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Articles Tagged Bruce Bartlett

  • 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 Phantom… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesInterconnectMicrophoneMixerPowerSignal

  • Monday, January 13, 2014
    condenser microphones
    Bruce Bartlett 01/13/14 01:53 PM,
    For decades, dynamic microphones were the only choice for live applications due to their ruggedness. Live engineers didn’t want to take delicate, expensive condenser mics on the road. All of that’s changed now that condensers have been made more robust and roadworthy, and they’re quite capable of handling a wide range of live applications. First let’s explore the inner design. A condenser (or capacitor) capsule has a very thin, light, conductive diaphragm and a metal backplate mounted a few thousandths… View this story
    Filed in: Live SoundFeatureBlogProductStudy HallMicrophoneSound ReinforcementStageWireless

  • Wednesday, January 08, 2014
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    Bruce Bartlett 01/08/14 04:22 PM,
    This article is provided by Bartlett Audio.   Suppose you’re listening to the house sound system reproducing a play or musical. Some of the actors’ voices sound “puffy” or “muffled,” as if they were covered in a blanket. Other actors might sound “spitty” or overly sibilant.   Fortunately, those problems can be fixed with the equalization knobs (EQ) in your mixing console. EQ adjusts the bass, treble, and midrange of a sound by turning up or down certain frequency ranges.… View this story
    Filed in: Church SoundFeatureBlogStudy HallDigitalEducationMixerProcessorSignalStudioSystem

  • Tuesday, November 19, 2013
    installation microphones
    Bruce Bartlett 11/19/13 06:35 PM,
    Many challenges in professional audio can be addressed with more than one solution. A good example is microphones – there are so many options and so many ways to deploy them. Let’s take a look at a variety of mic solutions that have come to be considered “installed” in their nature, but the truth is that many of these products and solutions can produce great results in several sound reinforcement applications. GOOSENECK These are also called lectern or podium microphones,… View this story
    Filed in: AVFeatureBlogStudy HallAVInstallationMicrophoneSound Reinforcement

  • Thursday, September 26, 2013
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    Bruce Bartlett 09/26/13 01:24 PM,
    This article is provided by Bartlett Microphones.   Condenser microphones need phantom power to operate their internal circuitry. The power is supplied to the mic through its 2-conductor shielded cable, and can be provided either from a stand-alone device or from a mixing console (at each mic connector). The microphone receives power from, and sends audio to, the mixer along the same cable conductors. It’s called “phantom” because the power does not need a separate cable; it’s “hiding” in the… View this story
    Filed in: Church SoundFeatureBlogStudy HallInterconnectMicrophoneMixerPowerSignal