Faithfully Recreating One Of The Most Favored Studio & Live Dynamic Mics Of The

Bringing Back A Favorite For Studio & Stage

The WA-19 faithfully recreates one of the most favored studio and live dynamic mics of the 1960s. Like the original adored by live and studio engineers, the WA-19 delivers a unique combination of dynamic mic functionality and studio-worthy condenser tones. With the critical noise rejection & reduced proximity effect of a dynamic, the WA-19 captures vibrant top-end for enhanced detail, surpassing many studio dynamic microphones. This sound has been leveraged by artists like The Beatles, Tame Impala, Slayer (Kerry King), and many more.

A Bold Transducer & Critical Audio Features

To deliver the sound profile of the lauded original, the WA-19 features a custom, hand-assembled dynamic cardioid humbucking capsule that blends the critical noise rejection of a dynamic microphone with the top-end clarity of a condenser. The WA-19 includes a variable acoustic high-pass filter ring that cuts up to 10dB at 50 Hz, ideal for tightening up the tone and adding upper-midrange emphasis without any electronic phase shift often incurred from preamp high-pass filters. Additionally, ventilated slots on the side of the WA-19 body reduce proximity effect, eliminating boomy bass associated with placing the mic closer to louder sources and make editing a breeze as there are less unwanted bass frequencies competing in the mix.

Like the original 19-style dynamic mic, the WA-19 includes all the features that deliver a complete and professional recording experience.

The WA-19 showcases a uniquely crafted brass dynamic cardioid humbucking capsule, meticulously assembled by hand. This capsule combines the essential noise rejection of a dynamic microphone, while also delivering heightened clarity and a vibrant top-end for enhanced detail, surpassing many studio dynamic microphones.

The WA-19 comes equipped with a versatile acoustic high-pass filter ring capable of reducing up to 10dB at 50 Hz. The filter itself modifies the space behind the transducer in the WA-19 to remove unwanted sub bass. This feature is perfect for refining the tone, emphasizing the upper midrange, and avoiding the typical electronic phase shift associated with preamp high-pass filters.

Vents located down the side of the WA-19 help reduce proximity effect, ensuring troublesome bass due to close micing of loud sources is removed. This makes editing a breeze as there are less unwanted bass frequencies competing in the mix.