“This Mic Smokes!”
G. Petersen, Mix Magazine, on the A-51TC

“A51TL sounds very good.” “It has a very modern sound.”
“The low price makes it very attractive for all studio categories.”
“On a drumkit: The sound is fantastic!” “ The sound is just so damned good; the kick is huge and warm with a singing tone, the snare has a cocky attack with an abundance of transients and the hat has its own range with accurate hits from the top of the drumstick."
Monitor, 4-2001 on the A-51 TL

A very fine review on the Hamburg and Vienna in swedish mag MM!
Musikermagasinet, - Reviewed by Jörgen Cremonese, 5 2004

...I can only conclude that ADK has made it again! With the Vienna and Hamburg Edition, ADK has created two more variations on the A-51 theme. And these two offers, if possible, even greater value for the money. I think they are perfect for the most usual recording situations.
The Vienna and the Hamburg as separate items are two of the absolutely best microphones in the price range below 5000 SEK (550 EUR). Taken together, they are a team that is very hard to beat that will help you not only in the home studio but also for more serious project recordings, and even in the true professional studio.

ADK A51 TC and ADK A51TT beats Neumann U67 and U-47
in a mic review in the US magazine Tape Op!
Tape Op Magazine, - Reviewed by Garrett Haines, March 2004

There are three variations of the ADK tube flagship: the TC (a fixed cardioid), the TT (a variable-pattern), and the CE (a limited edition of the TT with a hand-selected New/Old Stock GE 6072A Jan Vintage Tube and a slightly different body). All three models come with a robust shock mount, aluminum case, a remote power supply / variable pattern selector (TT and CE), and requisite cables. For most of the review I used a TT, but I’ve tested all three models extensively.

For vocals I invited some local musicians and lay people to do some blind tests. We compared the ADK TT against a Korby Convertible ELAM-251, a Neumann U67, and a U47. Using an a capella vocal track, everyone chose the TT and the 251.

I also tried the TC’s and TT’s as drum overheads. The results were amazing. The ADK’s are simply the finest drum overhead microphones I have ever auditioned.

The TT and CE are great in omni mode for acoustic guitars and percussion. I like them in figure-8 for many vocalists. It can also be very effective on guitar amps, especially tweed and black face combos.

If you can get by with just a cardioid mic, there is no other mic in this price range that can touch the TC. Please re-read the last sentence.

With ADK tube mics, I get the sounds I want at a price I can afford. I urge you to get these in your studio for evaluation. I’ll bet they won’t be going back to the dealer!

		Comments from ADK users:
		-Terry Howard, Recording engineer: Ray Charles, James Taylor, Michael McDonald, Willie Nelson... "I´ve become a huge fan of ADK lately." "After hearing the ADK TT, I was not surprised that Ray Charles and Johnny Matthis selected two of the TT tube mics for their vocals. The fact that the TL Decca-Tree set-up works well on Grand Piano was a nice bonus. But what surprised us the most was how many uses we found for the original model A-51s. Tracking Guitars for James Taylor to Drums and Horns, ADK Mics were everywhere at our 80 piece live orchestra sessions!” Bob Rosa, Grammy-winning mixer/engineer (Whitney Houston, Mariah Carey, Ednita Nazario, Paulina Rubio): I used the ADK TC microphone to record vocals for one of my artists who I usually use a Neumann U87 or a Telefunken 251 on. It blew me away. I love the "proximity effect" of this microphone. I even used the supplied wind screen, which I NEVER do because they never sound any good, but when he got right on it, he just sounded amazing. The body of the sound, the presence in the midrange, the smooth top end... I couldn't believe it! I used it along with a Gregg Hanks mic-pre, and it sounded awesome! I also tried this mic using my original Focusrite ASA110's and my vintage Neve mic pre-amps, and you could really hear the actual qualities of the pre-amps. The mic translated great in each one, with each having it's own character. To me this is the true test of an excellent microphone. I used a pair of the same mic as overheads on drums... unbelievable. I also tried the TL's on toms. They added to the overall sound of the drums. I usually might use something like Senheisser 421's in this application, but these had a cool "body", a full sound. Acoustic guitars, vocals, percussion, electric guitars... everything shone through using these mic's. (I guess you can kinda tell I like 'em!) The overall construction of these mic's is also outstanding, right down to the shock mounts, which are well thought out and work they way a shock mount SHOULD work. It's amazing how many expensive microphones have really terrible shock mounts. If this is any indication of the quality of the rest of the ADK line, you have a serious hit on your hands. I'd love to hear the other mic's in the line, especially the A-48 series. "More bang for your buck" aside, these mic's sound great. I will be recommending them to everyone! (They'd still be reasonable at twice the price!) LARRY PERLMAN (Producer, Arranger, Composer: Ron Isley, Bob Dylan, Burt Bacharach, Young MC, Chicago ..) .. about the VIENNA EDITION: "The Vienna is an absolutely beautiful sounding microphone! It has all the warmth of a rare mic, but adds a slight presence boast in the high end that just screams ´expensive´! .. about his experience of ADK mics to Larry Villella, founder of ADK: Hi Larry: Well, I've had the A-48 for about a month now. It is my favorite mic for that long!!!! Male, female, lead vocal, backgrounds, it doesn't matter. It is a superb microphone, definitely a world-class sounding one. Sometimes it's hard to tell how good a mic is while you are recording the vocals. It may sound great, but when you start mixing you realize that the sound is "not quite there". So out come the eq's, enchancers, mic modelers, etc....just to get the vocal to sit properly in the mix. But not the A48. On everything I've used it on, when it came time to mix there was very little to do. A little 1176 compression perhaps to tame the high notes, and obviously some reverb and delay. But not much else. Because the A48 is a true disciple of the old adage "get it right at the source". I just had to write an tell you that a producer/engineer could almost get through his entire week just using ADK mics. That's a lot to say. The only one missing is a small KM184 type model. When you get one of those, watch out!! Warm regards, Ted Perlman PPS - we just did a song for Michael Orland, the musical director/arranger/pianist of "American Idol". Peggi Blu ( my wife) sang the lead on the A48, and Michael was thrilled with the sound. It was a very hard song to record, because it was all orchestral - no drums to cover anything up. You could hear every little breath and syllable with that mic. Are your other tube mics this good? Amazing. Hi Alan: I want to put you in touch with my friend Larry Villella at ADK microphones. They are making some gorgeous sounding mics at unbelievable prices. Their very cool looking black "Vienna" model worked better than anything else I have ever used on a recent hip hop/rap record I was producing. The rapper could "pow" all he wanted to and the mic never flinched. Today my wife Peggi Blu was nice enough to lend me her glorious voice for 2 hours to test some mics, including the new "A48 Vintage Valve" tube mic that Larry sent me yesterday. (closest emulation of a classic U47 I have ever heard) Peggi is really a U87, U47, C12 or Neumann 149 lover, so when she told me how much she loved the "open" sound of the A48 it really meant something. Her exact words were "I think this is my favorite mic!" ADK also have a model A51 that just kills on acoustic guitars. Here is Larry's contact info. I'm copying him on this letter, so you guys should get in touch with each other soon. Also - ADK has probably got the absolutely best made mic holders I have ever used. Hands down. Regards, Ted Perlman From the ADK user forum: "I've set up a few times recently for a single mic on live vocal trio with single acoustic guitar accompaniment -- in comparing the KSM27, 4033a, U195, and ADK A-48 I picked the A-48 easily. It was much more powerful, with better gain before feedback and a better sounding cardioid pattern."

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