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Articles Tagged Microphone World

  • 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
    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
    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
    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

  • Tuesday, July 09, 2013
    Craig Leerman 07/09/13 02:03 PM,
    I grew up during the CB radio craze of the 1970s. We had CBs in our cars, and in the house, there was a Radio Shack Navaho model base station complete with an Astatic D-104 “Lollipop” microphone. When the mic collecting bug bit me, I learned that Astatic also manufactured products designed for PA and recording when I spied a handheld beauty called the Metro 788 at an antique store.  Astatic dates back to the 1930s when two Ham radio… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSound ReinforcementStage

  • Monday, July 08, 2013
    wireless microphones
    Gary Parks 07/08/13 05:26 PM,
    One fact about the wireless landscape is inevitable – it will continue to be more congested with a variety of devices, and available space for wireless microphone systems, in-ear monitors, and intercoms will be even harder to find. In a recent webinar on ProSoundWeb, noted RF expert James Stoffo warned of the coming effects of new FCC rulings that will allow consumer wireless devices to operate in the UHF bandwidth, with the exception of two 6 MHz bands just below… View this story
    Filed in: Live SoundFeatureBlogStudy HallEthernetMeasurementMicrophoneSignalSoftwareWireless

  • Tuesday, June 25, 2013
    Bobby Owsinski 06/25/13 03:23 PM,
    This article is provided by Bobby Owsinski.   Today everyone is conditioned to go direct with the bass guitar that many times miking a bass amp is completely overlooked. That’s too bad because it can bring something to the track that you just can’t get any other way. Here’s an excerpt from my Audio Recording Basic Training book that provides an exercise for bass amp miking. —————————— Back in the 60s and 70s, the way engineers recorded the electric bass… View this story
    Filed in: RecordingFeatureBlogStudy HallLoudspeakerMicrophoneStudio

  • Monday, June 17, 2013
    studio microphones
    Bobby Owsinski 06/17/13 12:22 PM,
    This article is provided by Bobby Owsinski.   The vocals are almost always in the spotlight of a song, yet sometimes they receive far less attention during setup than other instruments like the drums. In this excerpt from Audio Recording Basic Training, you’ll not only get a few great tips, but an exercise that will lead you through the different ways of vocal miking that will show you their pros and cons. ————————————————— Just like with a great sounding instrument,… View this story
    Filed in: RecordingFeatureBlogStudy HallMicrophoneSignalStudio

  • Monday, June 10, 2013
    Craig Leerman 06/10/13 02:00 PM,
    After hearing a lot of great things about the Shure KSM9HS, I couldn’t wait to get my hands on one to try out. It’s a handheld vocal condenser (electret-biased) microphone with dual diaphragms and switchable polar patterns – hypercardioid and subcardioid – that can be selected via a switch located under the removable grill. The KSM9HS includes dual 3/4-in, gold-layered, low-mass Mylar diaphragms, a Class A discrete transformerless preamplifier, advanced suspension shock mount system for the cartridge, a 3-stage grill… View this story
    Filed in: Live SoundFeatureBlogProductReviewMicrophoneSound Reinforcement