The ECM-87 has a 1.07-inch diameter capsule with a six-micron thick diaphragm. This cardioid-only condenser microphone is a transformer-less design within a low profile body that's slightly smaller and lighter than similar-looking microphones. The mic is an externally biased true condenser and 48-volt phantom powered. It has a high pass filter (for reducing low frequencies and rumble) but it is only accessible by removing the case. It comes with a storage bag, shock mount and metal pop screen that attaches to the mic stand. My early (review) version's shock mount was a little big and did not securely hold the mic. This has been fixed with subsequent mics.

I used the mic here at my Tones 4 $ Studios and also on a tracking session at nearby Paramount recording studios in North Hollywood (use to be Ray Parker's Ameraycan Studios). In both sessions the mic exhibited low self-noise and had no trouble taking the high sound pressure when used as a drum room mic. Here at my studio, I tried it for both acoustic guitars and vocals. It has a great sound with a wide-open high frequency response for both applications. On acoustics, it was bright enough and did not require the low roll-off when six inches over the twelfth fret of a Martin D28. On vocals, it compared favorably to a tube "47 clone" I've been using. Later in mixing, I found little need to equalize either of the tracks recorded with this mic--always a good thing as any recording engineer will tell you.

Some specifications to compare to other mics costing much more are: frequency response is listed at 20-20kHz; sensitivity @ 1kHz, 94dB SPL produces 12.5mV; 200 ohms impedance; noise 17 db (A weighted IEC 651); max SPL for 0.5% @ 1kHz is 128dB (pretty decent I might add).