The APEX 460 Vacuum Tube Condenser Microphone continues to raise the bar on performance while continuing to lower the price barrier for studio quality microphones. The APEX 460 Tube Microphone is an aggressively priced, yet superior sounding, large diaphragm studio condenser capable of competing easily with much more expensive microphones in this class.

One unique feature of this microphone is the nine different selectable polar patterns easily available from the selector switch on the front panel of the external power supply. Rather than limiting the user to the three popular patterns (Omnidirectional, Cardioid, and Figure Eight pattern) most commonly available, the APEX 460 has three gradient stages between each pattern. This allows the studio engineer or home recordist far more versatility. In vocal applications where an omnidirectional pattern isn't quite 'fat' enough, but cardioid is too narrow, you now have three additional steps to find the right subtle mix between the two standard patterns. There are also three additional steps between cardioid and figure-8 pattern.

Improved quality in affordable recording equipment has brought serious power to the home studio enthusiast or small project studio. The microphone is the first, and often most important link in the signal chain. The APEX 460 is high performance, yet truly affordable large diaphragm condenser microphone. They are an outstanding choice for the main microphone for any professional studio, home studio, or any of the computer based direct to hard drive recording systems now available.

Due to their rugged construction, high SPL handling capability and affordable price, the APEX 460 is also an outstanding choice for live sound reinforcement or live recording. They have proven themselves as overhead mics for drum kits, for guitar or bass cabinets where superior sound quality and high sound pressure handling is required, or as the mic of choice for saxophones, flutes, acoustic guitars or acoustic bass where subtlety and clarity is paramount.

Vocalists can use the proximity effect to their advantage, adding fullness and more "bottom end" to the voice. Experienced vocalists can easily incorporate it part of their overall microphone technique. Again, experimentation with mic placement during the recording process is the key. The omnidirectional polar pattern does not exhibit this effect.