The Michael’s custom transformerless circuit is based on the classic Schoeps transformerless CMC-5 circuit. A modification of the CMC-5 schematic was released to the creative commons in 2017 by Jon Patton, which is used as the foundation for the Michael’s circuit.

The Michael follows the topology of the 2017 Jon Patton revision but with the removal of some unused switches, resistors and capacitors. Specifically, my version removes the pad capacitor and switch, the HPF resistors and switch, and the hardwired LPF resistors. The pad and HPF switches, while useful for some, were left out of the design due to size restrictions and lack of external switch access on the microphone body. The hardwired LPF was removed as its purpose in the circuit is to tame harsh capsules, but the Michael’s capsule sounds good unfiltered.

The PCB redesign for the Michael was done by Travis using Eagle, and the circuit boards are fabricated by OSHPark.

The capsule selection process for the Michael began in 2019, largely out of curiosity about how affordable 34mm capsules from Alibaba would compare with my far more expensive but beloved MicParts RK-47 and RK-12 capsules. A small collection of capsules of various styles ranging in price from $15-160 were installed into the same microphone and compared. The capsule chosen for the Michael is an RK-12 style edge-terminated, single-sided cardioid, 34mm large diaphragm capsule. The Chinese RK-12 proved a great match with the Michael’s transformerless circuit. Its smooth treble and slightly boosted low end combines with the Michael’s hardwired low-cut and unfiltered high-end to produce a microphone that is detailed, controlled, wide-open, and surprisingly ready-mixed sounding.

Note: The Michael “bill of materials” is subject to change at any time. The Michael has been through many revisions, and further revisions in pursuit of an even better sounding Michael are likely, and could happen at any time. Your Michael may not be identical to your friend’s Michael, but both are great sounding, homemade microphones.

While the capsule may be the most important single piece inside of the Michael, great care and effort has been taken in selecting the best sounding audio-grade components throughout the entire build.

The Michael uses the highest quality components available to populate the circuit: WIMA MKP film capacitors, Elna SILMIC II electrolytic capacitors, Dale RN & KOA-Speer MF resistors, Mogami W2514 signal wire, a Switchcraft QG3M XLR plug and Cardas Audio solder.

The full Michael BOM can be found here.

All of the Michael’s premium innards reside inside of a decidedly not-premium microphone body. Generic BM-700 microphone bodies have been stripped down and rebuilt with our LDC capsule and custom circuit. The huge RK-12 capsule just barely fits inside of the BM-700 headbasket, and very little clearance is left inside the body with the giant SILMIC II caps as well. But the BM-700 is indeed just big enough to house the Michael’s components.

While the DIY community is divided over whether the BM-700 stands as a good option for a donor body, it has proven itself as a great match for the Michael. Larger, heavier, more expensive brass bodies are a popular alternative, but the more compact and lighter BM-700 makes for a finished microphone that is much easier to fit into tight spots and demands a less sturdy mic stand situation. The downside being that the cheapness of the BM-700 does show itself in minor manufacturing inconsistencies and blemishes.

The BM-700 body may be the lowest quality component in the Michael, but it’s also just the body! Despite minor manufacturing inconsistencies, the tin and steel construction of the BM-700, once stuffed with the Michael’s oversized components, results in a surprisingly hefty, solid feeling finished microphone. The Michael also comes with a pop-filter, felt pouch, and a shock mount to hold the mic. It’s not a premium shock mount, but it certainly works just fine.

The Michael is a studio condenser microphone and requires an audio interface, mixer or standalone preamp with phantom power (+48v) to operate. The Michael was specifically designed with vocal and acoustic instrument recording in a quiet environment as the primary goal. While the Michael excels as a vocal microphone, it can be expected to perform well regardless of the source. The smooth clarity of the Michael makes it a great choice for all kinds of applications, whether it’s quiet ASMR recording, or blaring electric guitar amps.

The Michael is available to listen to in-use at any time at twitch.tv/a_couple_streams and on our full-length album Shapeshifter, but do keep in mind that there is a lot more that goes into our sound than the microphone alone.

For starters, the Michael is a very sensitive and accurate microphone. While this is a good thing in a controlled environment, it also means that the impact of an untreated recording space will be exaggerated when compared with less sensitive recording microphones. Making acoustic improvements to your recording space is an invaluable upgrade that will make your productions sound better regardless of the gear you’re using to record.

Secondly, a nice external preamp will have a large impact on getting the most out of any microphone. You will commonly read on recording forums that the preamps found built into interfaces and mixers will be more than enough for home recording. While I would agree that using an interface’s built-in preamps is a great place to get started with recording and producing music at home, an upgraded preamp will sound better than what you’ll find in interfaces/mixers, and like upgrading your recording space, the upgrade in preamp quality will be useful for any and all current and future microphones you use.

For these reasons, I do generally encourage those looking to improve their home recording setup to first look into acoustic panels and an external preamp before investing too much into a microphone. But whether you’re looking for your first serious recording microphone, wanting to expand your arsenal, or you’re simply curious, the Michael’s $400 price point does make it a reasonable choice regardless of your existing gear setup.

Our two Michael signal chains we use for the stream and recording:

The Michael -> A-Designs MP-2A -> A-Designs HM2 Nail -> A-Designs Hammer2 -> RME FF 802

The Michael -> homemade PMillett tube microphone preamp -> DIY AML ezP-1A -> NI Komplete Audio 6

Audio Interface – if you’re planning on using the Michael to record or broadcast audio with your computer, then you will need an audio interface or USB mixer!

Quad XLR Cable – a high quality cable is a great first step toward getting the most out of any signal. You can read about the benefits of star-quad cables here – custom Canare L-4E6S cables are a great choice for quad cables that costs less than Mogami Gold or Gotham GAC 4/1. A cheaper cable will also get the job done.

Microphone Boom Stand – while any mic stand will work, a boom scissor arm stand is an ideal choice for streamers/content creators working at a desk with their mic. The Rode PSA 1 is much more expensive, but also a noticeable bump in quality over cheaper scissor arm stands.