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Articles Tagged Microphone World

  • 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
    recording
    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
    microphones
    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

  • Monday, July 29, 2013
    church sound
    Wayne DuCharme 07/29/13 04:05 PM,
    This article is provided by CCI Solutions.   Many worship teams now include an electric guitar to reproduce the growing number of contemporary worship songs found on the radio and used in churches across America and abroad. The idea of an electric guitar came from the need to overcome the challenge of playing in a large ensemble since the acoustic guitars of the day could not compete with the volume of the other instruments. The original guitar amplifiers were simple… View this story
    Filed in: Church SoundFeatureBlogStudy HallMicrophoneProcessorSignalSound ReinforcementStage

  • Thursday, July 25, 2013
    recording
    Daniel Keller 07/25/13 09:06 AM,
    Ask 10 recording engineers about recording drums and you’re likely to get at least 20 opinions. Few instruments combine subtle nuance and brute force the way a good drummer can, and capturing that sound has been the subject of hundreds of articles and thousands of conversations. So many different aspects affect the sound of a drum mix — not the least of which is the drummer him/herself. No two drummers sound the same, even on the same kit. Different skins… View this story
    Filed in: RecordingFeatureBlogStudy HallMicrophoneProcessorStudio

  • Wednesday, July 24, 2013
    church sound
    Bruce Bartlett 07/24/13 04:38 PM,
    As if by magic, cardioid microphones can pick up what they are aimed at, but reject sounds to the side and rear. For example, talk into a cardioid mic from all sides while listening to its output. Your reproduced voice will be loudest when you talk into the front of the mic and softest when you talk into the rear. Because they discriminate against sounds to the sides and rear, cardioid designs help reject unwanted sounds such as room acoustics… View this story
    Filed in: Church SoundFeatureStudy HallMicrophoneSignal

  • Wednesday, July 17, 2013
    image
    Chris Lyons, Tim Vear, & Michael Pettersen 07/17/13 11:27 AM,
    In order to select a microphone for a specific application, and to apply it properly, it’s first necessary to know the important characteristics of the sound source(s) and of the sound system. Once these are defined, a look at the five areas of microphone specifications will lead to an appropriate match. Finally, proper use of the microphone, by correct placement and operation, will insure best performance. Following are recommendations for some of the most common meeting facility sound applications. Lectern… View this story
    Filed in: AVFeatureBlogStudy HallAVInstallationInterconnectMicrophoneSystemWireless

  • Tuesday, July 16, 2013
    microphones
    Ken DeLoria 07/16/13 02:06 PM,
    If you’ve never experimented with double-miking a musical instrument, you’re in for a treat. Properly utilized, the technique provides a whole new palette of tonal colors, along with surprising ease of control. It’s especially useful when working with an unfamiliar console, one that has limited EQ capability, or when multiple operators are working together on the same control surface. Further, with two or more microphones on key instruments, there is built-in redundancy. If one mic fails, falls off its stand,… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneMixerSound ReinforcementStageWireless