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BONUS!
Included with your purchase of an AMT S25B* or S25B-TP* Bass Microphone is a FREE professional XLR to ¼" Microphone Transformer! It's a microphone matching transformer which also acts as an XLR to ¼ inch adaptor, so you can easily use your AMT Mic with an amplifier having only a ¼" input. Available only while supplies last.

*The "Super Preamp" included with the SP25B has both XLR and ¼" Line Driver outputs, so this adapter is not needed.

• Inline Preamp: The NEW Inline preamp is much smaller in size than the "Studio" preamp, and offers compact convenience for those who wish to interface directly with a mixing board or an amp that can supply phantom power (the Inline Pre requires standard 48v external phantom power to power the microphone's condenser element.) Amps like the Acoustic Image combos and heads, and the EA Doubler Amp, can provide this phantom power, as can most pro mixing boards. The pre-amp also includes a dB cut and low roll off filter with a standard XLR (mic cable) output.
  
  Tip: Compact and convenient, plugs in like a "regular" condenser mic for a minimum of hassle - but requires an external phantom power source.
  
  
• Standard Preamp: The standard Preamp model has a single 150 ohm XLR (microphone style) output jack, designed for a standard microphone-style input. Use with a bass amplifier instrument input will require a commonly available XLR-¼" transformer/adaptor. It holds a battery, which can provide the microphone with the necessary phantom power (but will also "pass through" phantom power from an external source, thereby extending battery life). There are no controls. This offers more flexibility if your amp or mixer doesn't provide phantom power, or you tour and use rental amps (and never know what you're gonna get.)
  
  Tip: If you can't count on phantom power being available, this is the least expensive option to provide it to the mic. Simple, effective, affordable - this ensures that you'll "make the gig" if you don't know what you'll be plugging into. (And having a transforming ¼" adapter in your gig bag increases your interface options considerably.)
  
  
• "Super" Preamp: The "big daddy" of the AMT preamps offers two XLR outputs; A standard one, and a second one with a ground lifted isolation transformer split -- PLUS a separate ¼ line driver output with an onboard level control. You will need to judge if this additional bit of versatility will be useful in your gigging environments.
  
  If you are playing with a PA and start to hear a 'hum', move the connection from the standard XLR output to the isolation output to eliminate this. The ¼ inch output is your line driver, normally used with a standard musical instrument amplifier, with the XLR signal to the house PA or recording device. The Pre-amp works with phantom power or a 9-volt battery; a battery is required by the circuitry even when phantom power is used. The external volume control is for the line driver/¼ inch output. The preamp also has an internal volume control in the final gain stage that you can adjust with a screw driver, used only if more or less gain is required to match the gain on your amplifier.
  
  Tip: If you want the most flexibility and power, the Super Preamp is the way to go. Multiple outputs allow you to drive an output to the house mixer AND your stage amp simultaneously; phantom power is supplied by the box. The gold standard!
  
  
• Wireless System: Add the Wireless system to this mic, and go completely wireless! The Wi5C Wireless System is specially designed to work exclusively with AMT Clamp-on Microphones. The wireless transmitter provides the phantom power to the microphone, and the receiver box provides the output to the amplifier or mixing board.
  
  The system is "frequency-agile," meaning that you can tune the transmitter and receiver to one of 16 different channels to ensure that you can use it at the same time as other musicians using wireless systems; it also gives you the ability to "change the channel" if you're receiving interference on a particular channel.
  
  You can buy the Wi5C as an "add-on" to one of the wired mic options above, and use whichever option best suits the gig. More information about the Wi5C can be found on the Wi5C page, which is linked below in the "Related Items" section.
  
  Tip: Few bassists need to go wireless - how much running around are you doing with the doghouse? But some players might find it useful, perhaps in a dramatic production, or a particularly energetic live act (spinning the bass, anyone?) It's nice to know the option is available. Purchase the wired system of your choice, then get the Wi5C as an add on - you can be wired or wireless at your option.
  
  
  
  More on the Mic Element
  

  Specifications: Element: Condenser Polar Pattern: Cardoid Frequency Response: 30hZ - 10KhZ Sensitivity: -65dB±± 4dB Impedance: 150 Ohms (with preamp) Phantom Power: 12 to 54 volts DC (with preamp) self-powered battery Max Input SPL: 120 db Dimension 10" Flex Arm Cable: 10 feet Weight: 71 grams

  S25B

  
  
  In order to get the most gain before feedback, the AMT bass mic uses a very tight cardioid polar pattern to give a high rejection to surrounding noise, at the same time reproducing accurately the subtleties of the bass.
  
  
  
  
  
  Please note: If you have never used a microphone with your bass before, please realize that there are limitations to microphone use - that's why transducers were developed! There can be greater feedback potential, and using a mic will usually require greater care to position your bass, mic, and speakers -- and adjust EQ -- to avoid feedback, "squeal," or unwanted resonances. We include a helpful sheet with tips for avoiding feedback with every mic and pickup order.