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Archive for the ‘Uncategorized’ Category

The Lack Of Meaningful Loudspeaker & Headphone Specs

Wednesday, December 11th, 2013

SeanOliveBy Dr. Sean Olive

AES International President Dr. Sean Olive, also the Director Acoustic Research for Harman International, tells PS that one of his biggest pet peeves is a lack of perceptually meaningful loudspeaker and headphone specifications for consumers. Here he is explaining what he means and what should change…

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Quick Tips On Miking Pianos

Wednesday, December 11th, 2013

KevinDietzBy Kevin Dietz

There are as many ways to mic a piano as there are types of pianos. For that reason, it’s important to think about what type of sound you want to achieve when recording. Even a grand piano can yield a variety of sounds depending on mic selection and placement.
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Killer Kick & Snare Sounds Part 2

Friday, October 25th, 2013

By Greg DawsonPS Aug13 SoundAdvice GregD
By For Part 1 of the column, see the August 2013 issue of PS.
For this column, I’m going to focus on the kick drum and snare drum and how you can obtain crushing drum tones for various rock styles through a balance of live miking and triggering techniques. My goal is always to get as much sound from the original source as possible. This keeps my drums sounding organic and roomy. Here are some key ingredients for killer kick and snare sounds:
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Keys To Getting A Good Vocal Sound

Friday, October 25th, 2013

Professional Sound - October 20132 Rich Chycki has produced, mixed, and engineered some of the greatest vocalists in the world, including Geddy Lee, Steven Tyler, and Mick Jagger. With that in mind, PS asked Chycki about his fundamentals for getting a great vocal sound. Here’s what he said…

Microphone Selection

Picking microphones for your artist is something you’ll have to do strictly from experience. What I have found is helpful is to line up and audition some different styles of microphones.
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Killer Kick & Snare Sounds Part 1

Friday, August 2nd, 2013

By Greg Dawson

Here are some tips on how you can obtain crushing drum tones for various rock styles through a balance of live miking and triggering techniques. My goal is always to get as much sound from the original source as possible. This keeps my drums sounding organic and roomy. Here are some key ingredients for killer kick and snare sounds:
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Amplifying Orchestral Instruments At Rock Concert Levels Part 2 By Peter Janis

Friday, August 2nd, 2013

Part 1 of this article was published in the June 2013 issue of Professional Sound.

 

A piezo is a contact pickup that captures the vibration of the instrument. It is typically connected to a preamp of sorts and the signal is processed like a microphone. But anyone who has tried a piezo pickup will tell you that, for the most part, they do not sound all that great. They tend to sound peaky, and with violin, they can sound shrill. The problem is not so much the piezo transducer, but the way it is loaded.

During our research, we discovered that when you apply the typical load of a mixing console – say 10 k-ohms – on a piezo, it causes the bass and high frequencies to roll off, narrowing the response, and generates peaks in the mid-range. As you increase the load, it begins to flatten out. For years, electronic manufacturers have employed a one-size-fits-all 1 m-ohm input impedance as a means to satisfy as many sources as possible. As the impedance rises above 4 m-ohms, the response extends and flattens out further and seems to really sound great at around 10 meg-ohms.
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