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Smh-1010Ch/1020Ch Professional Audio Precision-engineered microphones and monitoring solutions to accurately capture and reproduce your audio. SMH-1010CH/1020CH Single- & Dual-Sided Professional Communication Headsets SMH-1010CH single-sided and 1020CH dual-sided communication headsets are ideal for use with wired and wireless communications systems in TV or radio broadcast, communications systems, and sports applications. BROADCAST & LOCATION GAMING STUDIO • CLEAR VOICE • COMPATIBILITY • REPRODUCTION • DETACHABLE TWIST • PRECISE POSITIONING LOCKING CABLE DESIGN AUTO-MUTE activates MUTE • NOISE REDUCTION • RUGGED DESIGN automatically • COMFORT • COLLAPSIBLE when mic is raised. SMH-1010CH Single-Sided Headset ....................179.00 Optional cables are available for use with many major wired and wireless systems, such as Telex and PortaCom. Headsets can also be used with SMH-1020CH Dual-Sided Headset...................... 199.00 broadcast consoles, mixers, and computers. SENAL UTM-86 Premium Lavalier Microphone The UTM-86 features an omnidirectional polar pattern and a frequency response optimized for voices and dialog. It can be used to deliver realistic and robust Includes broadcast-quality sound for TV, live stage, theater, or any other applications where Padded an inconspicuous lavalier microphone is needed. Carry Case • Optimized for Speech • Miniature Size The UTM-86 features an electret The small and unobtrusive capsule condenser element with a wide dynamic with a head diameter of only 0.2" range, and a frequency response tailored (5.5mm) makes these mics easy to to capture rich, low frequencies and a conceal in costumes and props for natural-sounding mid range. onscreen and onstage use. • Low Noise • Included Accessories The shielded cable protects against Includes a single tie clip,, double tie clip, radio-frequency interference. Its insula- cable clip, magnetic clip with lanyard, tion and integrated strain relief minimize viper clip, two foam windscreens, and a handling and cable noise. padded leatherette carry case. SENAL UTM-86 Lavalier Microphone UTM-86-HRS with 4-Pin Hirose Connector for Audio-Technica Wireless Transmitters . $149.95 UTM-86-TA5 with TA5 Connector for Lectrosonics Wireless Transmitters ................. $149.95 UTM-86-35H with 3.5mm Connector for Sennheiser & Senal Wireless Transmitters ....... $149.95 UTM-86-TA4 with TA4 Connector for Shure Wireless Transmitters. $149.95 UTM-86-35N with 3.5mm Connector for Sony UWP Wireless Transmitters ............... $149.95 PRO AUDIO TIPS FOR A KILLER VOCAL SOUND IN A HOME STUDIO Tips for A Killer Vocal Sound in a Home Studio by Nick Messitte etting a good vocal sound in your home studio is not a matter of snagging yourself a great mic and a fantastic mic chain. If it were that simple, more people of means would be securing killer sounds at home. There’s a lot more at play, starting, of G course, with the vocalist. One hopes that the singer is, if not a dynamo, at leastinteresting . If things don’t work well at the cource, you’ve got little hope for a great sound down the road. But let’s assume you’ve got a great talent seep into the vocal, canceling out vital mid- ioned out of the same material; say you put in your midst. Heck, maybe it’s you—maybe range frequencies and emphasizing un- up 703 fiberglass panels all over your room. you’re recording yourself, and you want the flattering high-mids. Such an issue really Depending on the density of these panels, best sound you can get out of your home narrows your options in the mix; distortion some frequen- studio. Believe it or not, an expensive mic and complex reverberation can help bring cies would wind and a priceless preamp shouldn’t occupy some life to the sound, but these processes up more imped- the locus of your focus quite yet; plenty of can signify genres that might not be in line ed than others; great performances have been gleaned with the mix itself. some frequencies from a Shure SM58, which is about as wal- would be overly No, better to fix the issue at the source. let-friendly as a pro mic can get. present in the re- Hearing this, you might think, “I’ll get flections bounc- First, work on the acoustics of your myself one of those reflection filters I see ing back into the room. Most home studios are situated in in the trades!” or, “I’ll deaden up my room mic. The result? a boxy room—and a boxy room exhibits all deader than a dead guy who’s dead.” Not a flat sound, sorts of acoustical problems. From flut- and definitely not ter echo to unflattering room modes, the Careful! Don’t go overboard! An over- an easy sound aspects of an untreated room can corrupt abundance of treatment can have a nega- to work with in a even the best mic chain. Comb filtering can tive effect. Not all room absorbers are fash- mixing context. 274 800-859-5252 • 212-444-5072 TIPS FOR A KILLER VOCAL SOUND IN A HOME STUDIO PRO AUDIO On to reflection filters, which, though And yes, shut off your AC. If necessary—if ing a microphone (in a place like our Su- helpful in some circumstances, can only get it’s audible—shut off your fridge too! perStore, for instance) it’s important to ask you so far; they often expose the top of the some questions. Are you mostly recording capsule to your room reflections, and some- If your room is quiet and treated, and you one specific person (say, yourself)? If so, it times generate unwanted reflections of their want to mitigate some of that proximity ef- pays to bring that person in to a testing en- own (the cheaper ones tend to, anyway). fect, move the singer away from the mic. If vironment and try out a bunch of mics. your room is noisy, and if there’s a specific For the price of the best reflection fil- frequency bothering you, try to amend the Disregard the price tag as you listen; go ters, it’s often better to pick up a room- issue with EQ. Various hardware equalizers for what sounds the most appropriate on treatment bundle from, say, Primacoustic are more than up to the task. Of course, if the sound source. Try to narrow your focus or Auralex. Then, treat the surfaces that you’ve got something like a Universal Audio on specific parts of the frequency spec- face the microphone directly, including on Apollo, you can nick the troublesome fre- trum: how robust do the low-mids sound the ceiling. If you record with a cardioid mic quency out of the signal with one of their on this vocalist? How brilliant (or harsh) are (and in a home studio, chances are that you Unison-enabled EQs on the way in. the highs? Pick the one that works, within do), try deadening up what’s in front of the the budget you have, and don’t worry about mic, and leaving the space behind the cable Now, if you find the singer is overly sibi- name brands. relatively live. It can often give a more bal- lant on the esses, rotate the capsule so that anced result. its front isn’t pointed squarely at the sing- On to the mic pre: if you’ve got yourself er’s mouth. Experiment with the best “di- an all-in-one interface from Universal Au- Next let’s concentrate on mic technique agonal positioning,” and you’ll find a sound dio, Antelope, Apogee, MOTU, or another for the home studio. Since your room is that’s bright without being overly sibilated. brand, you already have a preamp that’s probably not akin to something like Ocean clean enough for the job. If you want some- Okay. We’ve spent some time on room Way Studios, it pays to minimize the room thing with more mojo, consider preamps treatment and mic technique, so now we in the recording as much as you can. Try from Rupert Neve Designs, Warm Audio, can move on to the part you really care getting closer to the mic to “overpower” BAE, API, and many others. the room, if you will. Doing so will induce about—the gear. the proximity effect—the closer the singer In recent years, companies like Slate Dig- … And just like that, we’ve run out of stands to the mic, the more low and low- ital and Antelope have started to offer pack- space! midrange content you’ll find in the resulting ages that model the hardware and software recording—but a little proximity effect never Just kidding! But, as we draw to a close, of both mics and preamps. Indeed, you can hurt anyone, and it can be taken out with it’s important to note there are millions of get yourself a virtual mic chain from either EQ either during the recording or in the mix. apposite microphones, and no single mic company that, to many ears, rivals the origi- will work on every vocalist. When audition- nal hardware equipment. Of course, if your computer has a noisy fan, if your hard drives make whirring The possibilities are virtually endless. sounds, or if you’ve got the A/C running, They also aren’t strictly necessary—great that’ll show up in the recording. Try to use records have been made with an SM58 and components that don’t make noise, such as a good, clean audio interface. Much more solid-state hard drives. If that’s not an op- important are the room and the talent. Sort tion, there’s always RX Elements for noise those out, and you’re more than halfway reduction in post, which works quite well.
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