Which components I use depends on each application and also size limitations. That said, I use primarily Vishay Dale resistors (RN/CMF series), Nichicon KZ or FG capacitors, Panasonic FC/FM/FK and EE/ED capacitors, Vishay polypropylene capacitors, Belden or NTE solid core tinned copper wire, Cinemag Transformers, Electroharmonix Tubes (or vintage when possible), microphone-parts.com capsules.

Good question. Many mod services change a small handful of key capacitors that make the biggest difference in the sound (and also the capsule and transformer). I have come to discover that the quality of the resistors in the signal path and the quality of the capacitors in the power conditioning circuits refine the sound that much further and turn an excellent microphone into an exquisite one. This is where my ‘modifying’ may more appropriately called ‘rebuilding’; typically only a small handful of stock components are left in place.

Yes. Provided your microphone is in decent physical shape, I can repair and rebuild your microphone at the same time. Most often it will not cost anything extra to repair your microphone because the extent of my modifications are such that the majority of the microphone parts are replaced anyway. In the rare case that additional work is needed, labour is $35/hr and part costs will be discussed via email before proceeding.

Yes, two years on my work and components. This warranty does not apply to capsules as they are too easily (and often) damaged by misuse and not a fault of poor or mistaken workmanship.

Generally speaking I don’t like to have a microphone for more than a week. If there is a wait time for work already scheduled, I will let you know when you should send me your microphone. Depending on the shipping times, you can assume you will be without your microphone for 2-3 weeks. Special arrangements can be made for times shorter than that, but may incur a rush fee.

Virtually any. Any microphone can be changed, but a few don’t particularly warrant it (Neumann, high end AKG and the such). Any other microphone manufactured lately that I have seen or heard makes compromises in the components in order to improve the company’s bottom line. I was on a recording session where the saxophone tracks (and the whole session) were almost thrown away because of an unpleasant timbre added to the sax by a ceramic coupling cap in a so-called high-end microphone. In such cases, a single $3 component can dramatically change the microphone and further refinement of the other components can make it your favourite mic. Basically, if you have a mic that you wish was better, or you no longer use because you can’t bear to, or used to sound amazing but has somehow gone awry, send me an email at info@sidegatestudio.com to see if it bears modification or rebuilding. Note: I do not offer services for re-skinning capsules and capsules that need repair will be sent to a different service facility which may increase repair time for a microphone.

I can modify almost any piece of audio gear: speakers, power amps, amps, recording interfaces or preamps. Again, most units do well with modification, but a few are so well designed and built that it is not worth trying to improve them (Such as the Apollo, the Symphony and other high end interfaces). Pricing is on a per-case basis.

Probably. In my opinion and experience, all microphones are based on a solid and effective basic design; it’s usually the component quality that ruins the microphone. My current favourite drum overheads are a pair of Apex 435 that I picked up for $35ea and did the 'E' mod to. They definitely don't sound like $35 microphones even though they use the stock capsule. Even mid-grade to pro-sumer level stuff can be improved, check out the audio samples page and hear for yourself. Basically, if you wish your mic sounded better, it probably can. If you’re not sure, send me an email at info@sidegatestudio.com

Whoever had the home-field advantage. Seriously, how many sharks do you see happily swimming in the arctic and how many killer whales do you see in the tropics?

Usually changing a 3 pin XLR cable to a better quality one will benefit your sound in some measure. However, with tube microphones there is another consideration that could actually make your mic sound worse with a 'better' cable. 12A_7 type tubes are designed to run with a 6.3v heater voltage; at this voltage is where their response is most linear as well. If you change this voltage, you change the behaviour of the tube. Because of the amount of current drawn by the tube and the small gauge of most 7 pin cables, calculations have been put in place to account for the voltage drop from the power supply to the mic through the cable. If you measure, for example, an Apex 460 power supply at the supply, it will measure 6.8vdc. With the stock cable at stock length, by the time you get to the tube itself, you typically will measure about 6vdc - almost 1 volt of loss. What this means is that the stock Apex 460 is running a 'starved filament' style design, whether it is intended to or not. This is why I shorten the stock cable by 7 feet when I modify the microphone - it sets the tube heater voltage to the specified 6.3vdc when measured at the tube and, to my ear, gives a more musical response to the microphone. If you change the 7 pin cable to say a Mogami cable, which has larger gauge wires for the heater circuitry, you will raise the voltage above the specified amount. This can be compensated for by putting a high wattage resistor of the correct (and very low) impedance in line either in the power supply or microphone, but you'll need to crunch some numbers with Ohm's law first.

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