Most low-cost condenser microphones have a noticeable harsh and bright tone that makes them hard to sit in a mix and can sound fatiguing over time. The Stellar X2 is different in that we carefully tuned its capsule and circuit to produce a sound that is very smooth and easily sits in any mix without the tinny harshness of low-cost condenser microphones.

Furthermore, our custom-made low noise transformerless JFET circuit uses high-quality components such as German capacitors and high tolerance parts. Our K67 style capsule is made from Japanese imported Mylar and is gold sputtered with our proprietary technology. The combination of these features yields a microphone with a high output signal, extremely low distortion, low self-noise, and a very balanced sound.

Tape Op Magazine Review

"Finishing up with the standard (non-Vintage) Stellar X2, I put it through the same paces (acoustic guitar, vocals) and found it a tad bit brighter (although not harsh) while not possessing the same vocal pop and warmth of the X2 Vintage. To be honest, that isn't exactly a negative, as these are characteristics I might want in a mic for loud electric guitar and/or an overhead on a drum set. The Stellar X2 is more of a workhorse mic in my opinion – a tool you can use for almost everything – compared to the X2 Vintage, where you might reserve it for specific voice types or string instruments. It's a neutral microphone that handled everything I threw at it, and again, punched well above its weight class."

Sound On Sound Review

"On vocals the mic delivers a clean representation of the person in front of it, with no obvious coloration and a good balance of low‑end density and high-end detail, all the while sounding smooth rather than aggressive. The lack of significant presence peaks also means the mic should suit a wide variety of voice types. Female singers and males with high voices tend to show up any high-frequency coloration a little more so the smooth high end of this model could well be a benefit in such cases. I obtained good results on acoustic guitar too, using the common ‘where the neck meets the body’ position at a mic distance of 300 to 400 mm. Again, the playback sounded very much as I heard the instrument in the room, balancing solidarity of tone with clarity."

ProSound News Magazine Review

"Next, I wanted to do some musical testing with what I had on hand at my home studio. First up was putting it in front of my Hirade Model 5 classical guitar. I recorded it flat into my Pro Tools rig—and it was, in fact, delicious. It didn’t improve my playing, but it made the guitar come alive. It picked up everything from my fingers to the strings, as well as all of the resonance of the instrument. I couldn’t resist putting some concert hall reverb on it, and with no processing at all, I was getting a clean, crisp sound."