There are moments in recording when somebody appears at an issue that has existed for many years and asks a splendidly easy query.
Why has no one finished this earlier than?
That’s precisely what occurred with the JZ Microphones MU-1, a microphone designed by Grammy-winning producer, recording engineer and mixer Marc Urselli. On paper, the concept sounds virtually apparent. Put a ribbon factor and a large-diaphragm condenser capsule inside the identical microphone. Be sure that they’re phase-aligned. Be sure that they’re level-matched. Give the engineer each sounds individually, from one supply, on one stand, with out the standard alignment complications.
In follow, that may be a enormous achievement.
The MU-1 is described by JZ Microphones because the world’s first ribbon and large-diaphragm condenser hybrid studio microphone. It combines the heat and physique of a ribbon with the readability and element of JZ’s Golden Drop™ large-diaphragm condenser capsule, housed in a single phase-coherent microphone design.
That distinction issues. The MU-1 isn’t merely pairing a ribbon with a small condenser factor. It combines a ribbon with a real large-diaphragm condenser capsule, giving engineers two separate, phase-aligned indicators that may be recorded, processed and blended with full management.
That’s the place it turns into very thrilling.
Obtain the MU-1 multitracks right here:
https://producelikeapro.lpages.co/chris-st-hilaire-bad-day-form/
You will get the JZ Microphones MU-1 right here:
Use the code PLAP10 at checkout for an extra 10% off the MU-1 preorder.
Ribbon Heat, Giant-Diaphragm Condenser Element
The MU-1 isn’t merely a microphone with two tonal choices. It’s a recording system in a single physique.
It offers you the element, air and immediacy of a large-diaphragm condenser, together with the heat, weight and pure smoothness of a ribbon. Extra importantly, it permits you to file these components individually and mix them in no matter approach the supply, the music and the combo require.
JZ’s design makes use of impartial twin outputs by way of a 5-pin XLR break up, that means the ribbon and large-diaphragm condenser indicators will be recorded individually and blended later. That opens up an enormous quantity of flexibility. You possibly can deal with the large-diaphragm condenser and ribbon like two completely aligned microphones, nonetheless you wouldn’t have to take care of two stands, two placements and the fixed fear of part cancellation.
The MU-1’s patent-pending hybrid capsule structure is the guts of the design. The ribbon and large-diaphragm condenser components are constructed to work collectively, phase-aligned and level-matched, so that they mix naturally.
For anybody who has spent years placing two microphones on a guitar amp, a piano, a bass cupboard, a vocal or a horn, it is a huge deal.
A Microphone Born From Actual Studio Issues
Marc Urselli is strictly the form of particular person you’d need designing a microphone like this. He isn’t approaching it as a theoretical train. He’s approaching it as somebody who data actual musicians, in actual rooms, day by day.
Marc is a Grammy-winning producer, engineer and mixer with greater than 30 years of expertise, and his credit embrace Lou Reed, Nick Cave, U2, Elton John, Jeff Beck, Buddy Man and Les Paul.
He’s additionally a severe microphone connoisseur. Within the interview, Marc mentions proudly owning someplace within the area of 300 to 350 microphones, with a big portion of them being ribbons. That’s not informal enthusiasm. That could be a lifelong obsession with tone, texture and the way in which totally different microphones reply to actual devices.
Marc has additionally been a JZ Microphones consumer since round 2010 and has lengthy relied on the JZ Black Gap in his studio. The MU-1 makes use of JZ’s Golden Drop™ large-diaphragm condenser capsule expertise, and Marc particularly references his love for the Black Gap capsule household through the session.
The thought behind the MU-1 got here from his years of mixing ribbon and large-diaphragm condenser microphones. Like many people, Marc would use one microphone for physique and one other for element. The issue was all the time the identical.
Part.
When two separate microphones are positioned on the identical supply, even tiny variations in distance can change the sound dramatically. Transfer one microphone barely and the low finish shifts. Change the angle and the midrange modifications. Ask a sax participant to take a seat down midway by way of a session and now you’re transferring two stands, checking alignment once more and hoping the connection nonetheless works.
The MU-1 solves that by placing the ribbon and large-diaphragm condenser components collectively in a single microphone.
One stand. One place. Two separate sounds. No part guessing.
The Giant-Diaphragm Condenser Facet
The big-diaphragm condenser factor within the MU-1 offers the microphone its readability, focus and prolonged element.
JZ’s Golden Drop™ expertise is a significant a part of this. The corporate describes the design as making the capsule diaphragm lighter, permitting it to maneuver quicker. The result’s improved readability and precision, with decreased colouration and distortion.
In sensible phrases, the large-diaphragm condenser facet is what brings articulation.
On a vocal, it offers you breath, consonants and immediacy. On piano, it offers you the assault of the hammers and the harmonic element. On guitar, it offers you the higher midrange chunk that helps the instrument converse in a dense combine. On drums, it captures cymbal definition and transient data.
In different phrases, it offers you the data.
That doesn’t imply it has to dominate the sound. One of many nice issues concerning the MU-1 is that the large-diaphragm condenser can be utilized because the element layer. You possibly can deliver it in simply sufficient to provide the supply definition, whereas letting the ribbon present the burden and physique.
That could be a very musical technique to work.
The Ribbon Facet
Ribbon microphones have a particular place in recording historical past. So lots of the data we love had been made with ribbons. They’ve a approach of presenting sound that feels pure, clean and three dimensional.
The ribbon facet of the MU-1 brings girth, low finish and a darker, extra forgiving prime finish. On vocals, that may be extremely helpful when a singer has loads of sibilance. Fairly than instantly reaching for EQ or a de-esser, you possibly can merely lean extra on the ribbon facet. It smooths the voice naturally, with out making it really feel processed.
On bass, the ribbon offers you dimension and heat. On guitar amps, it offers you thickness and room interplay. On drums, as a result of the ribbon has a figure-of-eight pickup sample, it captures extra of the room and ceiling reflections, giving the overheads a way of area {that a} cardioid condenser alone won’t ship.
That is without doubt one of the most fascinating issues about this microphone. The 2 components should not simply two EQ curves. They behave in a different way. The big-diaphragm condenser offers you a centered seize with readability and element. The ribbon offers you physique and, relying on the supply and placement, a higher sense of the room.
Mix these collectively and you aren’t simply altering tone. You might be altering the connection between direct sound, physique and area.
Obtain The MU-1 Multitracks
The most effective methods to know the MU-1 is to listen to it for your self inside an actual session.
We’re making the multitracks from this demo obtainable so you possibly can obtain them, deliver them into your personal DAW and experiment with the microphone precisely the way in which we did within the video.
It is possible for you to to listen to the ribbon and large-diaphragm condenser components individually, mix them collectively, course of them independently and actually expertise what makes this microphone so distinctive.
Strive the MU-1 on vocals, piano, bass amp, electrical guitar, drums and clarinet. Push the ribbon. Push the large-diaphragm condenser. Use one for physique and the opposite for element. Compress them in a different way. EQ them individually. Mix them collectively and listen to how phase-coherent they’re.
Obtain the MU-1 multitracks right here:
https://producelikeapro.lpages.co/chris-st-hilaire-bad-day-form/
Significantly, obtain the multitracks when the hyperlink is stay, put them into your personal session and hearken to what occurs if you mix the ribbon and large-diaphragm condenser components collectively. It’s the quickest technique to perceive why this microphone is so helpful.
You may as well get the JZ Microphones MU-1 right here:
Use the code PLAP10 at checkout for an extra 10% off the MU-1 preorder.
Piano, 4 Faders And Countless Potentialities
Within the session, Marc begins the demonstration with piano. The recording makes use of a pair of MU-1s, which suggests 4 channels in complete, the large-diaphragm condenser left and proper, and the ribbon left and proper.
With all 4 components collectively, the piano sounds full. Then Marc solos the large-diaphragm condensers. You hear the element, definition and prime finish. Then he solos the ribbons. Instantly, the piano turns into rounder, thicker and extra grounded.
The actual magic occurs when he begins mixing and matching.
You possibly can take the low finish from the ribbon and the excessive finish from the large-diaphragm condenser. You possibly can favour the ribbon if the piano wants extra physique. You possibly can deliver up the large-diaphragm condenser if the association wants extra articulation. As a result of the 2 components are phase-coherent, you aren’t combating cancellation when you make these choices.
That’s extremely highly effective.
Additionally it is a really fashionable approach to consider recording. We frequently speak about committing sounds on the way in which in, and I completely consider in that. Nonetheless, the MU-1 allows you to decide to a terrific microphone place whereas nonetheless preserving tonal flexibility. You aren’t fixing a nasty recording later. You might be giving your self two genuinely helpful variations of the identical efficiency, captured from the identical place.
Bass, Low Finish And Presence With out Part Issues
Bass is one other good instance.
For years, many engineers have recorded bass utilizing each a DI and a microphone on the cupboard. The DI gives low finish stability. The microphone gives character, speaker tone and midrange presence. The problem, once more, is getting the 2 indicators to take a seat collectively.
With the MU-1 on a bass amp, you should utilize the ribbon for the burden and low finish, then deliver within the large-diaphragm condenser for definition. When you want extra assault, add extra large-diaphragm condenser. If the bass feels too vivid or too ahead, lean into the ribbon.
Marc makes the purpose that this method speaks on to how many people combine bass. We frequently separate the job into two emotional classes. One factor offers us the muse. One other offers us the character.
The MU-1 offers you each, from one microphone.
Vocals, Sibilance And A Smarter Method To De-Ess
The vocal demonstration is without doubt one of the most helpful components of the session.
Marc explains that if a singer has loads of sibilance, he typically favours a ribbon microphone as a result of it naturally reduces that harsh, spitty prime finish. With the MU-1, that turns into much more versatile.
You possibly can file each the large-diaphragm condenser and ribbon at full vary. If the large-diaphragm condenser offers you an excessive amount of sibilance, you should utilize a de-esser or multiband compressor on simply the condenser channel. Then, as a result of the ribbon continues to be offering the physique of the vocal, the voice doesn’t collapse when the sibilant frequencies are decreased.
That could be a improbable method.
Whenever you de-ess a single vocal microphone too aggressively, you possibly can generally hear the vocal duck, boring or momentarily disappear. With the MU-1, the ribbon fills within the hole. You possibly can management the harshness of the large-diaphragm condenser whereas preserving the pure weight of the efficiency.
Then, as soon as the 2 components are balanced, you possibly can deal with them as a mixed vocal sound. You possibly can EQ the mix, compress it and place it within the combine like some other vocal. The distinction is that you’ve got formed the tone on the supply in a way more pure approach.
Drums, Overheads And Room Character
For drums, the MU-1 opens up an enchanting method to overheads.
Within the session, the drums had been recorded with further microphones on kick, snare and hi-hat, nonetheless the MU-1s had been used as overheads. As soon as once more, the large-diaphragm condenser and ribbon components every inform a distinct a part of the story.
The big-diaphragm condenser overheads provide the cymbal definition and transient data. The ribbon overheads provide you with extra physique and extra room. As a result of the ribbon is figure-of-eight, it hears extra of the setting across the equipment, together with reflections above and behind the microphone.
That offers you a really fascinating mixing possibility.
You might compress the ribbon overheads extra aggressively, virtually as in the event that they had been room microphones, whereas conserving the large-diaphragm condenser overheads cleaner and extra open. That permits you to add pleasure, motion and dimension with out shedding the complete frequency image of the equipment.
In impact, a pair of MU-1s over a drum equipment can behave like overheads and room mics on the similar time, relying on the way you steadiness and course of the 2 components.
Electrical Guitars, From Basic Pairings To A New Strategy
Electrical guitar is one other space the place two microphone methods are deeply established.
For years, Marc typically used a dynamic microphone and a ribbon on guitar cupboards. That mixture makes good sense. The dynamic offers you midrange punch and aggression. The ribbon offers you depth and smoothness.
With the MU-1, Marc has moved in the direction of large-diaphragm condenser and ribbon as an alternative.
That offers you a distinct form of flexibility. The big-diaphragm condenser brings readability, higher midrange and chunk. The ribbon brings girth, heat and a way of area. The result’s a guitar sound that may be formed in a short time, with out having to fret about two separate microphones being barely out of alignment.
For heavy guitars, that may be an enormous benefit. Part points on guitar cupboards could make the sound smaller, thinner or much less centered. The MU-1 offers you the power to mix two complementary tones whereas conserving the centre of the sound strong.
That’s precisely what you need when guitars should really feel huge, highly effective and emotionally linked to the monitor.
Clarinet, Horns And Why Ribbon Mics Really feel Pure To Gamers
Some of the revealing components of the dialog is Marc’s rationalization of why horn gamers typically love ribbon microphones.
His idea is sensible.
When a saxophone or clarinet participant hears themselves whereas enjoying, they don’t seem to be listening to the instrument from the entrance, the place all of the brightest data tasks out into the room. They’re listening to it from behind the instrument, together with the return of the room. That perspective is of course darker and smoother.
So if you put a vivid large-diaphragm condenser in entrance of a horn participant, they might say, “That doesn’t sound like me.”
Whenever you put a ribbon in entrance of them, it typically feels extra acquainted. It represents the instrument extra just like the participant experiences it.
That could be a lovely perception, as a result of it reminds us that recording isn’t just about technical accuracy. It’s about emotional recognition. Does the participant really feel represented? Does the sound encourage them? Does it really feel like their instrument?
The MU-1 permits you to seize that ribbon heat whereas nonetheless mixing within the large-diaphragm condenser element when the combo wants it. For clarinet, saxophone, brass and woodwinds, that could possibly be extremely helpful.
Handcrafted In Latvia
Like all JZ microphones, the MU-1 is hand made in Latvia. The microphone contains a strong all-metal physique designed for sturdiness and reliability in skilled studios.
That issues. A microphone like this isn’t simply an fascinating idea. It has to outlive actual periods, actual stands, actual artists, actual journey and actual studio life.
JZ Microphones has constructed its repute round precision manufacturing, distinctive capsule design and constant construct high quality. The MU-1 continues that custom, whereas including one thing fully new to the corporate’s vary.
The microphone comes with a 5-year guarantee and is equipped as a whole studio package deal.
Preorder, Pricing And Availability
On the time of writing, the JZ Microphones MU-1 is accessible for preorder straight from JZ Microphones.
The listed preorder sale value is $1,982.48, decreased from the common value of $2,478.35, with tax included. Even higher, you may get an extra 10% off through the use of the code PLAP10 at checkout.
JZ lists the microphone as transport in August 2026.
You will get the JZ Microphones MU-1 right here:
Use the code PLAP10 for an extra 10% off.
For a microphone that mixes a ribbon and large-diaphragm condenser into one phase-aligned, level-matched hybrid design, that’s an intriguing proposition. As a substitute of shopping for two separate microphones, organising two stands and consistently managing part, the MU-1 offers you a purpose-built dual-output system in a single microphone physique.
The code is PLAP10, and it offers you an extra 10% off the MU-1 preorder.
5 Years In The Making
The MU-1 was not an in a single day concept. Marc says the idea had been in his thoughts for years, and the precise improvement took round 5 years from the purpose the place he determined somebody wanted to construct it.
The earliest prototype started with a primary microphone physique, a buddy in Italy who may assist with the electronics and Marc’s want to show the concept in actual recording periods. As soon as he began making data with the prototype, he realised he didn’t need to return.
That’s all the time the signal of a significant studio device.
Not as a result of it appears spectacular. Not as a result of it sounds intelligent on a spec sheet. As a result of as soon as you utilize it, you miss it when it’s gone.
Marc ultimately introduced the concept to JZ Microphones, an organization he already had a protracted relationship with. Their willingness to suppose in a different way made them the suitable accomplice. The result’s the MU-1, a microphone that takes a quite common studio method and locations it right into a single, elegant recording device.
Why The MU-1 Issues
What makes the MU-1 thrilling isn’t merely that it combines two microphone varieties. It’s that it combines two philosophies.
The big-diaphragm condenser offers you precision, velocity and element.
The ribbon offers you heat, weight and pure musicality.
Collectively, they will let you make choices that used to require a number of microphones, a number of stands, cautious placement and fixed part checking. The MU-1 offers you that flexibility with out the standard compromise.
For vocals, you possibly can management sibilance in a extra pure approach.
For bass, you possibly can mix weight and presence.
For piano, you possibly can steadiness physique and articulation.
For drums, you possibly can mix overhead readability with room-like ribbon depth.
For guitars, you possibly can form chunk and girth from one place.
For horns and reeds, you possibly can seize the darker, extra acquainted tone gamers typically love, then add element as wanted.
That’s what makes this microphone particular. It’s not a novelty. It’s a sensible studio resolution.
Ultimate Ideas
Each infrequently, a bit of recording tools comes alongside that feels much less like a brand new gadget and extra just like the logical reply to a query engineers have been asking for years.
The JZ Microphones MU-1 is a kind of concepts.
It takes one thing we already love doing, mixing microphones for tone, and makes it simpler, extra dependable and extra versatile. It offers us the richness of a ribbon and the readability of a large-diaphragm condenser, with out forcing us to decide on one over the opposite.
Most significantly, it retains the engineer in management. You possibly can favour the ribbon. You possibly can favour the large-diaphragm condenser. You possibly can course of them individually. You possibly can mix them collectively. You need to use them subtly or dramatically.
That’s the form of flexibility that doesn’t get in the way in which of creativity. It enhances it.
And after listening to it on piano, bass, vocals, drums, guitars and clarinet, it’s simple to know why Marc Urselli says he has been utilizing the MU-1 someplace on each session since receiving the primary manufacturing mannequin.
It’s a splendidly easy concept.
Additionally it is extremely helpful.
You possibly can obtain the multitracks from the session, hear the MU-1 for your self and experiment with mixing the ribbon and large-diaphragm condenser components in your personal combine:
https://producelikeapro.lpages.co/chris-st-hilaire-bad-day-form/
Obtain the multitracks, pull them into your DAW and take a look at the ribbon and large-diaphragm condenser mix for your self. That’s the actual check.
You will get the JZ Microphones MU-1 right here:
Use the code PLAP10 at checkout for an extra 10% off the MU-1 preorder.
Have a marvellous time recording and mixing.
