The WA-67 uses a K67 '67-style' dual-diaphragm capsule. It's 34-mm in diameter and made out of brass with gold-sputtered, 6-micron thick Mylar diaphragms. The front and back diaphragms are center-terminated and the back-plate uses the same drilled-hole pattern as the original. Frequency response is said to be similar as well--it varies depending on which polar pattern you've selected--be it cardioid, omni-directional, or figure-of-8.

Inside the WA-67 is a specially selected EF86/6267 high-gain pentode tube surrounded by a circuit using high quality polystyrene Wima capacitors as well as a Solen capacitor that connects the audio signal to the custom-made LL1965B Lundahl output transformer.

I'm bringing all this up because these are some of the ingredients for any great sounding microphone--a microphone that you'll probably have for your whole life and career!

Other important things about the WA-67's construction are: a sturdy main printed circuit board supports the tube's socket and transformer and another board just under the capsule section has the polar pattern, -10dB attenuator pad, and the 100-Hz high-pass filter mini-switches. The EF86 seems securely in its socket not needing a tie down strap as I've seen in other mics. This is a well-made, sturdy microphone with good heft--the mic itself weighs in at 1.8-lbs and requires a strong, large mic stand.

The WA-67 comes with a separate world power supply unit that connects to the microphone using a 16-foot long Gotham Audio GAC-7 cable with 7-pin XLR connectors at each end. The power supply is well made and has a nice carrying handle. How excellent to deliver the mic with two different mounting systems: a big shock mount (shown above) with extra (replacement) elastic bands and a compact swivel mount.

Warm Audio WA-67 Tube Condenser Studio Microphone Kit

In the Studio

I first tried the WA-67 on a voice-over with good results. I used the cardioid pattern and got a super clear and articulated narration using a Retro Instruments Power Strip Recording Channel. I made good use of my Pete's Place Blast Filter--a windscreen to protect the sensitive mic and avoid taking extra time to remove p-pops later in Pro Tools. I did try the high pass filter and it helps a lot but tends to "thin out" the sound in the process.

I got a clear, upfront present lead vocal sound and because I prefer the singer to stay close in especially for soft to quiet singing, bass buildup due to proximity is there but it is clear. The high-pass filter might be good for singers who produce excessive low frequencies.

Next, also in cardioid, I switched in the -10dB pad and put the WA-67 right on the center of my 12-inch Celestion Hellatone 30 speaker in my Avatar cabinet just inches away. This is an awesome sound that is fat, present and clearly represents the sound of my modest MOD Kits DIY MOD 102+ 5-watt guitar amp.

If you happen to be working in a nice sounding room, try switching the mic to omni-directional mode to include some of the room's reflections. Moving the mic closer to the speaker gets you less room tone and further away--a foot or more, gets you more room sound. In omni-directional mode, you have no proximity effect (as in cardioid or Figure-of-8) so you may have to crank up the bass control on the guitar amp.

I loved having the polar pattern switch right on the mic's body! There is no need to go back and forth to the power supply like other tube mics. However mute your microphone preamp output when switching patterns.

The WA-67 sells for $899 MSRP and is an excellent path to the sound of an all-around workhorse microphone that works great for just about any source in the studio from drums, guitars, acoustic instruments and always vocals!