Myburgh has begun shipping its M28 microphone for €4,850, with a fresh circuit built to give it a distinct sound. This mic uses a German CK12 capsule, but it skips the usual attempt to copy the vintage C12. Instead, the team went for a new design aimed at engineers who want a different take on a classic part.
Drew Myburgh, Eckehard Dux, and Andreas Grosser built the audio circuit from scratch. A FET amp keeps quiet sounds clean, then adds a bit of second-order harmonic color as the input gets louder. Pretty neat for those who want some character without a lot of harsh grit.
Pikatron made the custom output transformer. Unlike the old C12 setup, this part helps the mic reach deeper bass notes. That could be handy for piano or acoustic bass, where low-end detail can make a real difference.
Drums and brass are fair game as well. The mic can take up to 134 dB SPL with its pad off, while a 6 dB cut gives users another option for loud input levels.
Pattern choice is quite broad. Users get five modes, with omni, cardioid, figure-8, wide cardioid, and hypercardioid all on tap. That gives studio crews a range of ways to pick up sound based on the room and the source.
As for the raw specs, the M28 covers 30 Hz to 20 kHz. Its cardioid mode has 9 mV/Pa sensitivity and 15 dB(A) of self-noise, while the output sits at 200 ohms. It runs on 48 V phantom power and draws about 3.2 mA.
At that price, this is clearly a premium studio mic. Yet the pitch is less about vintage hype and more about its new signal design, flexible pickup modes, and ability to deal with both soft and loud sources.
Drew Myburgh, Eckehard Dux, and Andreas Grosser built the audio circuit from scratch. A FET amp keeps quiet sounds clean, then adds a bit of second-order harmonic color as the input gets louder. Pretty neat for those who want some character without a lot of harsh grit.
Pikatron made the custom output transformer. Unlike the old C12 setup, this part helps the mic reach deeper bass notes. That could be handy for piano or acoustic bass, where low-end detail can make a real difference.
Drums and brass are fair game as well. The mic can take up to 134 dB SPL with its pad off, while a 6 dB cut gives users another option for loud input levels.
Pattern choice is quite broad. Users get five modes, with omni, cardioid, figure-8, wide cardioid, and hypercardioid all on tap. That gives studio crews a range of ways to pick up sound based on the room and the source.
As for the raw specs, the M28 covers 30 Hz to 20 kHz. Its cardioid mode has 9 mV/Pa sensitivity and 15 dB(A) of self-noise, while the output sits at 200 ohms. It runs on 48 V phantom power and draws about 3.2 mA.
At that price, this is clearly a premium studio mic. Yet the pitch is less about vintage hype and more about its new signal design, flexible pickup modes, and ability to deal with both soft and loud sources.
