{"id":22512,"date":"2023-01-27T17:00:49","date_gmt":"2023-01-27T17:00:49","guid":{"rendered":"https:\/\/www.gear4music.com\/blog\/?p=22512"},"modified":"2023-02-03T15:38:46","modified_gmt":"2023-02-03T15:38:46","slug":"a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones","status":"publish","type":"post","link":"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/","title":{"rendered":"A Deep Dive into Universal Audio&#8217;s DLX and LX Modelling Microphones"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><a href=\"#\" class=\"ez-toc-pull-right ez-toc-btn ez-toc-btn-xs ez-toc-btn-default ez-toc-toggle\" aria-label=\"Toggle Table of Content\"><span class=\"ez-toc-js-icon-con\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/span><\/a><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 eztoc-toggle-hide-by-default' ><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/#How_do_the_DLX_and_LX_mics_sound\" >How do the DLX and LX mics sound?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/#What_do_the_models_sound_like\" >What do the models sound like?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/#Not_satisfied_Make_your_own_model\" >Not satisfied? Make your own model!<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/#How_can_you_use_these_microphones\" >How can you use these microphones?<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/#Ultra_sophisticated_software\" >Ultra sophisticated software<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/#What_are_the_practical_uses\" >What are the practical uses?<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/#Who_are_the_DLX_and_LX_for\" >Who are the DLX and LX for?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/#Are_the_UA_Sphere_DLX_and_LX_mics_worth_it\" >Are the UA Sphere DLX and LX mics worth it?<\/a><\/li><\/ul><\/nav><\/div>\n<p>[et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.16&#8243; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.16&#8243; background_size=&#8221;initial&#8221; background_position=&#8221;top_left&#8221; background_repeat=&#8221;repeat&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text admin_label=&#8221;Intro&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; hover_enabled=&#8221;0&#8243; global_colors_info=&#8221;{}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<p>Microphone modelling technology has been around for a short while and certainly divides opinions. I\u2019m here to shed some light on the new <a href=\"https:\/\/www.gear4music.com\/Recording-and-Computers\/Universal-Audio-Sphere-DLX-Modeling-Microphone\/5B0C\" target=\"_blank\" rel=\"noopener\"><strong>Universal Audio Sphere DLX<\/strong><\/a> and <a href=\"https:\/\/www.gear4music.com\/Recording-and-Computers\/Universal-Audio-Sphere-LX-Modeling-Microphone\/5B0B\" target=\"_blank\" rel=\"noopener\"><strong>LX<\/strong><\/a> and why you should be interested.<\/p>\n<p>As many will know, Universal Audio recently purchased Townsend Labs and, with it, the technology behind the brand&#8217;s highly-popular modelling microphones.<\/p>\n<p>Previously under the name of Townsend Labs LX22, the Universal Audio DLX is identical to the original microphone, with the inclusion of four brand-new models. The LX is a mono-only, more compact unit which comes in at a lower price point for professionals who don&#8217;t need stereo recording.<\/p>\n<p>Building on what Townsend Labs had started, are the Universal Audio LX and DLX microphones all you will ever need?<\/p>\n<p>We\u2019re not going into too much detail on comparisons of all the features, that&#8217;s already been covered <strong><a href=\"https:\/\/www.gear4music.com\/blog\/the-new-universal-audio-sphere-lx-and-the-dlx\/\" target=\"_blank\" rel=\"noopener\">here<\/a><\/strong>. This will focus mainly on three questions: how does it sound? How can you use it? And who are these microphones for?<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/rmEz9LQ1-OQ\" width=\"600\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe>\u00a0<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;How do the DLX and LX mics sound?&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"How_do_the_DLX_and_LX_mics_sound\"><\/span>How do the DLX and LX mics sound?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>The million-dollar question everybody wants to know: do they sound good? <em>Yep!\u00a0<\/em>Do they sound accurate to what they\u2019re modelling?\u00a0<em>You bet!\u00a0<\/em><\/p>\n<p>The different models on board (<strong>38 for the DLX<\/strong> and <strong>20 for\u00a0LX<\/strong>) are undeniable, imparting the characteristics of each microphone to your sound. And the quality of these mics becomes particularly noticeable when trying out the various styles. For example switch between a dynamic, condenser, and ribbon, and the difference is night and day \u2013 and that\u2019s a good thing; it means it\u2019s working as intended.<\/p>\n<p>It must be noted that, after hearing this microphone in action, solo, it\u2019s apparent that it would be a welcome addition to any microphone locker on its own, without all the magic modelling technology involved.<\/p>\n<p>Universal Audio have spared no expense in the making of the DLX and LX. Typical of a large diaphragm condenser, it\u2019s <strong>bright, articulate, full-bodied, and\u00a0warm<\/strong>, with a character of its own that somewhat resembles the classic 87-style FET microphone (you can A\/B for yourself, I\u2019m guaranteed you\u2019ll agree).<\/p>\n<p>This doesn\u2019t surprise me as, surely, the microphone capsule needs to be as accurate and full-range as possible for the modelling to happen? Either way, it can stand on its own merit.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-22603 size-full\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist.jpg\" alt=\"Universal Audio Sphere DLX mic used to record a violinist \" width=\"1330\" height=\"665\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist.jpg 1330w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist-600x300.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist-1024x512.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist-768x384.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist-1080x540.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist-1280x640.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist-980x490.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist-480x240.jpg 480w\" sizes=\"auto, (max-width: 1330px) 100vw, 1330px\" \/><\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;What do the models sound like?&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"What_do_the_models_sound_like\"><\/span>What do the models sound like?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Listening to the many different models on board, I was impressed with a few standout microphones.<\/p>\n<p>The\u00a0<strong>RB-121<\/strong> model does exactly as you\u2019d expect, enhancing the lows, rounding out the top-end, and pushing the lower midrange. You\u2019ve probably heard this on many of your favourite records, used on a guitar cabinet and blended with a brighter microphone for contrast.<\/p>\n<p>As it\u2019s now dominating the online content creation sphere (no pun intended, I promise), popular podcasting microphones are also included, namely the <strong>DN-7<\/strong> model. You can hear its almost <strong>\u201cradiophonic\u201d\u00a0<\/strong>tone with a highly pushed midrange and attenuated low-end that puts your voice to the front and centre. It\u2019s no wonder these mics are the go-to for podcasting applications.<\/p>\n<p>Another model that impressed me was the <strong>LD-47K<\/strong>. It has a warm, thick, and full-bodied tone that\u2019s particularly good on vocals and piano.<\/p>\n<p>But what stood out the most was the authenticity of the <strong>LD-800 model<\/strong>, which recreates a well-loved Japanese microphone favoured by rap and pop singers for its <strong>insane top-end shimmer and enunciation<\/strong>. It&#8217;s all there to hear, cutting the muddiness for a pristine sound.<\/p>\n<p>And it&#8217;s not just the frequencies or \u2018character\u2019 that the DLX and LX impart into your recordings but also the\u00a0<strong>transient response<\/strong>.<\/p>\n<p>Each model reacts differently to the same source material, clamping down on upper midrange transients for a smoother and less \u2018pokey\u2019 sound. The ribbon microphones and vintage tube <strong>LD-37A<\/strong> from the\u00a0DLX are great examples of this.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-22595 size-full\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic.jpg\" alt=\"A singer using the Universal Audio Sphere LX microphone\" width=\"1330\" height=\"665\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic.jpg 1330w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic-600x300.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic-1024x512.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic-768x384.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic-1080x540.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic-1280x640.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic-980x490.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic-480x240.jpg 480w\" sizes=\"auto, (max-width: 1330px) 100vw, 1330px\" \/><\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Not satisfied? Make your own model!&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Not_satisfied_Make_your_own_model\"><\/span>Not satisfied? Make your own model!<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Of course, should any of this not be enough to satisfy your quandaries, both the DLX\u00a0<em>and<\/em> LX feature <strong>Dual Mode<\/strong>. This is where these mics really show off their sound, in my opinion.<\/p>\n<p>You can create <strong>entirely new microphone sounds<\/strong>, blending the best parts of one and matching it with another.<\/p>\n<p>What other microphone lets you blend the articulation and focus of a 416 shotgun boom-style microphone with the smooth midrange of a classic 67-style tube large diaphragm condenser in one performance?<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;How can you use these microphones?&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"How_can_you_use_these_microphones\"><\/span>How can you use these microphones?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-22605 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-300x300.jpg\" alt=\"UA DLX mic in the studio\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-1280x1280.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio.jpg 1500w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>It sounds good, so? A lot of microphones sound good and, you\u2019d be right, I can\u2019t argue with that. While sounding good, the DLX and LX microphones have <em>a lot\u00a0<\/em>more hidden up their sleeves than a traditional mic could only dream of.<\/p>\n<p>Right off the bat, pairing your DLX and LX microphones with a Universal Audio Apollo interface and LUNA opens up a whole range of functionality.<\/p>\n<p>Taking advantage of Console, you have the choice of recording your DLX or LX <strong>fully wet with all of the processing applied\u00a0<\/strong>before it hits your DAW or simply\u00a0<strong>monitoring through the DSP Sphere plugin<\/strong> and recording your signal dry, applying processing after the fact.<\/p>\n<p>This flexibility means it&#8217;s possible to change your sound <strong>before, during, and after recording<\/strong> \u2013 mind-blowing! And when monitoring in real-time, you\u2019ll be happy to hear that there is absolutely <strong>no latency at all<\/strong>.<\/p>\n<p>That being said, you don\u2019t actually need a Universal Audio interface at all. Any will do as long as it has two mic inputs. Although you won\u2019t get the benefit of monitoring in real-time through Console, what you\u00a0<em>can\u00a0<\/em>do is apply the modelling changes after you\u2019ve recorded.<\/p>\n<p>I\u2019ve said it before and I\u2019ll say it again, as far as I\u2019m concerned, <strong>this is magic<\/strong>.<\/p>\n<p>One of the main benefits of being able to change your sound after recording is that you don\u2019t\u00a0<em>need\u00a0<\/em>to get it right at the source. If you\u2019re low on time or unsure of what microphone type, polar pattern, microphone axis, or proximity is right for your recording, you can <em>still\u00a0<\/em>get it right later!<\/p>\n<p>Every voice, mix, instrument, and musician is different, and they <strong>all need something different<\/strong>. There are of course go-tos for certain applications but they shouldn\u2019t be taken as gospel.<\/p>\n<p>Being able to find the right microphone for your singer\u2019s voice or the right microphone for a piano without having to set up 38 microphones in a studio will <strong>save you<\/strong>\u00a0<strong>so much<\/strong>\u00a0<strong>time\u00a0and\u00a0hassle<\/strong>\u00a0whilst still delivering a stellar end result.<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"Ultra_sophisticated_software\"><\/span>Ultra sophisticated software<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-22606 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-300x300.jpg\" alt=\"A singer using the Universal Audio LX mic with a pop shield\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-1280x1280.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield.jpg 1500w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>So far I\u2019ve talked about the benefits of microphone choice, but that\u2019s not even half of what you can do with the DLX and LX Sphere Modelling Microphones. The Sphere software, which powers the modelling, has a few extremely handy parameters, namely Pattern, Filter, Axis, and Proximity.<\/p>\n<p>The clever folks at Universal Audio have found a way to model polar patterns and filtering options onto microphone models which never had them to begin with!<\/p>\n<p>Most ribbon microphones by nature are a figure of 8. But what if you could change this to omnidirectional or cardioid or introduce a high-pass filter to a large diaphragm 103-style condenser? That perked up your ears, didn\u2019t it?<\/p>\n<p>Because of the dual capsule design of both the DLX and LX, you\u00a0<strong>can change the polar pattern<\/strong> to tune the number of room reflections you have in your recordings.<\/p>\n<p>Tighten it up to hyper-cardioid to eliminate unwanted ambience or enhance the roominess and swap to an omnidirectional polar pattern. Even if it wasn\u2019t an option on the original microphone, the choice is yours.<\/p>\n<p>Where the DLX and LX microphones are unique is in their <strong>axis rotation<\/strong>\u00a0and<strong>\u00a0proximity adjustments<\/strong> that can be utilised after you\u2019ve recorded. <strong>No other modelling microphone<\/strong> on the market offers this.<\/p>\n<p>Great for dealing with excessive sibilance, the\u00a0<strong>axis rotation<\/strong>\u00a0control can be used as a\u00a0<strong>dynamic form of de-essing<\/strong>\u00a0with a much more natural sound. Excellent for\u00a0<strong>dealing with positioning errors<\/strong>, making the <strong>proximity <\/strong>smaller can add low-end and intimacy to a source recorded far away, or you can pull this back to remove excessive low-end and plosive sounds.<\/p>\n<p>OK, so you\u2019ve found a great sound that works for the verse but you need more detail and articulation to cut through a chorus. Easy-peasy, every parameter in the Sphere plugin can be automated. Change microphones, axis, proximity, pattern, or whatever else, whenever you want.<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"What_are_the_practical_uses\"><\/span>What are the practical uses?<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-22608 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-300x300.jpg\" alt=\"A male violinist using the Universal Audio Sphere LX modelling microphone\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-1280x1280.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX.jpg 1500w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>With all of that said, for all the bells and whistles and interesting things you can do in the software to change your sound, what can you actually record with these microphones? Yeah, yeah, I hear you.<\/p>\n<p>If it wasn\u2019t already on the nose, the answer is anything and everything. To start with, the DLX and LX boast incredibly high<strong> SPL levels of 140dB and 145dB respectively<\/strong> and a very high <strong>dynamic range of 133dB and 135dB respectively<\/strong>. These aren&#8217;t just good numbers, they also deliver incredibly practical benefits!<\/p>\n<p>Where you would typically use a dynamic microphone to record incredibly loud source signals, such as guitar speakers, drums, or brass, you can record with your DLX and LX. Once recorded, you can then apply the model of a vintage ribbon or condenser microphone which may not normally be able to record these sources.<\/p>\n<p>From an engineering standpoint, the dual capsule design is the gift that keeps on giving.<\/p>\n<p>As the capsules are <strong>phase aligned<\/strong> in the hardware, you don\u2019t need to worry about taping two microphones together to record a snare top. Just point the mic towards the snare, load up your favourite DN-57 and SD-451 combo in Dual Mode, and you have the <strong>perfect blend<\/strong>\u00a0in one signal.<\/p>\n<p>Only available on the DLX, the <strong>stereo recording<\/strong> functionality of the <strong>Sphere 180 plugin<\/strong> opens a lot of doors for your recording sessions. Capture the ambience of an acoustic guitar or piano in stereo and record multiple guitar speakers or choir singers simultaneously, all while being able to choose a mic and settings for left and right channels independently. Incredible.<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Who are the DLX and LX for?&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Who_are_the_DLX_and_LX_for\"><\/span>Who are the DLX and LX for?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>It\u2019s true that many studios and even home\/project studios will have a collection of tried and true microphones in their locker. So where do the DLX and LX microphones fit in?<\/p>\n<p>Possibly the most obvious answer is that these are for producers and engineers looking to <strong>get the sounds of up to 38 microphones<\/strong>, many of which are\u00a0<strong>expensive vintage mics <\/strong>that are incredibly difficult to source, for the price of one.<\/p>\n<p>You get a virtual locker filled with dream microphones, models which UA have curated themselves to find the best examples of, no less! After all, <strong>increasing the breadth of options<\/strong>\u00a0for a recording session on a budget without sacrificing quality can never be a bad thing.<\/p>\n<p>You might not be interested in all of the models on board but would love nothing more than to record your genuine vintage microphone in stereo. If the DLX microphone has a model of it, you can! It&#8217;s easily done without having to spend a considerable amount on another genuine hardware microphone!<\/p>\n<p>Outside of typical music studios, podcasting and voiceover studios could benefit the most from the DLX and LX modelling mics, especially if they&#8217;re running on UA Apollo hardware.<\/p>\n<p>You can audition microphones in real-time to find the right sound for your talent without having to run back and forth to the live booth, setting up microphone after microphone. <strong>It can be the single biggest timesaver you\u2019ll ever invest in!\u00a0<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-22602 size-full\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop.jpg\" alt=\"Universal Audio Sphere LX mic on desktop\" width=\"1330\" height=\"665\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop.jpg 1330w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop-600x300.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop-1024x512.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop-768x384.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop-1080x540.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop-1280x640.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop-980x490.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop-480x240.jpg 480w\" sizes=\"auto, (max-width: 1330px) 100vw, 1330px\" \/><\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Are the UA Sphere DLX and LX mics worth it?&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Are_the_UA_Sphere_DLX_and_LX_mics_worth_it\"><\/span>Are the UA Sphere DLX and LX mics worth it?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>In a word \u2013\u00a0<strong>absolutely!<\/strong> Consider what you\u2019re getting for the money. You\u2019re getting access to a virtual microphone locker with \u00a360,000 to \u00a3110,000&#8217;s worth of microphones (LX and DLX respectively) for the price of one high-quality microphone.<\/p>\n<p>Sphere lets you experiment with microphone combinations you might not have chosen if you were to open your microphone locker and pick something out. You might find something more useful and unique for your recordings.<\/p>\n<p>The high-performance microphone is more than justified for the cost of entry \u2013 a fantastic-sounding mic with, what Universal Audio claim to be, the lowest noise floor for a mic in its class is worth the price alone.<\/p>\n<p>Add to that 20 or 38 indistinguishable virtual microphone models, control of parameters you couldn\u2019t even do on the hardware originals, limitless flexibility, customisation after recording, and the number of recording applications you can use it in, and you have yourself a deal!<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=&#8221;1_3,1_3,1_3&#8243; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;1_3&#8243; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_button button_url=&#8221;https:\/\/www.gear4music.com\/Recording-and-Computers\/Universal-Audio-Sphere-DLX-Modeling-Microphone\/5B0C&#8221; 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button_bg_color__hover_enabled=&#8221;on|hover&#8221; button_bg_color__hover=&#8221;#f08000&#8243; button_bg_enable_color__hover=&#8221;on&#8221; button_text_color__hover_enabled=&#8221;on|hover&#8221; button_text_color__hover=&#8221;#FFFFFF&#8221; button_icon_color__hover_enabled=&#8221;on|hover&#8221; button_icon_color__hover=&#8221;#000000&#8243; custom_css_main_element_phone=&#8221;width: 258px !important;||height: 55px !important;&#8221;][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The different models on board (38 for the DLX\u00a0or 20 for\u00a0LX) are undeniable, imparting the characteristics of each microphone to your sound. And the quality of these mics becomes particularly noticeable when trying out the various styles. For example switch between a dynamic, condenser, and ribbon, and the difference is night and day \u2013 and that\u2019s a good thing; it means it\u2019s working as intended.<\/p>\n","protected":false},"author":20,"featured_media":22601,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"<p>Microphone modelling technology has been around for a short while and certainly divides opinions. I\u2019m here to shed some light on the new <a href=\"https:\/\/www.gear4music.com\/Recording-and-Computers\/Universal-Audio-Sphere-DLX-Modeling-Microphone\/5B0C\" target=\"_blank\" rel=\"noopener\"><strong>Universal Audio Sphere DLX<\/strong><\/a> and <a href=\"https:\/\/www.gear4music.com\/Recording-and-Computers\/Universal-Audio-Sphere-LX-Modeling-Microphone\/5B0B\" target=\"_blank\" rel=\"noopener\"><strong>LX<\/strong><\/a> and why you should be interested.<\/p><p>As many will know, Universal Audio recently purchased Townsend Labs and, with it, the technology behind the brand's highly-popular modelling microphones.<\/p><p>Previously under the name of Townsend Labs LX22, the Universal Audio DLX is identical to the original microphone, with the inclusion of four brand-new models. The LX is a mono-only, more compact unit which comes in at a lower price point for professionals who don't need stereo recording.<\/p><p>Building on what Townsend Labs had started, are the Universal Audio LX and DLX microphones all you will ever need?<\/p><p>We\u2019re not going into too much detail on comparisons of all the features, that's already been covered <strong><a href=\"https:\/\/www.gear4music.com\/blog\/the-new-universal-audio-sphere-lx-and-the-dlx\/\" target=\"_blank\" rel=\"noopener\">here<\/a><\/strong>. This will focus mainly on three questions. How does it sound? How can you use it? And who are these microphones for?<\/p><hr \/><h3>How do the DLX and LX mics sound?<\/h3><p>The million-dollar question everybody wants to know: do they sound good? <em>Yep!\u00a0<\/em>Do they sound accurate to what they\u2019re modelling?\u00a0<em>You bet!\u00a0<\/em><\/p><p>The different models on board (<strong>38 for the DLX<\/strong>\u00a0or <strong>20 for\u00a0LX<\/strong>) are undeniable, imparting the characteristics of each microphone to your sound. And the quality of these mics becomes particularly noticeable when trying out the various styles. For example switch between a dynamic, condenser, and ribbon, and the difference is night and day \u2013 and that\u2019s a good thing; it means it\u2019s working as intended.<\/p><p>It must be noted that, after hearing this microphone in action, solo, it\u2019s apparent that it would be a welcome addition to any microphone locker on its own, without all the magic modelling technology involved.<\/p><p>Universal Audio have spared no expense in the making of the DLX and LX. Typical of a large diaphragm condenser, it\u2019s <strong>bright, articulate, full-bodied, and\u00a0warm<\/strong>, with a character of its own that somewhat resembles the classic 87-style FET microphone (you can A\/B for yourself, I\u2019m guaranteed you\u2019ll agree).<\/p><p>This doesn\u2019t surprise me as, surely, the microphone capsule needs to be as accurate and full-range as possible for the modelling to happen? Either way, it can stand on its own merit.<\/p><p><img class=\"aligncenter wp-image-22603 size-full\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-violinist.jpg\" alt=\"Universal Audio Sphere DLX mic used to record a violinist \" width=\"1330\" height=\"665\" \/><\/p><hr \/><h3>What do the models sound like?<\/h3><p>Listening to the many different models on board, I was impressed with a few standout microphones.<\/p><p>The\u00a0<strong>RB-121<\/strong> model does exactly as you\u2019d expect, enhancing the lows, rounding out the top-end, and pushing the lower midrange. You\u2019ve probably heard this on many of your favourite records, used on a guitar cabinet and blended with a brighter microphone for contrast.<\/p><p>As it\u2019s now dominating the online content creation sphere (no pun intended, I promise), popular podcasting microphones are also included, namely the <strong>DN-7<\/strong> model. You can hear its almost <strong>\u201cradiophonic\u201d\u00a0<\/strong>tone with a highly pushed midrange and attenuated low-end that puts your voice to the front and centre. It\u2019s no wonder these mics are the go-to for podcasting applications.<\/p><p>Another model that impressed me was the <strong>LD-47K<\/strong>. It has a warm, thick, and full-bodied tone that\u2019s particularly good on vocals and piano.<\/p><p>But what stood out the most was the authenticity of the <strong>LD-800 model<\/strong>, which recreates a well-loved Japanese microphone favoured by rap and pop singers for its <strong>insane top-end shimmer and enunciation<\/strong>. It was all there to hear, cutting the muddiness for a pristine sound.<\/p><p>And it's not just the frequencies or \u2018character\u2019 that the DLX and LX impart into your recordings but also the\u00a0<strong>transient response<\/strong>.<\/p><p>Each model reacts differently to the same source material, clamping down on upper midrange transients for a smoother and less \u2018pokey\u2019 sound. The ribbon microphones and vintage tube <strong>LD-37A<\/strong> from the\u00a0DLX are great examples of this.<\/p><p><img class=\"aligncenter wp-image-22595 size-full\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-mic.jpg\" alt=\"A singer using the Universal Audio Sphere LX microphone\" width=\"1330\" height=\"665\" \/><\/p><hr \/><h3>Not satisfied? Make your own model!<\/h3><p>Of course, should any of this not be enough to satisfy your quandaries, both the DLX\u00a0<em>and<\/em> LX feature <strong>Dual Mode<\/strong>. This is where these mics really show off their sound, in my opinion.<\/p><p>You can create <strong>entirely new microphone sounds<\/strong>, blending the best parts of one and matching it with another.<\/p><p>What other microphone lets you blend the articulation and focus of a 416 shotgun boom-style microphone with the smooth midrange of a classic 67-style tube large diaphragm condenser in one performance?<\/p><hr \/><h3>How can you use these microphones?<\/h3><p><img class=\"size-medium wp-image-22605 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX-mic-in-studio-300x300.jpg\" alt=\"UA DLX mic in the studio\" width=\"300\" height=\"300\" \/>It sounds good, so? A lot of microphones sound good and you\u2019d be right, I can\u2019t argue with that. While sounding good, the DLX and LX microphones have\u00a0<em>a lot\u00a0<\/em>more hidden up their sleeves than a traditional mic could only dream of.<\/p><p>Right off the bat, pairing your DLX and LX microphones with a Universal Audio Apollo interface and LUNA opens up a whole range of functionality.<\/p><p>Taking advantage of Console, you have the choice of recording your DLX or LX <strong>fully wet with all of the processing applied\u00a0<\/strong>before it hits your DAW or simply\u00a0<strong>monitoring through the DSP Sphere plugin<\/strong> and recording your signal dry, applying processing after the fact.<\/p><p>This flexibility means it's possible to change your sound <strong>before, during, and after recording<\/strong> \u2013 mind-blowing! And when monitoring in real-time, you\u2019ll be happy to hear that there is absolutely <strong>no latency at all<\/strong>.<\/p><p>That being said, you don\u2019t actually need a Universal Audio interface at all. Any will do as long as it has two mic inputs. Although you won\u2019t get the benefit of monitoring in real-time through Console, what you\u00a0<em>can\u00a0<\/em>do is apply the modelling changes after you\u2019ve recorded.<\/p><p>I\u2019ve said it before and I\u2019ll say it again, as far as I\u2019m concerned, <strong>this is magic<\/strong>.<\/p><p>One of the main benefits of being able to change your sound after recording is that you don\u2019t\u00a0<em>need\u00a0<\/em>to get it right at the source. If you\u2019re low on time or unsure of what microphone type, polar pattern, microphone axis, or proximity is right for your recording, you can <em>still\u00a0<\/em>get it right later!<\/p><p>Every voice, mix, instrument, and musician is different, and they <strong>all need something different<\/strong>. There are of course go-tos for certain applications but they shouldn\u2019t be taken as gospel.<\/p><p>Being able to find the right microphone for your singer\u2019s voice or the right microphone for a piano without having to set up to 38 microphones in a studio will <strong>save you<\/strong>\u00a0<strong>so much<\/strong>\u00a0<strong>time\u00a0and\u00a0hassle<\/strong>\u00a0whilst still delivering a stellar end result.<\/p><hr \/><h4>Ultra sophisticated software<\/h4><p><img class=\"size-medium wp-image-22606 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-mic-with-pop-shield-300x300.jpg\" alt=\"A singer using the Universal Audio LX mic with a pop shield\" width=\"300\" height=\"300\" \/>So far I\u2019ve talked about the benefits of microphone choice, that\u2019s not even half of what you can do with the DLX and LX Sphere Modelling Microphones. The Sphere software which powers the modelling has a few extremely handy parameters, namely Pattern, Filter, Axis, and Proximity.<\/p><p>The clever folks at Universal Audio have found a way to model polar patterns and filtering options onto microphone models which never had them to begin with!<\/p><p>Most ribbon microphones by nature are a figure of 8 but what if you could change this to omnidirectional or cardioid or introduce a high-pass filter to a large diaphragm 103-style condenser? That perked up your ears, didn\u2019t it?<\/p><p>Because of the dual capsule design of both the DLX and LX, you\u00a0<strong>can change the polar pattern<\/strong> to tune the number of room reflections you have in your recordings.<\/p><p>Tighten it up to hyper-cardioid to eliminate unwanted ambience or enhance the roominess and swap to an omnidirectional polar pattern, even if it wasn\u2019t an option on the original microphone, the choice is yours.<\/p><p>Where the DLX and LX microphones are unique is in their <strong>axis rotation<\/strong>\u00a0and<strong>\u00a0proximity adjustments<\/strong> that can be utilised after you\u2019ve recorded. <strong>No other modelling microphone<\/strong> on the market offers this.<\/p><p>Great for dealing with excessive sibilance, the\u00a0<strong>axis rotation<\/strong>\u00a0control can be used as a\u00a0<strong>dynamic form of de-essing<\/strong>\u00a0with a much more natural sound. Excellent for\u00a0<strong>dealing with positioning errors<\/strong>, making the <strong>proximity <\/strong>smaller can add low-end and intimacy to a source recorded far away, or you can pull this back to remove excessive low-end and plosive sounds.<\/p><p>OK, so you\u2019ve found a great sound that works for the verse but you need something with more detail and articulation to cut through a chorus. Easy-peasy, every parameter in the Sphere plugin can be automated. Change microphones, axis, proximity, pattern, or whatever else whenever you want.<\/p><hr \/><h4>What are the practical uses?<\/h4><p><img class=\"size-medium wp-image-22608 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-LX-300x300.jpg\" alt=\"A male violinist using the Universal Audio Sphere LX modelling microphone\" width=\"300\" height=\"300\" \/>With all of that said, for all the bells and whistles and interesting things you can do in the software to change your sound, what can you actually record with these microphones? Yeah, yeah, I hear you.<\/p><p>If it wasn\u2019t already on the nose, the answer is anything and everything. To start with, the DLX and LX boast incredibly high<strong> SPL levels of 140dB and 145dB respectively<\/strong> and a very high <strong>dynamic range of 133dB and 135dB respectively<\/strong>. These aren't just good numbers, they also deliver incredibly practical benefits!<\/p><p>Where you would typically use a dynamic microphone to record incredibly loud source signals such as guitar speakers, drums, or brass, you can record with your DLX and LX. Once recorded, you could then apply the model of a vintage ribbon or condenser microphone which may not normally be able to record these sources.<\/p><p>From an engineering standpoint, the dual capsule design is the gift that keeps on giving.<\/p><p>As the capsules are <strong>phase aligned<\/strong> in the hardware, you don\u2019t need to worry about taping two microphones together to record a snare top. Just point the mic towards the snare, load up your favourite DN-57 and SD-451 combo in Dual Mode, and you have the <strong>perfect blend<\/strong>\u00a0in one signal.<\/p><p>Only available on the DLX, the <strong>stereo recording<\/strong> functionality of the <strong>Sphere 180 plugin<\/strong> opens a lot of doors for your recording sessions. Capture the ambience of an acoustic guitar or piano in stereo and record multiple guitar speakers or choir singers simultaneously, all while being able to choose a mic and settings for left and right channels independently. Incredible.<\/p><hr \/><h3>Who are the DLX and LX for?<\/h3><p>It\u2019s true that many studios and even home\/project studios will have a collection of tried and true microphones in their locker. So where do the DLX and LX microphones fit in?<\/p><p>Possibly the most obvious answer is that these are for producers and engineers looking to <strong>get the sounds of up to 38 microphones<\/strong>, many of which are\u00a0<strong>expensive vintage mics <\/strong>that are incredibly difficult to source, for the price of one.<\/p><p>You get a virtual locker filled with dream microphones, models which UA have curated themselves to find the best examples of no less! After all, <strong>increasing the breadth of options<\/strong>\u00a0for a recording session on a budget without sacrificing quality can never be a bad thing.<\/p><p>You might not be interested in all of the models on board but would love nothing more than to record your genuine vintage microphone in stereo. If the DLX microphone has a model of it, you can! It's easily done without having to spend a considerable amount on another genuine hardware microphone!<\/p><p>Outside of typical music studios, podcasting and voiceover studios could benefit the most from the DLX and LX modelling mics, especially if they're running on UA Apollo hardware.<\/p><p>You can audition microphones in real-time to find the right sound for your talent without having to run back and forth to the live booth, setting up microphone after microphone. <strong>It can be the single biggest timesaver you\u2019ll ever invest in!\u00a0<\/strong><\/p><p><img class=\"aligncenter wp-image-22602 size-full\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-Sphere-LX-on-desktop.jpg\" alt=\"Universal Audio Sphere LX mic on desktop\" width=\"1330\" height=\"665\" \/><\/p><hr \/><h3>Are the UA Sphere DLX and LX mics worth it?<\/h3><p>In a word \u2013\u00a0<strong>absolutely!<\/strong> Consider what you\u2019re getting for the money. You\u2019re getting access to a virtual microphone locker with between \u00a360,000 to \u00a3110,000 worth of microphones (LX and DLX respectively) for the price of one high-quality microphone.<\/p><p>Sphere lets you experiment with microphone combinations you might not have chosen if you were to open your microphone locker and pick something out. You might find something more useful and unique for your recordings.<\/p><p>The high-performance microphone is more than justified for the cost of entry \u2013 a fantastic-sounding mic with, what Universal Audio claim to be, the lowest noise floor for a mic in its class is worth the price alone.<\/p><p>Add to that 20 or 38 indistinguishable virtual microphone models, control of parameters you couldn\u2019t even do on the hardware originals, limitless flexibility, customisation after recording, and the number of recording applications you can use it in, and you have yourself a deal!<\/p>","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[260,121],"tags":[188,554,104,592],"class_list":["post-22512","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-studio-new-releases","category-studio-production","tag-microphones","tag-new-launch","tag-studio-production","tag-universal-audio"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>A Deep Dive into Universal Audio&#039;s DLX and LX Modelling Microphones<\/title>\n<meta name=\"description\" content=\"Mics that cover all bases... we take a look at what the new Universal Audio LX and DLX modelling microphones can do for you.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Deep Dive into Universal Audio&#039;s DLX and LX Modelling Microphones\" \/>\n<meta property=\"og:description\" content=\"Mics that cover all bases... we take a look at what the new Universal Audio LX and DLX modelling microphones can do for you.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.gear4music.com\/blog\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\/\" \/>\n<meta property=\"og:site_name\" content=\"Gear4music Blog\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/Gear4music\" \/>\n<meta property=\"article:published_time\" content=\"2023-01-27T17:00:49+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-02-03T15:38:46+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/01\/UA-DLX.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1330\" \/>\n\t<meta property=\"og:image:height\" content=\"665\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Cory\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@gear4music\" \/>\n<meta name=\"twitter:site\" content=\"@gear4music\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Cory\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":[\"Article\",\"BlogPosting\"],\"@id\":\"https:\\\/\\\/www.gear4music.com\\\/blog\\\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.gear4music.com\\\/blog\\\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\\\/\"},\"author\":{\"name\":\"Cory\",\"@id\":\"https:\\\/\\\/www.gear4music.com\\\/blog\\\/#\\\/schema\\\/person\\\/c23acb2e71eb21d2447ae2c79adb20fc\"},\"headline\":\"A Deep Dive into Universal Audio&#8217;s DLX and LX Modelling Microphones\",\"datePublished\":\"2023-01-27T17:00:49+00:00\",\"dateModified\":\"2023-02-03T15:38:46+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.gear4music.com\\\/blog\\\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\\\/\"},\"wordCount\":3417,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.gear4music.com\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.gear4music.com\\\/blog\\\/a-deep-dive-into-universal-audios-dlx-and-lx-modelling-microphones\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/storage.googleapis.com\\\/stateless-blog-g4m-co-uk\\\/2023\\\/01\\\/UA-DLX.jpg\",\"keywords\":[\"Microphones\",\"New Launch\",\"Studio &amp; 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