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Articles Tagged Microphone World

  • Wednesday, February 04, 2015
    Bruce Bartlett 02/04/15 04:07 PM,
    It used to be that the fragile nature of ribbon microphones made them unsuitable for most live sound applications. But not any more – many recent models have been beefed up for added ruggedness, which is great because it allows us add their special sonic qualities to our live mixes. Let’s explore the unique devices that are ribbon mics, including their design, technology, application, and techniques of use. Physical Design The majority of dynamic mics are based on moving coil… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSignalSound ReinforcementStage

  • Tuesday, January 27, 2015
    Craig Leerman 01/27/15 03:29 PM,
    My Baltimore-area high school theater was outfitted with the first quality PA system I ever worked with. It had JBL horns and cabinets in a center cluster, powered by Crown amplifiers, with a 6-channel TAPCO mixer in the sound booth and Electro-Voice 664 microphones on stage. Initially, to my finely tuned 10th grade ears, the system didn’t sound very good – the performers could barely be heard, and there was a lot of feedback. But it wasn’t long before I… View this story
    Filed in: Live SoundNewsStudy HallAVMicrophoneSound ReinforcementStage

  • Monday, January 26, 2015
    micrphone techniques
    Bruce Bartlett 01/26/15 08:50 AM,
    Let’s face it—the live sound reinforcement realm presents some microphone challenges that regularly threaten sound quality. Look at the conditions. The monitors feed back. They leak into the vocal microphones and color the sound. The bass sound leaks into the drum mics, and the drums leak into the piano microphones. And then there are the other mic-related gremlins breath pops, lighting buzzes, wireless-mic glitches, and even electric shocks. So let’s have a look at solving at least some of these… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertEngineerMicrophoneSound ReinforcementStageTechnician

  • Monday, January 12, 2015
    Craig Leerman 01/12/15 05:34 PM,
    In live audio production, choosing a vocal microphone for a singer you’ve never worked with can be a bit challenging. The “correct” choice is the one that complements the voice and how the particular singer “works” the mic. Another factor is providing a comfort level for someone who may be wary of using an unfamiliar mic, which shouldn’t be overlooked—a timid, unsure performance usually isn’t a good one.  Let’s first look at what we have to work with. Mics come… View this story
    Filed in: Live SoundFeatureBlogStudy HallEngineerMicrophoneMonitoringSound ReinforcementStageWireless

  • Tuesday, December 16, 2014
    al schmitt
    Bobby Owsinski 12/16/14 08:52 AM,
    This article is provided by Bobby Owsinski.   After 18 Grammys for Best Engineering (more than any other engineer) and work on over 150 gold and platinum records, Al Schmitt needs no introduction to anyone even remotely familiar with the recording industry. Indeed, his credit list is way too long to print here (but Henry Mancini, Steely Dan, George Benson, Toto, Natalie Cole, Quincy Jones, and Diana Krall are some of them), but suffice it to say that Al’s name… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneProcessorStage

  • Sunday, December 14, 2014
    Kevin McPherson 12/14/14 02:46 PM,
    Fall Out Boy is back, and as this year’s recently concluded months-long concert tour demonstrated, the American rock/punk quartet is more popular than ever. The tour comes following the band reuniting after going on a hiatus, in advance of the release of its sixth studio album, American Beauty/American Psycho. Originating in Chicago’s punk scene, Fall Out Boy formed in 2001 and is still comprised of original members Patrick Stump (guitar), Pete Wentz (bass), Joe Trohman (guitar), and Andy Hurley (drums).… View this story
    Filed in: Live SoundFeatureBlogConcertEngineerLine ArrayMicrophoneMonitoringSound ReinforcementStageWireless

  • Thursday, December 11, 2014
    Craig Leerman 12/11/14 03:07 PM,
    When I began working in pro audio, I pretty much copied what everyone else was doing when it came to microphone selection and placement – “ball” mics for vocals and “stick” mics for instruments and amps, with hardly any “studio” mics on stage except when live recording was being done. Then came a show with an older soundguy who proceeded to mike the stage in a very strange way, or at least it was strange to me. He put a… View this story
    Filed in: Live SoundFeatureBlogStudy HallEngineerMicrophoneSound ReinforcementStage

  • Tuesday, November 25, 2014
    Tim Vear 11/25/14 09:03 AM,
    Microphone positioning and technique is largely a matter or personal tastes—usually whatever “sounds right” probably is right. Nevertheless it’s a good idea to remind ourselves of some of the basics for getting there. Following are a few tips that you might consider following when miking musical instruments for sound reinforcement. • Try first to get the instrument to sound good acoustically before miking it. • Use a mic with a frequency response that is limited to the frequency range of… View this story
    Filed in: Church SoundFeatureBlogStudy HallInstallationMicrophoneSound ReinforcementStageWireless

  • Tuesday, November 18, 2014
    Mark Frink 11/18/14 01:46 PM,
    There are almost as many ways to capture guitar amplifier sound with a microphone as there are for a piano. And as with piano (and kick and snare drum, for that matter) single-mic approaches can’t always provide the best solution for guitar amps—we must also explore multiple-mic approaches. About four decades ago, at the “dawn” of modern live sound reinforcement, there was the Shure SM58 for vocals and the SM57 for instruments. This eventually included miking guitar amps, because as… View this story
    Filed in: Live SoundFeatureBlogStudy HallEngineerInterconnectMicrophoneSignalSound ReinforcementStage

  • Thursday, November 06, 2014
    Gary Parks 11/06/14 05:44 PM,
    Though microphones are more than a century old, the breadth of what is available continues to grow, and new innovations and applications are regularly introduced—while some of the old standards are given new life with a different form factor or are adapted to wireless use. In interviews with a number of mic developers, we’ll explore some relatively recent milestones, as well as miniaturization and the impact of new materials and processes. Dynamic Developments Shure’s 1939 introduction of the Model 55… View this story
    Filed in: Live SoundFeatureBlogStudy HallEducationMeasurementMicrophoneProcessorSignalSound ReinforcementStudio

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