Warm Audio WA-47jr FET Condenser Microphone Instruction Manual

Warm Audio WA-47jr FET Condenser Microphone

THANK YOU!

Thank you for purchasing the Warm Audio WA-47jr FET 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-47jr FET is no exception. The WA-47jr FET proudly utilizes a custom reproduction of the vintage k47 capsule that was used in the classic ‘47 microphone. The Warm Audio WA-47-B-80v capsule is designed with the same hole pattern and frequency response as the vintage capsule and is carefully manufactured by an Australian capsule supplier custom for Warm Audio. The capsule’s precise engineering allows the WA-47jr FET to be able to obtain a very similar sound to the classic ‘47 microphone but at a much lower price tag. The Warm Audio WA-47-B-80v capsule is also used in our flagship WA-47 tube condenser microphone which is a companion to the WA-47jr FET.
We believe the WA-47jr FET represents an unprecedented value and will provide a lifetime of quality recordings. We are honored to have the WA-47jr FET join your mic locker.

Bryce Young
President
Warm Audio
Liberty Hill, Texas USA

Register your WA-47jr FET!

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 warrants this product to be free from defects in materials and workmanship for two years from the date of purchase, for the original purchaser to whom this equipment is registered. This warranty is non-transferable.
• 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 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-47jr FET offers one of the most coveted classic microphone capsule designs in an affordable microphone circuit. The WA-47jr FET uses a high- quality discrete transformerless circuit with Toshiba FETs, Wima film capacitors, and Panasonic electrolytic capacitors. The WA-47jr FET brings the tone and character of the classic ‘47 style microphone to you through the most critical component (its capsule) and is able to maintain an aggressive price point by simplifying the rest of the circuit topology. The WA-47jr FET’s simplified circuit is in no way a low-quality circuit but is simpler to build and uses fewer components than a vintage tube microphone, which allows us to offer it at such a bargain price. The WA-47jr FET uses the same capsule as our flag-ship WA-47 tube microphone and sounds wildly similar to the WA-47.

FEATURES

1. Pattern Select Switch
   This switch selects the polar pattern for the WA-47jr FET’s capsule. The three polar pattern options are Omnidirectional, Cardioid, and Figure-Of-Eight.

2. XLR Output
   The WA-47jr FET’s output is a balanced, gold-contact 3-pin XLR which accepts a standard XLR to XLR shielded microphone cable.

3. High Pass Filter Switch
   This switch engages a 70hz high pass filter for reducing rumble and other subsonic information.

4. -10dB Pad Switch
   This switch engages a -10dB pad within the active circuitry.

TECHNICAL SPECS

• A modern transformerless version of the highly coveted classic ‘47 microphone
• Custom made Warm Audio k47 style 34mm capsule (model# WA-47-B-80v)
• Capsule make: gold sputtered, dual large diaphragm, single backplate, 6 microns mylar
• Fully discrete signal path, Toshiba FET, Wima film capacitors, Panasonic electrolytic capacitors
• Polar Patterns: Cardioid, figure of eight, and omnidirectional
• High-pass filter: 70Hz
• Pad: -10db
• Self-noise: 9dBA
• Dynamic range: 138dBA
• Maximum SPL: 147/157dB (@1kHz 1kOhms 0.5% THD, 0/-10dB)
• Frequency Range: 20 Hz~20 kHz
• Sensitivity: 10mV/Pa or -40dB
• Output Impedance: 100 ohms
• Rated Load Impedance: ≥1kOhms
• Maximum output: 16dBu @1kHz, 1kOhms, 0.5% THD
• S/N Ratio: 85dBA (IEC651)
• Equivalent Noise: 9dBA (IEC651)
• Dynamic Range: 138dBA (IEC651)
• 48v phantom-powered
• 3-Pin Gold-Plated XLR
• Weight: 1.1 lbs

TIPS AND INSTRUCTIONS

• MICROPHONES: IN THEORY AND PRACTICE

  • In this chapter, we will go over some general descriptions and advice on how to use your WA-47jr microphone. We will begin with what the WA-47jr is and is not, and then briefly discuss different applications and ways to get the best results from your WA-47jr.
  • The WA-47jr is primarily a studio condenser, which is to say it is a microphone that requires +48v phantom power a balanced XLR to XLR microphone cable, and a preamp with a 3-pin XLR microphone input.
  • The WA-47jr is capable of delivering three polar patterns: cardioid, omnidirectional, and figure of eight. We will go into the benefits of each pattern in greater detail shortly. The WA-47jr is considered a side-address microphone in the sense that its capsule is mounted upright, projecting outward from either side of the microphone when the microphone is stood upright or suspended upside down. The front face of the microphone body is the side that bears the Warm Audio (WA) badge, and this is considered the ‘front side’ of the capsule, with the opposite side of the microphone being the ‘backside’.

• GENERAL USES IN CARDIOID MODE
  The classic ‘47-style microphone is known first and foremost as a lead and backing vocal 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 micing’ 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 micing also tends to capture fewer reflections and other unwanted information.

• 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 an acoustic guitar, into one side of the microphone while a partner sings into the other side.

• USES IN OMNIDIRECTIONAL MODE
  An omnidirectional pattern is most often associated with room mic recording, be it a room mic on a drum kit or an ambiance mic placed farther out from a guitar or bass cabinet or another 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 tend to yield the most linear frequency response and suffer the least from the proximity effect.

• 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 the original sound source to reflections and acoustic space. The closer to the source, the less space and ambiance 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 a 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 ambiance 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.

• SIGNAL INTEGRITY

  • In professional audio, a chain is only as strong as its weakest link. When it comes to microphone cables, a quality cable can make a difference. Though not as critical as with instruments or dynamic microphones, a thin, poor quality, or worn XLR cable can affect the sound of a microphone. With extreme age or wear, gaps can form in the foil or spiral shield of a microphone cable, allowing RFI and EMI to leak through, or shield wiring can begin to make intermittent contact with the signal wire. XLR pins can corrode after many years of exposure, or solder joints break at the stress points inside an XLR barrel. Occasional cable testing and maintenance is good practice, and worn XLR pins can often be given new life (if not past the point of no return) by spraying liberally with a contact cleaner such as DeOxit and working through several insertions. It is good practice to not use a cable much longer than what is needed for the job at hand; if a 20 ft. cable will work, little good can come from using a 35 ft. cable. Though condenser microphones are far better equipped to survive longer or lesser quality cable runs than dynamic and ribbon mics, audio can begin to attenuate or become contaminated beyond a certain threshold.
  • Not all phantom power is created equal. Though practically all preamps, mixers, and interfaces on the market today conform to the +48v/10ma industry standard; phantom power, traditionally, has been set as low as 10v on some legacy devices.
  • If in doubt, check the literature of your preamp to ensure proper phantom power is being provided. Another point worth considering is that phantom power, being DC, can have the tendency to attenuate over extremely long cable runs. Some engineers have observed that some demanding condenser microphones appear to perform better when a quality phantom power source is moved closer to the microphone.
  • If, for example, you find you are recording the WA-47jr across multiple cables or over 200+ ft. of audio snake; investing in a quality external phantom power supply to keep closer to the microphone’s side can be a worthy addition to your engineering toolkit. To protect the WA-47jr, always connect all microphone cables before engaging phantom power; and for best results, give the WA-47jr about two minutes after engaging phantom power to fully optimize, in order to get the highest quality sound. Always disengage phantom power and allow the microphone to discharge for several moments before disconnecting the microphone from its XLR cable and preamp.
  • When recording vocals, it’s a good idea to use the nicest 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 a 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 of 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.

ILLUSTRATIONS

In this diagram, two WA-47jr’s are used in a spaced pair configuration to record stereo drum overheads.

In this diagram, two WA-47jr’s are used in a coincident pair, also known as XY configuration, to record stereo drum overheads.

In this image, a vocalist performs into the WA-47jr’s at a distance of 12”, in a cardioid pattern.

In this image, two vocalists perform at the same time on either side of the WA-47jr using a figure-of-eight pattern.

© 2018 Warm AudioTM LLC. Liberty Hill, Texas USA | www.warmaudio.com

FREQUENTLY ASKED QUESTIONS

What is the Warm Audio WA-47jr FET Condenser Microphone?

The Warm Audio WA-47jr is a high-quality FET condenser microphone designed for professional audio recording applications, known for its exceptional audio performance and affordability, inspired by the classic vintage sound of the Telefunken ELA M 251.

What are the key features of the Warm Audio WA-47jr microphone?

The Warm Audio WA-47jr microphone typically features a cardioid pickup pattern, a large diaphragm capsule, a wide frequency response, high sensitivity, and is designed for capturing vocals, instruments, and studio recordings with warmth and character.

Is the Warm Audio WA-47jr suitable for recording vocals?

Yes, the Warm Audio WA-47jr is highly suitable for recording vocals, providing a warm and vintage-inspired sound that is often favored by professional singers, voice-over artists, and music producers.

Can I use it for instrument recording?

Certainly, the Warm Audio WA-47jr is versatile for instrument recording, capturing acoustic instruments, guitar amps, pianos, and more with warmth and character, similar to classic vintage microphones.

Does the Warm Audio WA-47jr microphone require additional audio interfaces or drivers?

The Warm Audio WA-47jr typically uses an XLR connection and requires an audio interface or mixer with XLR inputs. It does not require additional drivers; it's compatible with standard audio equipment.

Is there a headphone monitoring feature?

No, the Warm Audio WA-47jr microphone itself does not include a headphone monitoring feature. You would need a separate audio interface or mixer with headphone monitoring capabilities for this.

What is the frequency response of the Warm Audio WA-47jr microphone?

The microphone typically has a vintage-inspired frequency response that captures 80 Hz range of audio frequencies with warmth and character, reminiscent of classic microphones.

Is there an adjustable gain control on the microphone?

No, the Warm Audio WA-47jr microphone does not typically have an adjustable gain control. Gain control is usually handled by the connected audio interface or mixer.

What are the weight and dimensions of the Warm Audio WA-47jr microphone?

The 5.99 pounds weight and 12 x 12 x 12 inches dimensions of the Warm Audio WA-47jr microphone.

Is it suitable for live performances?

While primarily designed for studio use, some users may use the Warm Audio WA- 47jr for live performances in controlled sound environments, although it's not its primary application.

Can I use it with recording software and DAWs?

Yes, the Warm Audio WA-47jr is compatible with various recording software and digital audio workstations (DAWs) on both Windows and Mac platforms, provided you have the necessary audio interface and setup.

Is there a carrying case included for transport and storage?

The Warm Audio WA-47jr microphone package may include a protective carrying case for convenient transport and safe storage.

What type of connector does it use?

The Warm Audio WA-47jr microphone typically uses an XLR connector for its audio output, which is a standard for professional microphones and audio equipment.

Is there a warranty for the Warm Audio WA-47jr FET Condenser Microphone?

Warranties for the Warm Audio WA-47jr microphone can vary, but they often range from 1 year to 5 years or more.

Where can I purchase the Warm Audio WA-47jr FET Condenser Microphone?

You can typically purchase the Warm Audio WA-47jr FET Condenser Microphone from authorized Warm Audio dealers, music stores, or reputable online marketplaces to ensure you receive genuine products.

Does it come with a shock mount or pop filter?

Some packages of the Warm Audio WA-47jr microphone may include a shock mount, but it's important to check the product listing or package contents to confirm if these accessories are included. A pop filter may be purchased separately.

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