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Apogee is pleased to announced Hermes Digital, a division of Hermes Music, as its sole distribution partner in Mexico. Founded in 1991, Hermes Music distributes a wide variety of the top pro audio and instrument brands and promises to be an effective Apogee partner in the Mexican market. 

Hermes Music México
Naranjo 76,
Col. Santa María La Ribera,
México D.F. C.P. 06400
Tel: +52 (55) 5547-2111
Fax: 5547-2111 ext. 1065
Website: http://hermes-music.com.mx/
Facebook: https://www.facebook.com/HermesDigital
Twitter: https://twitter.com/hermes_digital

Self-confessed audio-nut director reveals how and why major new TV series makes sound choices

An interview with "The Price of Kings" director, Richard Symons

In Sound on Sound's feature on your new series, The Price of Kings, you come across as a little obsessive over audio - is that fair comment?
Well, I've been called worse, but I guess that's true. It's just that with such an ambitious project there's a truckload to go wrong so naturally you're concerned with every single detail and for a long time I've believed  that audio's at least as important and in some cases more important than the image on screen.

That's not a very traditional point of view - where does that come from?
I can remember two instances where I learned a lot. The first was on a plane. The seat next to me was empty, but in the seat I'd chosen the inflight entertainment's sound was distorted. I swapped seats, only to find that the sound was fine but picture was grainy, had intermittent lines across it and would flicker. For the next 10 minutes I kept switching seats - but ultimately settled for the one with a bad picture and good the sound. That surprised me at first, so I guess I must have learned something. The other instance was maybe 5 years ago, almost at the end of post production in a film where we'd had a lot of problems EQ-ing some of the audio. The very last stage was the picture grade and I was amazed at the amount of grading we could do before the picture started to get noisy, generate artefacts. The grading house explained that the camera we'd used had a fantastic bit depth and process for converting the image into digits. It occurred to me that now we work almost exclusively in the digital domain, all we have to play with is the digits. Once you've converted something in the outside, analogue world into digits, that's it. You've only got those digits to play with. You may have the fanciest equipment in post production, but it's only got the digits you originally captured to manipulate. There's nothing else in there. On set, especially in documentaries where everything's so seat of pants, there's a tendency to say, "we'll fix it in post". What I learned was that you can only do that if you captured the digits in the first place. On that production the camera was up to scratch but we'd got it wrong with the audio - probably cost us a half day in studio time and no-one was particularly happy with the end result. There was that gnawing feeling of, if only we'd just paid a little more attention to detail on the kit we used to capture the audio - things would have been different.

So how did that come into play with The Price of Kings?
It quickly became clear that this series was going to live or die on whether we could capture these precious moments - a President's wife sniffling, fighting back tears and finally breaking down - with flawless precision. If you need to pump up the sound of a head of state's tongue sticking to the roof of his mouth because it's so dry - you need to make sure you captured the digits in the first place. And of course, there's no second chance, try asking a President for a second take with the same emotion. The problems were compounded by the scale of the project, not only were we filming around the world but post production was also happening across the globe. So technical support was crucial for any equipment we were using, but not as critical as feeling confident it was robust enough not to let us down at a crucial point and was capable of capturing the digits in the first place.

Was budget a consideration?
Absolutely. But actually, now that equipment has come down so much in price, the real difficulty is always making sure you ask the right question on a purchase, keeping in mind your core objective. With sound kit - the objective has to be the quality of the sound and reliability it delivers, coupled with after-sales support. It's easy to get sidetracked into making the wrong decision based on the wrong question. When you're buying equipment, there's a tendency to think in terms of the purchase price - "I don't want to spend $400 on a converter" so you go for the $350 option. Actually, what you've just done is make a $50 decision on the overall quality of sound for your project. That's got to be a mistake, but it's difficult to get out of that mindset when you're trying to stay within budget. There's never enough money so you're always trying to save wherever you can. It's only when you flip the question around that you can make the right decision, "Can I justify saving $50 on equipment when it may cost an extra half day trying to EQ the crap out of it in audio post and no-one's thrilled with the end result?". Good enough isn't good enough. One of the great directors, Sidney Lumet, said, "there are no small decisions in movie-making".

"I've never heard politicians speak like this before" Total Politics - Hear the sound of The Price of Kings

So how do you make your decisions?
Apart from technically evaluating the kit, believe it or not, the first thing is to call the manufacturer. Products are built by people and the quickest way to discover what kind of people are behind the product you're considering, their attitude, temperament and philosophy is to talk to them. You'd be amazed at how much you can learn from the person on reception about their company. We discovered this in a film called the Ministry of Truth where we must have interviewed 50 or so government ministers and members of Parliament (equivalent to your Congress and Executive). We were trying to get a bill passed that would make it a criminal offence for politicians to lie so you can imagine, when the receptionist/secretary asked what we were calling about, their reaction wasn't subtle. Across all 50 we realised there's a direct correlation between the receptionist and their employer. Our producer on that film noticed it and since that day we've saved ourselves an incredible amount of time by simply recognising that fact. On the few occasions we broke that rule, didn't trust our gut feeling, we suffered for it. A pissed off, poorly informed, unhelpful, hurried or dis-interested person answering the phone is a direct reflection on their employer. If you have trouble getting through to a manufacturer, speaking to the right person, not getting a call back - trust your instincts. That'll flow the whole way down the line to the way they treat their suppliers, dealers, salespeople, technical support, customers and the respect they have for their own products - everything. I kid you not. You may be buying just a $99 piece of equipment but the amount of work, manpower and man-hours that goes into getting it on a shelf is extra-ordinary. That product is defined by the attitude of the people in each one of those man-hours. There are a million places for error, oversight and laziness - or a million opportunities to make the best product possible. If the manufacturer can't answer the phone properly you can be sure that somewhere along the line that attitude has found it's way into their product. Do not get sucked into the, "they're a big company so it's understandable" excuse. If they're that big they can give the right training, make sure their staff are happy, knowledgable and customer looked after. There. I've said it. That's my rant for the day. Anyone for a tea ?

Tell us about how you use any Apogee kit?

The Duet's been our workhorse for a while now. We've got a couple and use them either in the edit for playback or make sure we bring one along to an audio post facility with several sets of headphones that we're used to - normally Sennheiser HD650's. So that's our reference point. From there we can tell how the digits are translating to the outside world, the sound of any other speaker set up or room acoustics. If it sounds good to us in the cans alongside the Duet, we know that even if there's some extended bass or whatever going on, that's a function of somebody else's set-up and can make judgements accordingly. So it's our kind of digital reference point. What amazes me is that for years we never figured the importance of having that, I guess the notion of the conversion process being so critical, at the heart of everything had escaped us - but we learned. We've also started using the Mic for guide voice overs and it's really impressive - very natural sounding. Makes you feel like the narrator is speaking only to you, it's intimate and faithful. On the Price of Kings we had Helena Bonham Carter narrating and it was impressive to see how fast she worked, two films in half a day. That's when you really notice the technology working for you - perhaps I should say "don't notice it". No fuss, no problems, just getting the job done. We've also used the Mic hooked up to an iPhone and that's pretty seamless, a great thing to have in your kit bag. It's almost funny how you can start taking equipment like that for granted - but I suspect that's a sign of how we've just come to assume that these insanely low cost items are insanely good. Just 10 years ago believing you could get that kind of quality sound recorded for that kind of money would have you laughed out of court. Today you just plug it in and go - assuming you'll get a great recording. I guess that's what leads to taking it for granted. It's only when you stop to think about it that you realise how amazing it is. Anyone with a cellphone contract and $200 can make a great recording. That's pretty cool. We've had a long association with Apogee, and that goes back to your very first question - I'm a little obsessive about audio. I'm not sure many other manufacturers would have put up with that if they didn't get it. If it wasn't hard-wired into their DNA. There are plenty of other manufacturers who wouldn't put up with that shit. Believe me, I've had to deal with people who don't care and it's a drag. There's not much worse than working with someone who doesn't share your passion and of course the reverse is also true - there's little better than working with people who do.

What's next for Spirit Level Film?
We're just releasing the HD version of a banned French film called Rendezvous. I don't want to spoil it for anyone but the sound on that is absolutely ridiculous, almost primordial. In fact it's all about sound - a V12 Ferrari 275GTB at insane speed across Paris with this surprise twist at the end. You have never, repeat, never heard (or seen) anything quite like it. The US has this thing about V8s, and they do sound great, something guttural and primitive about them, but the sound on Rendezvous - it just taps into some very basic animal instinct. There I go again, sound, sound, sound. But seriously, listen to it through a Duet on a good system at high volume and you're set up for the rest of the day - ready to attack the world. My wife tells me I'm very immature. I daren't argue.

Sound On Sound Article>

Anaheim, California, January 24, 2013 - Apogee Electronics is pleased to announce Symphony 64 | ThunderBridge, a 64 channel interface for connecting Apogee converters to any Thunderbolt™ equipped Mac computer, will be shipping and available February 2013.  For the first time, the award winning sound quality of Symphony I/O can be paired with the blistering speed and bandwidth of Intel’s ThunderBolt technology for unparalleled studio power.  

Symphony 64 | ThunderBridge connects Apogee’s flagship audio interface, Symphony I/O, to any Thunderbolt™ equipped Mac for true Thunderbolt compatibility and performance. Capable of up to 64 channels of input and output at sample rates up to 192kHz, Symphony 64 | ThunderBridge delivers impressive channel counts at unprecedented speeds for a latency and hassle free recording experience. Symphony 64 | ThunderBridge will also connect Apogee’s X-Symphony equipped AD-16X, DA-16X and Rosetta Series converters to Thunderbolt Macs for legacy compatibility. Existing users of these devices will simply need to update to the most current software/firmware available on Apogee’s website before connecting to ThunderBridge.  

Symphony 64 | ThunderBridge Highlights

• Connects up to 64 channels of Apogee I/O to any Thunderbolt™- equipped Mac
• Operates at sample rates from 44.1-192 kHz
• Compatible with Symphony I/O and X-Symphony-equipped Rosetta 800, 200, AD16X and DA16X.
• Latency = 1.8 ms at 96kHz/32 buffer
• 2 Thunderbolt™ ports for connecting additional devices
• 2 PC-32 ports for connection to Apogee interfaces
• 1 Word Clock Out
• DC Input - 12V DC 30W (power supply included)
• Status LED to indicate whether or not the device has been configured properly

System Requirements

• Audio Interfaces: Apogee Symphony I/O X-Symphony-equipped Rosetta Series or X Series interface
• Computer: Thunderbolt-enabled Mac computer, including MacBook Air, MacBook Pro, Mac mini, and iMac
• Thunderbolt™ cables
• Mac OS: 10.7 or later
• Power: DC Power supply included

Price: $995
Availability: February 2013

Anaheim, California, January 24, 2013 - Apogee Electronics is pleased to introduce the completely redesigned ONE, a 2 IN x 2 OUT USB audio interface and microphone. The all new ONE is the first studio quality audio interface and microphone that makes a direct digital connection to Apple’s iPad (iPhone, iPod touch) and Mac. ONE features Apogee’s Maestro control software, iOS device charging, optional battery power for portable recording with iPad and professional sound quality. ONE is the all-in-one solution that makes it easy for musicians, songwriters, recording engineers, film makers, audiophiles, and anyone else to enjoy professional sound quality on iPad and Mac.

ONE offers three input options; a built-in omni-directional condenser microphone, XLR input for dynamic, condenser or ribbon microphones, and 1/4” instrument input for electric guitars, keyboards or any instrument with an electric pick-up. An upgrade from the original design, ONE now has the ability to record two inputs simultaneously (instrument plus built-in microphone or external microphone). The updated AD/DA converters and mic preamps deliver best-in-class, studio quality sound and allow you to capture and playback your recordings with incredible clarity and detail.

ONE’s audiophile quality headphone amplifier/DAC is a favorite for enhanced music listening on Mac. Now ONE delivers the same hi-fi quality sound to iPod touch, iPhone and iPad users for listening to streaming radio and music libraries with incredible clarity and detail.

ONE’s built-in condenser microphone is a unique feature allowing anyone to record with incredible results and without the need for an external microphone. This paired with the option of connecting to iPod touch, iPhone or iPad and battery power enables studio-quality recordings to be created in any location.

“We have completely redesigned ONE, incorporating highly anticipated features; iPad compatibility, simultaneous recording of guitar and a microphone, enhanced sound quality, and a much desired metal chassis,” says Apogee CEO and Co-Founder Betty Bennett. “This is an innovative interface, ideal for the musician who wants an all-in-one solution they can count on for ease of use and professional studio quality results, no matter where they are. We’re excited to welcome this next generation of a classic Apogee product and we know our customers will love it.”

Apple’s iPad has revolutionized music creation with an intuitive touch interface and a universe of powerful and very affordable music apps. As a studio quality microphone and audio interface, ONE delivers key features to this new paradigm. Apogee’s Maestro software for iOS lets you control ONE’s inputs, mic preamp, outputs and set up low latency monitoring. ONE’s DC power charges iPad while in use so recording is not interrupted. The option of battery power for ONE allows for truly portable professional recording.

When used with iPad or an iOS device, ONE works with any Core Audio compliant app like GarageBand, Auria and MultiTrack. For recording on a Mac, ONE works with Logic, Pro Tools, GarageBand, Ableton Live and any Mac Core Audio compliant application.


ONE for iPad and Mac - Highlights

• First studio quality audio interface and microphone for iPad
• New circuitry, mic capsule and upgraded sound quality
• Redesigned die cast aluminum chassis
• Direct digital connection to iPod touch, iPhone, iPad
• Works with new iPhone 5, iPad (4th generation), iPad mini 
(Lighting adapter required - Sold separately)
• Works with GarageBand, MultiTrack, Spotify; Any Core Audio compatible app on iOS
• Works with GarageBand, Logic, Pro Tools, Ableton, iTunes; Any Core Audio compatible app on Mac
• Low latency monitoring, complete input/output control with Apogee’s Maestro software (iOS & Mac)
• DC power supplies charge to iPod touch, iPhone or iPad
• Optional battery operation for remote recording on iPad (2 AA batteries not included)
• USB 2.0 audio with 24-bit/96kHz A/D and D/A conversion
• Built-in omnidirectional condenser microphone (mic stand adapter included)
• 2 Analog Inputs (XLR microphone and 1/4” instrument connector on breakout cable)
• Record up to 2 inputs at a time (instrument + internal microphone or external microphone)
• 1 1/8” stereo output for headphones or powered speakers
• Legendary Apogee sound quality
• Designed in California - Made in the U.S.A.

System Requirements
Mac OS:

• Computer: Intel Mac 1.5GHz or faster
• Memory: 2 GB RAM minimum, 4 GB recommended
• OS: 10.7.5 or greater
• Connection and power: Any available USB port on a Mac
• USB bus powered; DC power optional (DC power supply included)

iOS:

• iOS version: 5.1 and later
• Connection: 30-pin dock connector
• Power supply or two AA batteries required 
(Batteries not included)

iOS device compatibility (Lightning connector)

• iPod touch* (5th generation)
• iPhone 5*
• iPad* (4th generation)
• iPad mini*

        * Requires Apple’s Lightning to 30-pin adapter. Sold separately.

iOS device compatibility (30-pin connector)

• iPod touch (4th generation)
• iPhone 4S
• iPhone 4
• iPad (3rd generation)
• iPad 2
• iPad

Price: $349
Availability: March 2013

Complete Product Information

Anaheim, California, January 24, 2013 - Apogee Electronics is pleased to announce iPad compatibility for Quartet, a 4 input, 8 output USB audio interface. Quartet is the first professional multi-channel audio interface that makes a direct digital connection to Apple’s iPad (iPhone, iPod touch) and Mac. Quartet for iPad and Mac features Apogee’s Maestro control software, iOS device charging, MIDI connectivity, advanced monitor control and professional sound quality. Quartet is the ideal studio control center for multi-channel music recording and mixing on iPad and Mac.

“Apogee has pioneered professional digital recording on iPad and iOS devices with products like JAM, our studio quality guitar input, and MiC, the first studio quality digital microphone for iPad & iOS.  We are now taking the next step, offering a range of professional multi-channel recording solutions for iPad and all iOS devices,” says Apogee CEO and Co-Founder Betty Bennett. “Enabling amazing products like Quartet to be directly connected to the increasingly powerful iPad and all other iOS devices, seamlessly integrated with apps like GarageBand and Auria, controlled with our Maestro software allows you take mobile music creation to the next level. It truly is a new frontier for the personal studio and we’re proud to be at the forefront.”

Apple’s iPad has revolutionized music creation with an intuitive touch interface and a universe of powerful and very affordable music apps. Quartet delivers key features to this new paradigm that bring professional multi-channel audio recording to iPad for the first time. Apogee’s Maestro software for iOS lets you control Quartet’s inputs, mic preamps, outputs and set up low latency monitoring. Quartet’s DC power charges iPad while in use so recording is not interrupted. Quartet provides plenty of power for studio headphones, microphones and MIDI keyboards. In addition, Quartet accepts and provides professional audio level (ie. balanced, +4 dBu reference level).

When used with iPad or an iOS device, Quartet works with any Core Audio compliant app like GarageBand, Auria and MultiTrack. For recording on a Mac, Quartet works with Logic, Pro Tools, GarageBand, Ableton Live and any Mac Core Audio compliant application.

Quartet for iPad and Mac - Highlights

• First professional multi-channel audio interface for iPad
• Direct digital connection to iPod touch, iPhone, iPad
• Works with new iPhone 5, iPad (4th generation), iPad mini 
(Apple’s Lighting to 30-pin adapter required - Sold separately)
• Works with GarageBand, Auria, MultiTrack and any Core Audio compliant app on iOS
• Works with GarageBand, Logic, Pro Tools, Ableton and any Core Audio compliant app on Mac
• Low latency monitoring, complete input/output control with Apogee’s Maestro software (iOS & Mac)
• MIDI input/output (USB-A type connector)
• DC power supplies charge to iPod touch, iPhone or iPad
• USB 2.0 audio with 24-bit/192kHz A/D and D/A conversion
• 4 Analog inputs with world-class mic preamps and selectable 48v phantom power
• 6 Balanced analog line outputs
• ADAT/SMUX digital Inputs
• Monitor control - up to 3 speaker sets
• 1 Independent 1/4” stereo headphone output
• QuickTouch pads for input/output selection and advanced control
• Legendary Apogee sound quality
• Designed in California - Made in the U.S.A.

System Requirements
Mac OS:

• Computer: Intel Mac 1.5GHz or faster
• Memory: 2 GB RAM minimum, 4 GB recommended
• OS: 10.6.8, 10.7.4 or greater
• Connection and power: Any available USB port on a Mac
• Power: DC Power supply included

iOS:

• iOS version: 5.1 and later
• Connection: 30-pin dock connector
• DC Power supply included

iOS device compatibility (Lightning connector)

• iPod touch* (5th generation)
• iPhone 5*
• iPad* (4th generation)
• iPad mini*

        * Requires Apple’s Lightning to 30-pin adapter. Sold separately.

iOS device compatibility (30-pin connector)

• iPod touch (4th generation)
• iPhone 4S
• iPhone 4
• iPad (3rd generation)
• iPad 2
• iPad

Price: $1295
Availability: February 2013

Complete Product Information

Existing Quartet users can acquire the 30-pin cable for iPad connectivity. See more info here

Anaheim, California, January 24, 2013 - Apogee Electronics is pleased to introduce Duet for iPad and Mac, a 2 input, 4 output USB audio interface. The new Duet is the first professional stereo audio interface that makes a direct digital connection to Apple’s iPad (iPhone, iPod touch) and Mac. Duet features Apogee’s Maestro control software, iOS device charging, MIDI connectivity and professional sound quality. Duet is the ideal personal studio interface for stereo music recording, mixing and audiophile-quality listening on iPad and Mac.

First introduced in 2007, the original Duet was a 2 IN x 2 OUT FireWire Audio Interface for Mac and became one of the most popular audio interfaces of all time, starting a home studio revolution and winning many industry awards and accolades. Duet received an upgrade in May of 2011 when Duet 2 took its place with a new 2 IN x 4 OUT format, redesigned AD/DA conversion and mic preamps, and USB 2.0 Mac connectivity. The new Duet for iPad and Mac builds on this legacy by offering the same professional quality as the Duet 2 for the iPad based personal studio.

“Apogee has pioneered professional digital recording on iPad and iOS devices with products like JAM, our studio quality guitar input, and MiC, the first studio quality digital microphone for iPad and iPhone. We are now taking the next step, offering a range of professional multi-channel recording solutions for iPad and all iOS devices,” says Apogee CEO and Co-Founder Betty Bennett. “Enabling amazing products like Duet to be directly connected to the increasingly powerful iPad and all other iOS devices, seamlessly integrated with apps like GarageBand and Auria, controlled with our Maestro software allows you take mobile music creation to the next level. It truly is a new frontier for the personal studio and we’re proud to be at the forefront.”

Apple’s iPad has revolutionized music creation with an intuitive touch interface and a universe of powerful and very affordable music apps. Duet delivers key features to this new paradigm that bring professional stereo audio recording to iPad for the first time. Apogee’s Maestro software for iOS lets you control Duet’s inputs, mic preamps, outputs and set up low latency monitoring. Duet’s DC power charges iPad while in use so recording is not interrupted. Duet provides plenty of power for studio headphones, microphones and MIDI keyboards. In addition, Duet accepts and provides professional audio level (ie. balanced, +4 dBu reference level).

When used with iPad or an iOS device, Duet works with any Core Audio compliant app like GarageBand, Auria and MultiTrack. For recording on a Mac, Duet works with Logic, Pro Tools, GarageBand, Ableton Live and any Mac Core Audio compliant application.

Duet for iPad and Mac - Highlights

• First professional stereo audio interface for iPad
• Direct digital connection to iPod touch, iPhone, iPad
• Works with new iPhone 5, iPad (4th generation), iPad mini 
(Apple’s Lighting to 30-pin adapter required - Sold separately)
• Works with GarageBand, Auria, MultiTrack; Any Core Audio compatible app on iOS
• Works with GarageBand, Logic, Pro Tools, Ableton; Any Core Audio compatible app on Mac
• Low latency monitoring, complete input/output control with Apogee’s Maestro software (iOS & Mac)
• MIDI input/output (USB-A type connector)
• DC power supplies charge to iPod touch, iPhone or iPad
• USB 2.0 audio with 24-bit/192kHz A/D and D/A conversion
• 2 Analog inputs with world-class mic preamps and selectable 48v phantom power
• 2 Balanced analog line outputs
• 1 Independent 1/4” stereo headphone output
• Legendary Apogee sound quality
• Designed in California - Made in the U.S.A.

System Requirements
Mac OS:

• Computer: Intel Mac 1.5GHz or faster
• Memory: 2 GB RAM minimum, 4 GB recommended
• OS: 10.6.8, 10.7.4 or greater
• Connection and power: Any available USB port on a Mac
• USB bus powered; DC power optional (DC power supply included)

iOS:

• iOS version: 5.1 and later
• Connection: 30-pin dock connector
• DC Power supply included

iOS device compatibility (Lightning connector)

• iPod touch* (5th generation)
• iPhone 5*
• iPad* (4th generation)
• iPad mini*

* Requires Apple’s Lightning to 30-pin adapter. Sold separately.

iOS device compatibility (30-pin connector)

• iPod touch (4th generation)
• iPhone 4S
• iPhone 4
• iPad (3rd generation)
• iPad 2
• iPad

Price: $595
Availability: February 2013

Complete Product Information

January 14, 2013, Santa Monica, CA - Effective immediately, Apogee Electronics will discontinue the production of Ensemble, its multi-channel FireWire audio interface for Mac. Introduced in 2006, Ensemble broke new ground as the first all-in-one, digitally controlled professional audio interface designed exclusively for Mac. Ensemble won many awards in its time including the TEC award for “Best Digital Converter Technology.” More than six years later, Ensemble has continued to be one of the most popular multi-channel audio interfaces, inspiring a slew of imitations to follow in its footsteps.

Apogee recommends Quartet and Symphony I/O as the ideal alternatives for the Ensemble customer.

Please see a comparison chart here.

SANTA MONICA- December 12, 2012- Apogee Electronics, an industry leader in digital audio recording for more than 25 years, announces the MiC Carrying Case which is designed to precisely store and protect the MiC and its accessories.  Utilizing durable materials, this 7.25”x4.25”x2” case offers ultimate protection with a sleek and elegant design.  With this portable storage case, on-the-go musicians, voice-over artists, and podcasters always have access to their MiC no matter when or where inspiration strikes.

“We wanted to offer our consumers a customized storage option for the MiC,” says Apogee CEO and Co-Founder Betty Bennett.  “The MiC is very important in the daily lives of many of our consumers, and it’s critical that the device is protected well.  We carefully designed this case to offer MiC users peace of mind when traveling.”

A hard nylon exterior and a padded interior combine structure and safety for the MiC.  On one side, precision cutouts snugly protect the MiC, tripod stand, and MiC stand adapter.  This ensures that the delicate pieces will not rub or bump against each other in transit.  Additionally, the soft all-purpose protective foam will not leave behind any scratches on the metal.  The other side of the MiC carrying case is a mesh pocket perfect for storing cables or other small items.

The Apogee MiC, released in February 2012, is the first studio-quality microphone to make a direct digital connection to iPad, iPhone and Mac.  Roughly the size of an iPhone, MiC makes it easy to record any voice or acoustic instrument anytime, anywhere.  It features PureDIGITAL technology which provides a no-noise signal allowing the user to capture the true tone of the voice or instrument.  The MiC and carrying case are sold separately.

The MiC Carrying Case is available in black.  It retails for $19.95 at the Apogee Webstore 

Apogee also offer the MiC Pro Accessory Kit which includes the Carrying Case, Microphone Stand Adapter, 3-meter Mac cable, and a 3-meter iPad/iPhone Cable.  It retails for $49.95.