ROAD
TEST
Townsend Labs Sphere L22
Microphone Modeling System
By Michael Saracino
T
he quest to build up a well-round-
ed mic collection is an expensive
endeavour, especially if you have
your sights set on vintage mics of
the tube and ribbon variety. If you
happen to have a budget of $100,000-plus and
this poses no economic problem, you then have
to know the sonic characteristics of each micro-
phone, along with its polar pattern and sensitiv-
ity, and make the best choice for the voice or
instrument at hand. Since each vocalist will have
different sonic characteristics, you’ll often find
yourself A/Bing whatever suitable choices you
own, and taking a fair bit of time in the selec-
tion process before ever beginning full takes
of a song. In short, you’ll need lots of money
and lots of time.
Enter the Sphere L22 microphone system
from Townsend Labs. It aims to relieve these
constraints, and after putting it through its
paces, I’ve found it does a wonderful job.
Overview
The first question you’re likely asking is: “What
is it?” The Sphere L22 is a dual-element/dual-
output microphone with high SPL handling, a
super wide frequency response, and selectable
polar patterns. This high-quality microphone
becomes the blank canvas, so to speak, and
pairs with any two matched mic preamps and
an included software plug-in to emulate a wide
range of highly sought-after microphones that
would be out of reach for most home and project
studios – think the Neumann U47, AKG C12, etc.
It goes a fair few steps beyond emulating
classic microphones, though; its dual-element
design is always capturing a 360-degree field of
sound, which offers a number of advantages in
the software domain. The user can take emula-
tions of classic mics that may have had a fixed
polar pattern (ie. cardioid) and employ one of
the eight other available patterns (bi-directional
through to omni with nine total stepped incre-
ments), creating new possibilities with old studio
staples. The user can also adjust the polar pattern
after the initial recording in the mixing stage, of-
fering an unprecedented level of versatility.
Beyond emulating a single microphone,
the dual mode within the plug-in allows for
the blending of any two microphone emula-
tions on offer. To take it a step further, they have
W W W. C A N A D I A N M U S I C I A N . CO M
created a “180” version of the plug-in,
which takes advantage of the dual-el-
ement/dual-output design and allows
you to turn the mic sideways, 180 de-
grees, and record in coincident stereo.
In this mode, you can select a matched
pair emulation or two separate mics
of your choosing, widely expanding
the creative capabilities of this micro-
phone. The software itself is amazing
and comes free with purchase for both
Native and UAD formats. In addition to
selecting mics and polar patterns, it al-
lows you to manipulate their axis relative
to the source as well as the proximity
effect. This kind of control has not ex-
isted before and its implications for the
engineer/producer or self-recording
musician are huge.
In Use
In a self-recording musician configuration, I
loved having the confidence to track quickly
while being able to change anything I wanted
in the mix should it be necessary. For example,
I tracked a vocal with the U87 emulation and it
sounded great against the Gibson J45 acoustic
guitar it was paired with. When I added more
old-school electric guitar flavouring with a 1965
Fender Princeton reissue, I ended up wanting
a different vocal sound, so in the software, I
changed that vocal recording to an AKG C12
tube mic emulation blended 60/40 with a Coles
4038 ribbon mic emulation for a warmer, more
vintage flavour.
This kind of creative ability in the mix is un-
precedented and very liberating. If you hap-
pen to be recording other musicians, you don’t
have to waste their time trying every mic in your
arsenal, which is a game changer in terms of
workflow even in high-end studios.
The next question will inevitably be: “What’s
it going to cost me?” With a street price of about
$2,000, it is not exactly inexpensive, but for what
it offers, it’s a great value. Those who’ve priced
out a U87 know it comes in around $3,800, and
while it is legendary for a reason, it has one
sonic signature that it offers. The Sphere L22 has
a very solid emulation of the U87 along with 19
other microphones with the included plug-in,
and when combined with its ability to change
the mic selection, polar pattern, axis, proximity
effect, etc. after the recording has taken place, it
becomes apparent the value is not only in the
sound, but in a new realm of creative mixing
possibilities.
If you’re a UAD user, they offer two addi-
tional paid plug-ins designed for the Sphere:
the Ocean Way Mic Collection and the Putnam
Mic Collection, both featuring a plethora of
interesting mic choices modelled from their
exclusive mic lockers. I had the chance to test
out both and they add to the sonic palette of
the Sphere greatly.
Summary
I own some industry-standard mics from AKG,
Neumann, Sennheiser, and Shure, and this mic
does a fabulously close job in its emulations
when A/B’ed in a shootout. Even though I often
gave the original a slight edge, the versatility of
this microphone would make it my “go to” on
just about anything.
For the record, I ended up buying this
microphone, because once I put it into play,
I couldn’t imagine losing the advantages it
brings to a production.
Michael Saracino is a musician and music producer
based in the Niagara region. He performed live over
400 times in 2018 and to date has performed in 11
countries across four continents. His focus for 2019
is the recording of an EP for a summer release and
he will be reviewing some of the tools he uses in the
process at his home-based facility.
CANADIAN MUSICIAN
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