Day two at NAMM always feels a little surreal. The noise somehow gets louder, the conversations get deeper, and you start to realise that the show is not really about products at all. It is about people. It is about ideas colliding. It is about the shared obsession that keeps this industry moving forward.
From speakers and microphones to consoles, acoustics, plugins, and philosophy, day two was packed with moments that reminded me why this industry still matters.
Eminence, Kristian Kohle, and the Karnivore
Eminence, Kristian Kohle, and the KarnivoreTalking speakers with Eminence Speaker always feels grounding because they still care deeply about the fundamentals. Magnets, cones, voice coils, and how a speaker behaves in front of a microphone, not just how it looks on a spec sheet.
This one is personal. Kristian Kohle of Kohle Audio Kult is my business partner and a close friend, and one of the sharpest modern metal producers working today. He understands brutal guitar tone in the room and, crucially, how that tone translates once it is under a microscope in a dense mix.
After more than sixty prototypes and extensive fine tuning in Kentucky, the Eminence Karnivore is officially out. Designed for modern metal and hard rock, it delivers aggressive lows, cutting mids, and dark, controlled highs without ever becoming brittle or undefined. It is focused, powerful, and built to sit where guitars actually need to live in a mix.
From a recording standpoint, it is immediately usable. A 57 at the edge of the dust cap gets you close fast. The low end stays tight enough that you can often solve problems with mic placement rather than reaching for filters. Pair it with a darker ribbon and you have depth, weight, and control without fighting the speaker.
Eminence Karnivore key specs 60W power handling at 16 ohms 70Hz to 5.2kHz frequency range 98dB sensitivity 45oz ceramic magnet with 1.75 inch voice coil 12 inch design co engineered with Kristian Kohle for an aggressive, dark tonal character
It is modern, intentional, and built by people who understand how records are actually made.
Chandler REDD Mixing System: Modular Thinking Without the Vintage Headaches
We went back to spend more time with our friend Wade at Chandler Limited, because the REDD Mixing System deserves more than a surface level conversation.
This is not a nostalgia project. It is a rethinking of how classic EMI REDD tone can exist in modern studios without the physical, financial, and logistical compromises of large format vintage consoles.
The system is built cassette by cassette. Each module contains mic pre and EQ, fader, routing, and connectivity, allowing users to start small and expand over time. No cranes, no reinforced floors, no obligation to commit everything on day one. An eight channel TG based system with a bus lands around the low thirty thousand dollar mark, which is remarkable given what you get.
The pedal integration is where things get genuinely creative. Dedicated pedal sends and returns allow guitar pedals to become part of the console workflow rather than an afterthought. Distortion on snares, delays on vocals, modulation on buses, all controlled properly with gain staging, polarity switching, and routing that makes sense. Reamping is equally straightforward, turning hybrid workflows into something fluid rather than awkward.
Wet dry EQ on the bus, reamping paths, proper faders, and thoughtful grounding all point to a system designed by people who actually mix records. Flexibility, longevity, and respect for real world workflows are baked into every decision.
AEA and the Ribbon Renaissance
AEA Ribbon Mics Inc had a huge moment this year, taking home two TEC Awards, a long overdue recognition after decades of quiet, uncompromising excellence.
Rather than chasing trends, AEA continues to focus on fundamentals. Smaller ribbons for faster transient response, thinner materials for improved detail, and modern transformers that preserve character while expanding versatility. Engineering in service of music, not marketing.
The newer compact stereo ribbon is a perfect example. Lighter, faster, more camera friendly, and every bit as musical as their larger classics. The KU series continues to remind engineers that ribbons are not dark relics from the past. On piano, vocals, guitar amps, and drums, they deliver clarity and immediacy that still catches people off guard.
There was also a refreshing openness around community. Supporting other ribbon manufacturers, sharing knowledge, and growing the category together rather than competing in isolation. That mindset feels increasingly rare, and increasingly important.
Austrian Audio: Microphones That Let You Decide
One of the most impressive drum focused conversations on day two came from Austrian Audio, whose philosophy around microphone design feels increasingly rare. Rather than pre shaping sounds or forcing a result, their tools are built to handle extreme SPL, remain transparent, and let the engineer make the final call.
At the centre of this approach is the DMK1 drum microphone pack, a genuinely comprehensive solution that brings eight of Austrian Audio’s most trusted microphones together into a single cohesive system. It is currently the only drum mic kit on the market to include three large diaphragm condensers, delivering depth, detail, and dimensionality you would normally only achieve by assembling a locker piece by piece.
Everything arrives ready to work. All clips, clamps, and windshields are included, neatly packed into a rugged waterproof hard case that makes the system as practical for touring as it is for studio use.
The OC B6 bass drum microphone sets the tone. A large diaphragm condenser designed specifically for kick, it handles extreme SPL without distortion and features a rotating head that makes precise placement effortless. There is no baked in EQ here, just a full range, honest capture that encourages decisions through mic position rather than corrective processing.
On snare, the OD5 active dynamic blends condenser like sensitivity with the toughness of a dynamic microphone. It is fast to place, easy to adjust thanks to its swivel design, and equally comfortable on aggressive hits or more nuanced sources.
Toms are handled by three OC7 small diaphragm condensers, each featuring handmade Vienna capsules, onboard pads, and low cut filters. They deliver fast transient response, impressive headroom, and a natural tone that stays composed even under heavy playing.
Hi hat duties fall to the CC8 SC supercardioid condenser, offering excellent off axis rejection and a smooth, non harsh top end that keeps cymbals present without dominating the kit. Overheads are covered by a matched pair of OC18 large diaphragm condensers, flexible enough for tight rock setups or more open, ambient approaches, and precise enough for confident stereo work.
What ties the entire system together is restraint. Austrian Audio prioritises accuracy, headroom, and musicality over instant character. These microphones do not tell you what a drum kit should sound like. They give you the information, then get out of the way.
Shure KSM: Modern Design, Timeless Sound
Shure has been quietly setting recording standards for decades, so when they choose to revisit a flagship studio line, it is worth paying attention. At NAMM 2026, Shure unveiled the new KSM condenser microphone range, and it feels less like a reinvention and more like a careful refinement of what already worked.
The updated KSM line focuses on true to life capture, ultra low self noise, and a modern physical design that feels at home in today’s studios without chasing trends. The goal is clarity without sterility, detail without hype, and microphones that let the source speak for itself.
Across the range, the emphasis is on precision. Carefully engineered capsules, excellent off axis control, and circuit updates that dramatically reduce noise floor all contribute to microphones that disappear once the red light is on.
The KSM32C sits at the transparent end of the spectrum, offering a smooth, balanced response that works effortlessly on vocals, acoustic instruments, drum overheads, and ensemble recording.
The KSM40C leans warmer, with a natural proximity effect and gentle high frequency lift that adds intimacy and weight without exaggeration.
At the top of the range, the KSM44MP offers serious flexibility. Its dual diaphragm, multi pattern design delivers cardioid, omni, and figure of eight options with excellent pattern consistency and low frequency control.
What stands out immediately is the noise performance. The self noise is so low that it almost disappears, something you notice instantly when tracking quiet vocals or sparse acoustic performances. Combined with thoughtful physical design and premium accessories, the KSM line feels thoroughly modern without losing its roots.
Musik Hack: Sweet EQ and Smarter Saturation
One of our favourite plugin developers of recent years, Musik Hack, was quietly showing something genuinely smart on the NAMM floor this year. No hype, no gimmicks, just a clear answer to a problem most of us deal with daily.
Sweet EQ is the third entry in Musik Hack’s growing line of time saving, decision focused plugins, following Master Plan and Fuel. It is designed to simplify saturation and tonal enhancement without sacrificing musicality, and without pulling you into endless parameters.
As Sam Fischmann explained on the show floor, when most engineers reach for saturation they are usually trying to do one of four things. Sweeten the low end. Add density and thickness. Bring out articulation. Or add air and excitement. Sweet EQ puts all of that into a single, focused tool.
The interface reflects that thinking. Four colour coded controls address Low, Density, Lift, and High, with a pitch control that determines where energy is applied. On bass, that pitch control helps you add weight without smearing the low end. On vocals, it can add heft without sacrificing clarity.
The Calm control is where Sweet EQ really separates itself. Instead of boosting highs and then fighting harshness afterwards, it manages aggressive frequencies before they become a problem. The result is openness without brittleness, and excitement without fatigue.
Sweet EQ encourages commitment over endless tweaking, which feels very much in step with where modern workflows are heading. Pricing was not final at the time of writing, but fittingly, Sweet EQ is set to launch on Valentine’s Day.
This one definitely caught our attention.
Tools, Plugins, and Portable Creativity
Across the rest of the floor, a clear theme emerged. Tools that simplify decision making rather than complicate it. From compact mobile microphones and wireless systems to thoughtfully designed plugins and acoustics that look as good as they work, usability was the common thread.
The emphasis was on helping people finish work, not endlessly tweak it.
The Bigger Picture
The most meaningful takeaway from day two had nothing to do with gear. It was about community. About humility. About collaboration over competition.
In a world increasingly dominated by prompts, algorithms, and virtual everything, these in person moments matter more than ever. Gear is just a tool. Knowledge is meant to be shared.
One percent here, one percent there. That is how great records get made. And that is why we keep coming back.
