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MXL V6

Cardioid Condenser Microphone

MXL’s V6 was the second “Silicon Valve” series microphone, intended to emulate tube warmth in a FET condenser design. It is a fixed-cardioid, large-diaphragm model. Unlike most MXL mics, which are manufactured in MXL’s plant in China, the V6 was designed and is manufactured in Marshall Electronics’ southern-California facility.

It was discontinued in 2010 due to the lack of availability of some of the components.

Although previously described in this space as a transformer-coupled design (due to the EQ Magazine statement below), the mic has never had a transformer. (Rather, the V6’s Silicon-Valve sibling, the M3, had an output transformer.)

See also the “Rev 3” circuit board, pictured here. The circuit uses a combination of surface-mount and through-hole, discrete components.

[PCB photos: DJS~NJ]

EQ Magazine

The internal mic circuitry is designed to amplify the “musical” even-order harmonics, while subduing odd-order harmonics, which are responsible for harsh, edgy sound quality. Transformers on the output stage also help enhance the tube-like qualities in the mics [Ed. EQ’s reviewer was incorrect; the mic had no transformer.]

The V6 ships with a “hard mount” stand adapter that attaches to the bottom of the microphone (p/n MXL-V6-H). Optional accessories include metal-mesh pop filters and suspension mounts (e.g. MXL-57 “high isolation shockmount,” the MXL USM-001 “basket shockmount,” and the MXL USM-002 “low profile shockmount.”

EQ Magazine

The V6 and the V69 are clearly cut from the same cloth. Both have a round, warm midrange, with open, present top end. There’s enough proximity effect to work with; the mics handle level well, so you can use them close and take advantage of proximity to fatten up the bottom end. As with the V69, I did find myself wishing for a lowcut filter on the V6 to tame the deep bass “thumpiness” that was revealed when monitoring through a subwoofer-equipped system.

…I enjoyed using the V6 for the same applications at which the V69 excelled. I liked it on male vocals, where it provides a full tone, with bright but smooth high end. The detailed, open top-end also worked well on steel-string acoustic guitars, delivering a thick sound with plenty of sparkle. Marshall is correct to characterize the mic as smooth sounding, with no “solid-state” harshness…

The V6 easily lives up to the claims made by Marshall Electronics. It’s a big sounding mic, with plenty of open top-end, good dynamic response, low noise, and a warm tone.

Recording Magazine

I was not impressed with the V6 sound on overheads — it dulled the sound of the cymbals, and did not let the highs breathe as much as I like; however, when used as close mics on a brushed snare, toms,and a ride cymbal… the sound was so up close, warm and pleasant it was sublime.

Tape Op

This could easily be the best solid-state mic I’ve ever used on acoustic guitar.

The MXL V6 is also known as: V-6.

The mic was released in 2005.

Specifications

Frequency Response - CardioidClick Graph to Compare!

Pickup Patterns	Pads & Filters
Cardioid (22 mV/Pa; 20 - 20,000 Hz)

Capsule Dimensions	Impedance	SPL/Noise
Diaphragm diameter: 25mm Capsule diameter: 32mm Diaphragm gauge: 6 microns	120 Ohms (Low)	Max SPL: 130 dB Self-noise: 16.0 dB(A)

Weight	Length	Max Diameter	Interface(s)
522g (18.41oz)	215mm (8.46'')	47mm (1.85'')	3-pin XLR male (1)

Power Specifications
Requires phantom power Phantom voltage: 48 ± 4v

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