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    The history of “NEVATON” began in 1947, when the Leningrad Optical and Mechanical Association (LOMO) created the laboratory of Electroacoustics, which in 1954 was fully transferred to the newly created Central Design Bureau of Film Equipment( TSKBK), later the Scientific and Production Association “Screen”. TSKBK is the developer of the now legendary 19A19 microphone (and not LOMO, as is mistakenly believed). The design documentation was transferred to LOMO, after which the plant made its own changes (mainly in the direction of simplifying production, and, as a result, there was a deterioration in the parameters and characteristics).

    In 1991, Nevaton was established on the basis of the CCBC department. Throughout these years, the team has been developing and manufacturing studio condenser microphones. The philosophy of “Nevaton” is the subjective fidelity of the sound of the microphone. The perfection of the technical parameters does not convince the professional as much as the sound image that is the goal of his work. You can not call yourself a supporter of linking the microphone to individual musical instruments.

    The studio microphone must sound correctly with any sound source. Commitment to a particular microphone model in solving a particular recording task is a matter for a particular sound engineer. However, there are some preferred applications of individual microphone models to specific types of audio recording. So for example, stereo microphones MK47, MK48 or a pair of MK49 in the HU or RTF system are put as common. MK51, MK416, MK420, MK49 are successfully used for recording vocals, but they are also put on any group of a symphony orchestra. Microphones MK51 and MK420 are distinguished by “honest” sound. The sound of the MK416 and MK440 can be called beautiful.

    In one of the reviews, the sound of the MK416 is defined as “bigger than life”. Sometimes the MK47 stereo microphone is used to record vocals. In the recording process, the acoustic axes of the converters coincide, two channels are used, reduced to mono, This technique seems redundant, but the result is more “rich” than when using a single channel. The chorus is written with a single MK404 stereo microphone . This microphone uses a single two-membrane converter, i.e. it operates on the XU 180°system. The chorus is appropriately arranged around the microphone. For” Live “recordings of symphony orchestras, it uses the MK403 “boundary layer” microphones for recording cellos and double basses.

    It turns out not only a “clear” sound, but also a visual unloading of the scene from a large number of microphone stands. A pair of MK416 (above the instrument) and MK403 (below the instrument) gives an excellent result when recording the piano. These examples show that the process of choosing microphones is a creative process, and the Nevaton microphones are a good choice for implementing their creative tasks. One illustrative example is the first two places won by Nevaton when testing microphones in Switzerland at the Echochamber studio in November 2001. Neumann microphones took the third and eighth places.

    Chief Designer Dmitry Smolnikov