Joe Orlandi did not intend to build microphones when he retired from his 20-year career in the film industry. He started collecting musical instruments and building a commercial recording studio in his quiet corner of Ohio. His focus began to shift when he unwittingly bought a knock-off of a desirable mic. Because the secondhand market is flooded with sophisticated fakes, he went through the same process six more times with reputable sellers before finally finding a proper microphone. Joe examined all of his studio mics and noted the tendency of manufacturers to mount tiny circuit boards into large mic bodies that were mostly empty. He wondered how small he could build a premium, large-diaphragm condenser mic, and Lunar Microphones was born. The prototyping began with in-house fabrications and off-the-shelf mic capsules, but the team did not want to clone any existing mic. They developed their own headbaskets and circuits, swapping parts and obsessively refining every detail until their vision was fully realized. The result is two series of compact, large-diaphragm condenser mics. The transformerless (TL) mics are about the size of a credit card and less than an inch thick. The transformer-balanced mics (TBM) are only slightly larger in size. With the exception of a high-end, German-made M7-style capsule in the TBM-07 model, the TBM mics are manufactured in the U.S. That includes everything down to the circuit boards and all the screws.
The multipattern TBM-06 features an American-made K67-style capsule and a Cinemag output transformer. The body is rectangular with slightly rounded corners. The inner frame to which everything mounts is machined from a block of stainless steel. The front and back covers are also stainless steel, laser cut and etched. A switch on the front selects between omni, cardioid, and figure-eight polar patterns. High-pass and -10 dB pad switches are located on the back. A mini XLR output connector proved to be the best fit for the TBM-06’s slim body. A braided 1.5-foot mini-to-standard-XLR adapter cable is included in the microphone’s polymer case, along with a four-inch magic arm for mounting the TBM-06 to a mic stand. Joe explained that the magic arm has been widely used in the film industry for decades. It’s similar to the handy Audio-Technica AT8459 swivel mount [Tape Op #120]. The ball joints and single tightening lever make for matchless flexibility. The most common threading for magic arm attachments is 1/4-20 (1/4-inch diameter with 20 threads per inch). The good news is that the magic arm included with the TBM-06 is threaded for standard mic stands and comes with a 3/8-16 adapter. On the other end, the threading is 1/4-20 with a jam nut to match the TBM-06 threading. Their custom shock mount (sold separately) uses the same threading, so it works natively with the magic arm.
My consulting clients often ask me to recommend a condenser mic for their vocals, so I knew where to begin evaluating the TBM-06. Male and female vocals sounded clean and natural. The top end was clear without any sizzle or exaggerated sibilance. The midrange frequencies had the harmonic bloom and softness I associate with the Cinemag transformers. That smoothness complemented pop and jazz vocal styles. The low end was full without being boomy or unusually sensitive to proximity.
Over the years, I have seen talented vocalists become a bit anxious when asked to sing into a large condenser mic. They felt intimidated, as if performing under a microscope. The psychological struggle is real. The TBM-06 was not intimidating to anyone in my studio, and was often regarded as “cute.” Its ability to disarm with charm means more relaxed vocalists, optimal performances, and recordings that will beat those of a tense vocalist in front of a larger, more expensive mic. In addition to vocals, I appreciated the clarity of the TBM-06 on a bass cabinet. I did not hear any hype in the low end. The midrange softness worked better on some songs than others, but the TBM-06 on guitar amp sounded especially appealing. The sound was transparent and pleasantly sweeter in the midrange. On upright piano, the TBM-06 can sound beautiful and intimate or articulate and dynamic, depending on the mic position and the performance.
Overall, the TBM-06 sounds gracefully transparent, with a touch of euphonic character that inspires me to continue experimenting. Its compact size and included magic arm ensure that mic placements are more thoughtful and deliberate than distracting to performing artists. The TBM-06 is also durable enough to withstand years of daily use. I predict that this mic will become a new standard in studios around the world.