FAQ

Feel free to call or email me if you don’t see what you are looking for.

  • Is there a Warranty?

    We offer a one year warranty. If it breaks send it back and we will fix it or replace it. 

    Some circumstances may not be covered like if you run it over with a bulldozer, although I would really love to see what it looked like after that! 

    In fact even after the year is up, we will fix it at quite a discount rate. Maybe even free still. Why? For us to continue to improve our products, we need to see how they break. That is the same reason we don’t generally give out service info, because we want to see any product repairs that need to be done. This doesn’t mean that we are unwilling to give service info to reputable repair centers, but it does explain why it is not included with the products.

  • Can I parallel the input of the Small DI?

    Sure. You will have to supply your own Y-cable. Now a small warning: Since the Small DI is not isolated by a transformer on the output there is a chance for ground loops.

  • Why Doesn’t the Small DI have a ground lift switch?

    The Small DI was intended to have only the necessary features to function as and instrument input for a preamp. By removing the output transformer we were able to make the Small DI affordable, but still of the highest quality. Most instruments pickups are floating sources and do not require a ground lift.

  • What is the relation to the Stapes mics?

    The mics that are sometimes know on the net as the Stapes omnis, or Stapes mics were designed by Brad Avenson. Then Erik Wofford (check out his studio) and Brad Avenson refined the design and began to sell them. Further development of the microphone resulted in the Avenson Audio STO-2′s that are available today.

  • Can you really use an omni for live sound?

    Absolutely! People worry that feedback will be an issue with an omni-directional microphone, but because omni don’t have a proximity effect you can place them very close to the source. The closer to the source, the more isolation you get from the ambient sound. I’ve heard reports of people touring with the STO-2 for hand-percussion. I’ve used them on guitar cabinets.

  • Do the STO-2′s sound good on (insert instrument here)?

    The honest answer is maybe. A bit disappointing, but honest. No mic sounds good for everything. You know that, and I know that. It would make us look silly if I told you that these are good for everything. I can tell you that because they are omni, they can pick up quite a bit of room sound. This gives an openness to many tracks, but can also be a problem. Check out the applications page for ideas of how we have used them in the past and gotten good results.

  • Why Omni?

    Why not omni? Often especially when you are starting out in the recording field it seems that everything talks about the importance of isolation and directionality. Bleed isn’t bad. In fact sometimes it can be just the right thing. With omni mics, there is no proximity effect. This means that the placement of the mic isn’t as critical to the bass response of the microphone. It also means that you can place the mic really close to a source without having to worry about too much bass. The other advantage to an omni microphone is that the off-axis response is practically the same as the on-axis. With no coloration in the off axis response, the bleed that you do get is more natural and useful.