When it comes to a serious omnidirectional recording mic, look no further. Famous for longer than we care to remember, the go-to mic for strings, full orchestra or ‘just’ as a spot mic, the 4006 has been given a bit of facelift recently.

It’s still comes with it’s own frequency graph that will show just how flat mic is, and it comes with ‘timeless transparency’ – the complete opposite to most of the chunky flavoured large diaphragm studio mics around town. It will pick up incredible detail and depth of sound. The definition of its high-frequency characteristics across a wide range of instruments is undeniably impressive for the vast majority of miking applications. Use it in A-B stereo pairs for symphonic concert hall recordings, the 4006A also excels for close-miking instruments like grand piano, guitar, double bass and percussion. You’ll find a -20dB pad at the base of the 4006A (at the XLR base), offering greater SPL before clipping – 147dB max

It comes with a wide selection of acoustic modification accessories, including nose cone and interchangeable protection grids, allowing the 4006A to be acoustically transformed into seven different microphone versions, making it a truly multifaceted mic. By simply changing a grid or mounting an element over the capsule, it is possible to gain several unique frequency responses and directional characteristics from a single mic. Furthermore, these grids and elements will not produce any phase shift, noise or distortion that would otherwise be introduced by an electrical filter.

For a more low-profile version, choose 4006C – which uses the same MMC4006 capsule, but a compact preamplifier, MMP-C. For a lower cost version, choose the new Twin Diaphragm Capsules of the 2000 series – 2006A or 2006C (compact).

Also available, 4011A (cardioid), 4015A (wide cardioid) and 4017B (shotgun, including filters).