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Articles Tagged Microphone World

  • Friday, April 10, 2015
    recording
    Bruce A. Miller 04/10/15 02:12 PM,
    This article is provided by BAMaudioschool.com.   Once upon a time I was doing the typical thing of going with what I was told worked or what I watched the engineers I had assisted do.  Specifically, I was recording piano with a pair of matching microphones in an XY pattern around the hammers. I knew about many approaches (another mic at the far end of the piano and then pan that mic over to the bass side of the stereo… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneMixerProcessorSignalStudio

  • 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

  • Friday, March 27, 2015
    old soundman
    Old Soundman 03/27/15 02:49 PM,
    Somebody has been feeding misinformation to our pal Roy here. He wrote in twice and I have taken the liberty of mixing and matching excerpts from both his missives. Good Sir - Yes, Roy! I was hoping you would grace us with your suggestions on miking guitar amps, placement and such. When you go to concerts, do you ever see the taped “X” on some poser’s 4 x 12 cabinet? Either he or his guitar tech has painstakingly determined that… View this story
    Filed in: Live SoundFeatureBusinessEngineerMicrophoneSound Reinforcement

  • Thursday, March 05, 2015
    audio-technica
    Mark Frink 03/05/15 03:34 PM,
    The drum sound is the heart of any band mix: kick drum keeps the pulse going, while the snare drives the rhythm and the overall beat gives each song its groove. Dynamic microphones are used for close miking drums because they’re sturdy, handle high SPL, provide off-axis rejection and often have a presence boost around 4 kHz that emphasizes attack. At the same time, digital consoles have changed the live sound workflow. Their instant recall forces drum sound check to… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesEngineerMicrophoneSound ReinforcementStageWireless

  • Thursday, February 26, 2015
    microphones
    Greg Stone 02/26/15 04:11 PM,
    All microphones are not created equal. Cardioid, supercardioid, hypercardioid, condenser, ribbon - literally dozens of choices. (It’s enough to give you a cardioid cardiac!) In many situations, our budgets just won’t allow the top-of-the-line models in our mic cases. Meanwhile, the same questions present themselves for every show, large or small. What kind of mic(s) on the backline? What to do about the softly singing angel at lead vocal? What about the singer that can never ever stay on mic… View this story
    Filed in: Live SoundFeatureVideoStudy HallEngineerMicrophoneMonitoringStage

  • Tuesday, February 17, 2015
    wireless
    Ike Zimbel 02/17/15 04:32 PM,
    One of the main causes of RF (radio frequency) interference is intermodulation products created by our own wireless equipment. In this piece, I will outline some of the common setup and handling errors that contribute to this problem. First up is increased noise floor and intermodulation (intermod or IM) products due to transmitters being in very close proximity. If you work with a single band and just put mics up on stands every day, you might not encounter this. But… View this story
    Filed in: Live SoundFeatureBlogStudy HallMeasurementMicrophoneRemoteSignalSound ReinforcementStageWireless

  • Friday, February 06, 2015
    live sound international
    Chris Huff 02/06/15 10:44 AM,
    I created a frog. It wasn’t intentional. Naturally, I’m not talking about a real frog, but look at the photo that opens this article. You’ll never read a mixing book that says, “Make the snare’s EQ curve look like a frog in water.” (If you do, stop immediately and back away.) Seriously, when it comes to snare mixing, the last place (literally) you want to be is behind the mixer. With that in mind, here are three primary factors I’ve… View this story
    Filed in: Live SoundFeatureStudy HallConsolesEngineerMicrophoneMixerProcessorSignalSound Reinforcement

  • 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

  • Tuesday, January 27, 2015
    electro-voice
    Craig Leerman 01/27/15 03:29 PM,
    My Baltimore-area high school theater was outfitted with the first quality PA system I ever worked with. It had JBL horns and cabinets in a center cluster, powered by Crown amplifiers, with a 6-channel TAPCO mixer in the sound booth and Electro-Voice 664 microphones on stage. Initially, to my finely tuned 10th grade ears, the system didn’t sound very good – the performers could barely be heard, and there was a lot of feedback. But it wasn’t long before I… View this story
    Filed in: Live SoundNewsStudy HallAVMicrophoneSound 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