The Mini K67x is a compact, large-diaphragm condenser with harmonic coloration from its transformer-coupled circuit. The voicing is not overtly colored, but is not as neutral as the Mini K87; the upper mids (4-7kHz) are slightly scooped, and the rolloff above 12kHz is very gradual, giving the mic extended "air."
Each K67x is built by hand in California, burned in, and extensively tested.
Customer Feedback
The Mini K47KD and the K67x pair haven't left my kit since they arrived. Those are absolutely BRILLIANT mics! I've been bringing them with me to sessions at other studios and choosing the 47KD over actual 47fet in front of kicks, and the 67s as overheads just blow my mind; they have more snare body in them than the close snare mics. Incredibly impressive stuff. - Don Gunn
Matching Criteria
We match these mics to 0.5dB in sensitivity (measured at 1kHz), and 1.5dB (or better) in frequency response, 50Hz–15kHz.
Headroom On Demand
To ensure that matched pairs have plenty of headroom for use as overheads for loud drummers, we install an internally switchable 10dB attenuation pad in each of the K67x microphones used for matched pairs. Most customers will not need this additional headroom... but if you do, unscrew the base of the microphone (no tools needed), slide the body sleeve off, flip the toggle switch inside the mic, screw the body back on, and get back to the session.
Included Accessories
Each microphone includes our exclusive Cutaway™ metal-frame shockmount (with spare elastics), and a Roswell branded microfleece dust cover. Matched pairs ship in a single stereo-pair aluminum flightcase, which holds two microphones and two shockmounts.
“I finished three acoustic demos using the k67x and was incredibly impressed with how it sounded. It added a subtle harmonic warmth while still retaining the guitar’s identity. It is quickly becoming my favorite on acoustic!”
The Mini K87 differs from the Mini K67x in three primary ways: fuller bass, flatter response from 1k-10kHz, higher headroom. The Mini K67x is darker (by 1.5dB) in the 4-8kHz range, and as such is effective at attenuating vocal sibilance or harsh cymbals. The Mini K67x circuit creates even-order harmonics, like vintage tube mics, which gives the mics a thicker sound. The Mini K87, by comparison, sounds cleaner and brighter although it is by no means bright or hyped -- rather, the Mini K87 is brighter than the Mini K67x because the Mini K67x is attenuated in the 4-8kHz range.
The Mini K47x and Mini K67x share a circuit topology, although most of the components (including the capsule and transformer) differ. Both models were designed to evoke the sound of vintage tube mics by generating second-order harmonics on moderate-SPL sources. Matched pairs of both models include internal 10dB pad switches to accommodate loud sources (such as drums or tube amps). The difference between them is the frequency response, also known as the tone of the mics, which mostly comes from the capsule but also from circuit components. The Mini K67x has a slightly dark top end, due to a very small dip in the EQ around 2kHz (roughly 0.5dB) and a slightly larger dip around 6kHz (roughly 1.5dB). In contrast, the Mini K47x has a mild presence boost in the 4-6kHz region, which is characteristic of the K47 capsule. Both models work on guitar cabs, voices, drum overheads, piano, acoustic guitar. The Mini K67x tends to be preferred on guitar cab. The Mini K47x tends to be preferred on piano. For drum overheads, mic choice tends to follow cymbal choice; for players with fat sticks or loud cymbals, the Mini K67x might make the tracks easier to mix due to its natural attenuation of cymbal frequencies.
