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Articles Tagged Microphone World

  • Thursday, February 26, 2015
    Greg Stone 02/26/15 04:11 PM,
    All microphones are not created equal. Cardioid, supercardioid, hypercardioid, condenser, ribbon - literally dozens of choices. (It’s enough to give you a cardioid cardiac!) In many situations, our budgets just won’t allow the top-of-the-line models in our mic cases. Meanwhile, the same questions present themselves for every show, large or small. What kind of mic(s) on the backline? What to do about the softly singing angel at lead vocal? What about the singer that can never ever stay on mic… View this story
    Filed in: Live SoundFeatureVideoStudy HallEngineerMicrophoneMonitoringStage

  • Tuesday, February 17, 2015
    Ike Zimbel 02/17/15 04:32 PM,
    One of the main causes of RF (radio frequency) interference is intermodulation products created by our own wireless equipment. In this piece, I will outline some of the common setup and handling errors that contribute to this problem. First up is increased noise floor and intermodulation (intermod or IM) products due to transmitters being in very close proximity. If you work with a single band and just put mics up on stands every day, you might not encounter this. But… View this story
    Filed in: Live SoundFeatureBlogStudy HallMeasurementMicrophoneRemoteSignalSound ReinforcementStageWireless

  • Friday, February 06, 2015
    live sound international
    Chris Huff 02/06/15 10:44 AM,
    I created a frog. It wasn’t intentional. Naturally, I’m not talking about a real frog, but look at the photo that opens this article. You’ll never read a mixing book that says, “Make the snare’s EQ curve look like a frog in water.” (If you do, stop immediately and back away.) Seriously, when it comes to snare mixing, the last place (literally) you want to be is behind the mixer. With that in mind, here are three primary factors I’ve… View this story
    Filed in: Live SoundFeatureStudy HallConsolesEngineerMicrophoneMixerProcessorSignalSound Reinforcement

  • 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
    PSW Staff 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