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Microphone
Thursday, February 09, 2012
TELEFUNKEN Presents New Multi-Track Microphone Session Files (Includes Audio)
TELEFUNKEN Elektroakustik is now offering access to multi-track recording sessions with a variety of musical artists.
The latest addition to the TELEFUNKEN multi-track session file series was recorded at Germano Studios during the 131st Audio Engineering Society Convention in New York City. Engineered by Germano Studios staff engineer Kenta Yonesaka through the studio’s SSL Duality console, with assistance from Brendan Morawski of TELEFUNKEN.
The artists featured during this recording session were songwriter Andrew Cole backed by female vocalist Chantel Upshaw, guitarist Lee Sylvester, drummer Bryan Kelly, bassist Bill Carleton, and pianist Tony Parlapiano. Cole’s original song “Dead Roses” is an acoustic folk-pop song with a breathy male lead vocal and a haunting female accompaniment.
Some of the highlights heard on these files feature several TELEFUNKEN classics employed for vocals. The ELA M 251, U48, C12, as well as the R-F-T AR-51 and CU-29 have become the norm for vocal duties on the multi-track session series. Unconventionally, a pair of R-F-T AK-47 MkII microphones were placed in direct comparison to a pair of the venerable classic C-12 in drum overhead duties.
Additionally, TELEFUNKEN premiered two proto-type models from the company’s line of dynamic range mics. The M82 specialized kick drum mic made its debut, along with the just released M81 instrumental microphone. Featuring a flatter frequency response, the M81 was employed for recording toms, and placed next to R-F-T series CU-29 “Copperhead” and AR-51s on electric guitar.
Also in less familiar microphone applications, a pair of ELA M 260 microphones was used to record an upright piano while a proto-type DI and R-F-T CU-29 made their first appearance in a bass recording application. To fill out the session, an R-F-T AR-70 stereo microphone expertly captured the overall room sound.
These files are available for download to the user’s favorite DAW system in 24-bit .WAV format at 44.1k sampling rate. All are welcome to not only audition these files, but to listen to and compare the various “multi-mic’d” scenarios while finding a textural mix balance that suits one’s particular personal sense of aesthetic.
“We encourage listeners to use these files to get familiar with the TELEFUNKEN product line and also fine tune their mixing skills,” says Alan Veniscofsky, director of operations.
Listen to Andrew Coles’ “Dead Roses,” recorded at Germano Studios in NYC.
Go here to learn more about the TELEFUNKEN Session Files.
Find out more about the Andrew Coles session here.
Hosa Technology Mogan Elite Omni Earset Microphone Now Shipping
Hosa Technology has announced that the new Mogan Elite omni earset microphone, the newest addition to the Mogan brand of subminiature microphones, is now shipping.
The Mogan Elite earset mic is outfitted with a moisture-resistant, 2.5 mm omni-directional capsule with -45 dB nominal sensitivity that is designed to be positioned farther from the user’s mouth.
Delivering full-frequency audio performance (20 Hz – 20 kHz) and high gain before feedback, this microphone provides a natural, resonant sound quality.
The new mic also offers an innovative earpiece designed to be worn comfortably for extended periods. With a fleshy ear cushion concealing its fully adjustable, sprung-steel (stainless) mechanism, the mic feels natural when worn over one’s left or right ear.
An interchangeable cable system allows connection of the mic to most popular wireless transmitters, including models from Shure, AKG, Sennheiser, and Audio Technica. Each mic ships with a detachable, Kevlar-reinforced cable with a hardwired connector.
The new Mogan Elite Omni Earset Microphone is available in either beige or black to blend with a variety of skin tones. Additionally, each unit includes a foam windscreen and a single mic clip. The entire package ships in an impact-resistant, compression-molded neoprene zippered case.
Jonathan Pusey, Hosa Technology director of sales and marketing, states, “The Mogan Elite earset microphone delivers impressive performance, enabling this microphone to be right at home in a number of high-end applications, including broadcast and theater, in which audio performance is critical. In addition to world-class audio quality, the Elite earset mic is very comfortable to wear and may be worn without distraction for hours on end.
“The earpiece is highly adjustable and the boom mechanism facilitates precise positioning of the microphone’s capsule. I am quite confident the Elite earset will be right at home in a number of demanding audio environments.”
Enter The PSW Sweepstakes To Win An Audio-Technica Microphone Or Headphones
Enter to win an Audio-Technica microphone or headphones in the first PSW Sweepstakes of 2012.
ProSoundWeb is giving away three Audio-Technica 50th Anniversary Limited Edition products each month in January, February and March.
Specifically, for each drawing, we’re giving away:
1st prize - AT4050/LE Multi-Pattern Condenser Microphone —Special 50th anniversary edition in silver-colored metallic finish with etched-on serial number and carefully crafted wooden carrying case —Transparent uppers/mids balanced by rich low-end qualities combine with advanced acoustic engineering for extensive performance capabilities and highest quality —Dual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range of the microphone —The 2-micron-thick, vapor-deposited gold diaphragms undergo a five-step aging process so that the optimum characteristics achieved remain constant over years of use —Three switchable polar patterns: omni, cardioid, figure-of-eight —Transformerless circuitry virtually eliminates low-frequency distortion and provides superior correlation of high-speed transients —State-of-the-art surface-mount electronics ensure compliance with A-T’s stringent consistency and reliability standards —Switchable 80 Hz hi-pass filter and 10 dB pad —Custom shock mount provides superior isolation —Valued at $995.
2nd prize - ATM25/LE Hypercardioid Dynamic Instrument Microphone —Exclusive 50th anniversary edition in silver-colored metallic finish with serial number etched on the surface —Ideal for kick drum, toms, and other highly dynamic instruments —Handles very high SPL at close range —Big, warm low-frequency response with excellent presence —Multi-level grille and rugged construction —Offers very full sound on close-up vocals and dialogue —Corrosion-resistant contacts from gold-plated XLRM-type connector —Rugged, all-metal design and construction for years of trouble-free use —Valued at $489
3rd prize - ATH-M50s/LE Professional Studio Monitor Headphones —Special 50th anniversary edition in silver-colored metallic finish —Exceptional audio quality for professional monitoring and mixing —Collapsible design ideal for easy portability and convenient storage —Proprietary 45 mm large-aperture drivers with neodymium magnet systems —Closed-back cushioned earcup design creates an outstanding seal for maximum isolation —Adjustable padded headband for comfort during long mixing/recording sessions —Single-sided straight cable terminates to gold-plated mini-plug with screw-on 1/4-inch adapter —Valued at $209
Go here to enter the latest PSW Sweepstakes. Note that entrants are asked to register to receive the ProSoundWeb Daily e-newsletter.
Revolabs Enhances HD Control Panel For Entire HD Line Of Wireless Microphone Systems
Revolabs has announced that the company’s Windows-based HD Control Panel software has been enhanced to support the entire HD line of wireless microphone systems, bringing the monitoring and configuration tools found on the Executive HD to the HD Single/Dual Channel and the HD Venue systems.
In addition, based upon customer feedback, Revolabs has created several new features for the HD line, including a DIP switch display, mute groups for Executive HD systems, and an expanded control system API.
With the HD Control Panel, users can monitor and control networked HD wireless microphone systems from a single PC software program with an intuitive graphical user interface.
The HD Control Panel allows users to control the mute status and gain of each microphone, and to lock out presenters from using the mute button.
The software also provides the ability to monitor each microphone closely for its real-time status, such as battery level.
The monitor tab of the HD Control Panel has been enhanced to provide the DIP switch status for each system, eliminating the need to look on the back of the system to see which switches are active.
Revolabs has also added several commands to the HD systems’ API, allowing A/V control systems to send global commands, turn off microphones, and even initiate pairing, all from the convenience of a room’s touch panel.
Finally, Revolabs has bolstered the Executive HD with the ability to assign systems to mute groups. This allows all systems in a building to be bussed together without muting each other, unless they are assigned to the same group.
“We are pleased to bring the capabilities of the HD Control Panel to users of our HD Single/Dual Channel and HD Venue systems, in addition to offering powerful new features across our entire HD line,” says JP Carney, CEO of Revolabs. “We take pride in listening to our customers as we continually strive to meet their evolving needs. New features, such as those released today, are a direct result of customer feedback.”
The enhanced HD Control Panel and new features are available through a firmware update (version 2.6.1) to both the base station and microphones. The update is available now at www.revolabs.com/downloads.
New feature enhancements require a Gold unlock code provided as part of a Revolabs service plan. Any system that has previously been unlocked will automatically receive the new features upon completion of the firmware upgrade..
Mojave Audio has introduced the new MA-101SP, a matched pair of MA-101fet cardioid condenser microphones for use in a range of stereo recording and live sound reinforcement tasks, with instruments such as drums and guitar amplifiers, as well as capturing room ambience and general stereo recording.
Each MA-101fet in the matched pair provides warm, full-bodied reproductions of instruments without the shrillness and high frequency artifacts so often encountered with modern condenser microphones.
The microphone’s warm FET circuitry and externally polarized capacitor mic element combine to deliver low noise and high quality performance.
The MA-101fet features both omni and cardioid polar patterns by way of interchangeable capsules and is outfitted with a 3-micron thick, .8-inch diameter gold sputtered diaphragm.
As one would expect from a David Royer designed microphone, each MA-101fet in the MA-101SP matched pair offer performance specifications that are impressive. Frequency response is 20 Hz - 20 kHz (+/- 3 dB), sensitivity rating is -40 dB (1 volt per pascal), and the distortion rating is less than 1 percent @ 120 dB SPL (-15 db pad off) and less than 1 percent @ 135 dB SPL (-15 dB pad on). The microphones operate on standard 48-volt Phantom power.
Mojave Audio president Dusty Wakeman states, “The new MA-101SP matched pair of microphones is the result of countless requests from the audio community. Drawing upon the strengths of the MA-101fet, these mics are a terrific choice for a wide range of stereo recording tasks where imaging is critical.
“Engaging the 15 dB pad allows one to take advantage of the fast transient response on instruments such as snares, toms and loud guitar amps. The MA-101SP is a remarkably versatile general purpose recording and sound reinforcement tool that, I’m confident, will find a home in a wide variety of environments.”
The new Mojave Audio MA-101SP ships in a single carrying case that includes a stereo bar. MSRP is $1,195, and availability is Q1, 2012.
From the archives of the late, great Recording Engineer/Producer (RE/P) magazine, this feature provides an interesting look back at quadraphonic recording. This article dates back to September of 1970. (Volume 1, Number 3). The text is presented unaltered, along with all original graphics.
As a complete oversimplification, a microphone is an instrument which measures differences in air pressure.
It is not surprising that somebody would, in light of the interest in Quadraphonic sound, experiment and perfect an instrument which would measure and transduce the differences in air pressure around a full 360 degrees - to effectively create a quadraphonic microphone.
Figure 1 (click to enlarge)
Such a truly Quadraphonic device, developed by engineer Carl Countryman and producer Brad Miller, is in external appearance no different than the several models of standard microphones (Figure 1).
This Quadraphonic microphone has been designed and built using the case and chassis of a Neumann SM-2, into which four independent microphone heads have been built to provide full 360-degree pick-up.
The pick-up patterns (Figure 2) are cardioid, front and back, and figure-8 at the sides.
Although the obviously complicated matrixing data are proprietary, and unavailable for publication, the discussion of pickup patterns, generally, yields an understanding of how the design provides excellent separation and naturality of sounds.
Cardioid, also sometimes called unidirectional, is a heart-shaped response. It is resultant of an omnidirectional and figure-8 pickup.
The signals are superimposed on each other; at the very rear they are anti-phase, and so cancel out.
At the front they are in phase, hence the tapering hear-shaped response toward the rear.
Figure 2 (click to enlarge)
Figure-8, or bi-directional pickup-patterns, are the result of two directional pickup patterns, one in phase and the other anti-phase.
The output at the front and the back are equal, although opposite,.
As the input signal moves to the side, the output is gradually reduced until at 90 degrees, the two patterns have, for all intent and purpose, canceled each other out.
Figure 3 shows microphone capsules as they are arranged in the microphone head.
“Front to Back” and “Left to Right” are one above the other at 90 degrees to each other.
Three demonstrations, on very spontaneous, served to convince that development of the unit is very nearly complete.
Figure 3 (click to enlarge)
The microphone was hung in Miller’s back yard garden, surrounded by about 200 degrees of sound source emanating from a waterfall with various small tributary streams flowing from it. It presented an excellent opportunity to “hear” the complete environment; the waterfall in stereo on the two speakers in “front,” and from behind, the beautiful ambiance of the total environment and the reflected sound.
Several minutes into the demonstration, on the Southern Pacific tracks bordering on the rear of the Miller garden, a slow-moving freight train ambled by. The completeness of the sound, the way it engulfed the listening room, is difficult to describe. It was totally complete… almost frighteningly so.
Figure 4 (click to enlarge)
Miller completed the demonstration by playing a 4-track tape of his “Mystic Moods Orchestra” on an especially adapted Sony. The machine (Figure 4) has been adapted for 4-track, in and out, and will be able to accommodate 10-inch reels of 2-inch tape.
The machine is the forerunner of a new design from the Countryman/Miller collaboration which will weigh in the vicinity of 20 pounds.
The “Mystic Moods” piece only served to further impress that Quad or Multi is certainly on the way… with an endless spectrum of sound combinations and tonal effects.
Editor’s Note: This is a series of articles from Recording Engineer/Producer (RE/P) magazine, which began publishing in 1970 under the direction of Publisher/Editor Martin Gallay. After a great run, RE/P ceased publishing in the early 1990s, yet its content is still much revered in the professional audio community. RE/P also published the first issues of Live Sound International magazine as a quarterly supplement, beginning in the late 1980s, and LSI has grown to a monthly publication that continues to thrive to this day.
Take the PSW Photo Gallery Tour of audio equipment ads appearing in RE/P magazine, circa 1970
Our sincere thanks to Mark Gander of JBL Professional for his considerable support on this archive project.
Please send all questions and comments to ProSoundWeb Editor .(JavaScript must be enabled to view this email address).
RFvenue Releases New Long-Range UHF Antenna For Wireless Mic & IEM Systems
RFvenue has introduced the new high-gain, foldable, circularly polarized CP Beam antenna for use with wireless microphone and in-ear monitoring systems used in applications such as concert touring, location sound, audio/visual, and broadcast.
The CP Beam antenna is optimized for long-distance applications in the 470-698 MHz UHF range.
“The patent-pending CP Beam is a convenient, easy-to-use, full-size beam antenna for long-range applications that can be very quickly utilized when needed,” states RFvenue CEO Chris Regan. “Customers wanted a compact and durable high-gain antenna without the size, weight, and additional cost of hard plastic or metal designs.
“It’s great that it folds up for storage, yet is quickly deployable. There’s no need for a dedicated flight case to store the CP Beam – it fits in a two RU rack drawer when folded.”
Robert J Crowley, inventor of Crowley and Tripp microphone technology and chief of Soundwave Research, which operates RFvenue, adds, “The new RFvenue antennas all incorporate ergonomic and human factors that have been ignored in the past. RFvenue’s products make wireless systems easier to use, more dependable, and eliminate guesswork in an increasingly complex RF spectrum.
“The CP Beam is a high-gain, broad bandwidth, directional antenna that is excellent for long-range wireless mics or IEMs, as well as point-to-point RF links.”
The new CP Beam has a $499 list price. The company’s products are shipping worldwide through distributors, dealers, and a nationwide manufacturer’s rep force in the US.
Blue Announces Mikey Digital Microphone For iPod touch, iPhone, iPad
Blue Microphones announces Mikey Digital, a plug-and-play external microphone for recording stereo audio on the latest iPod touch, iPhone and iPad models using iOS audio apps or the video function.
It offers automatic and manual gain control and a multi-source auxiliary input for direct recording of guitar and other sound sources.
“Mikey Digital is the highest quality and most versatile solution for capturing professional recordings on your iOS device with most audio apps or the built-in video camera,” says John Maier, CEO of Blue Microphones. “Mikey Digital brings more than professional-quality recording to these mobile platforms, it also turns your iOS device into a studio interface for recording guitar, connecting a lavaliere mic or capturing line level audio straight to your iPod touch, iPhone or iPad.”
It includes two custom-tuned condenser capsules for capturing studio-quality audio—the same capsules used in Blue’s Snowball and Yeti USB microphones.
Mikey Digital users can switch between Automatic and Manual gain settings, allowing the automatic gain control to intelligently adjust to fluctuating volume levels or manually locking in a high or low sensitivity level.
Mikey Digital is also equipped with an LED clipping indicator that signals whenever volume levels are producing distortion, providing immediate feedback to adjust for best recording results.
Furthering its capabilities, Mikey Digital also features a multi-source 3.5mm auxiliary input jack for stereo line-in, instrument-in and mic-in. This versatile input turns it into a multifaceted professional recording interface for direct recording of other sources including guitar, handheld mics, mixers and more.
Using a built-in, high-quality mic preamp and a CD-quality A/D converter, Mikey Digital records the highest fidelity possible on the iOS platform and can handle the high SPL of loud environments. It also features a USB pass-thru connection for charging your device while in-use for continuous recording without draining battery life.
Outfitted with a 230-degree rotating head for optimal positioning, it can also capture enhanced audio while recording video by rotating the mic to align with the front- or rear- facing camera. \]
Further, it incorporates an advanced microprocessor allowing for upgradeability and future control through iOS applications. Plug-and-play, Mikey Digital directly connects to latest iPod touch, iPhone 4/S, iPad 2 and iPad and is instantly recognized for use with most audio and video applications.
Counterfeit Shure Products Seized In Peru And Paraguay
Thousands of counterfeit Shure microphones were recently confiscated by customs officials in Peru and Paraguay.
The actions were the result of ongoing investigations by Shure representatives in both countries, in cooperation with local customs and law enforcement agencies.
The seized products will be destroyed under the supervision of customs agents.
In Peru, 2,303 counterfeit Shure microphones were seized by customs officials as the products were being imported into the country. The microphones included models C606, SM58, and PG58. Also confiscated were 1,594 cables and several thousand accessories, user guides, and product cartons, all branded with the Shure trademark.
The products were being imported by Fabi Export and Import, a company that is not an authorized Shure distributor or reseller.
In Paraguay, a delegation of officials from the customs authority raided a number of resellers in Ciudad del Este, including Music Shop, Music Brasil SA, and Musical World. Counterfeit products seized included SM57, SM58, Beta57A, and Beta58A microphones as well as PGX Digital Wireless components.
“Shure continues to take vigorous action against counterfeiters worldwide,” states Mark Humrichouser, general manager for the Shure Americas Business Unit. “We are committed to challenging the sale of counterfeit Shure products, not only to protect the interests of Shure and our distribution partners, but to ensure that consumers receive authentic products with the performance and quality for which Shure is famous.”
MXL has introduced the V67 Recording Kit, which includes the V67GS microphone as well as two V67N microphones, as well as mounts, adapters and a case.
The V67GS is a large-diaphragm cardioid condenser mic that combines Class-A FET circuitry and a transformer /coupled output for an open sound. The gold-sputtered diaphragm is 6 microns thick, and the capsule measures 1.26 inches. Frequency response is 30 Hz to 20 kHz.
The V67GS offers a smooth rising presence peak which is preferred for vocals when there is a heavy low end in the mix, and it includes a high-pass roll-off switch and additional -6 dB pad.
The V67N is a pressure-gradient condenser mic with cardioid/omni pattern, with a signature marked by the right blend of power, presence and clarity.
Hand-selected components and transformer-balanced output help deliver a solid bottom end and exposed top, making it good choice for drums, piano, guitar, choirs, and other applications.
The V67N’s 6-micron-thick diaphragm is also gold-sputtered, with the capsule measuring .87 inch. The mic is internally wired with Mogami cable for added sonic integrity. Frequency response is 20 Hz to 20 kHz.
A reader is puzzled by stereo (2-mic) acoustic guitar recording:
I recently got into mixing acoustic guitar with 2 mics. The problem is that I do not know how to create as much ‘space’ as some tracks I know of. I’ve tried XY, ORTF, and spaced pair.
XY and ORTF are too narrow. Spaced pair seems reasonable (following the 3:1 Rule), but the mic pointed closest to the body becomes overly ‘bassy.’
How can I balance the stereo image? EQ can control the problem but not by much. How would you go about on fixing this problem?
I know mic position has to do with it but I don’t know where to start. Just wondering if you had to overcome this type of problem before.
As much acoustic guitar recording and mixing as I do, I’ve dealt with problems like this a LOT.
(And this applies to ANY instrument, not just acoustic guitar.)
First things first…
Mic Placement Is Everything
I’ve played the “Hey, I’m Just Going to Throw a Couple of Mics in Front of the Guitar and Hope it Works” game.
It’s not a very fun game, trust me. You always end up losing.
Whenever you’re recording an acoustic instrument, always plan to give yourself at least a few minutes to try a few different mic techniques. I
s one mic (mono) appropriate? Does it need the wider sound of a stereo (2-mic) technique? If so, which technique is best?
There are a lot of options, and it would behoove you to try at least a couple of them before committing the recording to tape. (Tape…who says tape anymore?)
I feel like I’ve come full circle when it comes to stereo recording. I used to love a nice, wide acoustic guitar sound. But the last year or so I’ve simplified a lot.
Nowadays I’ll either go with a single mic or use two mics in an XY configuration. Why? Because having a really “wide” recording isn’t all it’s cracked up to be.
Even though XY doesn’t give the widest stereo image, it doesn’t lend itself to phase issues and lopsided recordings.
Speaking of lopsided, let’s talk about that stereo recording that has too much bass in one mic versus the other.
Even if you do your job on the front end with mic placement, sometimes one mic (the one pointed at the sound hole) picks up more bass than the other.
Here’s how I deal with it:
—Place an EQ plug-in on the bass-heavy track ONLY. —Use the EQ to remove some of the excess low end, until the two tracks are more balanced. —Bus the two tracks to a stereo aux track. —Put any additional EQ and compression plugins on the stereo aux track.
The first EQ is simply corrective. It lets you balance out the sound. (No more lopsided guitar.)
The second EQ (on the stereo aux) is what you’ll use to carve the entire sound of the entire stereo recording to fit it in the mix.
As you may have guessed, mic placement and technique play a HUGE roll in how awesome your acoustic guitar recordings (and mixes) are going to sound.
Make that a priority on your next session.
If you’re interested in diving in deeper, I created a 4-week class on getting consistently awesome acoustic guitar recordings. You can join any time here.
Joe Gilder is a Nashville-based engineer, musician, and producer who also provides training and advice at the Home Studio Corner.Note that Joe also offers highly effective training courses, including Understanding Compression and Understanding EQ.
Lectrosonics Digital Hybrid Wireless Benefits Live Production Of “Gypsy”
The use of wireless technology from Lectrosonics provided benefits for the recent production of the musical “Gypsy” by the University of Evansville Department of Theatre.
“‘Gypsy’ is a story about vaudeville performers turning to burlesque to make a living,” explains Richard Ingraham, a Cleveland, OH-based free-lance sound designer operating under the name RBI Computers and Audio who was brought in to work with the production. “There’s a strip routine in the show and the main character—Gypsy—had the most revealing part. To make this work, we outfitted the actress with a Lectrosonics SM super-miniature transmitter, which was placed inside her bustier, or bra.
“Fortunately, Lectrosonics offers the RM remote for this transmitter. With its ability to remotely adjust audio input gain, the RF operating frequency, lock/unlock the transmitter’s controls, and sleep mode on/off status, we had a high degree of ‘hands-free’ control, which was essential for this project.
“The RM remote and the SM transmitter’s small size enabled the wireless system to go unnoticed while simultaneously facilitating a considerable amount of adjustment from a distance.”
The wireless system count for the show consisted of six Lectrosonics SM transmitters, six SMD transmitters, and twelve LMa transmitters. On the receiving side of the equation, four Lectrosonics Venue VRMWB receiver mainframes—each fully stocked with six VRS receiver modules (for a 24-channel count)—were deployed.
In addition to the RM remote control, a Lectrosonics ALP650 LPDA (Log Periodic Dipole Array) shark fin antenna was used to ensure optimum signal strength. Countryman B6 lavalier microphones were mated with the Lectrosonics systems. All equipment was rented through Page Daniel Wireless Sound of Little Rock, AR.
“In addition to the RM remote and the diminutive size of the SM and SMD transmitters, Lectrosonics sound quality is exceptional,” says Ingraham. “The company’s Digital Hybrid Wireless technology eliminates use of a compandor, which is common to competing wireless systems. The result is higher dynamic range and freedom from sonic artifacts. Similarly, the build quality is terrific. I’m also very fond of the Venue receiver’s battery monitor function that enables you to check how long the transmitter has been on. This handy feature enables you to monitor battery life, and this helped us immensely in terms of dealing with the logistics of ensuring battery longevity throughout the shows.”
Line 6 Launches New XD-V Series Digital Wireless Microphone Systems
Line 6 has introduced the XD-V75, XD-V55, and XD-V35 series digital wireless microphone systems.
Featuring microphone modeling technology, XD-V systems offer 24-bit, 10 Hz–20 kHz, compander-free performance. The new flagship XD-V75 line includes handheld, lavalier, headset and bodypack digital wireless systems.
The family offers a full complement of professional features including signal encryption, dynamic filters, gain control, channel scanning and more.
Utilizing the same 4th-generation digital wireless platform as the XD-V75, the XD-V55 family offers handheld, lavalier and headset systems and the compact, portable XD-V35 family includes handheld and lavalier systems.
“For performers who want wired mic audio performance and wireless freedom, the combination of Line 6 modeling and our class-leading digital wireless platform makes the latest XD-V systems the only choice,” says Steve Devino, live sound product manager at Line 6.
Ensuring faithful reproduction and stunning full-range audio clarity, XD-V systems all provide 10 Hz - 20 kHz frequency response and wide dynamic range (up to >120 dB). They do not use companders or compress the audio signal in any way, and audio quality does not degrade with distance.
XD-V systems operate in the 2.4GHz band, which is free from interference due to TV broadcast, public safety announcements, cell phone towers and other transmitting devices. Encoded DC (Digital Channel Lock) technology prevents reception of any audio interference from other 2.4 GHz devices.
XD-V handheld systems feature a selection of up to 10 models of popular vocal microphones. Using this incredibly diverse sonic palette, vocalists can choose the perfect microphone sound to match their voice and style of performance.
For active spoken-word performers, instrumentalists or singers who require a hands-free solution, XD-V bodypack systems offer selectable EQ filter models, tailored for a wide range of vocal and instrumental applications.
XD-V75 systems feature nine EQ filter models, six tailored for vocal applications and three specifically for instrument use.
XD-V55 bodypack systems have three selectable vocal EQ filter models, while the XD-V35 systems offer a single voice-optimized model.
XD-V series digital wireless systems are incredibly easy to operate. Simply choose a channel on the transmitter and receiver and they lock together automatically. There is no need for RF tuning or intermodulation calculators.
XD-V75 family features: 14 channels; 300-foot range, 1/2U rack receiver with built-in antenna distribution system; heavy-duty metal chassis; rackmount kit.
XD-V55 family features: 12 channels, 300-foot range; 1/2U desktop receiver with externally mounted antennas; heavy-duty metal chassis.
XD-V35 family features: 6 channels; 275-foot range (Note: actual range will depend on RF interference sources nearby including, line-of-site obstacles); desktop receiver with internally mounted antennas; metal and polycarbonate chassis.
XD-V digital wireless microphone systems are available now.
Lauten Audio Unveils New Atlantis Large-Diaphragm Condenser Microphone
At the NAMM 2012 Show, Lauten Audio and its North America distributor, Audio Plus Services , introduced the FC-387 Atlantis microphone, a solid-state multi-functional, large-diaphragm condenser outfitted with multiple switches for three different polar patterns, gain, and unique timbre settings.
The FC-387 is for recordists seeking a diverse and useful modern FET studio microphone, offering a blends of full and rich low and mid-range, as well as smooth and unique high-mid and high-frequencies.
The multiple switches located on each side and back of the FC-387 Atlantis microphone allow the engineer to uniquely configure it.
First is a polar pattern switch giving recordists the option of choosing between cardioid, omnidirectional or figure-8 polar patterns.
Borrowing the popular gain options from its sibling the Lauten Audio ‘Clarion’ FC-357 microphone, the Atlantis features a -10 dB and +10 dB switch.
The +10 dB gain switch increases versatility by allowing a choice of whether to have more character from the preamplifier gain or directly from the microphone. While the -10 dB switch reduces its output and increases the maximum SPL level allowing it to record very loud sources.
In addition, a voicing switch gives recordists three very different timbres to choose from that satisfy an extremely wide range of recorded sources. The options are: gentle, neutral and forward.
The ‘gentle’ position provides maximum control of bright or peaky sources like S’s in vocal recordings. The ‘neutral’ position offers a nice even response with good control over vocal S’s and other audio peaks, while the ‘forward’ position can help bring life to dull sources without having to use EQ, but while still maintaining control over any peaks.
Brian Loudenslager, founder of Lauten Audio, explains, “The idea of the FC-387 Atlantis microphone was conceived over several years during conversations with engineer Fabrice DuPont of Flux Studios and Puremix.net. Fab had acquired several Lauten microphones over the years and I would pick his brain at industry tradeshows about the mics. I always try and speak to owners of our products to learn where they’re using a mic most, where they feel it’s shining and where it’s not working for them.”
“We’re pleased to be at NAMM with Lauten Audio to introduce the Atlantis FC-387 microphone,” states Simon Côté, manager of professional products at Audio Plus Services. “We believe in Lauten Audio’s product direction and especially their dedication to serving respected recording engineers with special designs. The ‘Atlantis’ mic will no doubt be very popular.”
Loudenslager adds, “What I am most impressed about Fab is that he is always brutally honest and never sugar-coats his opinions. It was during conversations with him that I made a challenge to myself; I wanted to design a microphone that Fab would love, one that would be part of his first choices at the beginning of a session! Over the past year I’ve had the opportunity to work with Fab and create that mic. It’s been challenging with a very rewarding end result.”
Technical Specifications for Atlantis FC-387
Type: 31.25mm dual large diaphragm pressure gradient transducer microphone
Polar Patterns: Omnidirectional, Cardioid and Figure-8 selectable
Circuit: Low-noise solid-state FET
Frequency Range: 20 Hz - 20 kHz
Dynamic Range: 120 dB minimum
Impedance: < 200 ohms
Max. SPL: 0.5% THD@1000 Hz: 130 dB
Self-noise Level: < 12 dB(A)
Sensitivity: 16 mV/Pa OR -36±2 dB 0 dB=1V/Pa 1000 Hz
Special Features:
3-way -10 dB attenuation, 0dB and +10 dB gain switch
3-way "gentle, neutral, forward" voicing switch
3-way polar pattern switch
Connector: 3-Pin standard XLR
Power Requirement: +48-volt phantom power
The Atlantis FC-387 microphone retails for $1599 (U.S.) and will be available in Q2 of 2012.
Quote meon an estimate et non interruptus stadium. Sic tempus fugit esperanto hiccup estrogen. Glorious baklava ex librus hup hey ad infinitum. Non sequitur condominium facile et geranium incognito.
