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Warm Audio WA-19 Dynamic Studio Microphone - Black

Dynamic Microphone with Cardioid Polar Pattern, 30Hz - 18Khz Frequency Response, Variable 50Hz Highpass Filter, and 145dB Max SPL - Black
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Item ID: WA19B
Warm Audio WA-19 Dynamic Studio Microphone - Black
Warm Audio WA-19 Dynamic Studio Microphone - Black

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WA-19 Dynamic Studio Microphone with Stand and Cable - Black
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Product Image - This Item - Warm Audio WA-19 Dynamic Studio Microphone - Black
Warm Audio WA-19 Dynamic Studio Microphone - Black
$199.00
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$28.99
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Link to Rok-It Tripod Boom Microphone Stand - Black
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An Esteemed ’60s Mic Revived

The Warm Audio WA-19 dynamic studio microphone aims to resurrect one of the most iconic mics of the 1960s. It features a 30Hz – 18Khz frequency response, 145dB max SPL, and superb off-axis rejection from its cardioid polar pattern. A built-in highpass filter is a very welcome addition: it can cut down to -10dB at 50Hz, making the WA-19 ideal for use on drum overheads, toms, vocals, snare bottom, guitar cabs, and more. The ventilated slots on the body of the WA-19 also reduce proximity effect, making it a great choice for acoustic guitar as well as guitar cabinets. Finally, the WA-19’s thin body shape facilitates easy placement, and while it may be thin, it’s built to last.

Related Videos: WA-19 Dynamic Studio Microphone - Black

Bringo the Ringo mic to your studio

The WA-19 is an exemplary clone of a classic mic known as “the Ringo mic” for its association with a certain drummer from Liverpool, though many other artists of the era certainly used it. Those aforementioned four lads often applied “the Ringo mic” as drum overheads. The Warm Audio WA-19 certainly shines in that application, but Sweetwater studio engineers that found the WA-19 is beautiful when your acoustic guitar is gently weeping: its ventilated body slots cut down on proximity effect, meaning you can really get close to the body of the guitar and get a great sound without being too boomy. Plus, the 50Hz highpass filter gives you an even clearer sound.

Place it, then let it be

The pencil-thin body of the WA-19 makes it easy to place in various studio and stage applications. And, no matter where you place it, the WA-19’s elite off-axis rejection, broad 30Hz – 18Khz frequency response, and high max SPL of 145dB all ensure that you can get a natural, focused sound on a huge number of sources.

Warm Audio WA-19 Dynamic Studio Microphone Features:

  • Exemplary clone of the 1960s’ most famous mics — most associated with The Beatles
  • Fantastic choice for drum overheads, bottom snare, acoustic guitar, voice, guitar cabs, and much more
  • Variable highpass filter @50Hz with 0 to -10dB range
  • Cardioid polar pattern provides excellent off-axis rejection
  • Ventilated slots on the body reduce proximity effect and enable you to close-mic louder sources
  • 30Hz – 18Khz frequency response
  • 145dB Max SPL

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Tech Specs

  • Microphone Type: Dynamic
  • Polar Pattern: Cardioid
  • Frequency Response: 30Hz-18kHz
  • Max SPL: 145dB SPL
  • Output Impedance: 200 ohms
  • Sensitivity: -53 dB (1V @ 1Pa)
  • Color: Black
  • Connector: XLR
  • Dimensions: 6" x 1.4"
  • Weight: 0.5 lbs.
  • Manufacturer Part Number: WA-19B

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Reviews

4.7

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Sounds great! On some things.....
I've put my wa19 on many things, and I really love it on snare drum, especially when combined with a beefier mic. I don't like it on guitar so much though. Check out my shootout video to hear some samples!
by Matt Ingram from Austin on
Music background: Producer, engineer
Amazing Conga and Bongo Overhead!
Today, I tried a pair of WA-19 mics in an X-Y array over a set of mounted congas and bongos in a live setting. Wow. I've been using Beyerdynamic M201 pencil dynamics for the same setup for months. They're really good as overheads for congas and bongos.

The WA-19 mics brought out the upper head resonance with a clarity and forwardness that the M201 mics don't get the same way. The WA-19 mics are smooth, articulate, and detailed. The Congas and Bongos have a place in the live mix now that was harder to get with the M-201s.

Move over M201s, the WA-19 mics are going to share the go-to mic place for conga and bongo overheads.

I'll be trying them on any hand percussion with skin heads. Djembe next.
by James Lind from Raleigh, NC on
Music background: Classical guitarist, live sound engineer
Amazing Mic
I've used this mic now in two applications. The first is close mic live male voice over - mine - looking for the "FM" male voice sound. I normally use an RE320 on the kick drum EQ through a dbx 286 with a bit of bottom and top processing plus some modest compression. I tried this mic in its place and was really surprised. It has reduced proximity effect because of it's a acoustic EQ ports similar to the RE series of mics. It is clean and articulate. I could use it instead -- it needs some gain boost but not as much as an RExx or an SM7b.

I used it as a single point live mic on a high end cello. I've used an AT350U mic for the same application. Both with the Velcro to the strings just behind the bridge and with the clamp clamped to the tailpiece and the gooseneck set to aim the mic at the space between the bridge, tailpiece, and f-hole about 1-1/2 to 2 inches from the body on the treble side. The Velcro mount is fabulous with violins and violas. But not with a cello. The clamp mount is good. It is acceptable in a mix.

However, the WA-19 mic is amazing compared to anything I've tried before on the cello. I aimed it directly at the space between the f-hole, tail piece and bridge on the treble side. About four to six inches away. I used a WA Warm Lifter inline preamp with it set to flat EQ although I might not have needed that much inline gain. The sound was clean, articulate, full, all the rich overtones, and the upper end closely approaching the openness of a condenser mic. That location was a bit bright, so I dialed that back a bit at the board -- from about 2k to 3k up to about 16k to 18k. It was a very balanced voice. The AT350U mic sounded a bit thick and closed in comparison. The WA-19 mic is now my go-to mic for a live single-point cello mic.
by James Lind from Raleigh, North Carolina on
Music background: Live sound engineer, classical guitarist.
See also: Dynamic Mics, Warm Audio, Warm Audio Dynamic Microphones