Austrian Audio OC18 Black

A Microphone Born from Viennese Expertise and Designed for Consistency

Designed and manufactured in Vienna, the Austrian Audio OC18 follows a tradition where the large-diaphragm capsule is central to the sonic signature. Here, the handmade ceramic CKR12 capsule aims for high mechanical and thermal stability, with a clear goal: to maintain consistent behavior across sessions and between microphones. This approach results in a recording that remains predictable in the mix while offering the expected finesse on vocal nuances, instrument attacks, and ambiance.

Within the range, the OC18 emphasizes "field" versatility: it switches between configurations thanks to its polar patterns and integrated control tools (pads and filters), making it a relevant choice when chaining vocal takes, acoustic instruments, and more aggressive captures without changing microphones.

Who Is It For and What Are Its Recording Applications?

The OC18 is aimed at sound engineers, demanding home studio users, content creators, and studios seeking a large-diaphragm studio microphone capable of covering many scenarios with a single tool. On a lead vocal, it helps achieve clear presence and sharp articulation while maintaining controlled low end thanks to the high-pass filters. In dubbing and podcasting, the adapted polar pattern and proximity management stabilize the timbre, improve intelligibility, and limit room coloration.

For instruments, it excels on guitars (acoustic or amps, depending on the pad), pianos, overheads, percussion, and ensembles: the capture remains precise, with a usable image and off-axis response that can be optimized according to the room acoustics. In live or broadcast situations, its quick adjustments (pads, filters, polar patterns) facilitate adaptation to stage constraints.

Key Features: Control, Headroom, and "Tailored" Polar Patterns

Customizable Polar Pattern for Better Room and Crosstalk Management

Beyond the simple choice of omni, cardioid, supercardioid, or figure-8, the OC18 offers finer adjustment via the "PolarDesigner" plugin. The practical benefit is clear: adjust off-axis response to reduce bleed, better isolate a source in ensemble recordings, or optimize the direct/ambient balance without constantly moving the microphone. This is an asset for quick sessions, untreated spaces, or multi-instrument setups where every dB of separation counts.

High SPL Handling Designed for Challenging Sources

With a maximum SPL rated at 148 dB, and up to 158 dB SPL with the pad engaged, the OC18 maintains headroom before saturation even on very energetic sources. The -10 dB and -20 dB pads allow level adjustment upstream, which helps preserve clarity, limit distortion, and keep a more comfortable gain on the preamp-particularly useful on snare drums, close brass, or high-volume guitar amps.

Integrated High-Pass Filters: Clean Low End Without Losing Musicality

The 40 Hz, 80 Hz, and 160 Hz high-pass filters provide a pragmatic response to common issues: vibrations, handling noise, stage rumble, or excessive low frequencies due to proximity effect. In practice, the frequency is chosen according to the source and distance to clean up what interferes with the mix while retaining a warm foundation and usable low-midrange.

Finally, the 48 V phantom power and balanced output contribute to a stable recording chain, delivering a robust signal for both recording and broadcast.

Technical specifications

Frequency response	20 Hz - 20 kHz	Capsule	Large Diaphragm
Category	studio microphone	Connection	XLR
Directivity	cardioid	Color	Black

Switchable polar patterns	omnidirectional, cardioid, supercardioid, figure-8	Attenuator pads	-10 dB and -20 dB
Sensitivity	13 mV/Pa	Output impedance	2x 275 ohms (balanced)
Self-noise level	< 10 dB SPL	Input impedance	1 kOhm
Signal-to-noise ratio	> 84 dB	Dimensions	157 x 63 x 35 mm
Max SPL	148 dB / 158 dB (with pad)	Weight	0.36 kg
High-pass filters	40, 80, and 160 Hz	Includes	elastic suspension, microphone clip, windscreen, Mini-XLR adapter, and carrying case