![]() ![]() In my original review, I wrote of how brilliant I thought the L22 sounded on a variety of sources and the Sphere LX certainly doesn’t disappoint either! Even without the modeling aspect of the plug-in, this is an excellent sounding microphone – if it wasn’t good in the first place, no amount of processing would suddenly make it shine. I would have liked a couple of other ribbon options, and would sacrifice one of the large diaphragm condensers and one dynamic model for something like an RCA 44 or Coles 4038 to have been included. Also included are two small-diaphragm condensers (AKG C451 and Sennheiser MKH 416 shotgun), six dynamic mics (the usual suspects: SM57, Sennheiser MD 421, Electro-Voice RE20, AKG D12E, etc.), and one ribbon model of the Royer 121. There are 20 included microphone models in the LX plug-in ten of these are large-diaphragm condensers which include original and modern Neumann U 87s, a U 67, Sony C-800G, plus two AKG C414s and a C12. A new addition to the Sphere plug-in is the “IsoSphere” section, which incorporates models of isolation products like the sE Electronics Reflexion, Aston Halo, Kaotica Eyeball, and even a vocal booth model. Using the single LX capture on a guitar cabinet, for example, you could then blend between a Shure SM57 and a Neumann U 67 from a single instance of the plug-in, while having control over the mix, as well as alignment, of the mics. Where the DLX provides an option to record with the mic capturing from the side of the capsules to then be processed as a “stereo” mic, the LX allows for two mics to be blended from the same source. Along with selecting the pattern, you can also choose the mic axis orientation, filtering, and variable proximity effect. Mic models are chosen from the plug-in, but it offers so much more than just choosing the model of microphone. The plug-in is available as Apollo DSP for UA’s Apollo interfaces and satellites, AAX DSP for Avid’s Carbon and HDX cards, and is available for native AU, VST, and AAX versions as part of UA’s recent foray into host computer-based processing. Now that I’ve mentioned the Sphere plug-in, this is a great time to talk more about its integration with the mic hardware the two are fully designed to work as a system and the plug-in is included when the mic is registered using UA’s latest UA Connect app. The Sphere LX also has a “CAL” calibration switch just under the head basket to enable this mode in conjunction with the Sphere plug-in to calibrate the rear capsule input level to the front (UA provides very detailed instructions on their Sphere support pages). ![]() 5 dB precision digital control over their analog inputs. I ran all of my tests with the LX using Metric Halo ULN-8 mkIV preamps that have. Since the goal is to capture the most realistic possible output from both capsules, having a pair of mic preamps that can be precisely gain matched is important to get the best out of the Sphere mics. Want to hear how a figure-eight pattern cuts down the bleed from the side of the mic when you realize the guitarist was bleeding into the vocal tracked with the LX? Easy! ![]() This dual output requires the LX to be recorded to a stereo track in your DAW, capturing the front and rear diaphragms simultaneously thus allowing for the pattern of the mic model to be changed post-recording. Like the original L22 and the DLX, the LX has a 5-pin XLR output and includes a 5-pin female to dual 3-pin male XLR cable this is 10-feet in length compared to the DLX’s 25-feet, so you may need to extend the LX cable with a couple of mic cables. The LX lacks the -20 dB pad of the DLX, so it may not be the first choice to try close on a snare drum, but with a maximum handling SPL of 145 dB, you could probably get away with it in front of all but the heaviest hitters. The Sphere LX uses the same 1-inch dual-diaphragm capsule as its big brother and has an incredibly low self-noise of 10 dB. UA has also introduced the Sphere LX, which uses the same modeling technology and is $500 less expensive than the DLX – perfect for adding the sounds of an entire world-class mic locker to your collection for a thousand bucks. Universal Audio acquired Townsend Labs in 2021 and has rebadged the L22 as the Sphere DLX this renamed model is nearly identical to the original L22 (the DLX has a single -20 dB pad rather than the -10 and -20 dB pads of the L22) and continues to be a powerhouse option in the mic modeling arena. In 2019, I reviewed the Townsend Labs L22 Sphere mic and raved about its versatility and innovation. ![]()
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