RockScience RS/12 Microphone

We have a new flavor. Until now, I’ve been using only K47-style capsules in my mics and upgrades. The k47 is has an intrinsically flat full frequency response that works well in a Schoeps style “linear” circuit like the jaSb board. At first glance, the difference between the k47 and a ck12-style capsule is that the k47 is center-terminated. That is, the wire connecting to the gold diaphragm is screwed right into the center of it. The CK12 is edge-terminated meaning the diaphragm is free to vibrate with no constraint in the center.

ldc capsules
K47 Brass Ring Capsule Left and CK12 Edge Terminated Capsule Right

The CK12 style capsule promises a more open AKG-ish flavor. Because of it’s physical design, it is also a much brighter capsule and needs some compensation in the circuit to flatten it out. After a lot of back and forth between circuit simulators and real-world listening, I’m happy with the way I’ve adapted my jaSb circuit for these capsules. The mics are slightly brighter than say a 414, but not over the top or harsh at all. They do have a very hi-fi extended “silky” top end. I’m really psyched about the two distinct flavors of my mics now.

I think of the differences like this: The K47 capsules have a concentration of energy in the upper mids giving a great presence for vocals, and acoustic instruments. But they also have a very full fat bottom end which makes them great for electric guitars, drums and even bass amps. With the CK12, it’s as if you took a rolling pin and spread out that upper mid energy to extend it up into higher frequencies. It’s less aggressive sounding and has more silky highs.

rs/12 microphone
An Early RS/12 microphone

Built into a similar 44mm Body as the RS/47, the RS/12 has that same small footprint to fit into tight spaces. The optional internal pattern switch is also available as it is using a slight variation on the jaSb circuit board. A Red Matte paint job on the tube and new headbasket design give it a unique look from the RS/47.