The new Classic range from Danish company Remic aims to offer high‑end performance at an attractive price.
The need to record or amplify acoustic instruments without either incurring feedback or picking up too much ambient sound has led several manufacturers to develop a huge variety of microphones and mounting systems, for both stage and studio use. One such company are Remic, whose range of instrument‑specific mics are all hand‑built in Denmark. Their new Classic Series models are aimed at the home studio and small live gig market, and are designed to offer the performance of their established Studio/Live and Live LB violin, viola, cello and double bass microphones, but at a significantly lower price.
Although still relatively unknown, Remic can trace their roots back to 1996 when the company’s founder — artist, musician and audio electronics engineer Thorkild Larsen — began to research and develop the technologies that now underpin the company’s microphone product line. Although no longer actively involved in Remic, Larsen’s philosophy of giving musicians the best possible means of communicating the nuances of both their artistry, and the skill of the luthiers who built their instruments to an audience, remains at the core of that company’s mission.
Larsen’s original research ran from 1996 to 2012 (the point at which Remic itself were founded) under the aegis of his original company, 2R Danish AV Research. His initial aim of creating a general‑purpose microphone that would not change the sound of an instrument has evolved into a range of instrument‑specific models designed for grand piano, bowed instruments, brass and woodwind, in both studio and live versions.
Remic’s development of studio microphones began in 1997‑1998 and, as part of his research, Larsen began collaborating with instrument makers to learn precisely how each family of instruments generates their sound. In the case of the violin family, his newfound knowledge not only enabled Larsen to map out the elements that added nuance to the sound of that instrument, but also set him off in a new development direction.
An early milestone in Larsen’s research was the development of the concept of a Direct Balanced Cartridge (DBC) that would be both completely transparent and immune to radio frequency interference. Larsen achieved this by designing a fully balanced, phantom‑powered preamplifier circuit with one active and five passive components, within which the signal from a balanced mic capsule passes through only four components from input...