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This is an embedded Sheet from Google Sheets Stored on Drive with synchronized updating to changes.
Pretty cool for free.

Now please enter your email address. there I said please.

What is a USB Audio Interface

An audio interface connects your standard large condenser cardioid microphone to your computer and provides phantom power for the mic. Phantom power must be switched off for other microphones. A digital audio signal is sent to your computer USB or Firewire connection. At the same time a signal is sent back with audio for monitoring headphones, the goal being zero latency.
There are a couple of other connection scenarios that we won't get into here, because they go with much more expensive equipment, usually. We can get great results without that expense.

Focusrite Scarlett 2i2 interface
Includes two microphone preamps. If you are new to this you may be wondering about phantom power. Large diaphragm condenser mic's require phantom power to operate which is provided by this interface.

 Most PC and Mac computers come equipped with USB ports and FireWire is a Mac invention. The Focusrite Scarlett 2i2 interface uses USB output

 Bit depth and sample rate.
 Bit depth has a huge impact on your sound.  if you work at 16-bit, the quieter sections of your audio will tend to be noisy.

With 144dB of range, 24-bit audio is considered the professional standard

Sample rate. Each sample is a digital snapshot of the captured audio. the 44.1kHz sample rate is theoretically capable of reproducing frequencies as high as 22.05kHz.  Most audio is done at 48kHz, 96kHz, or even 176.4 or 192kHz.

Working at 24-bit/44.1kHz can be done, and some USB mic's use that output. Better is 24-bit/96kHz.  Higher sample rates and bit depths use more disc space.

Under $100.00USD- Focusrite Scarlett Solo USB 2.0 Audio Interface, 2-in/2-out, 24-bit/192kHz, with 1 Mic Preamp, 1 Instrument Input, USB Bus Power, and Bundled Software - Mac/PC

 Or the Focusrite ITrack solo,USB / iOS Lightning Audio Interface compatible with firewire connections to Mac and Ipad.

Rode NT1-A Recording Studio Kit with USB / iOS Lightning Audio Interface, Desktop Stand, and Headphones  $379.95

Condenser Microphone w/ 1" Diaphragm

Cardioid Polar Pattern

Transformerless Output Stage

USB / Lightning Audio Interface


Rode NT1-A Complete Recording Solution $229

What Are Electret Condenser Microphones?

We see many very cheap microphones listed as condenser microphones. Sometime the description includes the term "electret". What does that mean?

Studio microphones are often advertised as “true condensers”. What does that mean, and is there such a thing as “false” condenser microphones?

microphone electronics can only sense this capacitance change, if the condenser capsule is charged or “polarized” with a voltage. For good sensitivity, this polarization voltage must be fairly high.

There are two ways to apply this electric charge. The traditional way is to polarize the capsule with an external voltage. In studio applications, that’s no problem. The standard powering system is P48 Phantom power, which delivers 48 volts – enough to polarize the capsule, although many modern condenser mics contain voltage converters for even higher voltages (usually 60-80 volts)

Another polarization method is to “freeze” an electric charge permanently in the capsule. This is done by applying a special substance called “electret”. The term “electret” was coined, because it is the electrostatic equivalent of a permanent magnet. Usually, the electret film is applied to the capsule’s backplat
The fact that electret condenser capsules are more likely to be found in lower end products gave this technology a questionable reputation. Also, some early electret condensers went dead after a few years, because they lost their electric charge.

As a reaction, the term “true condenser” was coined for externally polarized capsules to differentiate them from presumably lower quality electret condensers. But that’s a marketing term. Technically, there is no such thing as a “false” or “untrue” condenser capsule
Electret condenser capsules don’t have to sound bad; nor do modern specimens lose their electric charge like some of their ancestors of the 1970s did. A number of reputable manufacturers are convinced enough of electret condenser technology to employ it in their top-of-the-line microphones, some of which costing more than $ 2000
Good sound is not simply the result of a particular polarization scheme. Superior sound quality comes with great engineering and high attention to detail in manufacture.
Just in case you’re wondering: All Neumann condenser microphones use externally polarized “true condenser” capsules.

APEX 205 Ribbon Microphone $99

 Our Price:  $99.99
APEX 205 Ribbon Microphone

The Apex 205 has been designed with today's direct-to-drive digital recording systems in mind. Its classic ribbon element delivers a warm tone and the most natural sound reproduction available from virtually any style of studio microphone.

APEX 205 Ribbon Microphone Details

The microphone is the first, and arguably the most important link the signal chain. In the world where digital recording is now the most common recording media, it is more important than ever that you choose a microphone that is able to capture every subtle nuance of your source material.

The compact Apex 205 has been designed with today's direct-to-drive digital recording systems in mind. Its classic ribbon element delivers a warm tone and the most natural sound reproduction available from virtually any style of studio microphone.

The active element of a ribbon microphone is a very thin corrugated aluminum ribbon mounted under low tension between the poles of a strong magnet. The low-tension 2-inch long, 2-micron thick aluminum ribbon used in the Apex205 offers audio reproduction with smooth, natural extended low and high frequency response, yet handles extremely fast transients accurately. Although ribbon microphones are by their nature extremely fragile, the Apex205 can handle high sound pressure levels approaching 165dB range.

The asymmetrical figure-8 pickup pattern has an extended sweet spot on the rear face of the microphone allowing the recording to accurately reproduce the natural space and ambient reverberation of a good sounding live room.

The integrated yoke mic stand mount and internal shock mount assembly protects the fragile ribbon element during use. Includes a padded carry bag for storage.

APEX 205 Ribbon Microphone Specifications
•Type : Large Element Ribbon Microphone
•Ribbon Type : Pure aluminum
•Dimensions : 2 microns thick, 50mm (L) x 5mm (W)
•Polar Pattern : Asymmetrical Figure-8
•Sensitivity : -55dB
•Frequency Response : 40 to 18,000Hz (+/- 3dB)
•Impedance : < 200 Ohms
•Recommended Load Impedance : < 1000 Ohms
•Max SPL (1% THD @1kHz) : 160dB
•Equivalent noise level : 17dB
•S/N ratio : 70dB
•Diameter : 2inches / 50.5mm
•Length : 6.5 inches / 170mm
•Net Weight : 31 oz / 870g
•Warranty : 1 Year Limited

Ribbon Microphone For Voiceover?

MXL R144 Ribbon Microphone
While for many years ribbon mics fell into disfavor for voiceover, although they were widely used in broadcasting. The first thing to know is that ribbon microphones can be damaged by phantom power, turn off phantom power in your preamp. They tend to have a bit of a light signal, so a pre with robust signal gain will be worth while in the long run,
The element in a ribbon mic is really a ribbon: a tiny ribbon of corrugated metal that floats in a magnetic field.ribbons are figure-8 mics.  The sound of a ribbon mic is mellow and rounded, warm, with a gently rolled off top end that contrasts dramatically with the forward sound of most dynamics and the crystalline, trebly sound of condensers.
 Nothing sounds quite like a ribbon,anything directly behind the mic will be just as loud as  the front. Use these mics either in a booth where reflections into the rear of the mic will be minimal, or even better, in a nice-sounding room where reflections from the rear walls can add character to the vocal signal.remember that figure-8 mics display the strongest proximity effect of any polar pattern. You’ll be able to widely vary the bass content of your recording by having him adjust his distance from the mic. Experiment with turning the mic slightly, too: as off-axis response changes, the tone of the recorded vocal will change possibly in a way you can use.

MXL R150 Ribbon Microphone


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