"The Amethyst" Standard uses single diaphragm capsule and is designed for what we know as the modern sound - with airy highs, extended vocal presence, accented low end response and unidirectional cardioid pattern.

Both "The Amethyst" models are based on our own original true electrostatic capsules. Large size diaphragms are made of the highest quality 6-micron Mylar film. Using our original technology the diaphragms are tensioned and adjusted on precisely made brass backplates. The diaphragms are sputtered with our special formula gold mixture. It gives them faster impulse transient response without sound coloration or low frequency reduction, and adds the ability to handle louder sound pressure levels. At the end of the manufacturing process each capsule is carefully checked for all parameters and measured in an anechoic chamber for optimum of performance.

Unidirectional cardioid polar pattern reduces ambient studio noise. Both microphone models have minimal proximity effect and are linear over the wide frontal incidence angle. The microphones headgrill is made as acoustic filter of multilayer brass mesh that reduces plosive sounds, breath, pop and wind noises, minimizes internal resonance effects, but keeps high frequencies and sound transparency. Additional metal mesh studio pop filter and polyurethane open cell foam windscreen are available as options.

The internal solid state preamplifier of the microphone is based on class-A fully discrete transformerless electronics circuit, built using only the highest quality selected components. The circuit is designed under the highest audio standards and provides linear audio frequency range, high dynamics, low self-noise, and very low audio distortion of all types. "The Amethyst" requires quality and stable 48 V phantom power.

"The Amethyst" is ready for direct mounting on the standard microphone stand. Rugged microphone construction and two internal shockmounts, separately for the capsule and for the electronics, effectively reduces stand rumble, outside infrasonic interference and mechanical shocks. The additional external elastic studio shockmount is available as option.

APPLICATIONS:

"The Amethyst" microphones are designed for recording studio all-around needs, capable of capturing vocals, piano, guitars, drums, percussion, strings, wind and other instruments. The microphones can be successfully used in professional sound reinforcement systems, in broadcast and TV studios, in movie and video industry, project studios and home recording, and many other applications. Both "The Amethyst" models are unidirectional cardioid microphones, please use them from an active side of the capsule marked with Violet Design logo.

VOCALS

Both "The Amethyst" models are great on vocal recording. The Standard is more oriented on a male voice, and the Vintage on a female voice. Use them 3 to 10 cm from capsule to get best results. There is no need to worry about the microphone overload in case of close miking. Use pop filters in the studio, or foam windscreens in live applications to reduce plosive sounds, breath, pop and wind noises.

PIANO

"The Amethyst" Standard gives excellent results on piano. Use a pair or more for stereo recording. There are many methods with close miking, distance miking and combined miking. The result depends highly on rooms acoustics. The right microphone placement is the most important factor. The best method is to find it by your own ear - go and listen.

ACOUSTIC GUITARS

"The Amethyst" Standard is gives excellent results on metal string acoustic guitars, the warmer Vintage model is the better choice for classical nylon string acoustic guitars. Right placement is the most important factor again. We recommend beginning with facing the microphone to guitars neck, where it joins body, in some 10 cm distance from it. Use a pair or more microphones for stereo recording.

ELECTRIC GUITARS

"The Amethyst" Standard gives excellent results for dynamic and bright clean amp sound recording, the warmer Vintage model is the right choice to record lead guitar overdrive and distortion sounds or warm jazzy tones. Place the microphone at 5 to 10 cm from the center of a loudspeaker to get more upper frequencies, or move the microphone toward the cone edge to get fuller tone with more mid and low frequencies. We recommend orienting a microphone diaphragm at some angle with a loudspeaker diaphragm to avoid low frequency peaks. Larger distances from the loudspeaker will add more air and room acoustics and soften high frequencies. There are endless methods of combining close miking, distance miking, miking from a backside of an open speaker box, experimenting with different room acoustics, etc.

DRUMS

"The Amethyst" Standards fast impulse transient response, crystal clear highs and loud SPL handling make it excellent for the drums recording. The advisable distance is 5 to 10 cm from a drum rim, but you can try different positions and angles. A bigger distance will add more air, environment and naturalness. A smaller distance will increase the low frequencies and separation from other sound sources. You can use a pair as overhead microphones. There are different methods to record drums - from one pair of stereo microphones for right balanced drum kit in an optimal acoustics room until several microphones on each drum kit unit.

PERCUSSION

Like the drum recording "The Amethyst" Standard microphone gives transparent, clean and real results in all kinds of percussion recording. The distance of 30 cm is the best to start. Closer distance will add more details, tone and separation. Larger distance will add room ambience, naturalness and blending with other instruments.

BOWED STRINGS

"The Amethyst" Vintage is an excellent choice for recording all kinds of bowed string instruments. The distance of 30 to 50 cm above the instrument bridge is preferable for violin and viola. The distance of 10 to 20 cm in front of bridge is right for double bass or cello.

BRASS AND WIND

The smooth, natural tone of "The Amethyst" Vintage microphone makes it the best choice to record saxophone and other brass and wind instruments. For the clarinet and the soprano saxophone use the microphone 10 to 30 cm above the horn and lowest pads. For the other saxophones place microphone 5 to 15 cm in front of the lip of the bell. For the flute place the microphone above the middle of the instrument. Use 10 to 50 cm distances for the trumpet, the trombone, the French horn, the tuba and other brass instruments.

Transducer type electrostatic

Operating principle pressure gradient

The diaphragms active diameter 25 mm (1")

Frequency range 20 Hz to 20 kHz

Polar pattern unidirectional, cardioid

Output impedance 50 ohms

Rated load impedance 1000 ohms

Suggested load impedance > 500 ohms

Sensitivity at 1000 Hz into 1000 ohms load 21 mV/Pa

S/N Ratio CCIR 468-3 weighted 76 dB

S/N Ratio DIN/IEC 651 A-weighted 87 db-A

Equivalent noise level DIN/IEC A-weighted 7 dB-A

Maximum SPL for 0.5% THD at 1000 ohm load 134 dB

Dynamic range of the microphone preamplifier 127 db

Phantom powering voltage on pins 2 & 3 of XLR +48 V (+/-4 V)

Current consumption < 2 mA

Output connector 3-pin XLR male, gold plated contacts

Signal polarity positive toward pressure on a diaphragm produces positive polarity voltage on XLR pin #2 relatively to pin #3

Dimensions and weight 168 x 63 x 41 mm, 350 grams

OPTIONAL ACCESSORIES:

studio shockmount

studio pop filters

foam wind screens

microphone cables