Townsend sphere

The Townsend Labs Sphere microphone system has gained respect amongst professional users in a relatively short time. It can be difficult to appreciate when the fuss is about without experiencing it first hand. the best way to experience Sphere is, of course, to record with the L22 mic but there is a way to experience the flexibility and quality of results possible by taking advantage of the free Sphere plug-in and the free demo sessions available direct from Townsend Labs.How Do I Get The Free Sphere Plug-in And Demo Sessions?To access the downloads from Townsend Labs you’ll have to set up an account on the Townsend Labs website. Go to the Downloads Page and download the appropriate plugin installer for your OS. You’ll be prompted to log in or register if you haven’t already.Install the plugin (no iLok required, AAX VST and AU) and download your choice of sessions for your DAW or if you prefer, download the WAV files.

Example...Tracking a jazz trio live, there was a fair amount of leakage of the drums into the piano Townsend. The band wanted a tight sound with less room in it. Once I switched the Putnam model to a ribbon mic, the room sound was instantly attenuated, the piano sounded warm and round, and the band was happy. I could not have done that with a pair of 47's that were previously capturing the piano. I use the townsend far more than any other mic in our studio. #18 Re: Overheads...I did a test with my townsend in 180 stereo mode, placing it right next to the 2 Sony C37a's that my studio has been using for overheads. Using the stock Sphere plugins, it honestly was stomped by the Sony's. Then I loaded the Putnam c37a's and it was dead on with the real Sony's. The one mic I haven't been able to really replicate is the U47. I've heard others say the same (I wish I would have tested my Pearlman 47 against the Sphere before I sold it.) Still, i see the Sphere as an incredibly useful tool vs. an exact sound replica of every vintage mic.In another example...Tracking a jazz trio live, there was a fair amount of leakage of the drums into the piano Townsend. The band wanted a tight sound with less room in it. Once I switched the Putnam model to a ribbon mic, the room sound was instantly attenuated, the piano sounded warm and round, and the band was happy. I could not have done that with a pair of 47's that were previously capturing the piano. I use the townsend far more than any other mic in our studio. Yep, that's the magic of Sphere. #19 Hi, I've also been investigating the Sphere, and all the positive reviews give me confidence to buy one. But what do you guys think about this? Is it legit? Did the competition modeled the harmonic distortion better? I would think that the tube's would give such harmonic content. Last edited: Dec 23, 2021 #20 Hi, I've also been investigating the Sphere, and all the positive reviews give me confidence to buy one. But what do you guys think about this? Is it legit? Did the competition modeled the harmonic distortion better? I would think that the tube's would give such harmonic content. issues I see:Is it realistic? Without having the real hardware mics be part of the test, do we know that the harmonics are actually there?Do we want digitally-generated distortion in a microphone? Plugins don't have a great reputation in this area.With both Townsend and Slate, the hardware mics are nothing like the mics they're modeling and thus the software is doing A LOT of work. You really want to pick a company you trust. This is probably why the Antelope hasn't caught on as much, they could be excellent but they don't have UA's reputation (yet).

Townsend Labs wowed us back in 2018 when we reviewed their impressive Sphere L22 modelling mic. Since then, they’ve partnered up with Universal Audio to offer even more classic mic models. And now they’re tackling a new problem: portable vocal booths. With an increasing number of vocalists and broadcasters working at home in suboptimal acoustic […]Townsend Labs wowed us back in 2018 when we reviewed their impressive Sphere L22 modelling mic. Since then, they’ve partnered up with Universal Audio to offer even more classic mic models. And now they’re tackling a new problem: portable vocal booths.With an increasing number of vocalists and broadcasters working at home in suboptimal acoustic environments, there’s an increased need for reflection filters such as the Kaotica Eyeball, sE Electronics Reflexion Filter and Aston Halo. These all succeed in reducing unwanted room reflections. However, they often introduce new and also unwanted colouration. Townsend Labs’ new IsoSphere technology is designed to remedy that.According to its makers, the newly patented IsoSphere technology in the Sphere 1.5 software enhances off-axis behaviour for maximum and tailors the frequency response to compensate for unwanted colouration. And Townsend Labs say this will lead to even better-sounding recordings.The new software also introduces four new mic models, joining the existing 30+. The first is the LD-87 Modern, based on a current Neumann U87 – renowned for voiceover and broadcasting. Next is the LD-37A, modelled on the warm-sounding Sony C-37P as used by Frank Sinatra – which is ideal for taming sibilance while retaining ‘air’. The third is the LD-37P, a model of a rarer FET version of the Sony which has a brighter character for adding excitement. Finally, for the DN-20, Townsend Labs has modelled the Electrovoice RE-20, a large-diaphragm dynamic mic, that’s equally at home in the broadcast studio as in front of