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Tube Condenser Microphone T-47 &
Condenser Microphones TUBE CONDENSER MICROPHONE T-47 & T-1 Vacuum Tube Condenser Microphone Professional, large-diaphragm, tube condenser microphone for unsurpassed audio quality Hand-selected 12AX7 vacuum tube for exceptional warmth and vintage sound The Ultimate Recording Mic? Classic Tube Sound Ideal as main and support microphone for studio and Since the early days of recording, The sound of tubes is undeniably live applications sound engineers have been searching rich and smooth. At the heart of for the best-sounding mics for each of these mics is a hand-selected Cardioid pickup pattern for recording acoustic instruments and 12AX7 tube, which has been specifically outstanding sound source separation the human voice. The resounding designed to give these microphones and feedback rejection choice of professional recordists their incredible sonic character. around the globe has been the tube One advantage tube condensers have Pressure-gradient transducer with condenser microphone. Why? Because over their solid-state counterparts is they shock-mounted capsule nothing compares to the sound captured are not subject to the rapid rise of odd- Perfect for vocals and by a good tube condenser microphone order harmonics, which the ear perceives acoustic instruments — so open, warm and full of character. as highly unmusical. Even when subjected to high sound pressure levels, Switchable low-frequency roll-off But tube mics can wipe out a the T-1 and T-47 mics react in much the home-recording budget faster than same way the human ear does. 20 dB input attenuation (T-1 only) you can say “phantom power supply”. That’s why we’re so very proud to present T-1 and T-47 Have a Sensitive Side External power supply with 30 ft. -
The Tube Sound and Tube Emulators
ERIC K. PRITCHARD The Tube Sound and Tube Emulators $0 RE TUBES MAGIC? IS THERE really a difference be- tween tubes and tran- I ea sistors? Some hear the warmthA and appreciate the full body of the tube sound, and others deride the thought. Is the magic of I. I. - the tube sound more than mere / ea nostalgia? A recording engineer, ....„1 .4,Aa. e1 00 14 •111 Russell 0. Hamm, could hear the Relative lame Level itoletive ler.a Level difference. Determined to find and Figure 1.Distortion components explain the difference, he began Figure 3.Distortion components for two-stage triode amplifier. testing microphone preamplifiers for multi-stage capacitor-coupled of various technologies. His fa- transistor amplifier. mous paper, "Tubes Versus Tran- sistors—Is There an Audible Dif- ference?" [1], shows that the 10 harmonic structures in overdrive 3 re N I 3 r• conditions for different technolo- gies are quite different, almost like 20 10 fingerprints. I. -___.......i..4_7" More recently, an electronics en- 14 ea gineer, Eric Pritchard, started Relative brat Level - 14 down the circuitous path to bring Retellv• tepee Leve1 Figure 2..Distortion components the two worlds together and to give Figure 4.Distortion components for two-stage pentode amplifier.. solid state the character of tubes. for multistage transformer- The elusive tube sound has finally coupled transistor amplifier. succumbed to an intensive re- search and development program TUBES AND THE TUBE that has produced solid-state tube SOUND emulators and tube emulator cir- In retrospect, the tube has many cuits [2]. The effort began nearly 3 re f technically superior aspects, it is seven years ago with the search for fairly linear, its operational pa- / a solid state guitar amplifier that rameters do not vary badly, at least / sounded like tubes. -
Cutting Edge
CuttingTHE Edge Electronically reprinted from December 2007 MASTERPIECE! Audio Research 610T Monoblock Power Amplifier Jonathan Valin t is a little sobering to look back to 1973 and the first pieces of Audio Research gear II heard—the SP-3 preamp and D75 amp powering Magneplanar I-Us in a stereo demo that, for me, has never been bettered or forgotten— and then to consider how consistently and naturally all the subsequent ARC gear I’ve heard, and I’ve heard a lot, has been voiced. From the start, ARC components had a sound that was uniquely, indelibly, addictively “right.” ARC’s designer and founder William Zane Johnson called this sound “high definition,” a trademark that still appears on the faceplate of each and every ARC component. And even in 1973 his creations were astonishingly high in definition; indeed, their standard-setting resolution, lifelike size, bloom, and airy brightness, and exceptionally low levels of tube-like coloration were a large part of what set them apart from the darker, thicker, blatantly euphonic sound of the tube preamps and amps that preceded them. Not that everyone preferred high definition tube sound. There were those, then, and are those, now, who thought and think that tubes should invariably make music sweet, round, and rosy, that prettifying sources is the vacuum tube’s job in life—the very thing that sets it apart from the crisp, clean, “neutral” presentation of the transistor. Johnson never bought into this model. Indeed, it was the superior accuracy and neutrality of transistor electronics—which in the late 60s and early 70s were even more in the ascendant than they are today—that inspired him to outdo solid-state at its own game. -
Genuine Sound
www.lewitt-audio.com EMPHASIZE THE GENUINE IN YOUR SOUND. LCT 940 LCT 940 Introduction Thank you that you have opted for a LEWITT product. In this operating manual you will learn more about your LEWITT microphone, its handling and its proper usage. With the LCT Authentica Series, LEWITT introduces a new generation of highly versatile wired condenser microphones that all aim for setting new benchmarks of technology, sound quality and user-friendliness in both professional studio recording and onstage use. The microphones of the LCT Authentica Series stand for unaltered sound and innovative features: llluminated Settings, Noiseless Push Buttons, Automatic Attenuation with Clip Detection and History all ensure error-free sonic perfection and peerless ease of use for today’s demanding recording artists and engineers. Day after day, be it for live acts, in home studios or in professional studio productions. LEWITT wishes you a lot of fun and success with this product! 02 LCT 940 The product Sound professionals naturally rely on a set of different high-end microphones in order to get the best out of their sound. But changing microphones and adjusting settings takes valuable time, the creative flow of a session is interrupted. With its new Authentica series flagship LCT 940, LEWITT now introduces a microphone that will revolutionize modern studio recording procedures and help engineers and artists to react more quickly to a desired change of style and sound. The LCT 940 combines the specific characteristics of a premium large-diaphragm FET condenser microphone and a top-notch tube microphone in one housing. Basically, users can choose between the two main settings "FET" and "Tube". -
Georg Neumann - Wikipedia, the Free Encyclopedia 8/21/10 6:37 AM
Georg Neumann - Wikipedia, the free encyclopedia 8/21/10 6:37 AM Georg Neumann From Wikipedia, the free encyclopedia Georg Neumann GmbH (Neumann), founded in 1928 and based in Berlin, Germany, is a prominent manufacturer of professional recording microphones. Their best-known products are condenser microphones for broadcast, live and music production purposes. For several decades Neumann was also a leading manufacturer of cutting lathes for phonograph disks, and even ventured into the field of mixing desks for a while. Contents 1 History 1.1 Early years A classic Neumann U87 1.2 Postwar period microphone 1.3 The end of the fifties 1.4 The sixties 1.5 The eighties and beyond 2 See also 3 External links History Early years The company's original product was the CMV 3, the world's first commercially available condenser microphone. It was a rather large (40 cm tall, 9 cm diameter) microphone with several interchangeable capsule heads which gave it different directional patterns. Because of its shape and size, this microphone was often known as the "Neumann bottle". It is often seen in historical photographs of public events in Germany through the period of World War II. Neumann's factory in Berlin was damaged by Allied firebombing in November, 1943. Georg Neumann relocated his company to the much smaller town of Gefell and resumed production at the beginning of the following year. At the close of the war, this province fell under Soviet control and the company eventually became a "people's corporation" (i.e. a state-run enterprise). After the reunification of Germany, the company in Gefell, which had continued to use the Neumann name, became known as Microtech Gefell. -
Something Completely Different…
Something completely different… Jerry Whitaker, ATSC, and old radio guy 1 The Tube Sound: Fact or Fiction? 2 Scope of This Presentation The latest trend in audio is actually a very old trend Tubes > transistors > integrated circuits > digital > tubes? We will revisit the attributes of vacuum tubes for audio applications Attempt to answer the question—are vacuum tube amplifiers better or just different? What about source material, in particular vinyl records? Tubes and vinyl—the ultimate audio pairing for high-fidelity listening? 3 Observation #1 Vacuum tubes have been around for a very long time. Appreciated for their distinctive sound, amplifiers built around tubes have found a permanent home with audio enthusiasts and experimenters alike. You don’t need to be an “audiophile” to appreciate them. Tube-based systems can coexist nicely in today’s digital-based environment. 4 Preferences The differences make it interesting 5 Preferences Audio is all about preferences and real-life experiences • Certain fundamental reference points exist • Loudness, frequency response, noise, distortion, etc. Audio has another dimension as well—perception • The artist has a wide and varied pallet with which to paint • There are few absolutes when it comes to audio perception • With video, absolutes abound • Viewers know that the grass should be green and the sky should be blue and people should look like…people 6 Appointment Listening: Gone for Good? Consumer listening habits have changed dramatically in the last decade • Portable playback devices abound • Convenience is the key product motivator • Listening typically done while doing something else The heyday of appointment listening now well in the past • Circa 1965—console stereo in the family room, LPs on the turntable • Circa 1945—radio in the living room, family gathered around 7 Observation #2 Appointment listening is making a comeback and doing it with tubes and vinyl. -
Vacuum Tube Amplifier Modeling with Dynamic Convolution
Vacuum Tube Amplifier Modeling with Dynamic Convolution Jason Traub Department of Electrical and Computer Engineering, University of Florida Though nearly obsolete within electronics, vacuum tubes remain in high demand for musical amplification [1]; and particularly for electric guitar. This research discusses reasons for the observed preference and assesses its validity. Furthermore, amplifier electronic circuits are studied and comparisons are made between vacuum tubes and bipolar junction and metal oxide field effect transistors; the latter two have replaced vacuum tubes in nearly every application, and are responsible for the advancement of the digital computer. Undoubtedly, there exists extreme cost effectiveness in obtaining a computer processing technique to mimic the sound that is applied by a vacuum tube amplifier. Thus, many modeling techniques have been developed and used in commercially successful products. This research discusses several of these methods and ultimately attempts to mimic a vacuum tube amplifier using the dynamic convolution method, proposed by Kemp [2]. Introduction: Light Bulbs, Valves, and Transistors acuum tubes, or “valves”, as the British call them, were the first electronic component to be able to V function as an amplifier. To give a historical perspective: Thomas Edison invented and patented the light bulb in 1879 [3]; J.J. Thompson’s experiments led to the discovery of the electron in 1897 [4]; and the work of John Fleming and Lee de Forest ultimately led to the vacuum tube triode in 1906 [5]. This three terminal device allows us to amplify the current and/or voltage of an input signal. A vacuum tube triode consists of two electrodes, the plate (anode) and cathode, separated by a short distance in an Figure 1. -
Product Information U 87 Ai
Product Information U87Ai Large Diaphragm Microphone Georg Neumann GmbH, Berlin • Ollenhauerstr. 98 • 13403 Berlin • Germany • Tel.: +49 (30) 417724-0 • Fax: +49 (30) 417724-50 E-Mail: [email protected], [email protected], [email protected] • Website: www.neumann.com he U 87 is probably the best known and most widely used Neumann studio micro- phone. It is equipped with a large dual-diaphragm capsu- le with three directional pat- terns: omnidirectional, car- dioid and figure-8. These are selectable with a switch below the headgrille. A 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion. Furthermore, the low fre- quency response can be reduced to compen- sate for proximity effect. Applications The U 87 Ai condenser microphone is a large diaphragm microphone with three polar pat- terns and a unique frequency and transient re- sponse characteristic. Users recognize the microphone immediately by its distinctive design. It is a good choice for most general purpose applications in studios, for broadcasting, film and television. The U 87 Ai is used as a main microphone for orchestra recordings, as a spot mic for single instruments, and extensively as a vocal micro- phone for all types of music and speech. Acoustic features The U 87 Ai is addressed from the front, mar- ked with the Neumann logo. The frequency response of the cardioid and figure-8 directio- nal characteristics are very flat for frontal sound incidence, even in the upper frequency Features range. • Variable large diaphragm • Switchable low frequency The microphone can be used microphone roll-off very close to a sound source • Pressure-gradient transducer • Switchable 10 dB pre- without the sound becoming with double membrane capsule attenuation unnaturally harsh. -
Check in to a Brilliant Night out with Sennheiser's Club Guide Facebook
Check In to a Brilliant Night Out with Sennheiser’s Club Guide Facebook and Foursquare users create a living guide to the world’s best venues Wedemark, 7 March 2013 – You want to find the coolest place to go out near you? Now Foursquare users have a brilliant way of tracking down the best night clubs and venues, with Sennheiser’s Club Guide, a new crowd-sourced guide to what’s hot near you right now. The Sennheiser Club Guide lists over 50 favourite clubs as voted by the audio specialist’s Facebook community. Further recommendations will be added on a monthly basis. Foursquare users can find and check in to venues near them by viewing and following the list of the recommended clubs at Sennheiser’s new brand page on foursquare. As well as sharing their location with friends via GPS they can also upload images of the party. The Sennheiser brand page is available via both desktop and mobile devices. The guide has been created by Sennheiser’s Facebook fans, where users from around the world can post reviews and pictures of their favourite clubs. If your favourite club isn’t here yet, then don’t worry; you can help get it on Sennheiser’s global map of cool venues. Simply visit the Club Guide Facebook app. “Sennheiser is very much at home in clubs around the world. Wherever DJs and performers demand the best quality sound performance from their headphones or microphones, we’re most likely there!” said Katrin Huss, Director Customer Relationship Management at Sennheiser, which has just added DJ legends such as DJ Bob Sinclar, DJ Fly, DJ QBert and Luciano to its rooster of endorsers. -
Philo.T. Farnsworth Award
PRESS RELEASE For over two decades Baby Animals have captured that quintessential, honest rock sound and have multiple Aria awards to prove it. A newly formed partnership with Sennheiser will see Baby Animals touring with a wide range of products including, but not limited to; state of the art EW 300 IEM in-ear monitoring systems, e945 vocal microphones and a range of e901, e904, e906 and e914 microphones to round the system off. The band will be filming the final show of their tour at The Metro in Sydney, to compile footage for their first- ever live DVD, which is set to be released later this year. Baby Animals: Vocalist –Suze DeMarchi “When you get on a stage you have to do it for you and your own enjoyment first. You have to have great faith in your sound guy; that he is going to translate what you’re playing to those people in the back row. In-ear monitors have saved my voice and they have allowed me to just, you know, keep performing. There was a time when I wasn’t using them when we were touring a lot and I just blew my throat out and got nodes. Primarily because I couldn’t hear myself, so I would be singing above a loud rock band. I really believe that if I didn’t have these I couldn’t keep performing all the time. Anything that makes the whole experience easier and stops you stressing out on stage is a big deal, Suze said“. Mark Nicholls- Front of House Engineer, said - “I’ve always gravitated towards Senn- heiser, I’ve been using the gear for about 20 years now. -
Drumdrops Yamaha Hybrid Kit
Drumdrops Yamaha Hybrid Kit Manual 1 The information in this document is subject to change without notice and does not represent a commitment on the part of Drumdrops. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Drumdrops. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instruments GmbH. Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trade marks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them. Contact Us Drumdrops 36 Leroy Street London SE1 4SP United Kingdom www.drumdrops.com 2 Table of Contents 1. Introduction (p.5) 2. About Drumdrops Yamaha Hybrid Kit (p.7) 2.1 The Drum Kit (p.7) 2.2 The People (p.8) 2.3 The Pool Recording Studio (p.11) 2.4 The Recording Equipment (p.12) 3. The Samples Packs (p.15) 3.1 The Multi-Velocity and Single Hits Packs (p.15) 3.1.1 Pack Contents (p.15) 3.1.2 Sampler Patches (For Kontakt, Battery, Drum Rack and EXS) (p.16) 3.1.3 Drum Machine Patches (For Maschine, Geist, Studio One Impact and iDrum) (p.18) 3.1.4 Software Compatability (p.20) 3.1.5 Loading the Patches (p.20) 3.1.5.1 EXS24 3.1.5.2 Battery 3.1.5.3 Kontakt 3.1.5.4 iDrum 3.1.5.5 Geist 3.1.5.6 Maschine 3.1.5.7 Studio One Impact 3.1.5.8 Drum Rack 3.1.5.9 Reason Refills 3.1.5.10 Renoise 3.1.5.10 Renoise Sampler 3.1.5.11 TX16Wx 3.2. -
Classic Tube Sound Meets Digital Music
C2500tube preamplifier ■ C2500 combines McIntosh’s legendary vacuum tube preamplifier circuitry with a full suite of contemporary features and technology. Six dual triode tubes ensure the finest pre-amplification of your music. ■ While maintaining the romantic sound of tubes, the C2500 can output your digital music at up to 32 bits and 192kHz for high resolution audio playback via five digital inputs. ■ Tone controls may be assigned to individual sources as needed. Up to three stereo power amplifiers may be connected at one time; two of them can be switched on and off to simplify your whole house audio distribution. ■ The beautiful polished stainless steel chassis shields the noise sensitive analog audio section from the power supply and control circuitry to provide the cleanest signal possible. Classic Tube Sound meets Digital Music www.mcintoshlabs.com C2500tube preamplifier Frequency Response: Tone Controls: +0, -0.5dB from 20Hz to 20kHz Bass and Treble, +/- 12dB +0, -3dB from 10Hz to 100kHz High Drive Headphone Amplifier: Total Harmonic Distortion: All headphones from 20 to 600 Ohms 0.08% Maximum from 20Hz to 20kHz Home Theater Pass Through: Inputs: Allows interfacing with a Six high level unbalanced Home Theater system Two high level balanced Two Phono: one Moving Coil adjustable, Overall Dimensions (W x H x D): one Moving Magnet 17-1/2” (44.45cm) x 7-5/8” (19.37cm) Five digital inputs x 18” (45.72cm) Maximum Output Voltage: Weight: Unbalanced Main and 30.5 lbs (13.8kg) net, Outputs 1 & 2: 8 Vrms 46 lbs (20.9kg) in shipping carton Balanced Main and Outputs 1 & 2: 16 Vrms Digital Section: Two Coax, Two Optical assignable and For the Consumer’s Protection: one dedicated USB Audio In order to ensure the highest level of customer satisfaction, “new” McIntosh products may only be purchased McIntosh Digital Engine is 32 bit 192kHz, over-the-counter or delivered and installed by an Authorized McIntosh Dealer.