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Articles Tagged Microphone World

  • Tuesday, October 08, 2013
    Craig Leerman 10/08/13 02:42 PM,
    The first Stromberg-Carlson microphone I ever saw was attached to a PA system in an office of a school. It looked like a Shure model 55 and even carried the company’s iconic “S” logo on the front, but the badge below said differently. Later I found out that it was indeed a re-badged model 55, as Stromberg-Carlson (S-C) didn’t actually manufacture mics. Shure, Electro-Voice and Turner all produced units for the company, and in many cases, the only change was… View this story
    Filed in: Live SoundFeatureBlogStudy HallInterconnectMicrophoneSignalSound Reinforcement

  • Thursday, September 26, 2013
    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

  • Wednesday, September 11, 2013
    Gary Parks 09/11/13 10:19 AM,
    Expanding on the basic technologies of dynamic and condenser transducers, manufacturers continue to develop new microphones to meet the needs of musicians and sound engineers in a range of formats, sizes, and price points. In more recent introductions, we’re seeing a mix of innovative development, refinement of previous technologies, specialization of mics to specific applications, and changes in manufacturing.  Higher end condenser vocal mics are truly amazing devices, and even most of the relatively inexpensive models are durable, reliable, and… View this story
    Filed in: Live SoundFeatureBlogProductSlideshowMicrophoneSound Reinforcement

  • Tuesday, September 03, 2013
    Bobby Owsinski 09/03/13 12:56 PM,
    This article is provided by Bobby Owsinski.   Here’s an excerpt of an interview that I did with legendary engineer/producer Al Schmitt that’s featured in the second edition of The Recording Engineer’s Handbook. ———————————————— After 18 Grammys for Best Engineering and work on over 150 gold and platinum records, Al Schmitt needs no introduction to anyone even remotely familiar with the recording industry. Indeed, his credit list is way too long to print here (but Henry Mancini, Steely Dan, George… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneMixerStudio

  • Friday, August 30, 2013
    church sound
    Gary Parks 08/30/13 04:04 PM,
    A church service is a dynamic, multifaceted event combining spoken word from experienced and inexperienced speakers (“talkers”), solo vocalists, choirs, bands ranging from mellow to rock levels, and responses from the congregation. Though the program is typically consistent from week to week, new variations arise, ranging from a holiday pageant to a business meeting. The primary goal of the service is to engage the congregation in the worship experience through word and music. To help achieve this, the audio system… View this story
    Filed in: Church SoundFeatureBlogStudy HallMicrophoneSignalSound ReinforcementStageWireless

  • Monday, August 26, 2013
    church sound
    Chris Huff 08/26/13 08:23 AM,
    This article is provided by Behind The Mixer.   Drum mikiing is an art form you might be missing. How many drum microphones do you really need? Do you have that many mixer channels to spare? Are you feeding your drummer the right mix?  Four microphones might be all you need. My current stage setup includes an acoustic drum kit with eight microphones. Eight? Mmmm, that sounds about right. The larger the room, the more control you want over the… View this story
    Filed in: Church SoundFeatureBlogStudy HallMicrophoneSignalSound ReinforcementStage

  • recording
    Bobby Owsinski 08/26/13 07:50 AM,
    This article is provided by Bobby Owsinski.   My pal and reader Gian Nicola asked about the pros and cons of M-S stereo recording, so I thought I’d respond with a passage from the upcoming 3rd edition of The Recording Engineer’s Handbook (due to be released in October). ————————————— M-S stands for Mid-Side and consists again of two microphones; a directional mic (an omni can be substituted as well) pointed towards the sound source and a figure 8 mic pointed… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsMicrophoneProcessorSignalStudio

  • Thursday, August 22, 2013
    studio vocals
    Barry Rudolph 08/22/13 07:47 AM,
    Someone once said: “A good music producer worries about the most important things” and a strong argument can be made that the most important things in pop music production are the vocals. The singer is charged with artistically conveying the song’s lyric over a music track production that (hopefully) propels the song’s meaning and emotion across to the listener in an accessible and entertaining way. Obviously the singer/artist/song are one of the main reasons engineers, producers, musicians and the studio… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsEducationMicrophoneStudio

  • Monday, August 05, 2013
    Jon Tidey 08/05/13 03:33 PM,
    This article is provided by Audio Geek Zine.   Several times in doing the Home Recording Show podcast, we’ve had listeners write in asking about phase and wondering why we can’t just move the tracks around after recording. Usually we answer that it can be done for guitars and a few other sources, but never on drums, and it’s not the same as actually moving the mic. I’ve actually done this technique a few times on some tracks that were… View this story
    Filed in: RecordingFeatureBlogStudy HallMicrophoneProcessorStudio

  • Wednesday, July 31, 2013
    Ken DeLoria 07/31/13 04:33 PM,
    In a previous article (here), I presented approaches and advantages in double-miking a range of percussion instruments. Let’s continue the discussion here by expanding the focus. Acoustic guitars are another instrument that can benefit greatly by being miked from more than one position. Just as guitar pickups are usually positioned at different points along the string length of an electric guitar, placing one microphone near the bridge, and another where the neck meets the sound hole on an acoustic guitar,… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSignalSound ReinforcementStage