In this article
Unlock the sound of the world's greatest mics.
Using the same award-winning tech as our UA Sphere modeling microphones, the Hemisphere Mic Collection gives you the authentic sound of iconic mics using your UA Standard Series microphones — in realtime with Apollo or natively in your DAW.
- Access the legendary sound of iconic dynamic, ribbon, and condenser mics, free with any UA Standard Series mic
- Easily audition mics, tweak proximity effect, filters, and axis controls, even after recording
- Experience the rich sound of iconic mics from Neumann, Sennheiser, AKG, and more*
- Record "through" vintage mics in realtime with near-zero latency using Apollo interfaces
*All trademarks are property of their respective owners and used only to represent the microphones and sound treatment modeled as part of the Hemisphere software.
Hemisphere Mic Collection
Understanding Hemisphere versions
Your Hemisphere plug-in is available in two versions.
- UAD-2 (DSP): With Apollo hardware, you can monitor or record through Hemisphere in realtime with near-zero latency. The DSP version also runs on UAD-2 DSP Accelerators.
- UADx (Native): Without Apollo or UAD-2 hardware, you can monitor or record through Hemisphere with buffer latency as low as your system will allow with software monitoring through your DAW.
Tip: With both DSP and native versions of Hemisphere, you can apply mic modeling and other processing after recording.
Installing Hemisphere
The Hemisphere Mic Collection is a free plug-in for all UA Standard Series microphone owners. To register your mic and get Hemisphere, use the UA Connect app.
- For instructions on how to install UA Connect, see the article Getting Started with UA Connect.
- To register your microphone with UA Connect and install Hemisphere plug-ins, see the article UA Connect with UA Microphones.
- To download UA Connect, go here.
Using Hemisphere
Hemisphere can be used with any UA Standard series microphone, such as SD-1, SP-1, or SC-1. You can use Hemisphere to change the mic model and adjust other microphone parameters, such as proximity effect, axis, and mic filter settings. These changes can be made in Hemisphere before, during, and/or after recording.
The Hemisphere Mic Collection plug-in is detailed in the following image.
Choose your source microphone
- Click the source microphone (the smaller mic at lower left of plug-in) to open the source microphone selector window.
- Double-click your UA Standard microphone hardware to choose it and close the window. To choose a microphone without closing the window., single-click the microphone. Click the X at the top right of the window when you want to close it.
Choose your mic model
- Click the mic model (the large mic at center of the plug-in) to open the mic model selection window.
- Double-click a mic model to choose it and close the selection window. To choose a mic model without closing the selection window, single-click the microphone. Click the X at the top right of the window when you want to close it.
To choose the next or previous mic model, hover over the mic model on the Hemisphere plug-in’s main screen, then click the arrow at the left or right of the mic model to go to the next or previous model.
Click the mic image or type. You can also use the up/down/left/right arrows on your computer keyboard to navigate between mics.
Tip: Click the ⓘ at the top of the main Hemisphere plug-in screen to show or hide info for each mic model.
Available mic models
Each UA Standard Series microphone offers a different selection of mic models that correspond to the technology and physical characteristics of the source microphone. Complete descriptions are available later in this manual.
Mic models available for UA SP-1 source microphone
Mic models available for UA SC-1 source microphone
Mic models available for UA SD-1 source microphone
Mic models available for UA SD-3 source microphone
Mic models available for UA SD-5 source microphone
Mic models available for UA SD-7 source microphone
Adjust mic filter settings
You can adjust mic model filter settings with the Filter control. Each mic model includes three mic filter settings. In some cases, these correspond to real switches or settings on the mic model. When the mic has less than three settings or switches, or when the mic has no filter options, filter settings have been added to provide more flexibility.
As you adjust the Filter control, the label below the knob changes to indicate the current filter setting. When you release the control, this text goes away.
Note: These values are displayed as Off, Low, Med, and High in parameter automation lanes.
Adjust mic proximity
The Proximity control models the changes in microphone response when moving the microphone closer to or further from the audio source.
Proximity tips
- Adjust the proximity control clockwise (above 0) to increase the low frequency content of the processed signal.
- Adjust the proximity control counter-clockwise (below 0) to decrease the low frequency content of the processed signal.
- Every mic model has a different proximity response, and changes to this control can be fairly subtle or very noticeable, depending on the modeled mic’s characteristics.
Rotate the mic on its axis
You can virtually rotate the mic off axis with the Axis knob. The Axis knob models changes in frequency response when angling the mic capsule off axis in relation to the audio source.
Every mic model has a different off-axis response, and changes to this control can be fairly subtle or very noticeable, depending on the modeled microphone’s characteristics. Generally, adjusting a microphone’s axis is most useful below about 45 degrees. The axis control allows you to rotate the mic capsule as far as 180 degrees, and more unusual results can be achieved at higher axis knob settings.
Axis tips
- The Axis control includes hash marks at every 15° interval. For example, for a value of 135° set the Axis control three hash marks before 180°.
- Set the Axis control to the second or third hash mark for commonly used 30° and 45° off-axis settings.
Reverse the mic phase
Sometimes you may want to reverse the phase (polarity) of a microphone signal to correct for phase cancellation issues, or for creative purposes. Phase cancellation can occur when two microphones are pointing at the same source from different directions (for example, snare top and bottom), or when two microphones are pointing at the same source, but their capsules are misaligned.
To correct for phase issues, or for creative uses, you can reverse the microphone phase by toggling the phase switch to the 180° setting.
Set the output level
The Output level slider is provided so you can correct for any changes in level created by Hemisphere’s processing. The Output control provides ±12 dB of output level correction.
Toggle plug-in processing
To bypass the plug-in, toggle the power switch to the 0 position.
- UADx: When powered off, native CPU processing is reduced.
- UAD-2: When powered off, DSP processing, unless DSP LoadLock is enabled.
Hemisphere Mic Models
The following mic models are included in the Hemisphere Mic Collection plug-in.
SC-1 Mic Models
| Mic Model | Description | Use for… |
| LD-47K |
The 47 has stood the test of time as the ultimate studio mic, having been used extensively by The Beatles, Frank Sinatra, and countless other major artists. In addition to vocals, this mic sounds amazing on acoustic guitars and bass. |
Vocals, acoustic guitar, bass guitar amplifier |
| LD-67 NOS | The LD-67 NOS model is based on a 67 built by Neumann from “new old stock” parts. The 67 was famously used for lead vocals by Paul McCartney on “Hey Jude,” Mick Jagger on “Sympathy for the Devil,” Ian Gillan on “Highway Star,” and Nirvana’s “Nevermind” album. | Vocals, acoustic guitar, piano |
| LD-87 Vintage |
Mid-70s split backplate capsule mic that sounds slightly different than a modern 87. Classic applications include vocals, acoustic guitars, and guitar amps. The tonal characteristics of the original’s low-cut and pad features are fully modeled. Filter position 1 enables the low-cut filter, position 2 enables the pad, and position 3 enables both features. |
Vocals, acoustic guitar, guitar amplifier |
| LD-103 |
A modern microphone which is now a classic in its own right, having many famous users including Billie Eilish and Justin Timberlake. With a presence peak in the 8 kHz to 12 kHz region, this mic sounds great on vocals, acoustic guitars, and other stringed instruments. |
Vocals, acoustic guitar, strings |
| LD-12 | Iconic ‘50s mic with gorgeous high-end sheen and sparkle. Often a great choice for lush, breathy vocals, without overly accentuating sibilance. Also commonly used for piano and drum overheads. | Vocals, piano, drum overheads |
| LD-251 |
Based on a classic Austrian mic with a 6072 tube and fully brass capsule, it was manufactured exclusively for export to the USA marketplace. The 251 is one of the most prized mics of all time, with a long list of famous users that includes Joni Mitchell and Celine Dion. In addition to vocals, prime applications include piano and drum overheads. |
Vocals, piano, drum overheads |
| LD-414 US |
One of the most ubiquitous condenser mics of all time. With essentially the same nylon capsule as the subsequent 414 EB, the sound is quite similar, although a bit more neutral. This is a great all around mic, especially when used as a stereo pair for piano, strings, and drum overheads. |
Great all around microphone when used as a stereo pair for piano, drum overheads, and strings |
| LD-800 | Modern Japanese mic which is now a classic in its own right. Often a perfect choice for modern pop and hip-hop vocals, the 800 is the go-to for countless major artists, including Mariah Carey. Also sounds great on acoustic guitars and strings. | Vocals, acoustic guitar, strings |
SD-1 Mic Models
| Mic Model | Description | Use for… |
| DN-7 |
Renowned engineer Bruce Swedien recorded Michael Jackson’s “Thriller” vocals with this mic. For many applications, the DN-7 holds its own with some of the best condenser mics ever made. This model is the "A" version. When AXIS is set to 180º the mic is modeled without the windscreen installed. Some engineers prefer this sound and permanently remove the windscreen. |
Voiceovers, vocals, snare bottom, guitar amplifier |
| DN-20 |
Industry-standard large-diaphragm dynamic mic with applications ranging from broadcasts to kick drums. Often a go-to choice for spoken word due to its presence boost and sharp high frequency dip to minimize sibilance. The mic’s filter switch provides an optional 'bass-tilt down' reducing response ≈ 4.5 dB below 400 Hz. |
Voiceovers, vocals, kick drum |
| RB-77DX |
One of the most iconic mics of all time. Countless legends such as Bing Crosby, Ray Charles, Frank Sinatra, Elvis Presley, B.B. King, and Johnny Cash were recorded with the 77. Its distinctive appearance has also graced the desks of many famous personalities including David Letterman and Larry King. Although primarily famed as a vocal mic, it also sounds wonderful on brass instruments. |
Voiceovers, vocals, brass |
| DN-88 |
A great all-purpose dynamic mic with a smooth, even sound. Its low-mid richness and high frequency clarity is known to be flattering but not overpowering. The 88’s solid reputation includes being a primary choice for Phil Collins’ handheld vocals. This mic is also very effective on bass guitar amps and tom drums. |
Vocals, bass guitar amplifier, toms |
| DN-441 | Classic 441 used on countless records. A favorite of artists such as Fleetwood Mac, Tom Petty, and Tame Impala, it provides a well balanced, natural sound for vocals, snare drums, and guitar amps. | Vocals, snare top and bottom, guitar amplifier |
SP-1 Mic Models
| Mic model | Description | Use for… |
| SD-K54 |
Rare small diaphragm condenser mic featuring a thin nickel diaphragm providing excellent transient response. The SD-K54 has been used to record acoustic guitars and strings for the likes of Larry Carlton, Ry Cooder, Yo Yo Ma, Joe Pass, Kenny Burrell, and Eric Clapton. |
Acoustic guitar, strings, drum overheads |
| SD-56 |
Classic small diaphragm condenser tube mic featuring a dual nickel diaphragm and AC701 tube. Although great for acoustic guitars and other stringed instruments, it also sounds very good on the bottom of snare drums. |
Acoustic guitar, strings, snare bottom |
| SD-84 | Classic small diaphragm condenser mic with cardioid polar pattern. Prized for its detailed yet controlled top end, the 84 has been used on countless records for piano, acoustic guitars, and drum overheads. | Snare top and bottom, acoustic guitar, strings, drum overheads |
| SD-86 |
Small diaphragm condenser microphone with back-to-back KM84 type capsules. Prized for crisp realism and versatility, the KM86 was for a time the primary mic used by Motown. Sounds great on snare drums (top and bottom), acoustic guitars, and guitar amps. |
Snare top and bottom, acoustic guitar, guitar amplifier |
| SD-451 |
A modular end-address small diaphragm condenser mic which has become an industry standard. The two 75 Hz and 150 Hz low-cut filter options are modeled from the original mic. Commonly used on piano, snare drum bottoms, and as drum overheads. |
Drum overheads, piano, snare bottom |
SD-3 Mic Models
| Mic Model | Description | Use for... |
| DN-57 | Introduced in 1965, the 57 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 57. | Snare top and bottom, guitar amplifier |
| BP-545 | The 545 is a predecessor to the SM57 and was the first mic to use a Unidyne III capsule. The 545 was used extensively on Pet Sounds, including Brian Wilson's lead vocal, and countless other recordings of that era. Also, the 545, and the 565 variant were relied on heavily for the 1969 Woodstock festival. | Snare top and bottom, guitar amplifier, vocals |
| DN-604 | The DN-604 model is based on a current production German 604, which has become a standard on stages and studios around the world. This mic works great on toms and snare drum. | Snare top, toms |
| DN-409U | 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 100 Hz is greatly reduced which can help instruments and voice sit nicely in the mix. | Vocals, toms, guitar amplifier |
| DN-4 | The DN-4 model is based on a compact American instrument mic that works great on toms, but is equally at home on guitar cabinets and snare drum. | Snare, toms |
SD-5 Mic Models
|
Mic model |
Description |
Use for… |
| DN-12A | The DN-12A model is based on a dynamic microphone from the 1950s which has gained wide use as a kick drum mic. Producer/engineer John Leckie (Radiohead, Paul McCartney, Pink Floyd) often uses this mic(sometimes combined with a 421) for kick drums. | Kick drum, bass guitar amplifier, vocals |
| DN-112 | The DN-112 model is based on a current production version of the Austrian 112 kick drum microphone. Used on countless rock and metal records, the 112 has excellent low frequency extension with good top end presence for beater attack. | Kick drum, bass guitar amplifier |
| DN-6 | The DN-6 model is based on an American kick drum mic that has become a popular choice for studio recording. With its deep bass and contoured sound, the DN-6 just works without much fuss. | Kick drum, bass guitar amplifier |
| DN-52 | The DN-52 model is based on a current production version of the American 52 kick drum microphone. This microphone provides very deep low frequency extension with a nice balanced sound. | Kick drum, bass guitar amplifier |
| DN-SUB | The DN-SUB model is based on a popular mic which uses a full-range speaker driver for low frequency pick up. Try duplicating the track and blending this in for added thump to kick drums and bass guitar cabinets. | Kick drum |
SD-7 Mic Models
| Mic model | Description | Use it for… |
| DN-421B | The DN-421B is based on a current production black 421 which has a slightly brighter and modern sound than earlier incarnations. | Toms, guitar amplifier, bass guitar amplifier |
| DN-421S | 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 421 mics. | Toms, guitar amplifier, bass guitar amplifier |
| RB-160 | The RB-160 is based on a vintage 1960s era M160 microphone. Notably, a pair of M160s were used to record the drums for "When the Levee Breaks” by Led Zeppelin. | Guitar amplifier, drum overheads, kick drum |
| DN-409N | 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 are vocal duties for Pink Floyd's Live at Pompeii concert video. | Vocals, toms, guitar amplifier |
| DN-441 | Classic 441 used on countless records. A favorite of artists such as Fleetwood Mac, Tom Petty, and Tame Impala, it provides a well balanced, natural sound for vocals, snare drums, and guitar amps. | Vocals, snare top and bottom, guitar amplifier |
Hemisphere mic filter settings
The following filter settings are applied on Hemisphere mic models.
| Low EQ | High EQ | ||||
|---|---|---|---|---|---|
| Models | Filter | Frequency | Gain | Frequency | Gain |
| DN-12A DN-112 DN-52 DN-6 |
F1 | 50 Hz | 3 dB | 1.5 kHz | 4 dB |
| F2 | 50 Hz | 4.5 dB | 1.5 kHz | 6 dB | |
| F3 | 50 Hz | 6 dB | 1.5 kHz | 8 dB | |
| DN-4 | F1 | 250 Hz | -5 dB | 1.5 kHz | 3 dB |
| F2 | 250 Hz | -6 dB | 1.5 kHz | 6 dB | |
| F3 | 250 Hz | -7 dB | 1.5 kHz | 8 dB | |
| DN-421B | S1 | 400 Hz | -4 dB | - | - |
| S2 | 400 Hz | -7 dB | - | - | |
| S3 | 400 Hz | -11 dB | - | - | |
| DN-421S | S1 | 100 Hz | -6 dB | - | - |
| S2 | 140 Hz | -8 dB | - | - | |
| S3 | 200 Hz | -11 dB | - | - | |
| DN-441 | Brilliance | - | - | 6 kHz | 5 dB |
| S2 | 300 Hz | -6 dB | - | - | |
| S3 | 300 Hz | -12 dB | - | - | |
| RB-77DX Satin | 100 | 100 Hz | -6 dB | - | - |
| V1 | 140 Hz | -7 dB | - | - | |
| V2 | 180 Hz | -8 dB | - | - | |
| LD-67 NOS | HPF | 360 Hz | -10 dB | - | - |
| Pad | 100 | -3 dB | 7.2 kHz | -3 dB | |
| HPF + Pad | 360 Hz | -10 dB | 7.2 kHz | -3 dB | |
| LD-87 Vintage | HPF | 180 Hz | -6 dB | - | - |
| Pad | 100 Hz | -1 dB | 7.4 kHz | -2.5 dB | |
| HPF + Pad | 180 Hz | -6 dB | 7.4 kHz | -3 dB | |