Audio Samples

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FAT HEAD II With Lundahl:

Sample courtesy of Jim Messina

After I heard the Fender Hot Rod amp with your mics, I erased every guitar part on the track and started over. Your mics sound so good, it was the only choice I could make. You have a great product! - Jim Messina

X15 and FAT HEAD:Sample:
Courtesy of The Disney

Sax Quartet and John Marsden

The MP3 samples were recorded by the Disney Quartet on the live-to-air jazz concert for a local public radio station in Orlando Fl. John Marsden put up the Cascade X-15 stereo ribbon (which was responsible for 75% of the signal) in a X-Y configuration along with the FAT HEAD as a mono and let the musicians do what they do best. John's reaction: WOW - total warmth with air on top - you can hear where every musician is located and all the subtleties of their playing - and the self compression of these mics is just so SWEET!!

FAT HEAD II With Lundahl:

Ian London Productions -

Samples courtesy of Ken Wallace

Ken Wallace is a Grammy Award winning recording & mix engineer with credits on a number of Gold and Platinum albums. Ken particularly likes recording a live rhythm section, playing in the studio. He says, "It's more challenging, to make a better sounding recording." His emphasis is always on accurate mic techniques, unique room effects, and bringing as much personality to a session as possible.

Neil's talents have led Neil to work with Steve Vai, Steve Lukather, and Larry Carlton among others. He is a Grammy award winning engineer who especially likes his FAT HEADS as drum overheads and on guitar amps. Neil told us that he is especially happy with the FAT HEADS as overheads on his drum recordings, and was really impressed with the image of the drum set that they presented.

FAT HEAD II With Lundahl:

Majestic Silver Strings-

Recordered By Mike Poole

We have been very fortunate to have Mike Poole and Buddy Miller as supporters of our microphones over the years. These are samples that Mike rerecorded for the Majestic Silver Strings project featuring Buddy Miller, Bill Frisell, Marc Ribot and Greg Leisz.


Mike Poole Nashville Audio Engineer Recent Clients: Robert Plant, Buddy Miller, Martina McBride, Ricky Skaggs, Rick Trevino, Patty Griffin and many more.

"I just finished a few days of tracking on a project with modern jazz drummer Dave King, most widely known for his work as a member of the avant-garde trio The Bad Plus. For Dave's kit I used a four-microphone setup, of which two- the overheads- were Cascade Active/Passive Fatheads.


They worked perfectly for this application and gave us exactly what we needed- a good sonic image of the kit with no hype or brittle top end, enough lows to cover the toms well, and enough sensitivity to pickup all the detail on the snare and cymbals. Dave was loving the way the drums were sounding, and was impressed with the performance of the A/P Fatheads.


Samples courtesy of Mitch Malloy

FAT HEAD II With Lundahl:

Scott Sharrard-Guitarist


"Didn't Wanna Fall In Love" and "Twilight Angel"

Samples courtesy of Scott Sharrard and Charles A. Martinez.


Gregg Parnell Trio - Samples courtesy of John Marsden..Horn Samples


Samples courtesy of Aaron Levinson


Elroy Tube Condenser:

Sample courtesy of Larry Hoopen and John Mardsen


Larry Hoppen, lead singer for Orleans, the voice of "Still The One, Dance With Me, Love Takes Time, Dancin' In The Moonlight"

FAT HEAD With & Without Lundahl


FAT HEAD II Samples freaturing stock

and Lundahl transformer

VIN-JET With & Without Lundahl


VIN-JET Samples freaturing stock and Lundahl transformer


Courtesy of Michael (Smitty) Smith

Samples were recorded using Neve Portico 5012 preamp. We used two (new, out of the box) Reissue Fender Deluxe Reverb amps with consecutive serial numbers. In addition we also used a Radial Big Shot switcher to divide the guitar signal equally into the two amps. The samples were recorded direct to hard disk with no EQ or compression. It's our opinion that this method offers a very effective way to record multiple samples for comparison. The fact that we used two separate matching amps with isolation represents a more accurate difference between the microphone and transformer options as where positioning two microphones on one amp can produce bleed and skew the true results.


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