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Articles Tagged Bruce Bartlett

  • Monday, March 30, 2015
    microphones
    Bruce Bartlett 03/30/15 07:58 AM,
    Perhaps the most exciting type of recording comes in the live realm, whether it be in a club or concert hall or stadium. Many musicians and bands want to record live because they feel that’s when they play best. The goal, then, is to capture the performance so it can be brought back alive. Remote recording is exhilarating. The musicians - excited by the audience - often put on a stellar performance. Usually you only get one chance to get… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSound ReinforcementStage

  • Wednesday, February 04, 2015
    microphones
    Bruce Bartlett 02/04/15 04:07 PM,
    It used to be that the fragile nature of ribbon microphones made them unsuitable for most live sound applications. But not any more – many recent models have been beefed up for added ruggedness, which is great because it allows us add their special sonic qualities to our live mixes. Let’s explore the unique devices that are ribbon mics, including their design, technology, application, and techniques of use. Physical Design The majority of dynamic mics are based on moving coil… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSignalSound ReinforcementStage

  • Monday, January 26, 2015
    micrphone techniques
    Bruce Bartlett 01/26/15 08:50 AM,
    Let’s face it—the live sound reinforcement realm presents some microphone challenges that regularly threaten sound quality. Look at the conditions. The monitors feed back. They leak into the vocal microphones and color the sound. The bass sound leaks into the drum mics, and the drums leak into the piano microphones. And then there are the other mic-related gremlins breath pops, lighting buzzes, wireless-mic glitches, and even electric shocks. So let’s have a look at solving at least some of these… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertEngineerMicrophoneSound ReinforcementStageTechnician

  • Wednesday, October 15, 2014
    acoustic guitar
    Bruce Bartlett 10/15/14 05:21 PM,
    “Let’s record our gigs and make podcasts from them.” Some members of an acoustic band recently asked me to record their shows while mixing live sound. It was an ongoing series of experiments at four gigs in the same venue. We used the venue’s house gear, so there were added challenges. We also tried several different recording methods and microphone techniques, trying to improve the house sound and the recording each time. I learned a lot, and by sharing my… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsEthernetMicrophoneMixerNetworkingProcessorSignal

  • Tuesday, September 09, 2014
    image
    Bruce Bartlett 09/09/14 06:42 PM,
    Suppose you’re recording a jazz session, close-miking a drum kit and a piano at the same time (Figure 1, below). When soloing the drum mics, you hear a close, clear sound. But when you mix in the piano mic, that nice, tight drum sound degrades into a distant, muddy sound. The problem is happening because the drum sound leaked into the piano mic, which picked up a distant drum sound from across the room. It’s as if the piano mic… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMeasurementMicrophoneSignalStudio

  • Monday, August 04, 2014
    microphones
    Bruce Bartlett 08/04/14 01:34 PM,
    Getting a little bored with the same old “tried-and-true” microphones and techniques? Let’s have some fun with fresh approaches that are off the beaten path. Vocals To create a differential (noise-canceling) mic, tape two identical omni mics together, one over the other, separated by a block of wood (Figure 1). Mix both mics at equal levels but with one mic switched in opposite polarity. Have the performer sing close to the top mic. Many years ago, the Grateful Dead used… View this story
    Filed in: Live SoundFeatureBlogStudy HallEngineerMicrophoneSound ReinforcementWireless

  • Thursday, June 12, 2014
    microphones
    Bruce Bartlett 06/12/14 02:58 PM,
    Following is an excerpt from the just-released Second Edition of Recording Music on Location by noted LSI/PSW author Bruce Bartlett and Jenny Bartlett, published by Focal Press. ——————————- Let’s consider a different way to make a multitrack recording. Plug each microphone into a mic splitter, which sends the mic signal to two destinations: the PA mixer and recording mixer. The splitter has one XLR input and two or more XLR outputs per mic. Some splitters have a third output which… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesInterconnectMicrophoneMixerSignalSound Reinforcement

  • Thursday, May 22, 2014
    church sound
    Bruce Bartlett 05/22/14 05:02 PM,
    One of the biggest challenges in church sound is miking the choir. We want to achieve a good balance, a natural sound, and high gain before feedback. Another goal is to make sure that the microphones are invisible! It’s a tough assignment. What mics work well for the choir? Where should the mics go, and how many are needed in each situation? The suggestions that follow should point you in the right direction.. The most popular type of choir mic… View this story
    Filed in: Church SoundFeatureBlogStudy HallEducationMicrophoneSignalSound Reinforcement

  • Tuesday, April 15, 2014
    dpa microphones
    Bruce Bartlett 04/15/14 12:44 PM,
    This article is provided by Bartlett Audio.   Some of the most popular instruments in many genres of music are keyboards, so let’s look at some techniques to capture a grand piano, upright piano, Leslie organ speaker, digital keyboard or synthesizer. Grand Piano This magnificent instrument is a challenge to record well. First have the piano tuned, and oil the pedals to reduce squeaks. You can prevent thumps by stuffing some foam or cloth under the pedal mechanism. One popular… View this story
    Filed in: RecordingFeatureBlogStudy HallConsolesMicrophoneProcessorSignalStudio

  • Saturday, March 01, 2014
    phantom power
    Bruce Bartlett 03/01/14 01:20 PM,
      Unsure about phantom power? Let’s clear up the mystery. Nearly all mixing consoles and audio interfaces provide phantom power at their microphone input connectors. Most condenser mics need phantom power to operate, so you simply plug the mic into the mixer to power it. But the ways we use and connect phantom power can make a big difference in how well those mics work. So what, exactly is phantom power, and how do we apply it effectively? Understanding It… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesInterconnectMicrophoneMixerPowerSignal





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