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SD Systems LCM 85

Universal Condenser Wind Instrument Microphone

  • For trumpet, trombone, saxophone etc.
  • Polar pattern: cardioid
  • Frequency range: 20 - 20,000 Hz
  • Impedance: 200 Ohm
  • Max. SPL: 139 dB
  • Incl. LP microphone preamp with tone and volume level
  • XLR Connector
  • 48 V Phantom power or battery power with 1 x 9V battery
  • Incl. plastic case

Further information

Clip-On Microphone Yes
Condenser Microphone Yes
5 customer ratings:
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  • 4
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4.8 / 5.0
  • features
  • sound
  • quality
5 written ratings Read all reviews

Unbelievable sound

Eric Y., 06.05.2015
I was concerned about using a stand mic whilst playing my Martin tenor saxophone, loosing the sound now and then whilst moving around on stage, so opted for this mic. It turned up incredibly quickly with no problems whatsoever in the U.K. (no import duties as we are in the E.U.) it saved me about £80 on the U.K. Prices that were quoted over here. But.....more importantly.... The sound is incredible. Very clear, crisp,
pure, you will not be disappointed with this mic. It gives you a true representation of your sax. (as long as the speakers are pretty good).
I have been using this mic for nearly a year and have had no problems whatsoever. It has taken the odd knock and still works perfectly.
Thonman advice was great as usual and icredibly easy to deal with.
Enjoy this product.......
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Best Clipmic for Sax

I have made a comparison test with the following mics:
DPA 4099 Sax
AKG 519
Sennheiser 908B

All mics have advantages and disadvantages. AKG and Sennheiser play for my ears soundly not in the upper league, so they fall out for me.
The DPA is particularly interesting because of the light / unobtrusive design and the expensive but very practical radio adapter. Sound-like, the DPA sounds good when you attach it very close to the bell. This gives you a very close, high-pitched and airy sound, which is probably the most suitable for pop / rock / funk. Jazzers will want to have some more distance from the bell. However, the DPA is not suitable for this. It then becomes musty and indirect. At the DPA the valve sounds are relatively loud. Nix, which in the Bandkontext interferes or what one with a filter can not get into the handle, but the farther away, the louder also the flap sounds. Nevertheless: for Pop / Rock a good Mic.

Directly in front of the bell sounds also the AMT well. For my ears dull and not quite open. Further away the same effect as the DPA. So fall out for me. Maybe a good mic for someone who is on a duller sound. Workmanship, clamp and spider are super.

The spider of the SD LCM89 is for me somewhat impractical, although the sound with the LCM85 is very identical. In the 85er one has however through the Schwanenhals more sound diversity. The 85s sounds close to the bell almost we the DPA, but has the decisive advantage, that it also still sounds really good, if one bends it out. In this position, the mic does not sound too high / airy and produces the best sound of all mics, no matter whether you play soft subtone / jazz or extremely loud pop / rock. So, of course, the mic of my choice. The big beltpack I find however not necessary and rather annoying (who needs a Tone-regulator for the Sax?). Since I am on stages almost exclusively radio plays and the respective adapter cables from SD use, is for me second rank.
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€421 £370.04
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Offers include 20% British VAT and are valid as long as stocks last. Shipping costs to the U.K. are 10 EUR (approx. £7), free shipping on orders above 199 EUR. Please click here for international Shipping rates. We do not accept liability for typographical errors or inaccurate information of any kind. *RRP = manufacturer's / distributor's recommended retail price in Germany
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