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Articles Tagged Microphone World

  • Wednesday, May 16, 2012
    PSW Staff 05/16/12 09:24 AM,
    Editor’s Note: This article provides straightforward explanations of the primary issues that account for a full 80 to 90 percent of all wireless microphone system problems, while also presenting solutions that will do the trick in most cases. However, keep in mind that the best solution is avoiding these problems from the outset. Certainly this won’t guarantee completely trouble-free operation, but the odds dramatically improve. This compilation of wireless system knowledge is provided by several highly qualified professionals, with Gary… View this story
    Filed in: Church SoundFeaturePollSlideshowStudy HallEducationMicrophoneMonitoringSound ReinforcementSystemWireless

  • Monday, May 14, 2012
    Mark Frink 05/14/12 07:31 AM,
    In the beginning, the list of microphones on drums was minimal, even in recording studios. Before the arrival of rock and roll in the late 1950s, with its steady emphasis on the 2-and-4 backbeat, putting microphone near the snare was out of the question, and there weren’t many drum microphones on The Ed Sullivan Show. The difference between country and western was the drums required to push western swing music, but it wasn’t until the Grand Ole Opry moved to… View this story
    Filed in: Live SoundFeatureProductMicrophoneSound ReinforcementStage

  • Friday, May 04, 2012
    Gary Gand 05/04/12 04:21 PM,
    Ever heard of the Zagat Restaurant Guide? The Zagats (whom I’ve met) are a husband and wife team who sift through hundreds (thousands?) of forms sent in by diners (folks who eat at restaurants). The resulting ratings are democratic instead of “demo-critic” (critics are often tainted by too much booze or bad attitudes) or “demo-vicious” (bad hair day taken out on the poor restaurant owner). I look at this overview as kind of a Zagat Microphone Guide. The instrument mic… View this story
    Filed in: Live SoundFeaturePollProductMicrophoneSound ReinforcementStage

  • Monday, April 30, 2012
    church sound
    David McLain 04/30/12 10:20 AM,
    It’s always been amusing to watch the band set up. The guitarist brings his amp, a few pedals, and maybe a couple of guitars. The bass player brings his instrument, and often his own amp. The drummer uses the church’s drum kit, but he brings his own sticks and takes the time to tune and position the drums to his liking. But the vocalist just uses whatever mic is handed to them. My experience has been that the choice of… View this story
    Filed in: Church SoundFeaturePollStudy HallEngineerMicrophoneTechnician

  • Monday, April 09, 2012
    Dennis A. Bohn 04/09/12 10:23 AM,
    This article is provided by Rane Corporation.   Selecting the right preamplifier for a given microphone, or conversely, selecting the right mic for a given preamp, involves two major factors along with several minor ones. First, the two big ones: Input headroom. Do you have enough? Noise. What will the preamp add to your mic? You need to determine whether the mic, under worst-case conditions, is going to overload the preamp input stage, and also whether the preamp is going… View this story
    Filed in: AVFeaturePollProductStudy HallAVMicrophoneProcessorAudio

  • Tuesday, April 03, 2012
    Dave Rat 04/03/12 03:52 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 SoundFeatureStudy HallEngineerMicrophoneSound ReinforcementTechnician

  • microphone world
    PSW Staff 04/03/12 02:18 PM,
    While the live microphone market is full of “old favorites” that continue to the do the job year after year, there’s also a constant drive toward innovation. Dynamic models remain most popular, but continuing a trend, condenser designs are getting increased traction among both manufacturers and users alike. Ribbon models, once too fragile for rigorous live sound applications, are no longer so, and provide yet another option in the mic box. We’ve also seen a notable uptick in the number… View this story
    Filed in: Live SoundFeaturePollProductMicrophoneSound Reinforcement

  • Friday, March 09, 2012
    Henry Cohen 03/09/12 09:52 AM,
    Rules for the operation of Television Band Devices (TVBD) in the core TV bands (low VHF – channels 2-6; high VHF – channels 7-13; and UHF – channels 14-51) were finalized in January 2010. One of the requirements of TVBD operations was the establishment of a working and real-time accessible geo-location database from which TVBDs had to receive a list of available TV channels based on the TVBD’s physical location and type. It’s only as of January 26, 2012 that… View this story
    Filed in: Live SoundFeaturePollStudy HallBusinessMicrophoneSignalWireless

  • Wednesday, March 07, 2012
    wireless systems
    Craig Leerman 03/07/12 10:49 AM,
    The early history of the development of wireless microphone systems is a bit murky as to “who did what and when,” but it might be surprising to know that they’ve been around in various forms for more than 60 years. In fact, back in the mid-1940s, publications such as Popular Science showed schematics and kits for making low-power wireless microphones that could transmit to a nearby AM radio. The Shure Vagabond system, which debuted in 1953, most certainly was one… View this story
    Filed in: Live SoundFeaturePollProductSlideshowMicrophoneSound ReinforcementSystemWireless

  • Tuesday, March 06, 2012
    Bruce Bartlett 03/06/12 03:53 PM,
    This article is provided by Bartlett Microphones.   What microphone is best for recording an orchestra? What’s a good snare mic? Should the mic be a condenser or dynamic, omni or cardioid? You can answer these questions more easily once you know the types of microphones and understand their specs. First, it always pays to get a high-quality microphone. The mic is a source of your recorded signal. If that signal is noisy, distorted, or tonally colored, you’ll be stuck… View this story
    Filed in: Church SoundFeaturePollProductStudy HallMicrophoneSound ReinforcementStudio

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