Sign up for ProSoundWeb newsletters
Subscribe today!

Advertisement

Articles Tagged Microphone World

  • Tuesday, April 08, 2014
    telefunken
    PSW Staff 04/08/14 02:22 PM,
    Provided by Sweetwater.   Q: I’ve heard that tube microphones should always be used upside down (with the diaphragm at the bottom). This is supposed to prevent heat from the tube from altering the frequency response of the mic. But I’ve seen a number of newer mics in which the mount does not allow for this. What’s the deal? A: In general, the mic designer will determine if the heat from an onboard vacuum tube is significant enough to alter… View this story
    Filed in: RecordingFeatureBlogStudy HallMicrophoneStudio

  • Tuesday, April 01, 2014
    microphones
    Ken DeLoria 04/01/14 05:16 PM,
    When it comes to microphones, there are a thousand flavors. While some manufacturers seek to advance the state of the art, others work to recreate the classic designs of the 1940s, 50s, 60s and 70s. It goes to show that new isn’t always synonymous with better. Look no further than the popularity of various plug-ins that model the tonality (i.e., distortion and other imperfections) of tape machines. The plug-ins – and even the use of actual tape machines themselves –… View this story
    Filed in: Live SoundFeatureBlogStudy HallTrainingMicrophoneSignalSound Reinforcement

  • Monday, March 31, 2014
    overhead mics
    PSW Staff 03/31/14 09:51 AM,
    Provided by Sweetwater.   Q: I’ve tried using overhead mics to add depth to my drum recordings, but all they do is make the recording sound washy. Any advice? A: A well-placed room mic can certainly add depth and space to a recording, especially on drums. But sometimes a room mic ends up picking up too much of a particular instrument and drowning out the source you were hoping would benefit from the room mic. A gate can be an… View this story
    Filed in: RecordingFeatureBlogStudy HallMicrophoneStudioSystem

  • Thursday, March 13, 2014
    microphones
    Mark Frink 03/13/14 05:12 PM,
    Though there are other conventions, it’s generally agreed that the kick drum goes into the first channel of the console, and for time immemorial, inordinate efforts have gone into tediously adjusting it. Sound check never really starts until after this first input has been tweaked to satisfaction. The kick drum is the cornerstone of rock. It puts the pop in pop music and is the one input that holds it all together. It’s the heartbeat of rock and roll. With… View this story
    Filed in: Live SoundFeatureBlogStudy HallInterconnectMicrophoneSignalSound ReinforcementStage

  • Tuesday, March 11, 2014
    recording
    Joe Gilder 03/11/14 02:59 PM,
    Article provided by Home Studio Corner.   Whether it’s a documentary on your favorite band, a movie scene in a recording studio, or a full-page ad in Sweetwater‘s latest catalog, one common theme exists: vocalists use large-diaphragm condenser microphones. I’m not a big fan of the phrase “that’s how we’ve always done it.” Certainly we should learn from the experience of others, but doing something just because everyone else does it leads to a fairly boring experience. Do I use… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneMixerSignalStudio

  • Friday, March 07, 2014
    recording
    Bobby Owsinski 03/07/14 05:45 PM,
    This article is provided by Bobby Owsinski.   It’s time for another top 10 list, and this time we’ll be looking at the mics I use. Once again keep in mind that I’ve excluded lots of great microphones only because I don’t have frequent access to them. Mics are such a personal choice because it has to do with how your ear matches up to what the mic is capturing. That said, here’s what I find myself using over and… View this story
    Filed in: RecordingFeatureBlogProductEngineerMicrophoneSignalStudio

  • Tuesday, March 04, 2014
    wireless
    Karl Winkler 03/04/14 08:04 AM,
    In early February, a group of professional audio veterans traveled to Washington, D.C., for a series of meetings with the FCC to voice concerns about the current and future regulation and operation of wireless microphone systems. The group was led by Mark Brunner of Shure and Roger Charlesworth of the DTV Audio Group, and included Joe Ciaudelli of Sennheiser, Henry Cohen of CP Communications, Jackie Green of Audio-Technica, Louis Libin of Broad Comm, Kevin Parrish of NBC Network News, Brooks… View this story
    Filed in: AVLive SoundChurch SoundFeatureNewsBlogAVBusinessManufacturerMicrophoneWireless

  • 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

  • Wednesday, February 26, 2014
    microfiles
    Craig Leerman 02/26/14 05:04 PM,
    While my first microphone was a model 99-45460 from Lafayette Radio Electronics (read about it here), many of the mics owned by my garage bandmates were from Radio Shack, usually the Realistic Highball-2. Some of you likely had at least one as well—it was a popular mic in the early 1970s that offered acceptable quality at a good price. “The Shack,” as we called it, had a number of in-house brands, including Archer (antennas and accessories), Duofone (telephones and accessories),… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSignalSound Reinforcement

  • Wednesday, February 19, 2014
    church sound
    Jeff McLeod 02/19/14 03:34 PM,
    This article is provided by Church Audio Video.   Earset, headworn, and over-the-ear microphones are quickly taking the place of lavalier and handheld microphones in many houses of worship. As with all microphones, choosing the right one for your application is important, so here I will discuss a few of the deciding factors all churches should consider, and I’ll make some recommendations on specific models. Why choose an over-the-ear microphone in the first place? Since the diaphragms of most earset… View this story
    Filed in: Church SoundFeatureBlogStudy HallMicrophoneSignalSound ReinforcementWireless