Universal Audio SP-1 Standard Pencil Microphones with Hemisphere Modeling

Get Album-Ready Stereo Sound
As a matched stereo pair, SP‑1s add clarity, width, and dimension to your recordings. Whether it’s tight X/Y patterns or spaced pairs, combine them how you want and hear the detail in your instrument like never before.

Capture Your Best Recordings, Anywhere
The SP-1’s classic cardioid design, high SPL tolerance, and smooth, clear top-end deliver consistently clean capture of acoustic guitars, drum overheads, percussion, horns, and more — at any volume, in any environment.

Find Your Sound, with Style
We engineered the SP-1 pair to be your everyday choice for stereo recording. With a retro finish and road‑worthy build, these stylish condensers are a serious studio upgrade, with vintage elegance for days.

Sound Like the Pros with Apollo Interface Presets
Take the guesswork out of getting professional sounds with Apollo's custom SP‑1 mic presets. Get the perfect preamp, EQ, and compression settings for adding shimmer to cymbals, or bolstering horns and stringed instruments with rich stereo sound.

SD-54
This classic small-diaphragm condenser features a thin nickel diaphragm, delivering clear mids and open top end. It is a go-to in pro studios and has been used to record such greats as Larry Carlton, Ry Cooder, Yo Yo Ma, Joe Pass, Kenny Burrel, and Eric Clapton.**

SD-56
A side-address condenser featuring a dual nickel diaphragm in cardioid mode, coupled with the legendary AC701 tube. Its silky top end and pillowy lows are useful on anything from guitars and grand piano to vocals.

SD-84
This modern cardioid condenser is prized for its detailed top end. It can be found in studios and stages around the globe, and has been used by artists such as Anderson Paak, Mac DeMarco, and Johnny Marr.**

SD-86
With its back-to-back KM84 type capsules in cardioid mode, this prized condenser delivers crisp top end and mellow midrange — a sound which you can hear on the countless Motown classics it was used on.

SD-451
This modular end-address condenser mic has become an industry mainstay for its forward, bright tone. Its 75 Hz and 150 Hz low-cut filters make it useful for a wide range of sources, from pianos to snare drum bottoms and overheads.