Sphere Mic Collection
Get the rich sound of vintage microphones.
Included with the UA Sphere DLX and LX mic modeling systems, the Sphere Microphone Collection plug‑in gives you the tones of legendary dynamic, ribbon, and condenser mics from Neumann,® Sony,® RCA,® AKG,® and more.
Get the classic microphone tones used on iconic records by Mary J. Blige, Stevie Wonder, and more
Record through legendary mics, including vintage models from Neumann,® Sony,® RCA,® and AKG,® in realtime with Apollo*
Audition mics, change polar pattern, and reduce room sound with IsoSphere, even after recording
Blend two different microphones with Dual Mode, or record in stereo with Sphere DLX
Want to learn more about the UA Sphere modeling microphone system?
Take a Listen
Included Mic Models
Included Mic Models
LD-47K (Neumann U47)
LD-49K (Neumann M49)
LD-67 (Neumann U67)
LD-87 (Neumann U87)
LD-12 (AKG C12)
LD-414 US (AKG 414)
RB-77DX Satin (RCA 77DX)
DN-12A (Vintage AKG D12)
DN-421N (Sennheiser MD421N)
LD-251 (Telefunken ELA M 251)
LD-800 (Sony C800G)
RB-4038 (Coles 4038)
See All Included Mic Models ›
Get the Sounds of the Greatest Mics ever Made
The UA Sphere Microphone Collection gives you the classic pro sounds of the world's most iconic microphones — including the stunning tones of highly‑coveted Sony C800G or Neumann U87 on vocals, and many more.
Find your Perfect Mic in Realtime with Apollo
Audition classic mics before, during, and after recording with any interface, in any DAW. And when paired with an Apollo interface, you can do this with near‑zero latency.
Create Pro Sounds Before and After Recording
With the UA Sphere Microphone Collection plug-in, you can dramatically sculpt your tones by changing the proximity effect and polar pattern before and after recording.
Reduce Room Sound for Better Recordings
Easily tame room coloration for cleaner, more professional recordings using IsoSphere and its expert presets tailored for everything from your bedroom studio to popular isolation filters from sE Reflexion Filters, Aston Halo, Kaotica Eyeball,* and more.
“Sphere is a gem! It gives you versatility of several mics and chains with the click of a mouse. It’s become my swiss army knife of microphones.”
– Antonio Dixon (Beyoncé, Toni Braxton, Babyface)
“If I was starting a studio today, I would start with Sphere.”
– Billy Bush (Garbage, Dolly Parton, Paul McCartney)
“The Sphere L22 sounds amazing on it’s own, the models are great, and I can record in stereo very quickly. It's almost like magic.”
– Cassidy Turbin (Beck, Keyon Harrold)
“I use the Sphere even when I have access to all the vintage mics it emulates. The possibilities it gives me that the ‘real’ mics don’t is invaluable. It’s become my preferred choice regardless of what else is in the mic closet.”
– Chris Baseford (Shinedown, Avril Lavigne)
“Being able to change microphones at the click of a button sped up my process and allows me to focus on getting my ideas down to tape. The Putnam 47 is my favorite 47 I’ve ever sang through and my main vocal tone now.”
– Danny Worsnop (Asking Alexandria, We Are Harlot)
“Sphere is fast, consistent, and it works really well.”
– Jason ‘Cheese’ Goldberg (Rich The Kid, Post Malone, YoungBoy)
“Using Sphere technology with Apollo, I can commit to the sound on the way in. At the touch of a button, I can fine-tune my mic selection, polar pattern, proximity, axis, and other settings, before I hit record.”
– Joe Chiccarelli (Jason Mraz, Beck, The Strokes, Morrissey)
“The open natural sound of the Sphere mic is quite impressive. Add the emulation software, and it becomes even more powerful. A great new tool for the mic locker!”
– Vance Powell (Jack White, The Dead Weather, The Raconteurs)*All trademarks are property of their respective owners and used only to represent the microphones and sound treatment modeled as part of the UA Sphere Microphone Collection plug‑in.
November 14, 2023
Super softwareRead More
November 14, 2023
Super softwareRead More
October 11, 2023
great mic modeling tool!!!Read More
October 7, 2023
Hi, it's wonderful piece. Buh the need a little bit of saturation, may but after the sphere effect on the back end or just show some love by...Read More
March 9, 2023
It needs time but... Top mic
After buy my TLM 103 i received the Sphere, and the plugin need some time but the results are amazing.Read More
January 20, 2023
Even though I'm a big fan of UAD hardware/software I only purchased the Sphere mic a couple of weeks ago and I love it.It's...Read More
Included Mic Models
Created in 1947, Neumann U47 has stood the test of time as the ultimate studio mic. Extensively used by The Beatles, Frank Sinatra, and countless others, only about 6,000 of these mics were produced. The Neumann U47 analyzed for this model has a fully brass capsule with a screw-mounted mylar diaphragm and a genuine VF14 tube.
The Neumann U87 was brought to market as a replacement for the U67, even though it sounds quite different. The LD-87 model is based on a mid-’70s version with a split backplate capsule which sounds slightly different from a modern 87. The high-pass filter and pad switch settings are also fully modeled.
Based on a current production Neumann U87Ai, the LD-87 Modern emulates this classic large-diaphragm FET condenser and defacto standard for broadcast, voiceover, and many other applications. The third 87-type mic in the Sphere Core Collection, the LD-87 Modern is slightly brighter than the LD-87 Vintage.
The LD-87 TK model is based on a Neumann U87 modified by Tracy Korby. The modification extends the 87's response at both the low and high end, giving it a more modern sound but without accentuating sibilance.
After the Berlin Wall fell, a warehouse was found with Neumann U67 parts on the East German side of the border. In 1991 a limited production of U67 reissues were made from these new-old-stock parts.
The Neumann U67 is a unique and wonderful mic that sounds warm without sounding dull. It shines on distorted guitar amps where it can reduce harshness while maintaining detail. The LD-67 model is based on a mid-’60s version with an EF86 tube and its high-pass filter and pad switch settings are fully modeled.
The Neumann U49 employs the same capsule used in the U47, but the response of the U49 is slightly smoother and less colored. The U49 also uses a Telefunken AC701 tube instead of the VF-14. The LD-49K model is based on a Neumann 49c, which was likely manufactured in the early ’60s and has a U47 capsule with a screw-mounted mylar diaphragm.
The LD-563 is based on an iconic East German bottle microphone from the mid-1960s. When set to cardioid, the model is based on an M7 capsule. When set to omni, the model is based on an M55k capsule. And in figure-8 the capsule used is an M8. The 563 with the M7 capsule is an absolute favorite for recording vocals, but it’s not a one-trick pony. It has also found much use as a room mic for drums and many other applications.
The LD-103 model is based on a Neumann TLM103 and gives you a nice presence peak in the 8 kHz to 12 kHz region.
A commissioned model of a current production SoyuzⓇ 017 TUBE large diaphragm microphone, created in partnership with Soyuz. It’s a modern classic that is 100% hand-built in Tula, Russia. Popular uses include vocals and acoustic instruments.
Used by countless icons from Frank Sinatra and Nat King Cole to Jimi Hendrix, the LD-37A is based on a classic '50s Sony C-37A. Compared to other tube condensers, this mic sports a warm, smooth sound while also keeping the "air" and detail. It excels on vocals, electric guitars, and horns but it's also a popular choice for toms and drum overheads.
A lesser known FET-version of the Sony C-37A, the 37P is slightly brighter and is an excellent choice for freshening up dull sounding sources.
The LD-12 model is based on the iconic AKG C12 from the ’50s, faithfully capturing its gorgeous high-end sheen and sparkle. The LD-12 is a great choice for lush, breathy vocals without overly accentuating sibilance.
The LD-251 is based on the Telefunken ELA M 251 built for export to the US which has a 6072 tube and an original fully brass capsule. The 251 is one of the rarest and most highly regarded microphones of all time. It is the go-to vocal mic for many A-list artists, including Beyonce.
The LD-800 model is based on the legendary Sony C800G. The 800G is often the perfect choice for a modern pop or hip-hop sound and is the go-to microphone for countless big-name artists, including Mariah Carey.
The original AKG 414 with a brass-ringed capsule is one of the greatest studio mics of all time. It uses the same CK12 capsule as the legendary C12, although just about everything else is completely different from the electronics to the body design. The LD-414 Brass is a perfect choice for drum overheads, snare drum, and acoustic guitar.
In the late ’70s, the AKG 414 began using a new capsule with a nylon mounting ring. The sound of these capsules are different and much of the high-end sparkle of the CK12 disappeared with the new capsule. While many people prefer the sound of the older capsule, the nylon version has a more neutral response which can work well on many sources.
The LD-414 US is based on one of the most ubiquitous condenser microphones of all time, the later-period AKG 414. The mic uses essentially the same nylon capsule as the later production AKG 414 EB, so the sound is quite similar although a bit more neutral.
The LD-414 T2 is based on a newer AKG 414 variant that was designed to recreate the sound of the old CK12 brass-ringed capsule but using a modern nylon-style capsule. While it is a good sounding mic, it never got all that close to duplicating the sound of the original 414s with CK12s. The sound is a bit "scooped" with less midrange compared to the previous versions.
The LD-BV1 is based on a German-made Brauner VM1 mic that has garnered a devoted following. The mic modeled is owned by engineer Billy Bush (Paul McCartney, Snow Patrol) and was used by singer Shirley Manson to record the theme for the James Bond film, The World Is Not Enough.
The SD-416 is based on an industry-standard shotgun microphone, commonly used in the studio for voice-over and ADR duties. It is the go-to mic for that big voice-over sound in Hollywood-produced movie trailers that we’re all so familiar with. The 416 also enjoys wide popularity in broadcast, tv, and film location sound.
The SD-451 is based on the AKG 451 modular end-address small diaphragm condenser mic which has become an industry standard. The full complement of capsule options are modeled, so you have all the flexibility of the original. The two 75Hz and 150Hz high-pass filter options are also modeled from the original.
Based on a Royer R-121 ribbon microphone with a fixed figure-8 pattern, this mic is unique in that the rear side of the figure-8 pattern is brighter than the front. It’s a good option when the standard sound is a little too dark. The easiest way to achieve this alternate sound is to set the Axis control to 180 degrees.
The RB-160 is an emulation of a vintage '60s Beyerdynamic M160 double ribbon microphone. It features a hyper-cardioid polar pattern, giving you excellent off-axis rejection, and it's famous for capturing the drum sound on Led Zeppelin's ”When the Levee Breaks."
The RB-4038 model is based on the Coles 4038 ribbon mic originally developed in the mid-’50s by the BBC and manufactured by STC (Standard Telephones and Cables). It excels on drum overheads and its inherent high-frequency roll off and large proximity effect are sometimes a liability at close distances, but at typical drum overhead distances it can have just the right balance.
The classic RCA 77DX is an iconic, multi-pattern ribbon that has graced the desks of many famous personalities, including David Letterman and Larry King. Countless musical legends, such as Bing Crosby, Ray Charles, Frank Sinatra, Elvis Presley, B.B. King and Johnny Cash, have also recorded with a 77. Wonderful for recording brass instruments, this mic is typically used with cardioid or figure-8 pattern, but the full complement of patterns from the original is provided.
The RB-77DX Umber model is substantially darker and smoother than the RB-77DX Satin model, and works well on brighter, more strident sources.
An industry standard, the Electro-Voice RE20 large-diaphragm dynamic microphone is used for everything from broadcasting and voiceovers to kick drums. The DN-20 captures the original mic's pleasant presence boost and sharp high-frequency dip that minimizes sibilance, as well as its consistent bass response regardless of its distance from the source.
Introduced in 1965, the Shure SM57 is very likely the best selling studio microphone of all time. It can be a particularly good option when blended with other mics, such as ribbons and large diaphragm condensers, to achieve an overall more balanced sound. The DN-57 model is based on a recent production SM57.
Based on the Shure SM7A, the same mic Bruce Swedien used to record Michael Jackson's vocals on Thriller, the DN-7 model captures the magic that has allowed it to hold its own with some of the best condensers ever made. The DN-7 is based on the "A" version, and when the Axis control is set to 180 degrees, the model emulates the mic without the windscreen installed. Some recording engineers prefer this sound and permanently remove the windscreen.
The DN-12A model is based on a dynamic microphone from the 1950s which has gained wide use as a kick drum mic for its very unique tonal qualities. The filter settings in the model are designed to complement this mic and can be used to achieve a more modern kick drum sound. The Proximity EQ control adjusts the amount of bass resonance in the model and is an easy way to dial in exactly the right sound.
The DN-12E model is based on a dynamic microphone which has gained wide use as a kick drum mic for its very unique tonal qualities. The later 12E version has an XLR connector on the bottom of the mic.
The DN-409N is based on the earliest version in the 409 line of microphones. It has slightly more coloration than the newer ones and works well on many sources, including electric guitar and vocals. Notable uses of the 409N include vocal duties for Pink Floyd's Live at Pompeii concert video.
The 409 is an all-around great mic but it especially shines on electric guitar. It has a smooth top end particularly for a dynamic mic and the low-end response below about 100Hz is greatly reduced which can help instruments and voice sit nicely in the mix.
This version is from the 1980s. The 409 is no longer in production and it sounds quite different, and arguably much better than modern incarnations, such as the 609 and 906.
The DN-421B is based on a current production black 421 which has a slightly brighter and modern sound than earlier incarnations.
DN-421N is based on a classic beige 421 from the 1960s. It has a slightly warmer sound than current production 421s. The 421 is unusual for a moving-coil dynamic microphone in that it has a large diaphragm. The larger diaphragm gives it greater low-end extension compared to typical dynamic mics, which makes it more suitable for recording bass instruments.
The DN-421S is based on one of the first 421 versions with a script logo. It has a slightly more colored sound than other 421s.
**Only available with the UA Sphere DLX microphone.
Sphere Mic Collection
great mic modeling tool!!!
Hi, it's wonderful piece. Buh the need a little bit of saturation, may but after the sphere effect on the back end or just show some love by giving us a saturation know. That adds depth bite and tighten.
Deceptive advertising for this mic
Nowhere in the description of the plug-ins does it say that “ the microphone is sold separately”
Naïvely I bought the plug-ins thinking that the microphone was included, I still have not found a way to talk to a real person about returning this plug-in since I do not have the sphere microphone
I can buy this for your microphone for $1000 at Sweetwater and it includes the plug-ins
So basically, their lack of thorough advertising cost me around $100
there is no Customer service been calling for weeks. I purchase my sphere but doesn't let me download the uad version on ua connect. But on here its saids I own it. Now there a reverb on my mic making it usable
It needs time but... Top mic
After buy my TLM 103 i received the Sphere, and the plugin need some time but the results are amazing.
Even though I'm a big fan of UAD hardware/software I only purchased the Sphere mic a couple of weeks ago and I love it.It's another really useful studio tool and the mic collection and the Ocean/Putnam packs give you a great pallet to give your source a great sound, great technology
The ONLY mic you’ll ever need
I can’t say enough about this Mic. The opportunities are endless and the thought of having serious gear just a click away is so inspiring. Firstly kudos to the Townsend team and secondly UA for recognising talent !!!! Perfect acquisition !!!! Go get it now ….
I want to be honest... I love this mic, even if not for it's intended purpose.
To keep this review short, the mic modeling doesn't "wow" me. It's not all that great, but the ability to change the axis, polar patterns, and just generally alter the nature of the chosen mic is invaluable. Not to mention, the microphone itself sounds AMAZING! It is, by far, the most wonderful sounding mic I've ever owned.
The mic modeling is more subtle than I expected, but still a nice treat. For me, though, it's all the other features that make this mic system 5-star awesomeness.
Simple et efficace
Peut importe le débat à savoir si les émulations sonnent comme les originaux : ça sonne la mort! :)
J. JAYBEEBABYSTUDIOS LLC
TOWNSEND LABS SPHERE
BEST MIC SYSTEM I ever owned!!!!!
Sphere L22 as a long time user.
I have been a user of the original Townsend Sphere for several years now. I own three and will be getting a fourth soon. Why? Because this microphone and its attached software change the game of recording completely. The ability to access a comprehensive collection of microphones that accurately portray the signature of the microphones modelled is unquestionably a first in our industry. I have been a recording engineer for over 45 years and have worked in the big professional rooms around the World, places with mic lockers that are representations of this great collection. Is the Townsend able to emulate them successfully? My word it does. Given that EVERY microphone and particularly vintage mics each have their own unique 'voice' the Sphere L22 is able to give a faithful representation of the microphone it is modelling and an accurate rendition of the signature of each one. Add to the standard software collect by getting the 2 available extension packs and you are in a World of heaven. I could go far more into detail of the other aspects of post production control, environment controls and the rather amazing IsoSphere feature but that would take too damn long to write. :-) Suffice it to say, this microphone delivers what it says it can.
This plugin is almost magical, the variety of mics that all sounds great with features like polar pattens and axis adjustments are just awesome.
Maybe a new standard was born
This plugin cannot be reviewed without Sphere L22 microphone separately. I have got this mic system as a promotional gift to my Apollo X6 converter, and as I was not interested especially and did not know what to think about, the mic stayed in its box for more than a month. But once when I had enough time to make some test recordings, the results were unbelievebly good way over my expectations. The ability to set proximity and angle of sound source after recording sounds a snake oil, but these are rather subtle and very useful sound design or de-essing tools without artifacts.
Good acoustic room treatment is important of course, but I have tried it in a small, slightly bad room and found more robust against imperfections like my U67.
Oh, and just another thing: L22 itself is a very good, balanced, not harsh mic, the plugin only makes it even better. Forget big brands' overpriced consumer line mics (you know what I mean), this system gives a lot more for your money.
A must in all studios
You can not ignore the sonic sound and versatile abilities of this beast ❤️
TOWNSEND LAB L22 first look
WOW! It is only just incredible! Thank You So Much. UAD.
So here’s all I did; my familiar daw is cubase and it’s coming in handy when testing items. Following the instructions on Townsend Lab quick start page doing what was instructed, I got audio in my phones. Set a level, added a familiar friend called FabFilterR. Then scrolled through to find the room sound I liked, then scrolled and scrolled through the L22 software until I discovered I was mesmerized and getting worse! (hahaaa) So I had to stop and place a review and get some hot tea.
So i have the vms mic emulations from slate and not to bad mouth them they are great but this townsend mic with the emulations are on another level it sucks that you need 2 preamps to run this mic but if you have 2 good mic pres you’re golden for any voice style /instruments very good job on this one
L. Casahuga Torregrosa
I would definitely buy it again
The townsend labs sphere plugin combined with the Sphere l22 microphone is a very good way to get the sound of legendary microphones and start setting up a studio with a large arsenal of mics at your disposal.