What FLEA Microphones Owners Say ...

Flea 47, MANCHESTER RAIN

"The FLEA 47 is simply out of this world. I make electronic soulful music and when I want to take a listener back in time... the FLEA 47 is what I'll use; it's a truly classy classic sound, unmatched by any other mic I've ever tried. FLEA forever!"

MANCHESTER RAIN - artist & producer
www.manchesterrain.com/


Flea 49, David Gillis

"Here is a video of Ariana Gillis singing a Randy Newman song live in a Flea 49 mic"

David Gillis
Ariana Gillis
www.arianagillis.com/


Flea 50's and Flea 47, Jason LaRocca

"Here is a video including Jason recording the score for the "The Accountant." He used the FLEA 47 on solo cello and the FLEA 50s as his main microphones to record the orchestra."

Laurén Willardson
Jason LaRocca - Recording engineer and Scoring mixer
La-Rocc-A-Fella, Inc.
www.jasonlarocca.com/


Flea 47, Flea 12, Romesh Dodangoda, Record Producer /Mixer, London, UK

"I absolutely LOVE my Flea mics ! I originally bought the Flea 12, was so impressed with the sound and build quality that I bought the Flea 47. It's my go to vocal mic and almost always wins!"

Romesh Dodangoda
Record Producer, Mixer


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Flea_12
Flea_47

Flea 47, Kris Dirksen, Vancouver /// Los Angeles

"I used my Flea 47 recently for a TV show I scored called Quarry for Cinemax/HBO, mono piano through an old tape machine sounded killer. Instant time machine."

Kris Dirksen
Composer, Methodic Doubt
www.krisdirksen.com/



Flea_47

Flea 47 (VF14 tube), James Forbes, Tampa, FL, USA

"Our Flea U47 (with VF14 tube) is one majestic sounding microphone. It's the King in our microphone locker"

James Forbes
Audio Engineer & Instructor for "The Art of Sound Recording
www.cleartrackstudios.com/


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Flea_47

Flea 12's, Clay Blair, Boulevard Recording, Los Angeles, USA

"One of the few "new" manufacturers of microphones that we endorse. We have a pair and they're wonderful. They sound exactly like the old C12's except with the restored high end that most old C12's have lost over the years. We recently did a shoot out with a pair of original C12's. As cool as they were, the Flea's were way more consistent and had a far more natural response. Our favorite drums overheads since we bought them 4 years ago. Nothing quite sounds as 3 dimensional."

Clay Blair
Recording engineer
www.boulevardrecording.com/


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Flea_12

Flea 47, Paul Win, Paul Win Audio, Brighton, UK

"I am a huge fan of the Flea 47...I rarely look anywhere else when it comes to vocals. Anything from brutal screamers to delicate soulful females it is outstanding. Crisp and detailed yet deep and textured and it works equally well with either transparent or characterful pre-amps."

Paul Win
Recording engineer, producer, musician.
www.paulwinaudio.com/


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Flea_47

Flea 47, Flea 12, John Painter, The Kitchen Studios, Dallas, TX

''I use the u47 on a daily basis as my main vocal mic (as well as on other things) the c12, I use on overheads, acoustic instruments and like it as well. I have had many u47 type mics (Wunder,soundelux,peluso,lawson etc) and I like this one the best so far. I have also tried several c12s and they all sound so different, so far this one is the only one that remains in my mic locker. I am a true believer in your microphones.''

John Painter
Recording engineer and producer.
www.thekitchenstudios.net/


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Flea 47 - Scott Fritz, Stranded on a Planet, Chicago, IL

'' It is an excellent mic, and gets used on vocals here all the time.
The clear top end makes it a perfect mic for pop and rock vocals, which we do quite a lot of.
In fact, I used it on backing vocals for several of the new global Coca-Cola commercials, for which we wrote their new song “Taste The Feeling”. ''


Scott Fritz
Composer, Producer
www.strandedonaplanet.com/




Flea 49, Chris Mara, Welcome to 1979 Studios, Nashville, TN

Having a studio named ‘Welcome To 1979’ we have to be very careful which new mics we add to our mic locker. After talking with Ryan McGuire at Vintage King about his experience with the Flea 49 I decided to go for a pair. It was clearly the right choice. The build quality is outstanding, as well as the sound. They get used on almost every session on a wide variety of instruments, never letting us down. It’s great to be able to offer our clients a mic that’s true to its heritage, and at a reasonable price. This allows us to offer clients our space at a reasonable price. Everyone wins! Thanks Flea!

Chris Mara
Recording engineer and producer.
www.welcometo1979.com/
www.chrismara.com/


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Flea 47, Ethan Mates, Mike Shinoda and Chester Bennington, Linkin Park

Flea 47 has been on all of the vocals and acoustic guitars from the past two linkin park records (including the one we are working on right now).

Ethan Mates
Los Angeles based recording engineer, mixer, and producer.
www.ethanmates.com/
www.linkinpark.com/


Flea 50 47 Flea 47

You can also try out FLEA microphones in these places - Vintage King Audio - LA and Nashville Showrooms


http://www.vintageking.com/

1176 W Sunset Blvd., Los Angeles, CA 90012, phone: 213.984.4000



2826 Dogwood Place, Nashville, TN 37204, phone: 615.866.5015





Flea 47 stereo pair, Flea 12 stereo pair in Synchron Stage Vienna

... preparing for the next session for NETFLIX series The Crown,
music by Hans Zimmer ...

Flea 47's and Flea 12's




Flea 47 stereo pair, Flea 12 stereo pair in Synchron Stage Vienna

"Synchron Stage Vienna"



http://www.synchronstage.com/






Flea 47, Pavel Karlík, Sono Records

"We used our Flea 47 for all vocals during recording a new CD of Roman Dragoun & His Angels - ANDĚLÉ VE STUDIU SONO.
No use of eq or compressor needed."

Flea 50 47

Pavel Karlík
Owner of Studio Sono Records, Praha
www.sonorecords.cz/
www.romandragoun.cz/


Flea 50's - Chris Fogel

"The complete orchestra was recorded with Flea 50’s, all live, no samples."


Chris Fogel
Film music mixer, Recording engineer, Producer
www.chrisfogel.com/




Flea 74, Johann Asmundsson - Mezzoforte

"We have been using our Flea 74 almost constantly since we got it and we are very happy with its response on every audio we record.
Great for everything and most importantly the results we get when processing audio recorded with that great microphone. Fantastic value at a lower cost.

Flea 50 47

Johann Asmundsson
Bass player of Mezzoforte and owner of Studio Paradis, Reykjavik
www.mezzoforte.com/
www.studioparadis.is/


Flea 47, Magnus Tingsek

"I absoloutely love my Flea 47 and I use it for everything on my new album!! It's such an all-round mic with beautiful clarity and response.
I use it to capture the room in drum recordings, Electric Guitars and Piano and as my main mic for acoustic Guitars and Vocals.
My best investment this year, for sure."

Flea 50 47

Magnus Tingsek
Musician, songwriter, producer
www.tingsek.com/


Flea 249, Gene Hall, Gabriel

From Gabriel: "I love my FLEA M249b microphone. It has become like an extension of my voice! I can't imagine recording without it. I know that no matter what- I can always get the take I need because my custom built FLEA is the perfect microphone for me regardless of what style I'm singing. My FLEA M249b gives me so much flexibility. I can really let go on the big notes and still have so much head room and yet at the other end of the spectrum I am able to capture warm buttery intimate vocals like a charm. My FLEA really has become my best friend!! I'm so grateful to Ivan and Milos for building it for me. A million thanks to you both!" xx Gabriel xx

From Gene: "I should start by saying, we can use just about any mic we want, we choose our Flea M249b custom built by Flea everytime. It is always the right microphone for Gabriel's powerful voice and incredible range. >> When we tried the Flea vintage M249b design, we knew we had found what we were looking for in a microphone for Gabriel.. There is a very refined presence about Gabriel' 249, remarkable sounding each and every time we turn it on. As a producer, knowing that an artist is comfortable and excited by a microphone is a powerful asset to any session. Flea microphones instill a confidence in singers that makes my work so much more rewarding and the returns from our efforts speak for themselves." Gene

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G.Michael Hall, Gabriel
www.gabrielmacura.com/


Almost all Flea microphones line, Alan Meyerson

"I used my 13 Flea Mics to record every score I've recorded in Los Angeles including the score to the Acadamy Award winning movie Big Hero 6."

Flea 50 47

Alan Meyerson
Music Servises


Flea 47, Simon Campbell

"If you have to buy one great mic, buy this one. Super versatile and will bring joy to everyone who uses it; in front of and behind the glass. Amazing for vocals, acoustic guitar and as the top mic in a Glyn Johns style drum recording. We bought this for the Supertone Studio and have had fantastic results. It will be all over our new album and of course is available to everyone who records at our studio."

Flea 50 47 "I have used originals and the reissue Telefunken; this stands up with the best of them... The vocal on The Knife, from my latest album of the same name, was recorded at The Chairworks with a new reissue Telefunken U47. The Flea sounds as good or better :) Take a listen. "

Simon Campbell
Singer-songwriter, guitar player and music producer
www.simoncampbell.com/


Flea 50's and Flea 47, Jason LaRocca

"I wanted to let you know that Will Smith's new Warner Brothers film "FOCUS," is #1 in the box office! Jason LaRocca (www.jasonlarocca.com) used his 3 Flea 50s and 47 to record the score."

Flea 50 47

Laurén Willardson
La-Rocc-A-Fella, Inc.
www.jasonlarocca.com/


Flea 47, Vinnie Castaldo, The Tone Factory, Las Vegas

"Here's a couple pics of Eddie Levert ..."

Eddie Levert Flea 47 Eddie Levert Flea 47

Vincent Castaldo
The Tone Factory
www.thetonefactory.com/


Flea 249 - RUMER - "Into Color", Rob Shirakbari

"Just wanted to touch base to let you know that we used the Flea 249 for Rumer's entire record, "Into Colour"… lead vocals, harmonies, BG vocals, everything. It was brilliant!
Michael Brauer mixed the record, and he said it was the best vocal sound she's had so far; and her record label feels the same way.
I also believe it's her best-sounding record to date."

RUMER - FLEA 249

Rob Shirakbari
Producer, Arranger, Conductor for Rumer's "Into Colour"
www.shirakbari.com/




Flea 47 and Flea 12, Paul Svenson - SvenMix

"I must commend you on these beautiful microphones. The 47 you just built for me is a work of art both sonically and physically. I couldn’t be more pleased if it was a vintage U47. In fact, the sound of the 47 captures the soul of the U47 so beautifully that I truly have no interest in investing in a potentially troublesome vintage model. The same accolades apply to my Flea 12. The care and craftsmanship your company puts into the creation of these beautiful instruments are uncompromising and rare. I look forward to ordering another 49 to complete my set."

Paul_Svenson_Flea_47_12 Paul_Svenson_Flea_47_12 Paul_Svenson_Flea_47_12

Paul Svenson
SvenMix
www.psaudiovideo.com/


Mike Valentine again - splendid recordings along with the exceptional photos
Flea 50s, Flea 47s, Mike Valentine, London, United Kingdom

"I have recently created 2 new LPs. The first was directly cut to vinyl at Air Studios here in London. The performance is of Vivaldi's Four Seasons and the LP has already collected great praise through out the Audiophile world. I used my 3 Flea M50s in a Decca Tree configuration and I have to say they performed superbly.

I then took the Venetian orchestra into a large concert hall - St John's Smith Square, where I created a live recording. As you can see from the LPs Artwork (which I released as a 12'' 45rpm) I used all of my Flea Microphones for the event. 3 Flea M50s in a Decca tree and 3 Flea U47s were placed in front of the Harpsichord, Cello and for the soloist.

Again the mics performed superbly and I was happy to feature them in the front and back cover artwork."

Flea 47s and Flea 50s  - Mike Valentine Flea 47s & Flea 50s - Mike Valentine Flea 47s & Flea 50s - Mike Valentine Flea 47s & Flea 50s - Mike Valentine Flea 47s & Flea 50s - Mike Valentine Flea 47s & Flea 50s - Mike Valentine Flea 47s & Flea 50s - Mike Valentine Flea 47s & Flea 50s - Mike Valentine Flea 47s & Flea 50s - Mike Valentine Flea 47s & Flea 50s - Mike Valentine Flea 50 - Mike Valentine

Mike Valentine
www.chasingthedragon.co.uk/
www.valentinefilms.com/


Flea 47, Matthias Heimlicher, Lommiswil, Switzerland


Flea 47 - Matthias Heimlicher Flea 47 - Matthias Heimlicher Flea 47 - Matthias Heimlicher Flea 47 - Matthias Heimlicher

Matthias Heimlicher
Musician, sound engineer
www.heimlicher.net


Flea 47 - Brad Kelly (YRLK), Detroit, USA

"... there is no eq or compression on the song, I was impressed by its natural capturing of the song."

Brad Kelly
Musician
www.yrlk.bandcamp.com/


Flea250 - decca tree, Metropole Orkest - Dirk Overeem, Hilversum, The Netherlands

Dirk Overeem Flea 250 microphones

Dirk Overeem
www.mo.nl


Black gold Flea 12 and Flea 48 - Mark Rodrieg, Houston, USA

"The mics are working well. In fact I used them on parts of my ensemble's recent album titled "Holy War X" (released on the Solo Musica record label)."

Mark Rodrieg's Flea microphones

Mark Rodrieg
Flutist
www.rodrieg-ensemble.org


Flea 49 mics during recording of Iva Bitova album, , Czech Republic


Flea 49 - recording of Iva Bitova's album Flea 49 - recording of Iva Bitova's album Flea 49 - recording of Iva Bitova's album Flea 49 - recording of Iva Bitova's album

Ivo Viktorin
Sound engineer, musician, multi-instrumentalist
www.studiov.cz


Flea M50s and a 47 - Jason LaRocca, L.A., USA

"I recently purchased three matched Flea M50s and a 47 and have been using them exclusively for my orchestral decca tree and bass section, respectively. Most recently I have been using them to record the orchestral score for the ABC series "Once Upon A Time," composed by Mark Isham. I can't thank you guys enough for creating these mics! They sound amazing!"

Jason LaRocca

Jason LaRocca
Recording Engineer/Scoring Mixer
www.jasonlarocca.com


Recording moments - Alan Meyerson

Sampling a $7 million Stradivari violin

Cover_front

Flea World

Cover_back

Pretty much a Flea fest

guitar

Alan Meyerson
www.alanmeyerson.com


Mike Valentine finished his own audiophile CD "Chasing The Dragon"

You can listen to the great pieces together with seeing amazing photos!
It's worth listening to, it's worth seeing! Excellent job Mike!

Cover_front Cover_back guitar

Mike Valentine
www.chasingthedragon.co.uk


Tube Tests Show Ep.26 "Telefunken U47, FLEA 47 and Vintage U47"



Tube Tests Show Ep.25 "Neumann M49 and FLEA 49 Tube Microphones"



Tube Tests Show Ep.21 "FLEA U47 and U48 Microphones" Recording Services and Supply



Flea50's - Mike Valentine


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Flea49, Flea50 - the photos from Sons d'encanto - Portugal


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Flea47 - Sound on Sound review

Click the picture to see online format of review in pdf

Flea 47 SoS review

Flea50 - decca tree, Flea 47's, Flea 12's - Alan Meyerson, L.A., USA

"I thought you might like to see how I set up the mic demo at Sony Studios.
This is for Transformers 3, when you see the movie know the orchestra sound was your mics."

Alan Meyerson Flea microphones Alan Meyerson

Alan Meyerson
www.alanmeyerson.com


FLEA 49 - Dany Richter, El Lado Izquierdo, Spain

The new videoclip of the spanish artist Christina Rosenvinge featuring the Flea 49. It is a new advertising spot for Hotmail Spain and Flea 49 was used on this record.

Dany Richter
www.elladoizquierdo.com


FLEA 47 - Grant Austin, producer/engineer, Slovenia

Hello,

My name is Grant Austin and I am a producer/engineer living in Ljubljana, Slovenia.
I purchased a FLEA 47 through Funky Junk UK in March 2010.
I am one very satisfied customer. I haven't written earlier because I've been too busy using it.

Keep up the good work.

Best regards,

Grant Austin
www.grant-austin.com

FLEA 47 @ Real World Studios (Peter Gabriel)



John Willett talks to Richard Chappell

Why did you choose the FLEA 47
About three years ago FLEA contacted us via the website to say that they would really like Peter (Gabriel) to try out some microphones. We were happy to do this, but at that time we were in the middle of other things – overdubbing, finding new ideas, grabbing what was available at the time – so it did not feel it was the right time then, but we were still very interested in pursuing the idea.real world 01 We had started a project working with a classical arranger in 2009 which resulted in a record the next year. From then until now we have been working on another similar project with Peter's songs. We have just done a covers record that was out last year and now, to promote the covers record, we are doing shows based around an orchestra and Peter singing. The first half of the show is the whole of the covers record played in sequence, then an interval, and then we play a whole bunch of Peter's songs with different arrangements all to orchestra. The idea of the orchestra is that they play like a band, they are playing band type sounds, so it's not just a pad supporting Peter it's a whole new interpretation of Peter's music. We tried a few different microphones in 2009 when we were recording the vocals for that record and were not wholly happy with what was going on. I remembered FLEA and the contact so I contacted Ivan last spring and said "what have you got?" We talked about what was available – we record in a very live room; Peter likes to hear himself a lot when he sings, so we work in a very large space that could for normal engineering be interpreted as not the most practical; but you have to go where the artist is going to be most happy, so we do all the vocals in this large wooden room where Peter can hear himself really well and we work with the monitors on and off quite a lot. So I asked about what microphones they had with a lot of back rejection 'cause I can get a lot of bleed in the room while Peter is trying things out and it would be good to be able to capture it without a lot of spill. So they sent over the FLEA 47 and the FLEA 49 and we went straight to the 47. We have found over the years when you get manufacturers in particular and they say for example: "well we have got this piece of gear and it does this and you have to try this and try that2 etc... – We have down time when we can experiment, but when you have an artist in the room there is no time – you can't stop to compare things. So the 47 went up, we switched it on and Peter started singing, and that was it really. Peter just went "yeah, that's great". We have a history of working with 47s, we have had a Telefunken, reconditioned now.
That's an original Telefunken?
Yes, it's an original – we have had that for a number of years but when we compared it to the FLEA 47 there is something about the FLEA, it's fresher, it's newer, but there is just something about it that works really well with Peter's voice. I had heard a lot about the Millenia mic. pre-amps. for a long time and people saying "don't bother, they are too clean" you know, we are in to using Neves and SSL and mic pres that give you some colour and can give you some response; real world 02but also I was interested in trying the Millenia out, so I started to use them in the Summer when we did the orchestral recording at Air studios – so that was a combination of Neves on the console and then for the ambience we started to use the Millenias and I just was amazed at how open they sounded and how clean they sounded and there was just zero noise being introduced into the recording, which was great. So I started using a solo channel Millenia along with this FLEA 47 and just found it really complimented it and it sounded amazing – I am not really used to ABing a lot and am just into recording things and capturing performances. I am not really an audiophile, it's what feels good that matters to me – and there is just something about the combination of the FLEA 47 and the Millenia that just really makes me stand up and say "wow, that's fantastic".
I know the classical people like the Millenia a lot – I suppose really when it comes down to it, it just lets the mic. through without dirtying it or colouring it and you just hear the quality of the voice and the quality of the mic.
Yes, exactly, it's just lovely and open – there are a lot of people making 47s now and we've tried out quite a few of them, but there is just something about the FLEA 47. real world 03Also about the attitude of the people at FLEA, they really care about it, they are very responsive – not that there has been any problems but they really care – and we really care about things here and it's good to be working with people that can spend a lot of time making things work.
On another note, we have been doing a bit of percussion overdubs as we go – Peter's very immediate with the way he works so when he has an idea, we're off; so when the mic's live, as it always is, it can be used for anything. So we have been doing percussion overdubs. We work in a semi-home environment where there are a lot of kids instruments around so he has been trying out various things with them.
You are finding the FLEA 47 good for percussion?
Yes, it's great – we were trying to do some hand bells and Peter just started playing them. real world 05 We recorded two mics – a normal condenser and the FLEA 47; the 47 was in a normal vocal position but we just loved the way it sounded, it really captured what we were hearing, rather than the condenser which was losing some of the ambience; and a lot more – the pattern was a lot sharper, so it was not working. But there was something about the FLEA 47. We have got a history of using U47s, I remember when I first came here it was the main mic for everything – it would be set up for Peter's vocal and then drums come out and we just start recording......
When it was originally designed the 47 was just a good general purpose switchable-pattern microphone, it's just that people have been using it so much for vocals that they tend to think of it as a vocal mic and not the versatile mic it is and never try using it for other things.
Yes
With modern high bit rate and high sample rate recording, do you find the FLEA 47 is quiet enough?
Yes – no problem, no problem at all. It's more just about the feeling you get from it and the performance you can capture from it. real world 04Luckily I'm working with a great singer, so there is an argument that if you throw up any microphone you are going to get something good. But there is something about the combination of Peter's vocal as it has been historically with a 47 capsule and the FLEA 47 is bringing it into 2010/2011 – it's just a fresher sound and he is singing better than he ever has. It's a great tool for capturing that – it's really really really good and I'm very happy that FLEA contacted us. Although we have other great mics for specific jobs, the FLEA 47 is also great for general purpose and it just works really well.

John Willett
Circle Sound Services

Richard "Dickie" Chappell
Real World Studios

FLEA 50 - Mike Valentine, VALENTINE FILMS, Decca Tree recording session

"I recently had the pleasure of buying 3 of your M50 mics from Pro Audio Europe. I have just returned from Venice where I used them in a Decca Tree to great effect....."

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"The musicians of the chamber orchestra also have said they thought that it was their best recording yet."

Mike Valentine Flea 50 decca tree session Mike Valentine Flea 50 decca tree session


















" I cannot recommend you mics too highly. I think that they are absolutely outstanding.
Thank you for building these instruments to such a high standard."

Mike Valentine Flea 50 decca tree session Mike Valentine Flea 50 decca tree session Mike Valentine Flea 50 decca tree session


Mike Valentine
VALENTINE FILMS

FLEA 47 - U47 clones to original - comparison test published in Swedish magazines Musikermagasinet and Monitor

Workshop university Graz Flea47Read more in gallery (pdf)

Workshop at Technical University Graz/Austria "Tonmeister"

Workshop university Graz Flea47 Workshop university Graz Flea47 Workshop university Graz Flea47 Workshop university Graz Flea47 Workshop university Graz Flea47 Workshop university Graz Flea47 Workshop university Graz Flea47 Workshop university Graz Flea47 Photos copyright: Christian Komp, AES students section Graz


Mario Reithofer
TSAMM - professional audio solutions

Flea 47 w/ F7 capsule - Vincent Castaldo, The Tone Factory, Las Vegas

I received my first FLEA 47 in January 2009, my second followed a few months later. I first used the Flea 47 on female vocals with an artist named Sarah Thiele whom I was doing a record with called "Built Like The Sun".

Sarah Thiele Flea 47 Sarah Thiele Flea 47 Sarah Thiele Flea 47

On first listen it was apparent to both of us this was the magical sound we've been searching for. Before the FLEA 47 we tried several newer high-end vocal mics as well as a few vintage mics, none of which made us that terribly excited about the vocal tone.

Sarah Thiele Flea 47 Sarah Thiele Flea 47 Sarah Thiele Flea 47

After trying a bunch of mic pre/ compressor combinations the chain we ended up using for most of the record was the Flea 47 (in omni), Shadow Hills mono gamma (in discrete mode) and the -ADL Fairchild 670 compressor. Pure Heaven! For a few songs where we needed a bit more aggressive sound we used a vintage Neve 1081 and vintage blackface 1176 with no eq in both cases.

Sarah Thiele Flea 47

The Flea 47 has impressed every artist I've used it on since and I recently used it on Denny Laine's new record "Valley of Dreams". As a matched pair they sound amazing on piano, drum overheads, room mics as well as guitar amps and acoustic guitars. The Flea 47 definitely classed up my productions in the greatest way and I'm hoping for a pair of their FLEA 12s in the near future. Great job Guys!

Vinnie Castaldo
www.thetonefactory.com

Sarah Thiele website

FLEA Model A - test of this mic published in Swedish magazines Musikermagasinet and Monitor

Read more in gallery (pdf)

FLEA 47 - Masi Isohanni and Pasi Kauppinen, Studio 57, Finland

Why do you sell these babys? we would keep all to our self !!
We did compare Flea47 to orginal Telefunken U47 and Flea47 did sound even better !
You get the new mic with classic look and sound, we really wanna have more your mics !
Thanks again:

Masi Isohanni and Pasi Kauppinen
www.studio57.fi

Swedish magazine STUDIO recommends FLEA47

“Flea 47 sound very well, mainly on acoustic instruments and vocals.
Sound is soft as a silk for ears, open and rich with many dimensions and nuances.
Basic and low register is its the most powerful sign!"

... there will be added more extracts from test review soon

FLEA 47, FLEA 12 - Emmanuel Villani, Studio Madrigal

““Flea 47 is really impressive, I used it on vocal recordings with a Pyramix station, one pre-amplifier Milenia and a Mytek converter.
When I used it for the first time, once the material was plugged, and after having let it warm up for 12h, I couldn't believe my ears. The voice keeps all its warmth thanks to a good presence in the medium register and the transparence is almost perfect. Dynamic is respected in such a level that we have the impression that the singer is in front of us. The softness and beauty of the different tones recorded show all the capacity of this microphone in restoring a non-agressive sound, in a wide detailed and precise way.
At the moment of the final mixing, the only correction done was on effects, reverberation, delay and compression, no other changes were made.
Flea 12 is rich and fruity, and the presence of sharp and low-pitched tones makes this microphone unique. He goes where Flea 47 doesn't go very as smoothly as itself. I've made a test with a voice that needed to be changed for the production joining Flea 47 and Flea 12. I must confess that the result was astonishing. When the sound is perfectly recorded, it is very easy to work and change the elements.
I am very happy to have real microphones!”

Emmanuel Villani

These microphones are like works of art”

Peter Freedman Rode Microphones

FLEA 49 - Hudson Fair, Atelier HudSonic, Chicago

The microphone performed spectacularly with great body and tone!
I used it on the soprano and mezzo-soprano soloists in a performance of the Verdi Requiem.

Everyone commented on the excellent tone and very even pick up of the FLEA 49. The singing was quite loud and the mic added a beautiful sparkle-y quality to the voices. Thank you for sending us this fantastic mic!
Best from Chicago,

Hudson Fair

FLEA 47 - Alessandro Brunori, recording sessions of his new album, Italy 2008

Your mic has behaved like the true champion it is: we have been both really impressed with what we have heard. The recorded vocals sound beautiful, the voice has charchter, the mic handled gracefully a very aggressive performance with a nice, warm and dynamic valve beahviour and after the recording, just a small compression made the vocal sit in the mix with authority and presence.
Thumbs up: this is the studio mic I had been waiting for all of my life.

Alex

FLEA 47, FLEA 12, pair of FLEA 50 - Image et Son, Switzerland

We could test all the mics on the grand piano this morning in many possible configurations and I could say, we are extremely happy with the result! After warming up the mics and the power supplies during the last night, it was quickly evident that your stuff did a great job! There is an emotion while hearing to the FLEA's, fortunately they did not sound at all as modern microphones did, they are very warm, present, detailed, beautiful and never aggressive in any register. All this, combined together with the build quality, which is amazing, makes us very found of your conception about how those mics should sound. The FLEA 50's are very warm, rich and musical (just gorgeous!), we loved the FLEA 12 also very much (beautiful, signing and transparent), as well as the FLEA 47 ( full, detailed and very present in the middle range).


For me the main characteristics of the FLEA's are: warmth, fullness, presence, detail, relief and the most important - musicality, they makes music and tell a story. Mr. Gaberel says he never heard such a wonderful result from a modern microphone manufacturer while trying to rebuild an old mic (and he already tested more or less everything on the market, believe me ...). The modern mics we have sound great for sure, but they are different, precise but less moving for my taste in general, that's why it's extremely important for us to have such a tools as the FLEA's. We have demonstrated the four FLEA's during a recording session as well afterwards, many people was charmed and impressed by their sonic qualities.



On the grand piano the FLEA's 50 sounds amazing, on the violin we preferred the FLEA 12 but we are convinced that every set-up is a combination between a microphone, instrument and player. The musician himself influence very much the final result by the way he produce the sound. Once again, thank you very much for your wonderful work!!!

George Vassilev and Jean-Claude Gaberel

U47, M49 parts, hardware - Matthias Flache, Germany

I received the mic parts last week. Thank you!
This is the first time I hold the work you (Flea) do in my hands and I have to make you a big compliment.
The quality and the exact and detailed work is really impressing.
Great job !!!

Matthias

Attack of the Clones - KR magazine, February 2007, France

Read more in gallery

The Flea 47 and Flea 12 were compared to other prestigious microphone
in the Studio of Philippe Labroue in Paris.

Five persons were there during the session:

Philippe Labroue (sound engineer)
Francois Staman (electronic engineer at AETA Audio System)
Alain Le Kim (Film director, mainly documentaries)
Alexis Bock (from audiovisual facilities "Dubbing Brothers" in Paris)
Christophe from Audio Addict (french distributor for FLExible Audio)







The microphones selected for the test were:

Neumann U-67
Neumann U47fet
Neumann U87 (circa 1974)
Neumann 497 (with a genuine K47 capsule)
Neumann KM 84
Sanken CU 41 (double capsule condenser mic)
Crowley and Tripp Studio Vocalist ribbon mic

Extracts from Philippe Labroue's review:

"The manufacturer of the Flea 12 and 47 are true instrument makers and they have achieved near perfect copies of the original AKG C12 and Neumann U47, that were currently in use during the 50's, 60's and 70's in most recording studios. "The shape and the weight of the Flea microphones are almost identical to the originals (as I recall them) et the accessories (power supply, suspension, connectors) are also reproduced very faithfully. I must add that the connections and wires are newly manufactured... "The Flea 12 was the most revealing microphone at both ends of the frequency range. High frequency beyond 10kHz was extraordinary, offering a unique definition for a large diameter capsule. As for bottom response, the vibrations of the city of Paris could be heard, meaning the Microphone was operative below 50Hz. No excess, no agressiveness, a rich presence of the harmonics: the sound of the voice was beautiful... "As for the Flea 47, we found exactly the qualities of the tube Neumann U47 microphone: clarity, presence boost and punch... The precision at the high end is just what is needed for all sorts of production, be it voice, foley effects for movie production, or music. "I think it will not be necessary to EQ this microphone, it will give its best with no corrections... "The advantage, as I perceive it, would be set in the 4 to 8kHz and in the perfect clarity at 1 to 1,5 kHz... "These are new microphones, therefore, as for all capsules, I think that in time their color will change, depending of their use, but also the aging of the components; however the sound can improve, given the fact that the manufacturing looks precise and durable."

Extracts from Alain Le Kim's review:

"The Flea 12 goes higher than the other microphones, with an exceptionnal accuracy and sweetness, but the Flea 47 has the punch and the presence that no other of his prestigious contenders could match. These new comers in the high end microphone market are truly exceptionnal works of art. Accuracy of sonic restitution and manufacturing quality define these beautiful tools. The care in the finish, at all levels, can be heard in the fullness of their sound. I must stop this flow of compliments at the risk of being seen as biased. Well I am! It does not mean that the Neumann U67, U47fet, U87 and even KM84, were not performing well. The level was simply extremely high!"

Francois Staman wrote:

"These dream machines have taken us into another world, where feelings, hidden impressions, and all the emotion conveyed by a voice can be expressed with exceptionnal luminosity, precision, clarity and resolution... "Just like well processed photography, when all the shades of grey can reveal a whole atmosphere."

Alexis Bock said :

"Among all the microphones tested, I have a preference for the Flea 12, for its very controlled restitution of the space and air..."
That's about it!!

FLEA 47 - Eric M.Gast, CEO, FM For Music, LLC, New York

Dear Milos, I just wanted to send you a quick letter to let you know how pleased I am with your microphone. The projects I have used it on since I’ve received it are:

- Peter Gabriel –- Growing Up Live DVD

- Rachel Z Trio (feat. Rachel Z, Tony Levin
  and Bobbie Rae) –Everlasting

- Thomas Mester’s upcoming release

- Several voiceover sessions

I really like the clarity and the top-end. The newer diaphragm has a slight high-end curve to it, which is very similar to what I usually do EQ-wise to U47s, which is why I chose it. It sounds great on acoustic guitars, and I even used it on percussion the other day and it sounded terrific.I’m very interested in the demoing the FLEA 12 as we spoke about, and I look forward to speaking to you about it in the near future.

Sincerely yours,

Eric M. Gast

FLEA 47 Magnum - Mr. Tetsu Sano, famous Japan Jazz singer

No need for words !

FLEA 47 - Sugar Spector, CEO Tone Flake Records, Japan

Dear Mr Milos, Your mic is what I wanted for many many years. A classic dressed as famous 47 but the sounds are exceeding any of those vintage tube mics. I actually own many of vintage tube mics. My usual setting is hooking up to perfect maintained Neve 1073 then Digidesign Protools. The result was what I never thought before ...... FLEA 47 was the best vocal track I have ever heard!


Then I try Uke Hawaiian music. When I play in to FLEA 47 and hearing monitors, I felt the sounds are bit hard than other mics. But when I play back, a magic happen. FLEA 47 sounds so real and emotional!!



I understand that FLEA 47 do not need high frequency boost equalizing after recording in mix. Think carefully about EQ. If you boost high when you are recording or mixing process. You will boost unwanted analog system noise made by preamps, by mixing console. Also phase form will have critical metamorphose. With FLEA47, you really don't need to do that!! So, when I recorded Uke, all subtones are perfect in detail and can hear my Uke like I hear just beside of it. I would try in near future your FLEA 47 tuned with VF14 M7 and UF14 K47 also. My dream now is not buying a forbidden cost "VINTAGE" tube mics, but buying all FLEA mics!!! I don't interest anymore for those aged vinatge mics now. I agree in some situation they are still the best choice for someone, but not for me. I don't found a word how to say my respect and thanks to you Mr Milos. Hope I can buy all your mics one day!

FLEA 47 - in Onkyo House Recording Studio, Japan (during recording session of Mrs. Yano)

Onkyo House is one of the most famous music studios in Japan.
It is located in center of Tokyo-Ginza.
(Ginza’s land price is the highest price in the world).
The building has 8 stories. And, the studio has 4 big recording studios.
It is really modern style studio.

The owner of this studio is a big publishing company named HEIBON-SHA.
The piano at the photos is Mrs. Yano’s favourite Bosendorfer.

FLEA 47, FLEA 12 - Bobo Kantor, composer, producer, Barrandov Studios Praha, Czech Republic

I´ve used microphone Flea 47 for recording a movie soundtrack with the Prague Philharmonic orchestra as the main AB stereo pair. I was surprised by the compact sound of the orchestra and the sound fidelity of every instrument.

This mic is excellent for male voices and acoustic instruments, especially acoustic guitar. Mic Flea 12, which I use for recording of voice and acoustic instruments, has convinced me about its quality during the micking of a chinese opera singer, Feng-j�g. Mic Flea 12 has unbelievable dynamic range.

FLEA 47 - Miro Siran, sound engineer, producer, Slovakia

Excellent. It truly transfers all frequencies soft brilliant trebles, clearly defined “smooth“ middle range and beautiful full bass. In application of this mic for singing or as ambient etc., additional usage of equaliser becomes useless.

Famous Slovak tenor Martin Babjak,
studio session at The State Opera in Banska Bystrica

FLEA 47, FLEA 12, FLEA Fester - The Dead Horses: (studio sessions June, 2004)

"We used FLEA Fester for micking all distorted guitar tracks and were very surprised by wide, full and ambient sound we got from the recording. This was what we had been looking for for ages. FLEA Fester mic provided us with wide range of options to choose from for our recording. FLEA Fester is a great contribution to the overall sound".

"After singing into FLEA 12, I could really hear what my voice really sounds like from the other side. I felt like I was sitting in the recording room with myself. It transfers all the frequencies of my voice, which is the thing I could not achieve with mics I previously used. FLEA 12 is a high value piece of work".

Tucho

FLEA 47 Magnum, FLEA Fester - Palo Chodelka, guitar player, composer, (Liquid Boogie Roll), Slovakia

“I've used the FLEA microphones for miking of guitars. Not only for acoustic but distortion sound as well.
We placed FLEA 47 Magnum and Fester in the front of speaker and .. it was surprise.
Backlights and solos, both had unbelievable huge, clear and readable sound.
After these sessions I can say the only one: I am satisfied, so much!"

FLEA 47 Magnum - Test

Budu se soustredit predevsim na celkovy dojem a konecne hodnoceni.

Po 15 letech nahravani na lampove mikrofony je velmi prijemne, kdyz muzete pracovat s mikrofonem opravdu robustni konstrukce, ktery ma vsechny prednosti, ktere ocekavate a nespatril svetlo sveta jiz nekolik let pred vami.

To znamena, ze se na nej muzete plne spolehnout. Zadny ubytek vyssich kmitoctu, nizsi citlivost, zvyseny sum ci brum a podobne pruvodni jevy, ktere prudi temer kazdeho zvukare, ktery si neumi predstavit nahravani bez svych milacku s 3x pretocenym tachometrem v podobe vynikajicich AKG C12, Neumann U47, U57 ci lehce vychodni sady Neumann CMV 563.

V prubehu poslednich let jsem to to resil v konecne podobe kombinaci noveho Neumanna TLM103 a kvalitnich lampovych predzesilovacu a kompresoru. S touto kombinaci jsem velmi spokojeny, ale musite mit znacne technicke i teoreticke znalosti, za druhe jasnou predstavu o vyslednem zvuku a orientovat se v ruznych kombinacich zapojeni. Neustale kontrolovat urovne signalu vsech komponentu, aby jste dosahli dobre prokresleneho a tepleho zvuku, ktere nikdy nebudou shodne u jinych zpevaku.

Mikrofon FLEA jsem testoval asi mesic u tri ruznych projektu. Zkousel jsem take natacet soucasne na TLM103 a pouzitim ruznych komponentu docilit shodne barvy zvuku s FLEA. Musel jsem take nahradit nektere pasaze po uprave textu v dobe, kdy jsem jiz „fleu“ nemel k dispozici. Zkousel jsem take natacet akustickou kytaru, el. kytaru, 12-ti strunou kytaru, foukaci harmoniku.

Snazil jsem se vse natacet stereo v kombinaci s mym osvedcenym retezcem nebo i pouze zamenou mikrofonu. Protoze vim, jak obtizne je podat objektivni hodnoceni v prevazne subjektivnich podminkach, a ze i seriozni testy mnohdy neprinesou blizsi predstavu, tak se vse snazim blize popsat.

Muj dojem je „brilantni zvuk, ktery se az vyjimecne prosadi v celkovem mixu. Zdvih asi od 5 kHz se da jen velmi obtizne napodobit – jako kdyby byl dynamicky zavisly. Zobrazeni prubehu stopy prozrazuje skoro lehkou kompresi, ktera vsak neni slysitelna, ale vysledny zvuk je silnejsi nez by jste ocekavali. Dalsim postrehem je velmi verny prenos v rozsahu nekolika oktav. U TLM103 jsem v porovnani postrehl, ze jsou nektere tony v hlase ruznych zpevaku, ktere jakoby rezonuji. To se u FLEA mikrofonu neobjevilo, ale muze to byt take zpusobeno komplikovanejsim zaznamovym retezcem za TLM103. Po kombinaci pri stereo zaznamu akustickych kytar s „Fleou“se mi jiz zacalo styskat. V soucasna dobe micham porizeny zaznam a jsem s vysledkem nadmiru spokojeny. Jako nezaujaty nazor povazuji take , ze pri michani jsem zpevakum nabizel ruzne stopy a temer vzdy se jim prednostne libili stopy porizene s FLEA mikrofonem.

Na uplny zaver chci dodat ,ze bych se nebal s timto mikrofonem sverit zaznam i mene zkusenemu technikovi, protoze s „Fleou“ nemusi temer nic hlidat. Cenovy rozdil oproti Neumann TLM 103 v kombinaci s lampovymi preampy a kompresory neni prakticky zadny. Zpracovani je nebojim se rict exkluzivni s durazem na tradicni technologie a materialy. Je to jako by jste si posunem v case mohli odskocit koupit do povalecnych let jeden z nejlepsich mikrofonu tohoto sveta.

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