Our microphone-making process is unique compared to many well-known brands. Every microphone we produce is handcrafted. From the outer casing, grill protection, to the inner capsule housing and its detailing, our engineers handle each step manually.
Since JZ Microphones began, we've always done it this way. While it might take longer than mass-produced mics, the benefits are clear: superior sound quality, longer-lasting microphones, and top-notch build quality.
There's a big problem with the traditional distribution chain business model. Third parties, like distributors, dealers, and resellers, need their cut. This means microphones are priced higher to make sure everyone makes money.
However, it's the customer who often pays the most because of these middlemen.
We do things differently. We sell our microphones directly to you!
This means they're much more affordable, and we can give special deals that other microphone brands can't. Plus, you get better support!
Our founder, Juris Zarins (JZ) used to be a jeweller, fixing everything from high end jewellery to classic microphones. One day, he thought, "If I can fix mics, why not create a new and better ones?" That's how JZ Mics started, introducing the groundbreaking Golden Drop Technology.
While our capsules are handcrafted, they're also uniquely coated with gold. Instead of covering the whole capsule, we place gold in specific spots. This makes our mics sound different from any other.
JZ patented Golden Drop capsules pick up sound faster, giving clearer and more detailed recordings. Every JZ Mic uses this special technology, ensuring top-quality recordings every time!
Many companies say their microphones work well on various sources. But unless it's pricey or a repeated old design, it's often not true. Using such mics means your sound is just like everyone else's, making it hard to stand out.
We're confident our mics excel on multiple sources because our customers tell us so!
We get many messages from users, both new and longtime, praising the versatility of our entire range. Even our newest mics continue to impress them.
For producers and engineers a big frustration when shopping for equipment is the lack of options that fit our specific needs. It often feels like we're just replacing one unsatisfactory item with another, stuck in a never-ending cycle of disappointment.
This is why we offer a wide variety of microphones, with different sounds, shapes, and both modern and vintage styles. We believe our customers should have plenty of choices to find the perfect fit for their studio. This way, you can make a precise decision and break that cycle of dissatisfaction.
In the studio, especially with vocalists, you aim to inspire confidence. They've practiced and are ready to give their best. But when the recording light turns on, especially for newcomers, nerves can kick in.
This isn't just about skill; it's psychological. A high-quality microphone in front of them can make a difference. When they see a professional mic, they feel valued. They trust you more, knowing you're serious about your craft and are there to support them.
All our microphones have unique looks and sounds that producers appreciate. They not only capture great sound but also boost the confidence of artists, making the recording process smoother for everyone.
While we respect and acknowledge the influence of past microphones on today's designs, including ours, we believe in pushing boundaries. It's easy to try and replicate what's been done, but often, these attempts fall short due to factors like age and nostalgia. Ultimately, the user is the one who misses out.
We aim to elevate the game. We've taken cherished microphone designs and updated them with modern technology, like our Golden Drop Technology. Our goal is to offer you a sound that's even better than what was available in the golden era of the 60s. We honor the past but are committed to innovating for the future.
Many companies view a sale as just that—a sale. They often overlook the importance of post-purchase support. While we aim for perfection in our microphone quality, we recognize that issues can arise, especially with factors like shipping.
Selling directly to our customers offers an added advantage: a direct line to us if something goes awry. We're always here to assist under warranty. Beyond that, we've built a community for our microphone owners and regularly update our blog. We encourage feedback, ensuring you always have a voice with us.
If you're familiar with JZ Microphones, you'll know that Grammy-winning engineers, producers, and artists consistently choose our microphones. Over the past 15 years, renowned professionals like Tom Russo, Rob Chiarelli, Rafa Sardina, Joe Chiccarelli, Romesh Dodangoda, Dave Eringa, Sean Genockey, Dana Nielsen, and more have trusted our mics. Big-name artists, including Dave Grohl, Aerosmith, Metallica, Architects, U2, and others, also rely on our products to capture their signature sounds.
While it's impossible to name everyone who uses our mics, it's clear: if industry leaders trust JZ Mics for top-notch performance and production, then our microphones are a valuable asset for any studio!
]]>But whether that investment of either time or money is a wise investment is harder to determine, so today I want to throw my advice out there for anyone that might be at this moment in their career.
Let’s dive in.
It sounds like an obvious thing to the average engineer, but these two things are invariably going to be 2 of the most important parts that, when upgraded, you’ll notice a stark difference in quality. The interface is the first priority and when upgrading anything, it needs to be for good reason. A lot of people will start out on an interface with limited capacity regarding the inputs and outputs of the unit. They’re great as a starting point, but once you’ve nailed the basics of recording like vocals, or DI guitar or bass, naturally you want to move on to multiple microphone recordings such as an entire drum setup.
Now, usually you won't find an interface that by itself has more than say 10 inputs that you can plug in XLRs to directly. So an interface that has a large amount of connection both on the unit itself, and the option to expand is imperative. That expansion can come in a few different ways as well, but if I was to recommend one to focus on, it would be ADAT as it’s the most easy to get along with, and the most affordable one to start with. If you need more than what ADAT can provide in future, then D-SUB connections are the only viable option, but that’s more for working on a mixing desk in my experience.
The second area of exploration is not only the preamps in the interface but also making the investment into at least one dedicated preamp external to your interface. Interface preamps of a good quality are relatively commonplace now thanks to years of research and design from many companies, but you’ll often come across a company that excels on what they class as their standard for interface preamps; in my case, Audient and Arturia are at the top of their game when it comes to preamps within an interface that is both expandable and affordable.
A dedicated preamp is more so you can start to build up the quality even further from there. As much as I love the preamps on the two interfaces examples above, when I started to invest in external preamps that had components that you just simply won't find in interfaces, it became clear to me what the difference in circuits and preamp designs could bring as a result of that. Transformers and valves will rarely be found in an interface with the exception of maybe some more recent announcements in the music world, and so the only option is to invest in an external preamp with that capability. In my humble opinion, there’s nothing quite as good as the real thing when it comes to valve or transformer harmonic saturation; and although some software can get close to it, there’s still a wide gap between the physical unit and emulations of that, and so having at least one dedicated preamp is a must for investments that can improve the quality of your recordings.
The Audiofuse line-up has various options to start from, and then further upgrade to example the capacity of your I/O and move into larger amounts of microphones recording at the same time.
I’d be remiss if I didn’t include this as one of the main things you need to keep in mind while you’re starting to invest. But there’s really only a couple of reasons why you should invest in a new microphone at first, so we’ll explore those for now!
If you only have say 1 or 2 microphones to choose from when recording, or if you predominantly have one type of microphone (such as dynamic mics), then versatility is a must for any aspiring engineer. Having variety to choose from is of utmost importance when choosing the right mic for any sound source, as not everyone will play an instrument the same, and no two voices sound the same and thus not every microphone will work on every sound source. Simply put, having just one workhorse mic isn’t enough, you need variety in choice to give yourself the opportunity to record at the best quality you can.
When starting off, it’s very easy to fall into the habit of choosing to invest in lower cost items as well, but until you invest in microphones that are out of the lower price range, you start to really hear a jump in quality that is impossible to ignore. As a good example, I remember the microphones I personally had prior to working with JZ, and although I write this blog, I’m unbiased towards other brands as I have a varied mic locker, and I love the sound of many of the mics in my collection. However, as soon as I started to work with the mics that JZ Mics create, innovate, and pioneer with their technology such as Golden Drop Capsules; many of the mics I had been using religiously for years now collect dust as the difference in quality between them is unparalleled.
If you’re in this position at all, then a great place to start is with our vintage series microphones, or our Black Hole series mics. Not only do they share in having the same quality components, but they also all feature the same technology we instill into every capsule, as well as the range in tonal options being varied across the board. You can also find the perfect mic to fit your situation by visiting our FAQ that’ll show you all our mics ordered from the darkest, to brightest sounding we have available.
Our incredibly versatile Black Hole Series mics, capable of excelling on any source, and a great option to have within any studio looking to expand their locker further.
Lastly, now having upgraded the physical tools to improve your overall recordings, software is the next avenue to invest in, in my humble opinion. A great recording will do 80% of the overall work for you, but engineers have moved to software over hardware to mix their records, as it's much more affordable than having the hardware versions of every classic piece of vintage gear we know and love that have been responsible for the records we all love.
The good news is that many of the plugin software companies have a range of plugins to choose from depending on what you need, but they also more commonly now offer a subscription service so you can access many more at a time than you typically would from purchasing one or two at a time. Waves plugins, Slate Digital, and Plugin Alliance are some of my personal favorites that I too have subscribed to in order to benefit from having a range of plugins all at the same time, as opposed to making hard choices on what to buy individually one at a time.
Another avenue to explore in software, that arguably is even more important if you’re just starting out or still learning the fundamentals of mixing, is your Digital Audio Workstation (DAW). Each DAW is very different from each other and there’s a bunch to choose from, each great in its own right - but making sure you have the most up to date version is imperative to get the best out of the tools included within them. If you, for example, are on an earlier version of Logic, then you may not have access to their Flex-Pitch tool that was a total game changer for me when it first was revealed.
Cubase, Pro-Tools, StudioOne, Reaper, and all the others available will usually offer a much lesser cost to upgrade rather than purchasing outright for the first time, helping you to always get the best out of one of the most fundamental tools you need in order to record and mix in the first place - so make sure you’re always staying updated to the most recent version; it’ll only benefit you more in the long run!
]]>My DAW of choice is Reaper having worked on many in the past. It's affordable, and fully customisation, such as this version of the House of White Tie theme to encourage better workflow.
These three key factors play a vital part in making sure your sections of the song not only sit correctly in the composition but are also the defining parts of the track creating the patterns and make the listener want to sing along!
A little can go a long way in the means of basic music theory as well regarding this. Knowing how to create a rhythm or polyrhythm (more than one rhythm coexisting in one part of a song) will bring your music to life and really push the recorded vocal from being average to world-class. For example, trap, hip hop, and modern rap utilize 3rd notes, or dotted crotchets/dotted semiquavers to create a rhythm over a beat that is usually 4 to the floor (a kick or snare beat at the start of every bar), or similar in pattern. This makes a groove that is pleasing to the listener and it’s simple to write to as well. Make sure you brush up on your knowledge of basic music theory if you want to push your tracks to the next level!
Lastly, repetition. This is something hardwired into our brains - for example, why do you have to repeat a task in order to learn? Like guitar - you don’t just know how to play, you have to practice. The same principle works in music and composition and this is where basic structure comes into play. Usually, composers like to have a strict format to their songs, but it's good to mix it up between tracks to keep the listener on their toes, so try the below patterns and see how they work for you - A quick note, but try to keep your verses written lyrically different to each other, and keep in mind this as a key for the below structures:
A = Verse, B = Chorus, C = Bridge/Middle 8/etc, D = Outro.
Harmony in simple terms is two or more notes, complementing each other to create an emotive response to the listener. Understanding this in its basic format allows you to change the mood of a song, the feel, the dynamic, pretty much everything!
The key parts with harmony are major and minor - Major being joyful, happy, etc, and minor being the opposite - sad, woeful, aggressive. If you wanted to create a pop song, major chords with a sprinkle of minor are the usual formula, for example, E minor, G Major, D Major, A Major - the overall of the song is mostly positive in sound. A great way to understand why this is, and why certain chords sound good together, and others don't, is the circle of 5ths, which we talked briefly about last week and is incorporated in the video on Harmony - which we’ve linked below for you to learn more about!
Many people struggle with this because of a lack of musical theory, but it can really be very simple. Let me show you a few steps that are a sure-fire way to make ANY track sound incredible - just bear in mind you will need to learn outside of this blog regarding the main point:
Cadences are essentially an answer to a question. It’s a resolve to the end of a part, which either sounds like is finished or unfinished, or in musical terms, Perfect and imperfect cadence. Usually, upon listing to a song, you find the end of of the section sounds whole, finished, and resolved - however, in some places within a song, or the last chord in some cases, composers use imperfect cadence to lead into a new part, build suspense, or leave this listener wanting for more of the song. It’s difficult to explain without actually hearing, so below we’ve linked to a video that explains the movement of a scale, and how one-note and move a cadence from being perfect to imperfect very easily.
Lastly, arpeggios. This is a writing technique as old as music itself, but understanding how to use it can be less well known. An arpeggio is simply a chord where the notes are played individually, one after another, rather than at the same time. However, when you have one instrument play a chord, and another arpeggiated it, it can bring new life into a track - like a guitar on the right strumming, and the guitar on the left arpeggiating the chords in the reverse pattern (also known as an opposing melody). Vocals, being a monophonic instrument, are great to arpeggiate, as its bass, and lead parts such as violins and guitars, or synths and piano while a second bass chord is played. Next time you write a song, add some arpeggiated chords in the higher ends of the scale to add a glisten to your song, and don't be afraid to play with the notes in the scale you use - by that I mean the notes don’t need to be played in consecutive order up the scale, you can start low, going high and come back down again.
There is so much we could write on regarding these topics, like Turns, Trills, and much more in terms of musical theory and playing techniques - as well as how to stand out from the crowd! But for now, these key ingredients will give you much more to think about when trying to bring more life to your songs, we’re sure of it!
]]>Sale is open from September 15th to October 15th.
Offer is available both in JZ Microphones US Online Store and in our Partner Stores!
See our US Partner list here - US Dealers
]]>We are working hard and there are first results - this week we are shipping very first GTR mics.
More info about GTR1 HERE
JZ TEAM
]]>JZ Microphones are proud to announce the addition to their already well known product range. Named GTR1 - new dynamic microphone will be the first product specially designed for guitar amps in JZ Microphones catalogue.
GTR1 is a dynamic microphone specially designed for using together with guitar cabinets and combos. Professional dynamic microphone developed in best traditions of JZ Microphones provides users with extended frequency range (50Hz - 18kHz) to suite all kind of musical tastes, guitar sounds and genres. Neodymium magnet equipped cardioid capsule is housed in a handcrafted all metal body.
Pre-ordering is now available just for 99$ - here
JZ microphones blend radical aesthetics with innovative solutions. The HH1 is a good-looking mic, but as a hand-held dynamic mic there isn't much room for invention, at least with regard to shape.
"We prefer mics that possess a distinct character and offer few choices, helping speed up decisions. The HH1 is one of those mics" // Robbie Stamp
Review: Future Music 2014
]]>JZ HH1 Dynamic Vocal microphone
Latvian mic makers JZ have applied their unusual design approach to this hand-held vocal mic. Does it stand up to the competition?
“the hh1 held up very well, delivering
a natural and full-sounding vocal tonality with good intelligibility...”
Music China will open its door next week - 8 to 11 October 2014 at Shanghai New International Expo Centre!
1,775 music product suppliers from 29 countries and regions spread over 98,000sqm in nine halls, the exhibition housed the biggest selection of music products in Asia.
Everyone is welcome to visit our booth - #W2E18!
More information: http://music-china.hk.messefrankfurt.com/
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1. PREAMPLIFIER - MIC/LINE GAIN, LINE/INSTR.
The MIC/LINE GAIN control determines the level of preamplification for microphone and line or instrument signals. In standard mode you control microphone preamplification. Engage the LINE/INSTR. switch to control line or instrument signals.
The preamplification values for microphone signals cover a range from +8 dB up to + 63 dB. If the optional microphone input transformer is installed, the scaled values are to be increased by ca. +14 dB.
The preamplification values for line and instrument signals cover a range from -12 dB to +22 dB.
2. COMPRESSOR / LIMITER
COMPRESSOR
The COMPRESSION control sets the intensity of compression. Turning the control clockwise increases compression. The working area spans between 0 dB (fully left) and -32 dB (fully right).
The compressor applies the so-called “soft-knee” characteristic, which means it starts processing earlier than with hard-knee curve. Hard-knee compressors can sometimes gain more loudness, but they process abruptly and the danger to ruin a recording with compression artifacts is much higher. On the other hand the soft-knee compressor always helps very well to keep levels under control and ensures highest recording safety – and if there is a desire to gain further loudness, the signal can still be processed after recording.
At maximal compression it operates with a ratio of 1:3 between input and output signal – very effective dynamic processing are achievable with unobtrusive sound characteristics.
LIMITER
The LIMIT switch turns the compressor into a limiter. The COMPRESSION control now serves the purpose of controlling the threshold. The Limiter applies a “soft” characteristic and does not function as a peak limiter . In other words there is no guarantee that all peaks are limited. It is therefore advisable when driving a subsequent unit that a headroom of 2 to 4 dB remains. Peak limiters have a system-based disadvantage in producing audible distortions considerably sooner, so with regard to both sound quality and recording safety, we think the soft limiter mode is the better choice for a recording channel strip.
MAKE UP GAIN
With the MAKE UP GAIN control you can restore the overall level reduction caused by compression or limiting. With assistance of the GAIN REDUCTION display setting the MAKE UP GAIN control is made easy: If the maximal reduction value caused by the loudest tone amounts to -9 dB, for instance, the MAKE UP GAIN control should be set to values around +9 dB. If the compressor/limiter is now switched off the achieved gain in loudness will be audible.
3. DE-ESSER
This control serves to determine the intensity of S-sound reduction. Because processing is undertaken from comparison with the level of the entire frequency spectrum the processing is more intensive with extreme S-sound levels than with those of lower levels. This processing method achieves a consistent level of the remaining sibilants in the output signal.
TECHNOLOGY
In contrast to common de-essers based upon compressor techniques the SPL De-Esser makes use of the phase cancellation principle. It employs filters that process only the reducible “S-frequencies” but do not interfere with the remainder of the spectrum. The S-frequencies are detected automatically, the phase is inverted and mixed with the original signal. This method of operation has distinct advantages because it is unobtrusive and helps retain the original tonal quality. Compressor-typical side effects such as lisping or nasal tones do not occur. Finally its operation is as simple as pulling on the hand brake.
4.EQUALIZER
LMF
The center frequency of the half-parametric bass filter is set with the LMF control (low/mid frequencies). The adjustable frequency range lies between 30 Hz and 700 Hz so that this filter covers a range of about 4.5 octaves, allowing it to be used from the deepest bass to the lower mid range. This together with the MHF filter ensures that the entire frequency spectrum is covered.
The LMF-/+ control determines the boost or cut of the LMF filter; the maximum values lie between +/- 14 dB. The LMF filter also operates to the proportional-Q-principle.
The LMF filter can be applied in many ways. Examples are; to accentuate the fundamental sound of a voice, to cut “boom” frequencies and for placement of bass emphasized instruments during recording or subsequently when mixing etc.
MHF
The center frequency of the semi-parametric mid/high frequency filter is set with the MHF control. The frequency range can be set between 680 Hz and 15 kHz so that this filter covers a range of 4.5 octaves and can be equally employed in the lower mid as well as the high range. This together with the LMF filter ensures that the entire frequency spectrum is covered.
This control determines the boost, or cut of the MHF filter; the maximum values lie between +/- 12 dB. The MHF filter utilizes the proportional-Q-principle too. The filter construction permits the complete scope, from selective removal of accentuated frequencies through to character giving accentuations of an instrument, to be effectively and quickly covered.
AIR BAND
The high frequency filter in the equalizer module is described as the AIR BAND. A coil-capacitor-filter with so called bell characteristics and a center frequency of 17.5 kHz comes into operation here. At this frequency the maximum possible accentuation is +10 dB, the maximum possible damping is -10 dB.
The soft and natural tonal property, characteristic of the coil-capacitor filter, lends itself extremely well to provide clarity and ... well, air, to vocals in the upper frequency range, thereby improving their presence. On the other hand harsh sounds can be lent a more pleasant sound characteristic through damping.
Recently Latvian high-end microphone manufacturer company JZ Microphones came out with their two newst products – ‘JZ Track’ channel strip produced by SPL in Germany and ‘HH1’ their first dynamic microphone for live applications. In addition of that, JZ Microphones works not only on expanding their product range , but olso searches for new partners worldwide. The first great result is new partnership in United Kingdom - Hand in Hand Distribution. Whole product range will be available (..)
Hand in Hand Distribution Website: http://www.handinhand.uk.net/
Being one of the world’s leading audio colleges, specialising in sound engineering and music production – Alchemea College of Audio Engineering is now using JZ Microphones BH1s microphones instead of using the old AKG workhorses - 414 TL II. Neil Pickles , Director of Alchemea College, was already impressed with JZ Microphones products, using V11 microphones and JZ PF pop-filter. Right now students and tutors are using new BH1s microphones in lectures and studio sessions and they are not thinking to change this situation.
]]>Professional dynamic microphone developed in best tradiotions of JZ Microphones will provide users with extended frequency range to suite most vocal and instrumental micing needs. Neodymium magnet equiped cardioid capsule housed in a handcrafted all metal body with highly advanced shockmounting technology. Pouch and microphone clamp is included in the package.
Microphone is announced to be shipping from March 1, 2014 and assumed street price is 159$
JZ Microphones welcome everyone to check out new products and especially HH1 at NAMM Show 2014 in Anaheim, California from Jan 23rd to Jan 26th – booth 6946 located in Hall A .
HH1 Specifications
Dimensons 58 x 172 mm
Connector XLR-3
Frequency response 50 Hz – 18 kHz
Transducer principle dynamic
Wight 280 g
Pick-up pattern Cardioid
Sensitivity -74dB +/- 3dB
Nominal impedance 300 Ohm
Magnet type Neodymium
]]>Rafa Sardina – Jan 24 – 12:00 pm
Los Angeles based, eleven-time Grammy-winner, producer/mixer/engineer Rafa Sardina has built an eclectic and impressive client list in the recent years: Stevie Wonder, Lady Gaga, Michael Jackson, Celine Dion, Mariah Carey, Shakira, Dr. Dre, Beyonce, Michael Buble, Macy Gray and many others. He has received 34 Grammy Nominations, both American and Latin.
He is one of the biggest JZ Artists, who has been using multiple JZ Microphones products in his records. He will discuss the topic - 'JZ Microphones in my recordings'.
JZ Track is 1U mono unit Pre-amplifier completed with De-Esser, Compressor / Limiter stage, 3-band EQ stage, output stage with metering. Complete solution to record awesome vocals and instruments. This unit is made by SPL in Germany after JZ Microphones specifications. It is made to perfectly match impedance of JZ microphones and even more excel their unique characteristics and expanded harmonic range. The compressor can be linked with a second JZ Track compressor for coherent stereo operation of two units. Also JZ Microphones will offer optional AD Card with ADAT and SPDIF outputs.
„When JZ Microphones asked us to make a special channel strip for them we were excited and proud at the same time. Our Track One was the ideal starting grid for the 'JZ Track' project. Besides changing the looks we also did some nice refinements internally to give the JZ Track its individual sonic touch.“ unveils managing director of SPL, Hermann Gier.
JZ Microphones welcome everyone to check out new products and especially JZ TRACK at NAMM Show 2014 in Anaheim, California from Jan 23rd to Jan 26th – booth 6946 located in Hall A .
Product link: http://usashop.jzmic.com/products/jz-track
Pre-amplifer is announced to be shipping from February 1, 2014.
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JZ Microphones BT201 / Neumann U87Ai / Schoeps CMC6-UG
Drummer - Jekabs Zemzaris
Music from upcoming Sanctimony album
Recorded at Sound Division Studios
Video Link: http://www.youtube.com/watch?v=5T5RGxcK-PE&feature=youtu.be
HD WAV audio samples in this link:
https://soundcloud.com/jz-microphones/sets/mic-shootout-drum-overheads
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Whole product range is now available in all dealer locations.
You can find your dealer here: http://focuspro.info/en/where-to-buy_en/
Website: http://focuspro.info/en/
Mail: bessonov@pop-music.ru
]]>The Flamingo Series are top-of-the-line vacuum-tube studio microphones designed for high-end quality audio recording. Right now we offer 4 Flamingo series microphones - Standard, Vintage, Stereo and Magic Ear.
More information about these superb mics and prices here - http://www.jzmic.com/eng/jzstore/The-Flamingo-series
]]>JZ Microphones wants to know more about where, when and how their products are being used. Even more important – what everyday users think of them. This information is helpful to improve companies upcoming products. That’s why the company is offering this great chance to all its clients. The terms are simple - customers who create self-made JZ Microphones product reviews and put them on youtube.com or facebook.com, can get 10% rebate on any new JZ Microphones product. This applies to products purchased after August 16th, 2013. Please ask your nearest authorised dealer or contact JZ Microphones directly at rebate@jzmic.com
]]>After spending all life manufacturing and restoring microphones, chief engineer of JZ Microphones Juris Zarins is planning on opening a microphone museum. This museum will include exhibits from Mr. Zarins personal collection and also prototypes of JZ Microphones products. To ensure that everyone can participate in this initiative JZ Microphones offers a trade-in programm. Any studio microphone recieved by JZ Microphones will it’s previous owner a 20% discount on any JZ product. To take part please send an e-mail to museum@jzmic.com. Microphones can be returned to factory in Riga, Latvia or to warehouse in Los Angeles, USA.
Museum will be opened in factory building in Riga, Latvia as well as online with all exhibits available worldwide, to anyone with an internet connection, for free. Every item in the exhibit will have a short description, showing country of origin as well as comment from Mr. Zarins.
Website: http://www.jzmic.com/museum/index.php
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J1 will be housed in a flat shaped and grey coloured body with a shockmount already included in the set. Wire mesh grill will be covering the capsule with active diaphrragm of 21MM. This brand new capsule is produced using JZ Microphones patented Golden Drop technology.
Microphone is announced to be shipping from July 1, 2013 and assumed street price is 399 USD which makes it affordable to bedroom studios in the same time being tested and liked by professionals worlwide.
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