Calling all guitarists! Audio-Technica’s System 10 Stompbox puts professional wireless technology right at your feet! This high-fidelity digital wireless system (2.4 GHz range) offers advanced 24-bit operation, easy setup, and clear, natural sound quality; not to mention three levels of diversity assurance – frequency, time, and space.
Question: Can I remove the power module from my microphone?
Answer: If a microphone includes a power module, then the power module is absolutely a necessary component for wired operation. The power module cannot be bypassed by reterminating the microphone with just an XLR connector. By doing so, you will cause damage to the microphone when phantom power is applied. Also, removing the power module will void your warranty.
On day two of our Ask Me Anything Livestream Events at AES 2014 we sat down with GRAMMY Award-winning producer/engineer Joe Chiccarelli.
Joe Chiccarelli started his career as a musician and then, as many in the business do, became an assistant engineer, in Los Angeles. While working in the studio, Chiccarelli was given the chance of a lifetime to act as the lead engineer on Frank Zappa’s “Sheik Yerbouti” album, when Zappa’s regular engineer was unavailable for the recording. Zappa liked what he heard, and asked Chiccarelli to engineer several other albums in the coming years. And the rest is history.
The greatest minds of the country all meet at one mega event: South by Southwest (SXSW). Comprised of music, interactive and film festivals and conferences in the trendy city of Austin, Texas, SXSW is a force to be reckoned with. But how exactly did this convergence of artistry and tech come to fruition?
Question: How do I prevent microphone feedback?
Answer: Feedback, also known as the Larsen effect, occurs when the amplified sound from any loudspeaker reenters the sound system through an open microphone and is amplified again and again, causing a loop. We often tell customers that feedback is not the fault of the microphone because any microphone will feed back given the right conditions (or maybe in this context, wrong conditions). However, there are some steps that you can take to avoid or lessen the likelihood of feedback. Try some of these:
Throughout his accomplished career, producer Michael Beinhorn has worked with some of the biggest names in rock and beyond, including Herbie Hancock, Marilyn Manson, Soundgarden, Red Hot Chili Peppers and Hole, just to name a few.
Since the very beginning in 1987, the South by Southwest Music Conference and Festival (SXSW) has grown into one of the most heavily attended music and tech events in the United States.
The iconic music festival is held every year around mid-March in Austin, Texas. Musicians, music enthusiasts and more recently tech enthusiasts from all over the world come together to celebrate music, film and technology.
SXSW is a whirlwind event, there’s truly nothing else like it and our team is eager to hit the streets of Austin for this year’s show!
Question: I’m hearing a delay with my USB Audio Device, is this normal?
Answer: When using a digital audio device, such as a USB microphone, you might experience a delay from the time you speak into the microphone to the time you hear the audio come out of the computer speakers or headphones. When you speak into a USB microphone, the analog signal picked up by the microphone element needs to be converted into a digital signal that your computer can read. Once your computer reads that signal, it needs to be converted back to analog in order to be heard through speakers or headphones.
Gather the kids together for some fun! The new Audio-Technica Pro Audio Coloring Book, created for the 2015 NAMM Show, brings crisp, clear audio and crayons together for a rockin’ good time.
Featuring rich, detailed drawings of many of our latest products – and the people who use them – the book offers fun and challenging pages for all ages and skill levels. Download your free copy of our music coloring book today by clicking the button below.
Then let the coloring begin!
This is the 18th installment in guest blogger Frank Klepacki’s series on music production. Today Frank shares more of his preferences for recording drums. If you missed Frank’s previous post on this topic, you can read it here.
TOMS: AE3000 and ATM350. I use AE3000s on my 10″, 12″, and 14″ toms (as well as larger toms when called for) and an ATM350 on my 8″ tom. Because I have a tight kit configuration, I have to consider placement carefully, amount of bleed and tone. When using typical dynamic mics, it’s easy to compromise the rest of the kit’s tone by tweaking the tom EQs too much in the mix. For that reason alone, the AE3000 condenser is such a breath of fresh air – it picks up the round natural tone of the tom, with high-end attack, and I don’t have to tweak it to death after the fact. I even had one tom give me some overtone issues and I was able to control it with this mic by slightly adjusting the mic’s position. My ideal positioning for these mics is approximately a few inches above the tom and pointed straight along the drumhead.