Universal Audio Sphere DLX Specs
Primary Applications Studio Recording
Form Factor Large Diaphragm Mic / Stand/Boom Mount
Intended Sound Sources Vocals, Acoustic Guitar, Electric Guitar, Electric Bass, Double Bass, Piano, Drums, Percussion, Overhead, Horns, Brass, Trumpet, Trombone, Woodwinds, Saxophone, Strings, Violin, Cello, Choir, Room Ambiance
Sound Field Mono, Stereo
Capsule 2 x Condenser
Diaphragm 1″ / 25.4 mm
Polar Pattern Cardioid, Figure-8, Hypercardioid, Omnidirectional, Subcardioid/Wide Cardioid
Pattern Selection Continuously Variable
Orientation Side Address
Pad -10 dB
High-Pass Filter None
Gain Adjustment None
Frequency Range 20 Hz to 20 kHz
Maximum SPL 140 dB SPL (1% THD, with Pad)
Impedance 200 Ohms
Load Impedance > 1000 Ohms
Sensitivity -33 dB at 1 kHz
Dynamic Range 133 dB
Output Connectors (Analog) 1 x XLR 5-Pin Male (on Mic)
Headphone Connector None
Cable Length 25′ / 7.6 m
Operating Voltage 48 V (Phantom Power)
Operating Current Consumption 5 mA
Mounting Shockmount (Included)
Mounting Thread Size 5/8″-27 Female
Included Case Hard Case
Included Filters None
Dimensions ø: 2.5 x L: 8.9″ / ø: 6.3 x L: 22.6 cm
Weight 1.7 lb / 0.8 kg
Package Weight 8.74 lb
Box Dimensions (LxWxH) 15.4 x 13.4 x 7.1″
Universal Audio Sphere DLX Specs
The Universal Audio Sphere DLX Modeling Microphone combines a large-diaphragm condenser microphone with the Sphere 180 DLX plug-in to accurately model 38 of the most sought-after vintage microphones including Neumann, Telefunken, AKG, and more. The mic can be configured to operate either in mono or in stereo. Auditioning and switching between mics during a session can be tedious, but thanks to the plug-in, you can change mic type, polar pattern, reduce bleed, room coloration, and even adjust the proximity effect—either during or after tracking vocals, acoustic and electric guitars, stringed and wind instruments, percussion, room sound, and more.
The Sphere DLX is a dual-capsule microphone with dual outputs, custom-designed to capture the three-dimensional soundfield with exacting detail—including the directional and distance information otherwise lost with a conventional single-channel microphone. Remarkably rugged and featuring -10 and -20 dB pads, the mic can handle in excess of 140 dB SPL before clipping and won’t be damaged by high SPLs or air blasts as some vintage microphones can be. It also has a self-noise level of 7 dB-A SPL, well below most vintage microphones and comparable to many of the best modern microphones. Two XLR mic preamp inputs are needed to operate the mic with the plug-in, as all mic-modeling and other advanced DSP features occur in the Sphere 180 DLX software. Note that the mic can also be used as a standard condenser mic (no modeling) with only one XLR mic preamp required.
Grab the Keys to the Ultimate Mic Locker
The Sphere plug-in gives you access to 38 of the most prized ribbon, condenser, and dynamic microphones ever made.
Get the sound of a classic 47 (with VF14 tube), 67, M49, C12, and 800 to name a few.
Sphere 180 DLX Mic Modeling Plug-In Optimized for the Apollo
The Sphere 180 DLX plug-in (free download available separately) allows the user to change the mic type and polar pattern even after tracking.
Pairing the software with the Apollo audio interface greatly simplifies the process of matching the two mic-preamps required for the plug-in to work.
Adjustable Proximity Effect: eliminates the need to move a microphone solely because of too little or too much bass due to proximity effect—great for punching in a vocal where distance from the mic varies from take to take.
Off-Axis Correction: create more accurate polar patterns to reduce bleed, room coloration, and susceptibility to feedback before or after tracking.
Sphere supports a wide range of plug-in formats, including UAD, AAX DSP, AAX Native, VST2, VST3, and Audio Units on Mac and Windows.
Record in Stereo with One Mic
Thanks to its dual-capsule design, the Sphere DLX lets you easily record piano, drums, strings, and more in stereo.
You can even use different mic models on the left and right channels for a more colorful stereo image.
Plus, you can blend the sound of two mono Sphere DLX mics using Dual Mode, and get classic-sounding mic recipes on snare drums and guitar cabs.
The Polar control lets you adjust the pickup pattern of the mic model, with the additional advantage of being able to select intermediate polar patterns that the original mic did not have. For microphones with a single pattern, the pattern control is fixed to that pattern.
Wide-Cardioid, Subcardioid, Cardioid
Real-Time Processing with Low Latency
With Universal Audio Apollo interfaces (available separately), you can achieve extremely low latency (approx. 1.6ms round trip at 96 kHz) for seamless real-time performance.
The AAX DSP format allows for low-latency performance on Avid HDX systems.
Optimize the Mic for Your Specific Acoustic Treatment
The IsoSphere function in the Sphere 180 DLX plug-in optimizes how the Sphere DLX microphone works together with commonly available isolation devices—such as the sE Reflexion Filters, Aston Halo, Kaotica Eyeball, and even vocal booths.
IsoSphere enhances off-axis behavior for maximum rejection and modifies frequency response to compensate for unwanted coloration, leading to even better-sounding recordings.
Built to Last a Lifetime
With dual, gold-sputtered diaphragms, the Sphere DLX outfits your studio with a premium, large-diaphragm condenser microphone, precision-built to deliver years of inspiration for your recordings and music productions.