Warm Audio WA-87jr and WA87jr SE deliver the world-famous ‘87 sound in a streamlined packageWA-87jr $299 / £299
WA-87jr SE $199 / £199
warmaudio.com
When it comes to value for money, Warm Audio’s faithful reproductions of vintage hardware are hard to beat. The WA-87 R2 is a best-seller for the Texas-based company, retailing at $699, a fraction of the cost of the Neumann U 87 it’s inspired by. Now Warm has two new 87-style microphones, priced at an even more wallet-friendly $299 and $199.
The WA-87jr and the more basic WA-87jr SE (Studio Essentials) are streamlined versions of the WA-87, utilising contemporary technology rather than the historically accurate design of the original model. What makes these new mics still 87s at heart though, is the use of the same vintage-correct, gold-sputtered K87-style capsule found in the more expensive model.

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The original U 87 first appeared in 1967 to supersede the K87-equipped, valve-powered U 67 and has become arguably the most iconic and recognisable large-diaphragm condenser microphone of all time. If asked to picture a lead vocal mic, most of us will instantly think of an 87. Warm’s new offerings share the essential classic 87 look, albeit on a smaller scale.
Where the new models differ from the full-sized microphone is in the internal electronics used. Conventionally, 87s incorporate a transformer in the output stage, yet the WA-87jr models are modern transformerless designs using discrete components within a surface-mount construction. This type of design is not only less expensive to manufacture, but also lowers the mic’s self-noise for a cleaner sound.
Feature-wise, the WA-87jr mimics the classic design with three available polar patterns, cardioid, omnidirectional and figure-8. It also has the familiar 70 Hz high-pass filter and -10dB pad switches. The Studio Essentials model has a fixed cardioid response and lacks the filter and pad. Cost is also reduced by excluding the shock-mount that comes with the WA-87jr. instead, a simple hard-mount is included for the SE.
WA-87jr. Image: Press
There is also a difference in the K87 design, with the SE version having a single backplate as there are no omni or figure-8 options. However, both mics are said to share the same tonal characteristics in cardioid mode and a 20 Hz to 20 kHz frequency response. Like classic FET (Field Effect Transistor) designs, both mics’ internal components feature premium transistors and film capacitors from Toshiba and WIMA, respectively, while the WA-87jr also incorporates Panasonic electrolytic capacitors.
Just like the more expensive mics in Warm’s portfolio, the jr mics are solidly built with a durable metal head-basket grille. And the jr’s shock-mount is also a robust piece of kit.
I had the pleasure of speaking with Warm Audio’s founder Bryce Young, who told me how the WA-87jr came into being:
“In 2016 Warm Audio released the WA-47jr alongside its flagship WA-47 tube microphone. The WA-47jr was somewhat of an experiment to see if customers would appreciate a legitimate K47 style capsule in a simplified circuit, the result far exceeded our expectations with tens of thousands sold and many smiling customers.
Now almost 10 years later, Warm Audio releases the WA-87jr to give customers access to the classic K87 style capsule found in the famous 1960s classic. The WA-87jr now allows more people access to this vintage accurate capsule recreation. Utilising the same simplified transformerless circuit design as the WA-47jr, the WA-87jr provides a clean signal path with the unmistakable clarity of a classic capsule, this time of the U 87 style.”
WA-87jr SE. Image: Press
Before getting into the specific character of the WA-87jr models, it’s worth looking at the difference between transformer balanced microphones, like the WA-87 R2 and transformerless designs like the mics on test here.
The first two points are evident with the WA-87jr without even plugging it in. The absence of a transformer makes it a lot less expensive to manufacture, so you can buy two WA-87jr or three jr SEs and still have $100 left in your wallet. Also, the transformerless design can be built into a smaller body. While the larger WA87 R2 certainly looks impressive when set up to record lead vocals in a professional setting, those wishing to use the mic for podcasts might prefer the sleeker, visually less intrusive jr models. It’s also worth noting that some engineers like to use an 87 as a close top-snare mic, like Alan Parsons did when recording Pink Floyd’s seminal The Dark Side Of The Moon album. In this situation or any other when space is limited, a smaller mic can be advantageous.
Other characteristics of transformerless mics, which may be an advantage depending on your requirements, are a cleaner overall sound with crisper transients and the ability to handle higher SPLs. In contrast, as most large diaphragm microphones heard on recordings before, say the 1990s, were transformer balanced, we now think of their coloured, more characterful sound as inherently ‘vintage’.
In a side-by-side comparison with a transformer balanced WA-87 R2, the new transformerless WA-87jrs certainly have a more contemporary sound. That’s not surprising as the R2 is based upon the original 1967 U 87 rather than the models Neumann offers today. What you get with the jr is a brighter, more high-mid-forward balance with exceptional clarity and detail. You don’t get the low-mid warmth or darker upper mids of the R2, or indeed other vintage-style mics, yet the WA-87jr delivers a focused sound with plenty of presence that is well suited to modern pop productions.

While sonic contrasts are noticeable, it’s not in quite the same way you might notice the difference in quality of an expensive microphone in comparison with a budget model – the WA-87jr sounds way more expensive than it actually is.
This is because the jr is built around the same K87-style capsule as the WA-87 R2. And a microphone’s capsule has far more influence on its sound than transformers and other internal components. As such, the jr shares many familial attributes with its larger and more expensive sibling. High frequencies are smooth and extended, with none of the spiky resonances that often plague cheaper mics.
Throughout the review process the WA-87jr acquits itself admirably. For critical recording, such as lead vocals, it performs as well as (or better than) many more expensive mics. It expresses much of the classic 87 character, detail and clarity especially, if not the ultimate warmth of vintage Neumanns or indeed Warm’s WA-87 R2.
For the price, the WA-87jr is superb and would be an excellent choice for anyone requiring one decent mic to record anything and everything. And if you only need a cardioid design and can live without the high-pass, pad and shock-mount, the SE is practically a gift.

Key features

Vintage K87-style gold-sputtered capsule
Transformerless design
Cardioid, omnidirectional and figure-8 polar patterns (Cardioid only for WA-87jr SE)
70 Hz high-pass filter (WA-87jr only)
10 dB pad (WA-87jr only)
Self-noise: 9 dBA
Hard-mount clip
Shock-mount (WA-87jr only)
Storage pouch

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