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Articles Tagged Microphone World

  • Thursday, March 28, 2013
    wireless
    Karl Winkler 03/28/13 05:50 PM,
    When it comes to entertainment wireless systems, it’s not uncommon to hear a wide range of opinions, ideas, “facts” and methodologies about anything from microphone technique to drive racks to damping factor. And quite often, these perceptions are either slightly off-base or are dead wrong. Having worked in the wireless business for several years now, I’ve heard my share of doozies. Here are some of the more common misconceptions. 1. A directional “paddle” antenna is always needed. Sure, a directional… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneMonitoringSignalSound ReinforcementWireless

  • Wednesday, March 27, 2013
    recording
    Bobby Owsinski 03/27/13 01:46 PM,
    This article is provided by Bobby Owsinski.   Here’s an excerpt from The Recording Engineer’s Handbook, available here. While it’s safe to say that most engineers rely on experience when choosing microphones, there are some things to think about when selecting a microphone. “There’s no one microphone that does every single thing.”—Michael Beinhorn Select a microphone that compliments the instrument that you’ll be recording. For instance, if you have an instrument that has a very edgy top end, you wouldn’t… View this story
    Filed in: RecordingFeatureBlogStudy HallMicrophoneStudio

  • Friday, March 15, 2013
    recording
    Charles Szczepanek 03/15/13 02:20 PM,
    This article is provided by the Pro Audio Files.   In a world of sampled instruments and MIDI sequencing, recording an acoustic grand piano is not a task for the faint of heart. Most engineers can rely on an instrument package, like Garritan’s “Authorized Steinway” or “Ivory” for nice sounds. However, when a piano needs to be the primary focus of a mix, or when you have a very serious player in the studio, you will need a well-maintained acoustic… View this story
    Filed in: RecordingFeatureBlogStudy HallMicrophoneSignalStudio

  • Thursday, March 14, 2013
    microphone preamp
    Ty Ford 03/14/13 05:35 PM,
    Microphones and preamplifiers are the “chicken and egg” of audio. Want to start a discussion among audio folk? Ask whether mics or preamps are more important. Later we’ll look at interviews with George Massenburg and John Hardy to get their take on transformer and transformerless preamps and solid state versus tubes. That’s the the main course. But before we get to them, here’s a few appetizers. Stronger Chains For the entry-level engineer, getting better sound can be very frustrating. You… View this story
    Filed in: RecordingFeatureStudy HallAnalogDigitalEducationMicrophoneProcessorSignalStudio

  • microphones
    Bruce Bartlett 03/14/13 10:23 AM,
    The live sound world goes well beyond the concert realm into areas such as the performing arts, including theatrical plays, musicals, and opera. It also can extend to things like magic shows, dance troupes, puppet shows, jugglers, and even ventriloquists. Each act presents special microphone requirements, which we’ll explore here. Performing arts applications usually involve at least one of four types: floor mics, hanging mics, wireless lavalier mics, and wireless headworn mics. On The Floor Stage floor microphones, also known… View this story
    Filed in: Live SoundFeatureBlogStudy HallLoudspeakerMicrophoneSound ReinforcementStage

  • Friday, February 15, 2013
    prosoundweb
    Pat Brown 02/15/13 06:22 PM,
    A small omnidirectional microphone element can be a versatile tool. Mics of this type are available from most of the major manufacturers. Their small size allows them to be placed very close to sound sources, even inside of instruments. The pickup pattern of a small mic element can be modified by the use of boundaries. When a sound wave encounters a boundary, there is a small region near the boundary where the incoming and reflected wave are effectively synchronous in… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSound ReinforcementStage

  • Monday, February 11, 2013
    microphone techniques
    Bruce Bartlett 02/11/13 02:06 PM,
    Suppose you’re reinforcing a singer/guitarist in mono, with one microphone on the singer and another mic on the acoustic guitar. The vocal sounds funny - sort of hollow or filtered. What’s happening? Both microphones are picking up the singer, with the mic for the guitar about one foot farther from the singer’s voice than the mic for the vocals (Figure 1, below). So there are two vocal signals in the mix – one is direct and the other is delayed.… View this story
    Filed in: Church SoundFeatureBlogStudy HallProductionAudioAnalogEducationEngineerMicrophoneSignalSound ReinforcementSystem

  • Friday, February 01, 2013
    image
    Bruce Bartlett 02/01/13 03:53 PM,
    Remote recording is exhilarating. Musicians, excited by the audience, often put on a stellar performance. Usually you only get one chance to get it recorded, and it must be done right. It’s on the edge, but by the end of the night, especially if everything has gone as planned – what a great feeling! Challenges abound. Monitors can feed back and/or leak into the vocal microphones, coloring the sound. Bass sound can leak into the drum mics, and the drums… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSignalStageWireless

  • Friday, January 11, 2013
    shure
    Craig Leerman 01/11/13 03:24 PM,
    Ask any person on the planet to think of a vintage microphone, and the Shure Model 55 is what probably comes to mind. This iconic mic was introduced in 1939, and two models that sport the distinctive box shape are still in the Shure catalog. Pretty good for a design celebrating its 74th year! Not only is the Model 55 one of the best looking mics ever made, it also introduced a breakthrough technology in using just a single dynamic… View this story
    Filed in: Live SoundFeatureBlogProductStudy HallMicrophoneSound ReinforcementStudio

  • Thursday, December 06, 2012
    image
    Bruce Bartlett 12/06/12 10:08 AM,
    Renowned recording engineers Jack Renner of Telarc Records and Marc Aubort of Nonesuch Records describe spaced omnidirectional microphones as their favorite technique for stereo recording of symphonic ensembles. Of all the stereo mic techniques available, the “spaced-omni” method is especially good at providing a warm, full sound (deep low-frequency response) and a spacious sense of ambience. It adds up to a pleasant listening experience. We’ll explore how this technique - and others - can be beneficial. Spaced Pair With the… View this story
    Filed in: RecordingFeatureBlogStudy HallTrainingDigital Audio WorkstationsEducationMicrophoneSignalStudioSystem