Showing posts with label podcasting. Show all posts
Showing posts with label podcasting. Show all posts

Rode NTK Tube Condenser Microphone Review

Rode NTK Tube Condenser Microphone
Average Reviews:

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Great mic - excellent sound. I have been a pro voiceover artist for over 30 years and have dealt with a variety of studio mics. In building my own studio I really wanted a front end that had a clear and smooth full-range sound. The R0de NTK was recommended to me by another "big voice" artist, and completely lives up to the recommendation. Everyone I have talked to says it's about the best value out there. If you have cash to blow, you can get a "noyyyyyymannnnn" (raise eyebrows here), or you can enjoy the sound of this mic and take the extra $3200 and spend it on more gear. The hard plastic padded case for the mic and power supply are a nice touch. Don't forget to buy a shock mount for it!
Enjoy -

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Behringer 1622FX 16-Input 2/2 Bus Mixer with Effects and USB Review

Behringer 1622FX 16-Input 2/2 Bus Mixer with Effects and USB
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I have been looking for a mixer for my home studio. I use it to produce audio programming for a radio station.
I checked several others along with this. I heard good reviews on Mackie products. I have seen them in action and I believe they are quite good. However, after a comparison, the Behringer is of equal quality with more features for a lower price. I would highly recommend this to anyone needing to mix several aux sources along with microphones.

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The X1622USB features four XENYX-fueled mic inputs with channel Inserts, "one knob" compressors and 3-band British-style EQs with a sweepable, semi-parametric mid frequency band. The four stereo line-level channels offer enhanced fine-tuning via 4-band EQ, which is extremely handy for adjusting critical keyboard midrange frequencies. Aux 1 Sends are switchable (pre- or post-fader) and individual channels can be assigned to two subgroups for mixing flexibility.

XENYX USB Series Mixers XENYX USB Series mixers are designed to handle your live gigs, and they provide the state-of-the-art tools you need to make stunning, professional-quality recordings. Along with their built-in USB/audio interfaces, XENYX USB mixers come with all the recording and editing software you'll need to turn your computer system into a complete, high-performance home recording studio.
Sonically Superior Mic Preamps All XENYX mixers have one thing in common--great-sounding, high headroom XENYX mic preamps. These state-of-the-art mic pres represent a major step in the evolution of audio technology--and they can easily hold their own, even when compared to the most expensive stand-alone mic preamps. XENYX preamps offer a staggering 130 dB of dynamic range, with a bandwidth that extends from below 10 Hz to well above 200 kHz. Armed with these outstanding mic preamps, XENYX mixers provide such transparent, crystal-clear performance you just might think someone upgraded your mics while you weren't looking.
Sublimely Musical British EQ The British consoles of the 1960s and '70s changed the sound of rock and roll--without them the British Invasion might not have happened. Those legendary mixing desks soon became the envy of engineers and producers all over the world. The channel EQ on our XENYX mixers is based on that very same circuitry, allowing you to imbue signals with incredible warmth and detailed musical character. Even when applied generously, these equalizers exhibit sweet forgiveness and superb audio quality.
One-Knob Compression Ask professional sound engineers what their favorite piece of external processing gear is and the majority response will be virtually unanimous--dynamic compression. What is compression? We're glad you asked. Compression essentially limits the dynamic range of a signal, lowering the level of loud sounds and turning up softer sounds, to achieve sonic balance. But applying compression is a delicate art that many novice, and even intermediate, sound techs have great difficulty mastering. Our "one-knob" compression is available on all mono channels and is easy to operate, even for entry-level users. With this one knob, you can easily dial in the perfect amount of compression for instruments and vocals, creating powerful mixes with punch and clarity. This is indeed a rare feature for products in this class--but standard on all XENYX USB mixers.
Effective FX All XENYX USB Series mixers (except the 1204USB) feature our new 24-bit dual engine FX processor, with 16 editable, studio-grade presets including reverb, chorus, flanger, delay, pitch shifter and multi-effects. Complete with a highly accurate input meter, these effects can be altered to your personal taste via the Parameter control. Time-based functions can be entered manually by pressing the Tap button in tempo with the music.
Recording Bliss There was a time when the recording process called for lots and lots of expensive gear, which meant the average musician had to buy time at a recording studio--and that time was pricey indeed. But modern technology has put personal recording well within the reach of virtually anyone with access to a computer. How do you get all that music flying around your brain into your computer? That's where XENYX USB mixers come in. Thanks to the built-in, bi-directional stereo USB audio interface, you can connect any of these mixers directly to your PC or Mac computer via a single USB cable. Now any signal source you connect to the mixer can be recorded directly to your hard drive.
Software Included Because you'll want to take full advantage of the XENYX USB Series mixers' recording and podcasting potential, Behringer has thrown in a massive software package that includes Audacity (the most popular open source audio editor), Podifier, Juice, Podnova and Golden Ear (a great selection of podcasting software). You're ready to go live on your PC or Mac computer right out of the box! You also get more than 100 virtual instruments and 50 FX plug-ins, turning your computer into a complete home-based or mobile recording studio from input to output.
energyXT2.5 Compact BEHRINGER Edition Included When you're ready to take your recording projects to the next level, XT Software's energyXT is just the trick. This amazing DAW (digital audio workstation) makes it easy to manipulate your audio and MIDI files, turning song ideas into stunning CD or Web-ready recordings. energyXT includes its own multi-FX processor, plus a built-in synthesizer/sampler and a drum machine, both of which can be accessed directly via an external controller (such as our UMA25S) or programmed in step-write mode.
What's in the Box Behringer 1622FX Mixer, Power Cable, User's Manual, Software CDs, Rack Mount Brackets

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Behringer PMP3000 1,200-Watt 16-Channel Powered Mixer Review

Behringer PMP3000 1,200-Watt 16-Channel Powered Mixer
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We bought this powered mixer to replace a defective one at our church. Our sanctuary can seat 900 people and so it is a fairly large auditorium. The mixer has more power than the previous powered mixer and many more features. I especially like the individual channel mute buttons so we can kill a mic without having to move the gain adjustments. The only thing I did not like about this mixer is there was no block working diagram available. So we had to construct one for ourselves. To a trained eye, by using a block schematic diagram, it is easier to know how to set up the mixer for different applications and to troubleshoot a problem.
The actual steady state power output is more like 200 watts (each of the two stereo outputs)for our 8 ohm speaker system but still is greater that the old powered mixer. That is a total of 400 watts as compared to the (at first glance) advertised 1200 watts. We do not have to use the maximum gain on any channel so the output is fine for our use. There is also a headset output that follows the actual powered signal which can give you a better idea of mixed signal that is sent to the speakers and to our DVD and CD recorders.
The people at Behringer were able to answer all my questions without any problems so tech support was great. We did have a little difficulty in figuring out how to use the FX special effects (reverb, etc) generator but once we did figure it out, using it was just as advertised. You can probably guess that the instruction manual is not extensively done. But with a limited budget for an emergency purchase of a powered mixer, we are thoroughly satisfied with the quality and price.
The price is exceptional and caused a few doubting comments about how could we get what we needed for such a small price. We have been using the unit for two months now with absolutely no problems.
My suggestion is that before you purchase this unit, download the instruction manual from the Behringer site. You will see the output connection is not a 1/4 jack. If that is what you have, you will have to buy an adapter or convert the present cable connection to the new type. The adapters or connectors are not very expensive (Neutrik NA4LJX Speakon To 1/4" Mono Jack Adapter)and cost under $11 including shipping. You can optionally by the Speakon connectors and convert the speaker cable to the new connector type.

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If you need superior stereo sound for small club gigs, churches or speeches, but have to keep the outboard gear to a minimum, the 16-channel PMP3000 can deliver. This 1,200- Watt mixer has built-in mic preamps and an FX processor, as well as enough power to drive mains and monitors, thanks to dual onboard 600-Watt power amps.

Massive Mono or Stunning Stereo The PMP3000 gives you the choice of 2 x 600-Watt stereo, 2 x 600-Watt dual mono or 1,200-Watt bridged mono sound. Whether the center of attention happens to be a folk trio, a speech, or a synth-rock band with mind-boggling stereo patches, the PMP3000 can accommodate. This sonic versatility also makes it an excellent choice for churches, where vocals and stereo recordings often share face time.
Classic Control, State-of-the-Art Sound Leave the mic preamps at home, because the quality of sound that was once only available in the studio is ready to go wherever you do. Eight built-in, boutique-caliber mic preamps with switchable +48 V phantom power make it possible to use either dynamic or condenser mics with the PMP3000.
Built-in Digital Effects Processor The PMP3000 is also equipped with a 24-bit FX processor, giving you 100 mind-blowing digital effect presets such as delay, chorus and reverb. Apply them to any channel, as well as to the monitors and main output. In case you're pulling double duty as sound engineer and performer, the FX processor features a footswitch jack for remote on/off.
Changing the Channels The PMP3000 gives you excellent flexibility to accommodate whatever a performance requires. Channels 1-8 are for mics, guitars and other mono instruments. Stereo channels 9-16 are ideal for keyboards. All mono channels have 3-band EQ, switchable Low Cut filter for eliminating infrasonics, and Clip LEDs to indicate when the input signal is too hot.
The Ins and Outs Use the CD/TAPE IN RCA inputs to feed in external stereo signals from CD players or tape decks. The VOICE CANCELLER switch eliminates the vocals from pre-recorded music for karaoke applications.
CD/TAPE RCA outputs send line-level signals from the mixer to a recording device. Left and right output 1/4" connectors are there in case you need to connect more power amps. Connect your monitor power amps or active monitor speakers to the MON SEND output.
A STANDBY switch mutes all mic channels during breaks, preventing the microphones from picking up noise or interference. You can leave all faders untouched while you play a CD via the CD/TAPE inputs.
The FBQ Feedback Detection system automatically shows you which frequencies are causing feedback. Just touch the FBQ button and watch the red LEDs on the 7-band graphic EQ pinpoint which frequencies to adjust for optimized sound, without the feedback.
Speaking of Optimized Output The PMP3000's POWER AMP switch toggles between three operating modes: MAIN, MON/MONO and BRIDGE (the power outputs of A and B on the back panel are added and provided at OUTPUT B). Dual mono mode allows you to use Output A for mono Mains and Output B for monitors. This clever functionality powers both your mains and monitors without the need for an additional power amp.
What's in the Box Behringer PMP3000 Powered Mixer, Power Cable, User's Manual

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Allen & Heath ZED-10FX Four Mono Mic/Lines with 2 Active D.I., 3 Stereo Line Inputs and Onboard Effects Review

Allen and Heath ZED-10FX Four Mono Mic/Lines with 2 Active D.I., 3 Stereo Line Inputs and Onboard Effects
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Just got the ZED-10FX. So far, I have only tested it and done 1 gig but wanted to get a quick review in for those of you shopping as vigorously as I was. My goal was to find something that had high quality audio but a low channel count and small footprint (I'm a solo musician). It has thus far met my needs.
My first priority was finding quality mic preamps, I've found this to be as important as the microphone that's used. These apparently use the same design as the ones A&H puts in their acclaimed MixWizard series. I can only compare them to the Mackie CFX series preamps that I'm used to and LOVE. The ZED's are just as good or better- really clear, warm, and responsive. I also use a stereo channel to run a loop station with beats, electronic phrases, and live guitars. The overall output of the mixer just sounds great- clean, punchy, musical. The EQ is killer as well, very legit and impactful as you adjust. Knobs instead of faders was initially a turn-off for me but I must say I am really happy with these. They are very well mounted and have a heavy, super smooth movement to them. The gradual and fluid change in the levels as you turn the knobs is far superior to what I'm used to with Mackie. They are also very brightly colored and contrasted for low light identification of everything. I would actually take these knobs over a cheap 60mm fader any day.
I have not done any USB recording so can't say much on that (although it's a little disappointing not to have channel separation as you would get with the cheaper Alesis Multimix). However, the analog recording and signal routing flexibility of the ZED is impressive and sold me. Personally I am running my stage monitor out of the "monitor out" and saving the aux send as well as the assignable "record out" for sub mixing and live recording to a digital 4-track. Also, the circuitry and switching of everything is really clever and illustrated well on the mixer surface with helpful connecting lines.
Construction seems pretty solid short of some barely noticeable stressing on the seams of the red plastic sides (Made in China, par for the course) and the rubber feet are not perfectly level with each other. Neither issue represents any malfunction as far as I can tell but I'll admit its aesthetically annoying.
As far as the FX go, I think they are easy enough to control and the basics are there (reverbs, delays, etc.) However they didn't blow me away sonically at least for recording- just a hair on the cheapy sounding side. I've been fine with them in live application though and they are certainly adequate for this price point.
Overall, this is a great sounding mixer that's the size of a bulky laptop and weighs 8 lbs.! Combine it with some nice active loudspeakers (I use QSC K10s) and you've got a powerful system that fits in your trunk.


Click Here to see more reviews about: Allen & Heath ZED-10FX Four Mono Mic/Lines with 2 Active D.I., 3 Stereo Line Inputs and Onboard Effects

Built by Allen & Heath, ZED-10FX is an amazing little desk for small band mixing, complete with onboard effects. It is ultra portable for carrying to the gig, and can be used for recording live or in the studio. Guitars can be plugged in directly to the mixer using the specially designed high-impedance inputs, while the mixer has two stereo inputs for MP3/CD players or keyboards. Equipped with professional XLR stereo outputs and a flexible monitoring section with headphone and speaker feed outputs. ZED-10FX is bundled with IK Multimedia's AmpliTube X-GEAR software, giving access to superbly modelled amps and effects. Class A FET (Field Effect Transistor) inputs deliver the warmth associated with valve tube preamplifiers and a 26dB gain boost switch provides gain needed for instruments with very low output pickups. In addition to all of this, a USB port enables direct connection to a PC or Mac for direct recording and stereo playback with your DAW software of choice. Allen & Heath is known for building high quality mixers for the last 40+ years. At any time of day or night, across the globe, there is an Allen & Heath mixer out there working hard, sounding great and making life a little easier for the person at the controls. Back in the early 70s Allen & Heath hand-built consoles in a tiny factory in London for elite bands like Pink Floyd and The Who. These days Allen & Heath customers are spread across almost every environment imaginable, including touring, theatres, churches, nightclubs, TV and radio stations, recording studios and countless other places where great sound matters.

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Audio Technica AE5400 Handheld Condenser Microphone Review

Audio Technica AE5400 Handheld Condenser Microphone
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I purchased this microphone as a gift to a very talented Vocalist. I looked at many brands and models. After giving this microphone, I received several demo tapes on which it was used. Amazing! What a difference over the 58 wired and wireless he was using. One big attraction is the ability to use the microphone in either flat or low roll off modes. This extends the utility dramatically. I'm glad I went this way.

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M-Audio Solaris Multipattern Condenser Microphone Review

M-Audio Solaris Multipattern Condenser Microphone
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Happy with product, only took about a week. It actually came with a shock mount which that wasn't list to come with it. Thanks

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The Solaris is a large-capsule condenser microphone that sounds as good as it looks. Beneath the stylish exterior lies the best-sounding solid-state electronics available at any price. Vintage design principles merge with incredibly tight manufacturing standards to yield no more than +/-1dB of deviation across the entire 20Hz-20kHz frequency range. The industry-thinnest evaporated gold diaphragm also delivers incredible sensitivity. Multi-pattern architecture provides flexibility that makes it ideal for just about any miking situation--included capturing vocals, guitar, piano, drums and live events. It's like having three mics in one.

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AKG C214 Condenser Microphone Review

AKG C214 Condenser Microphone
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Nice Sounding Microphone. Interestingly I find it to have a similar frequency response to many stage-vocal condensers in that it has a distinctive curve meant to flatter its sound source--flat until 1000hz. This is not a neutral microphone but rather a microphone that accentuates. Your opinion may vary but I think it sounds nice. When the bass cut is selected, and without the -20db pad, it reminds me of a Neumann KMS 104. AKG makes nice mics and for the price it is a nice addition to a collection. I bought this microphone to use in conjunction with a Shure Beta-57 on a guitar cab for live work but also recording. The price, pad, and the frequency curve were its selling points. But it sounds good on anything with a voice.

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Rode NT2000 Vocal Condenser Microphone Review

Rode NT2000 Vocal Condenser Microphone
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Everyone should have a multi-pattern mic around for utility purposes and this is the one I chose after demoing a half-dozen of interest (I had particularly high hopes for the Blue Mics). Aside from one super-expensive, and unnamed mic, the Rode NT2000 was actually my favorite by quite a margin. As I regard this type of mic as a utility piece, I was looking for a mic that was fairly neutral on voice/cardioid and without too heavy a proximity effect, airy and crisp on omni, and had to have an attentuation switch.
The NT2000 has all that, plus a rugged build. I've been very pleased since purchase, having used it for voice, acoustic guitar (could probably use a warmer mic here), cab miking on electric, bagpipes, recording ambience, and percussion. I'm especially pleased with the mic's ability to capture detail in high sound pressure conditions.
The NT2000 has continuously variable patterns, not a fixed selection of patterns. It has a variable pad, not a simple cut type attentuation switch, which really helps in nailing the sound without having to compromise the mic's position. Finally, the high-pass filter is also continuously variable. All go a long way in making this a HIGHLY adaptable mic.
After my demos, I went in to buy one mic, got an offer I couldn't refuse on two, and walked away poorer but happier! You won't be able to equal that price, as it was something of a favor, but the price here is good.
Although I love NT2000's sound and capabilities, I'm not wild about the controls (pattern, etc.). These aren't knobs you grab and turn - they're thin and flat. They have an edge pattern, but I can't turn them reliably by trying to grab the edges. I have to put my thumb on the knob surface and rotate it that way. It works and the knobs won't get accidently moved, but it's not exactly the height of convenience.
Great multipurpose mics.

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Shure SM7B Vocal Dynamic Microphone, Cardioid Review

Shure SM7B Vocal Dynamic Microphone, Cardioid
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If you are looking for a microphone for voice-overs or broadcast use, THIS IS WHAT YOU NEED TO BUY.
The Shure SM-5 and SM-7 microphones are the best voice mics ever made. The large SM-5 is no longer made, so you can only find it used, but the SM-7 is just as good.Either one, you have the best.
Don't let the price fool you. I have brought this in to studios that have $3000 Neuman condenser mics and they laughed when I said I wanted to use my $300 Shure mic instead.I told them to put up both mics and do an A/B test while I spoke into each of them. The three other audio engineers in the studio had to agree, the Shure was better and it was a night and day difference, not hard at all to decide it was best.
This mic has a warmth and rich sound no other mic can give you.
Even industry publications like MIX MAGAZINE and RadioWorld have done reviews where they did the same tests and said the same things about this mic in comparison to the expensive condenser mics...
--------------------------------------------
from MIX MAGAZINE, March 1998, page 53:
Eric Paul has made a career out of recording country giants like Willie Nelson, Waylon Jennings, Johnny Cash and many others: "My favorite overall microphone for voices is the Shure SM-5. If they can't get a Shure SM-5, they can still get Shure SM-7s, which are still available. If you've tried out three very expensive tube mics and you aren't happy with any of them, then the next step should immediately be a Shure SM-7. I will almost always guarentee you that if the expensive mic doesn't work, an SM-7 will. For some reason, people sound better on them."----------------------------------------------
from RADIO WORLD, February 18 1998, page 62:
Joe Stack, director of engineering for ABC radio said: "When I worked at WATH in Athens, Ohio, I had someone call and offer me ten RE-20s for the three SM-5s we had. I turned him down." ------------------------------------------
from EQ MAGAZINE, July 2006 issue:
The SM7 is perhaps most famous for being used as the vocal microphone on Michael Jackson's Thriller engineered by Bruce Swedien. -----------------------------------------------
Some interesting facts about the SM-7..."When we were doing "Off The Wall", "Thriller" and "Bad" I ended up with 6 Shure SM7's. That is a fantastic mike." - Bruce Swedien
The Red Hot Chili Peppers have used the SM 7 on vocals on every album they have done.
You can see James Hetfield from Metallica singing into a Shure SM 7 on the "Some Kind Of Monster" DVD.
----------------------------------------
Another thing I have noticed in the studio, is that some of my other mics require gating and downward expanders on the mics to get rid of room noise, but the SM-7 doesn't need it. It is quiet all by itself.
And to save many hours trying to edit out mouth noises, clicks and smacks from voice-over talent that use expensive CONDENSER microphones, just have them use the SM-7 next time, and no more wasted time editing out mouth noises anymore.Throughout the years on the Howard Stern Show, they have replaced and tried all sorts of microphones, from the Electrovoice RE-20 to Neuman mics. But if you notice, the Co-host, Robin Quivers, STILL uses the Shure SM-7 and refuses to change to any of the other mics. You can see throughout the years on the TV show that although the mics are always changing for everyone else, Robin ALWAYS has the SM-7 to this day.
Since the Howard Stern Show has moved to Sirrius Sattelite, the show had to buy new microphones, (couldn't take them with from CBS) and everyone seems to be using the same mics they did before. Robin has another SM-7 so she really likes this mic! It looks different now, because she has the larger windscreen that now comes with the SM-7.


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Audio Technica AT4050 Condenser Microphone Review

Audio Technica AT4050 Condenser Microphone
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I've been using this microphone for years. I have two of them, actually. I didn't buy them as a matched pair, so one is a bit brighter sounding than the other. That can be an advantage, as I use the darker mic for overly bright sound sources, and vice-versa. I've used these mics with good results in my project studio, on vocals, guitars, and hand percussion, and actually earned a major film festival award for music I created in that studio. I think the mics sound particularly good on female voices (as a number of reviewers have noted). The figure-of-eight pattern offers the flattest response curve, and I almost always use that for vocals. (The cardioid and omni pattern give more treble/upper mids boost--useful for some applications, but a little harsh on my voice.)
Bottom line: This is a well-made, versatile microphone that will do pretty much anything you ask of it.

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The Audio Technica AT4050 multi-pattern condenser microphone is like getting three completely different microphones for the price of one! Meet the studio condenser that captures every nuance. With three switchable polar patterns, the large-diaphragm Audio-Technica AT4050 exhibits a remarkable combination of qualities: high-SPL capability with transparent and airy uppers/mids complemented by rich low-end qualities. Its dual large diaphragms are gold-vaporized and aged for consistent, outstanding performance. A precision-machined, nickel-plated brass acoustic element baffle provides rock-solid element stability and exceptional sensitivity. Ideal for studio use and live sound productions with vocals, piano, strings, drum overheads, guitar amps, and more. Audio Technica AT4050 Features Transparent uppers/mids balanced by rich low-end qualities combine with advanced acoustic engineering for extensive performance capabilities and highest quality Dual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range of the microphone The 2-micron-thick, vapor-deposited gold diaphragms undergo a five-step aging process so that the optimum characteristics achieved remain constant over years of use Three switchable polar patterns: omni, cardioid, figure-of-eight Transformerless circuitry virtually eliminates low-frequency distortion and provides superior correlation of high-speed transients State-of-the-art surface-mount electronics ensure compliance with A-T's stringent consistency and reliability standards Switchable 80 Hz hi-pass filter and 10 dB pad Custom shock mount provides superior isolation

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Allen & Heath AH-ZED-12FX 12-Channel Mixer with USB Interface and Onboard EFX Review

Allen and Heath AH-ZED-12FX 12-Channel Mixer with USB Interface and Onboard EFX
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Great unit once I got A good one that worked right. Perfect size/features for a home recording, and live performance. I do some ripping/remixing for my radio show.
1st & 2nd machine didn't have a working CODEC. A&H knew exactly what was wrong when I called and had repair people lined up in my area to fix it!!!
I sent it back to Amazon 2X before I got a good one.
Amazon was very helpful in getting squared away.
Check all feature on arrival. JM

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Complementing the existing ZED series, the ZED FX has been developed around an FX chipset purely for the new model. Our DSP engineers have been working hard, crafting and refining beautiful reverb algorithms. The effects are available nowhere else - this quality and integration is only available from the ZED FX. The ZED-12FX is a 12 channel mixer with USB interface and onboard EFX. It has 16 essential time-delay effects which add to the already bulging feature set. The mixer is ideal for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings.

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Studio Projects C1 Condenser Microphone, Cardioid Review

Studio Projects C1 Condenser Microphone, Cardioid
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This microphone is terrific. I'm a classically trained vocalist, and I recently recorded an entire demo album using the C1 (with the Edirol UA-5 as a preamp). The microphone captured a warm, true, and vibrant sound right out of the box, and its dynamic response was excellent. In fact, I was so pleased with the raw sound that I left it entirely untouched in the mixing process. While this unit's price is extremely reasonable, this is not a great microphone "for the price"; it's simply a great microphone that happens to be priced affordably.

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The Studio Projects C1 is a large diaphragm, fixed-cardioid condenser microphone employing a 1.06 Inch (27mm) capsule, high quality, low noise amplifier and balanced, transformerless output circuitry. It features switchable -10dB or -20dB pad and 6dB@75Hz or 150Hz high pass filter for added control in various recording applications and a clear, full response expected from a large capsule microphone design. Versatility is key in the recording arena, and the Studio Projects C1 is a well-proven and award winning tool. It is designed to deliver the finest quality vocal and instrumental recordings and will serve to enhance any professional or project studio at an unbelievably low price.

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Rode Podcaster USB Dynamic Microphone Review

Rode Podcaster USB Dynamic Microphone
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For recording my voice (baritone), it does a great job. For extra warmth that means close-miking, which in turn means not popping your p's, etc. If you hold it close to your mouth but don't directly face it end-on, that's easily done (or get a pop filter). [...].
The microphone electronics are extremely quiet - the audio is sampled at 18 bits.
It comes with a warranty which is easily extended to 10 years for free.
The real-time headphone monitoring is a great idea and works well.
It's a bit heavy (part of being built like a tank), and you need to think a little about how you're going to mount it, since some cheap desktop stands can barely manage it.
Some things to keep in mind are:
1) It likes close-miking (at least for male voices)
2) It is USB-only
3) It is a on the bit large and heavy side.
If those don't bother you, and the price is in your range, then you will probably like it a lot.

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JamHub BedRoom Silent Rehearsal Studio Review

JamHub BedRoom Silent Rehearsal Studio
Average Reviews:

(More customer reviews)
I purchased this product to enable my band to have a "silent practice" in one of our band mate's apartments. Practice / Rehearsal spaces are expensive and not always ideal. The cost of renting one cannot really be justified if you are just getting together to jam, work on new material, or audition a new band member. We all live in the city in apartments so the idea of a "silent practice" was very attractive (no more angry neighbors).
With a price point of $299.00 this thing almost pays for itself after one practice and is certainly in-line with other similar set-ups. I purchased this to own but a band could easily split this 3 or 4 ways and get out for almost nothing.
There is a lot of information on their website but there are a few of things to note before you buy.
First, if you truly want a silent practice space you will need an electronic drum kit (i.e., V-Drums). It is possible to use an acoustic drum kit and the technique involved there is described on their website.
Second, guitar players and bass players will either need an amplifier with a stereo line out or an amp modeling floor pedal (my choice as it fits in a backpack and requires no heavy lifting).
Third, you will need to procure some stereo patch cords. As a guitar player I only had mono patch cables. The JamHub takes a stereo 1/4 inch input from your respective floor pedal / modeling amp / amplifier. My floor pedal in particular has a left-mono-out and a right-stereo-out so I purchased a stereo patch cable that was stereo 1/4 inch on one end and split mono 1/4 inch on the other. Guitar center has these and should be able to direct you. Of course check your user manuals for info on your particular device.
Finally, headphones. So far our crappy $15 - $60 (low - mid end) level of headphones have been working great! You will most likely need to pick up some 1/8 inch to 1/4 inch adapters here though as all the inputs and outputs on the JamHub are 1/4 inch. These are cheap and widely available. If your headphone cables are less than 9' you may also want to consider some extensions.
The JamHub performs great. I love it for a couple of reasons.
First it consolidates both mixer and headphone amp into one device. In doing so its nice and compact and extremely portable. This allows you to practice anywhere with minimal setup and fuss. You have one power adapter to worry about and no additional cables (beyond ones used to connect your instruments) either.
Another advantage over a more typical headphone amp + mixer combination (and possibly the coolest feature) is unlike a typical headphone amp, which only has one level for the incoming mixed signal, each person connected to the JamHub gets and their very own INDIVIDUAL MIX! To clarify, this means that everyone in the band can adjust the level for everyone else in the mix to their preference.
For example, as a guitar player I prefer to hear the myself, then vocals, then drums, then others. With the JamHub I can turn myself up, then dial in the vocals next, then drums, then others without affecting anyone else's mix! Each additional band member can do exactly the same thing. Think of it as having your very own sound guy to mix in just what you want to hear as he would for you in your monitors on stage. This is truly amazing and solves ALL volume issues usually associated with a typical practice.
Everything about this product is well thought out and and really creates an "ideal" environment to write / play & rehearse music without any infighting about volume or disturbing your neighbors (finally we can practice past 10pm!).
I hope this review helps you in your decision.

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