all Royer R-series microphones. The offset-ribbon transducer also gives you the option of a brighter response when recording lower SPL sound sources on the backside (3 feet and closer; phase reversed in this position). The backside of the mic is often preferred on vocals, acoustic guitars and other stringed instruments.Like all Royer mics, the R-101 comes with a lifetime warranty to the original owner and the first re-ribbon is free.High SPL capabilities for electric guitar and percussionMulti-layered windscreen provides superior protection to ribbon elementNo internal electronics to overload or produce distortion up tomaximum SPL ratingExtremely low residual noiseRibbon element not affected by heat or humidityAbsence of high-frequency peaks, “ringing” and phase shiftsEqual sensitivity from front or back of elementLifetime warranty, 1st re-ribbon is freeApplications:Close mikingElectric & acoustic guitarsDrum overheads, kick drum Percussion instrumentsBrass, horn sectionsStrings-solo & sectionsAcoustic pianoVocalsLive events-recording and soun

Click here to learn more about Royer R-101 Ribbon Mic Black

Custom wind protection for your RØDE NT3 microphone.

Click here to learn more about Rode Microphones NT3 Wind Screen

Custom wind protection for your RØDE NT3 microphone.

Click here to learn more about Rode Microphones Nt3 Wind Screen

The Sony Recorder Wind Screen is a must-have for field recording. This windscreen is designed for use with Sony’s PCM-M10 built-in microphones. The Sony windscreen reduces wind noise up to 20 decibels. The windscreen is crafted from 15mm-long synthetic fur fabric.For use with PCM-M10 built-in microphonesReduces noise up to 20 dBMade with 15mm long synthetic fur fabric

Click here to learn more about Sony Recorder Wind Screen For Pcm-M10

The MXL 3000 Mic Bundle includes the MXL 3000 microphone, a 25′ Mogami mic cable, shock mount, and matching pop filter. The MXL 3000 has a large 25 mm gold-sputtered capsule and an FET preamplifier with premium components within the signal path. Its transformer-coupled output is very reminiscent of the circuit designs found in early British recording consoles. When used for recording vocals the microphone has amazing clarity and warmth. It is a stunningly detailed microphone that is also appropriate for instrument miking, especially of string and wind instruments.Requires phantom power.25mm gold sputtered, 6 micron, capsuleClass “A” FET preamplifierMic stand adapter includedTransformer-coupled outputExcels for vocals, acoustic guitar, strings, and wind instrumentsIncludes a 25′ Mogami mic cable, shock mount, and matching pop filterWired with Mogami cable

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The MXL 3000 Mic Bundle includes the MXL 3000 microphone, a 25′ Mogami mic cable, shock mount, and matching pop filter. The MXL 3000 has a large 25 mm gold-sputtered capsule and an FET preamplifier with premium components within the signal path. Its transformer-coupled output is very reminiscent of the circuit designs found in early British recording consoles. When used for recording vocals the microphone has amazing clarity and warmth. It is a stunningly detailed microphone that is also appropriate for instrument miking, especially of string and wind instruments.Requires phantom power.

Click here to learn more about MXL 3000 Mic Bundle

The R-101 is a mono, passive ribbon microphone utilizing a patented offset-ribbon transducer and a 2.5-micron ribbon element. The R-101 is hand-built in Royer’s Burbank, CA facility and delivered at a price point suitable for home studio use and live applications. The R-101 is a new breed of modern ribbon microphone, designed for studio work and demanding live applications (particularly live electric guitar and brass). It incorporates many features pioneered by Royer Labs, including an advanced multi-layered wind screen for superior protection from air blasts and plosives, a patented offset-ribbon transducer, and an internally shock mounted ribbon transducer system which provides greater isolation from shocks and vibrations, and reduced proximity effect for closer miking with less bass buildup. Throw it on a guitar cabinet, hit record, play it back, smile. The ribbon element’s smooth frequency response and phase linearity impart a warm, analog feel to digital recordings, where the depth and realism on playback feels more like tape rolling than digits being computed. A perfect choice for electric guitars, brass instruments and drums, the R-101′s figure-8 pattern also conveys superb ambience and depth when used for room miking applications. Patented Offset Ribbon Technology The R-101 incorporates Royer’s patented offset-ribbon technology and a low mass, 2.5-micron aluminum (99.9% pure) ribbon element. The ribbon transducer’s flux-frame and rare earth Neodymium magnets create a powerful magnetic field which increases sensitivity while reducing stray magnetic radiation. The R-101′s offset-ribbon transducer (Patent # 6,434,252) positions the ribbon element towards the front (logo) side of the microphone body. This proprietary arrangement gives the ribbon element more room to move within the prime magnetic field and maintain full frequency response during high SPL recordings. It’s an integral part of the magic in all Royer R-series microphones. The offset-ribbon transducer also gives you the option of a brighter response when recording lower SPL sound sources on the backside (3 feet and closer; phase reversed in this position). The backside of the mic is often preferred on vocals, acoustic guitars and other stringed instruments. Like all Royer mics, the R-101 comes with a lifetime warranty to the original owner and the first re-ribbon is free.High SPL capabilities for electric guitar and percussion Multi-layered windscreen provides superior protection to ribbon element No internal electronics to overload or produce distortion up to maximum SPL rating Extremely low residual noise Ribbon element not affected by heat or humidity Absence of high-frequency peaks, “ringing” and phase shifts Equal sensitivity from front or back of element Lifetime warranty, 1st re-ribbon is free Applications:Close mikingElectric & acoustic guitarsDrum overheads, kick drum Percussion instrumentsBrass, horn sectionsStrings-solo & sectionsAcoustic pianoVocalsLive ev

Click here to learn more about Royer R-101 Ribbon Mic Matched Pair Black

The PGDMK4 Drum Mic Kit is an essential drum kit mic selection for snare drums, rack/floor toms, and percussion.

Click here to learn more about Shure PGDMK4 Performance Gear Drum Mic Kit