Microphone modelling has existed since the late 1990s, with software such as the Antares Microphone Modeller. This software allowed users to apply the character of various high-end microphones to their recordings by selecting a virtual mic and adjusting settings to match the input mic (for example, a Shure SM58). Since then, more advanced software has emerged such as the Slate Digital Virtual Microphone System and Townsend Labs Sphere L22, which combine hardware microphones with sophisticated software to create accurate emulations. These hybrid systems require their specific microphones, whereas software-only options, available for over a decade, remain a popular choice and are still supported by developers.
How does it work?
To make one microphone sound like another, various factors need to be considered:
- Frequency response modelling (EQ): each mic's unique frequency curve.
- Non-linear distortion: subtle harmonic distortion to replicate how certain microphones behave under pressure.
- Polar pattern behaviour: how a mic's polar response might shift at different frequencies.
- Proximity effect: increase in bass response as the source gets closer to the mic.
- Transient response: differences in how microphones handle quick, sharp sounds.
- Saturation and compression: the warmth and dynamic response of microphones.
- Off-axis colouration: the sound of sources coming from the sides or rear.
- Room acoustics interaction: some models capture how a microphone interacts with room reflections and ambient sound.
Each of these elements plays a role in how microphones colour the sound, while collectively they form the foundation of microphone modelling technology. By capturing these factors, modelling microphones are able to create nuanced and realistic representations of some of the most coveted studio mics in history.
Mic check: who's the audience?
In a classroom setting, the ability for students to switch between different microphone models helps develop critical listening skills. Teachers could set blind listening tasks to help students distinguish, for example, between the brightness of a Neumann U87 and the warmth of a vintage ribbon mic – all without needing expensive, fragile physical microphones.
The graphical interface of the included plugin also introduces users to each microphone's history, which adds educational depth and encourages students to explore different sonic characteristics.
UAD offers multiple types of Hemisphere microphones, each with its own specialisation and set of virtual mics. Here is a quick overview of each model and its primary uses:
- SC-1 Condenser – studio vocal and acoustic instruments
- SD-1 Dynamic – broadcast
- SP-1 Standard Pencil – stereo capture
- SD-3 Dynamic – snare and guitar amps
- SD-5 Dynamic – kick drums
- SD-7 Dynamic mic – toms
This range is ideal for project studios and content creators, especially as it covers a wide range of common recording needs. Although some might argue in favour of using the ‘real thing’, the Hemisphere models sound great even without modelling applied, and they are quite affordable. It's worth noting, however, that there is a difference in price between the microphones; at the time of writing this article, the SC-1 is around four times the price of the SD-3. Generally, condenser microphones are more expensive to produce than dynamic mics due to the materials and construction involved.
Sound decisions on mic selection
While microphone choice is important, it's only part of the equation in recording. Factors such as acoustic treatment, preamps, or the skill of the engineer/producer can have just as much, if not more, impact on sound quality. Hemisphere microphones offer an advantage in pre-production because you can virtually test which mic model best suits a particular singer, drum-kit, or guitar without rearranging instruments or disturbing the performer. This flexibility means you can make informed decisions quickly, often saving time and avoiding the fatigue that comes with repetitive takes. In mixing, you can simply click through different mic models and use your ears to decide what fits best in the context – often more effective than the typical post-processing approach.
Some microphones to rule all?
It's unlikely that studio veterans will part with their vintage microphones in preference for modelling technology. This reluctance is not necessarily about sound quality; rather, it's the tangible experience of using an industry-standard, often vintage, piece of equipment.
In commercial settings, clients may prefer studios with extensive equipment lists for the familiarity and prestige that come with this. Additionally, standardised equipment helps deliver consistent results, particularly when revisiting old recordings, working across multiple studios, or recording remotely.
But for musicians working at home or for students in classrooms, Hemisphere microphones are a great investment from a reputable company with a rich history in recording technology.
UAD HEMISPHERE MICROPHONES
Prices from £95.00
