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Articles Tagged Microphone World

  • 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, July 31, 2014
    microphones
    Craig Leerman 07/31/14 12:33 PM,
    If you were a musician in the 1970s or are a fan of vintage gear, the name Univox should be familiar. Merson Musical Products, a musical instrument division of Unicord Incorporated, made and marketed a wide range of products with the Univox brand, including guitars, keyboards and cool-looking blue Tolex-covered guitar and bass amps. In addition, Merson Musical Products was the U.S. importer of Marshall amps, Korg keyboards and other lines including Tempro brand drums (my first kit). Some big… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSound Reinforcement

  • Tuesday, July 15, 2014
    microphones
    Craig Leerman 07/15/14 12:01 PM,
    When done well, a live recording captures the energy and personality of the performance, along with the ambiance and (if desired) audience response. There are many different ways to record a live show, but regardless of the approach, a good recording starts with the right microphones, correctly placed. By “right” I’m referring to mics that fit the particular application, taking factors such as pickup pattern and SPL handling into account. Mics tend to be categorized as “live” and “studio.” Yet… View this story
    Filed in: Live SoundFeatureBlogSlideshowStudy HallEngineerMicrophoneMonitoringSound ReinforcementStageWireless

  • Monday, July 14, 2014
    microphones
    PSW Staff 07/14/14 10:09 AM,
    Perhaps more than any other pro audio component, microphones are a personal choice, subject to the specific preferences and goals of both users and sound techs/engineers. Manufacturers continue to create new mics in a wide range of formats, sizes, and price points, stemming from a healthy mix of innovative development, refinement of previous technologies, specialization of mics to specific applications, and changes in manufacturing. For decades, dynamic mics were pretty much the exclusive choice for live applications due to their… View this story
    Filed in: Live SoundFeatureBlogProductSlideshowInterconnectMicrophoneSound ReinforcementWireless

  • Wednesday, July 09, 2014
    church sound
    Chris Huff 07/09/14 01:31 PM,
      There are four wireless microphone mistakes that get a sound tech in trouble. The first mistake is one I’m often asked about. I’ll be upfront and say that I’ve made two of these mistakes. Two, maybe three. No, two. Forgive and forget, right? [sigh] 1. Allow signal seepage (that sounds… disgusting!) It goes like this; 1) Channel gain (trim) knob is at zero. 2) Fader is at unity or below. 3) The wireless signal still seeps (bleeds) through into… View this story
    Filed in: Church SoundFeatureBlogStudy HallEngineerMicrophoneSignalTechnicianWireless

  • Wednesday, July 02, 2014
    dave rat
    Dave Rat 07/02/14 03:08 PM,
    The attention to detail that takes place in preparing a rock show can be mind boggling. For example, I listed out the factors we account for in setting up the lead vocal mic for the Red Hot Chili Peppers. Check it out: 1) The mic. Anthony has been using Audix OM7 dynamic mics for over 20 years now. The OM7 exhibits high feedback stability and picks up very little room sound compared to other mics. This allows me to capture… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertEngineerInterconnectMicrophoneSignalSound ReinforcementStage

  • Monday, June 30, 2014
    rolling stones
    Bruce Borgerson 06/30/14 05:55 AM,
    If you’ve seen the Rolling Stones Gimme Shelter movie, you might recall Jimmy Johnson’s brief speaking role. He was the one coaching Keith Richards on the proper Alabama pronunciation of “Y’all come back, y’hear.” For three nights in December of 1969, the Stones cut basic tracks and live vocals for three songs: “You Gotta Move,” “Wild Horses” and “Brown Sugar.” The sessions took place at Muscle Shoals Sound Studios—the “burlap palace” at 3614 Jackson Highway—a nondescript former casket factory which… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneMixerProcessorStudioTechnician

  • Friday, June 20, 2014
    mic techniques
    Teri Hogan 06/20/14 08:05 AM,
    Living in South Central Texas, we operate in a very diverse ethnic atmosphere and encounter every description of strange and unusual instrument. Over time, we (and our engineers) have discovered some techniques that work well for some of these applications. There may be other, possibly better ways to accomplish the task. But the following represent tried and true methods that work for us, as well as the musicians we support. Accordion. What do you call 100 accordions in the Rio… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertMicrophoneSound ReinforcementStage

  • Monday, June 16, 2014
    recording
    Bobby Owsinski 06/16/14 01:53 PM,
    This article is provided by Bobby Owsinski.   Sometimes getting an electric guitar center is dead easy and other times getting the sound to fit into the track seems like the most difficult thing in the world. Here’s an excerpt from my Audio Recording Boot Camp book that provides an almost foolproof method for miking a guitar amplifier.——————————————— Electric guitar recording has evolved through the years, from miking the amplifier from a distance, to close miking, to using multiple mics,… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneSignalStudio

  • 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



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