Jump to content

Search the Community

Showing results for tags 'microphones'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • WELCOME & HOW TO GET STARTED!
    • Welcome New Members!
  • SINGING & TRAINING TECHNIQUES
    • General Discussions
    • Vocal Health
  • REVIEW MY SINGING
    • Review My Singing
  • VOCAL GEAR
    • Microphones
    • Recording For Singers
    • Vocal Effects / Processing
  • SEEKING VOCALIST / VOCALIST AVAILABLE
    • Seeking Vocalist / Vocalist Available
  • ARTICLES / GEAR REVIEWS / INTERVIEWS
    • Vocal Gear Reviews
    • Singing Articles
    • Expert Interviews

Blogs

There are no results to display.

There are no results to display.

Categories

  • Product Reviews
  • Articles
  • Interviews

Calendars

There are no results to display.

There are no results to display.


Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Web Site URL


Phone


How did you hear about TMV World?

  1. When shopping around for a live vocal microphone, I had never really considered trying out a condenser mic, as the vast majority of vocal mics out there are dynamics. While I have used plenty of great sounding dynamic mics, I always thought it would be great to find a live vocal mic that could combine the sensitivity, clarity and extended frequency response of a large diaphragm condenser microphone with the feedback and sound rejection of a dynamic. After years of using the standard Shure SM58 and similar dynamics, I was curious to see how a condenser microphone would perform in real world live singing environment. At my bands next show, instead of using the SM58, I decided to take the Rode M2 for a spin in the hopes that it would give me some of those studio condenser qualities I described above. During soundcheck, I noticed the soundman actually had to turn to me down as the Rode was noticeably more sensitive than the Shure it had replaced. Since the M2 sounded great during the soundcheck, I was confident that it would be a worthy choice during the show. Throughout the performance, my voice had a lot more midrange cut which allowed my singing to be even more expressive as I could hear much more nuance and detail in my vocals than ever before. The Rode enhanced sensitivity meant that I did not need to get as close to it as I would a standard dynamic, which allowed me to ride the mic more than usual and effortlessly jump between breathy whispers to full-on screams without the volume level changing too drastically. Having never used a condenser live vocal mic before, I was a little worried that there would be some distortion if I belted too loudly into the mic, but the Rode was able to handle everything I did without distorting or sacrificing clarity. I don't know if it was the Rode M2 specifically, or rather the confidence I felt while using it, but I received more compliments on my singing after the show than I ever have before. I was surprised that the soundman came up to me after the show to find out which mic I was using. While I wouldn't say that condensers are necessarily superior to dynamics when it comes to live vocal mics, I can honestly say that I love the sound of the Rode M2 and it far exceeded my expectation of bringing the sound of a quality condenser studio mic to the live stage. If you are thinking about buying a condenser mic for live vocals, there are a few things that you will need to consider. Condenser mics do require the use of 48v phantom power, so if your PA or mixer does not have it onboard, you will have to buy an external adapter which will run you an additional $20 - $50 depending on which model you buy and how many features it has. The other important thing you will need to know is that even though Rode has an exceptional reputation for building extremely durable mics, condensers are a little more fragile than most dynamics, so you will want to take some extra care when storing and transporting this model. Additionally, the diaphragms are susceptible to moisture so you will want to keep the mic sealed in its case with its own moisture absorbent desiccant pack whenever you are not using it. One feature the M2 has, which many vocals mics are missing, is the on-off switch, which comes in handy in situations where uncontrolled feedback is encountered, such as when someone turns the wrong knob and mistakenly cranks the PA. If you are currently shopping around for a live vocal mic, you should definitely check out the Rode M2. The M2 does cost more than your run-of-the-mill standard and entry-level live vocal mics, but after putting the mic through its paces during my show, I know that it was money well spent. http://www.rode.com/microphones/m2 Order directly from The Vocal Gear Store NOW! Review by Travis North *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.
  2. Putting The TC-Helicon MP-75 To The Test If somehow you hadn't noticed there has been an absolute explosion over the last 5 years of excellent professional quality vocal gear designed to give the modern vocalist absolute control over his or her sound. With the likes of EV, DigiTech, and Electro-Harmonix in the game the list is long and noteworthy. All focus on multiple product lines supporting a broad variety of instruments. Non-focus specifically on the vocalist which is a crown that solely belongs to TC Helicon. Arguably they wear it pretty well. The TC-HELICON MP-75 AND MP-70: DIFFERENCES The same outfit headquartered in British Columbia, Canada that brought us the VoiceLive, VoiceTone, and VoiceWorks have now introduced 2 new fully in-house designed professional live microphones: The TC-Helicon MP-70, featuring a dynamic super-cardioid capsule with neodymium magnet and MP-75 building on the MP-70 with the addition of a mic control circuit. This switch is designed to interface with existing TCH vocal processors allowing you to control effects directly via a recessed micro switch located on the MP-75. TC-Helicon MP-75: DESIGNED FOR VOCALISTS When design started for the MP series microphones TC Helicon had never to date built a microphone. So what did they do? Borrow a capsule from another manufacturer and build around that? Nope. TC instead designed a brand new microphone from the ground up utilizing what are in typical TC fashion very high-grade components and top rate construction. TC has designed what they call a "modern performance vocal microphone"; A vocal mic specifically designed for the way we as modern vocalists sing using amplification. Vocals in modern music are much more than a mic and a PA and as an artist you deserve to have the best performance every time. Call it controlling your own destiny. Taking that control a bit further is the MP-75. As luck would have it TC Helicon was gracious enough to bestow upon us a fresh one to run through the paces . LIS-WHAT? Retailing on the street for $169 the MP-75 features what TC calls a Lismer capsule which is a proprietary design consisting of a patented Neodymium magnet structure suspended by a dual shock mount for low handling noise. Helicon is mum about construction detail specifics so all we know is the diaphragm itself consists of some type of dual material construction. TC-Helicon MP-75 CASE Upon opening the TCH container we find the MP-75 stored inside a padded cylindrical mic case emb lazed with TC Helicon logos. This is a tasty detail touch that is a step up from the mic "baggies" everyone else provides. While I wouldn't necessarily recommend dropping it off a building the design is nevertheless fairly beefy. The case top unzips to reveal the MP-75. TC-Helicon MP-75 ERGONOMICS The MP-75 itself is actually a rather handsome mic. Coated in a subtle sparkle gray finish with relatively large ovoid pop screen the mic has rather nice ergonomics with a comfortably sized handle and pronounced kneck taper that fits well in the hand without fatigue. At the base of where the taper starts up towards the mic head lies the triangular shaped purple-hued control circuit button. Unscrewing the pop screen reveals the beauty extends inward as well with what appears to be a fairly large diameter capsule similar in size to the huge EV N/D767A. The shock mount is equally as nice with plenty of give for aggressive singers and low handling noise. USING THE TC-Helicon MP-75 In a rehearsal environment with full band, the TC MP-75 was plugged into my signal chain consisting of a VoiceLive1, VoiceTone T1 and VoiceTone D1. I initially set it up to control only my VoiceTone D1 doubler pedal and made sure the mic control button on the T1 adaptive dynamics pedal was disengaged as I like to leave it engaged 100% of the time. I was initially struck as to how big and rich the MP-75 sounds. With the mixer EQ fully zeroed out I felt no need to make any adjustments as it sounded great as is with my voice being more of the Leggerio/Lyric tenor and subsequently carrying a bit less weight than that of baritone/bass singers. Some vocalists may find they need to dial back the low end slightly to avoid a bit of muddiness. I found the Helicon to demonstrate and excellent amount of cut that allowed me to easily be heard over the band without being anywhere near the point of feeding back. This is where the MP-75 absolutely crushes any other live performance microphone I have used to date. Nothing I could do from cranking the PA to cupping the mic to pointing it directly at my monitors could get it to feedback. Quite honestly the MP-75 has some of the best feedback rejection properties I have ever seen in a live mic. That finally brings us to the other little detail setting the MP-75 apart from the pack - it's simple control switch. S o simple in fact that all you can do is switch an effect on or off. For some reason, however, that is absolutely awesome. No longer do I have to be near my pedal board when a song change is coming ready to switch. Suddenly it's also easier to switch multiple effects at once. For example now instead of using two feet to simultaneously change a setting on my VL1 and D1 I can engaged the D1 directly from the mic. It's simple yet oh so practical. So window dressing aside: has TC managed to create something that sets itself apart from the 99,000 other excellent alternatives out there? I think so. Combined with its excellent dynamics, nice cut and superior feedback rejection properties along with it currently being the only mic out there with onboard effects control TC has in my opinion effectively managed to encapsulate a true modern vocalists microphone. It's a pretty safe bet the MP-75 is going to be my new go-to mic for the foreseeable future. So tell us TC when can we expect a wireless version? The TC-Helicon MP75 Can Be Purchased at Amazon.com *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.
  3. TESTING THE HERCULES MS401B STAND Order Hercules MS401B Stand from The Vocal Gear Store At the start of the 1900's when Henry Ford was introducing the Ford Model T, a "car for the masses" he once quipped during an interview that "Any customer can have a car painted any colour that he wants so long as it is black" (My Life and Work (1922) Chapter IV, p. 71). Yeah I know its a tired quote and I can already hear you yawning but stick with me for a moment. For those still awake I'm going to apply that analogy to the venerable microphone stand. Since the dawn of time exclusive of Freddie Mercury's accidental bottomless microphone stand creation there have only ever been two distinct flavors of microphone stands for performers: Straight and boom. You might count the variations thereof such as tripod base, 2 and 3 stage adjustable but reduce it down and we're left with just that. See what I did there? As a singer each type of stand presents its own challenges from a standpoint of durability, flexibility, and general use ability. Before diving into the Hercules Stands MS401B review allow me to point out the shortcomings of the current two options. THE STATUS-QUO IN MICROPHONE STANDS The standard straight stand in theory isn't a terrible thing. By far the easiest to use as a prop in a performance it's rather easy to carry around and when equipped with a round heavy steel base can make for a stable yet durable stand. The tripod versions weigh less and with their jutting legs are significantly more irritating to use. The biggest downfall, however, are friction based extension point locks which consistently go on coffee break in the middle of a performance and cease to hold your microphone at its proper height. Unless you are a vocalist with an axe or keyboard or prefer a stationary performance boom stands are the quite possibly the worst solution for a standalone vocalist. Most boom stands found in the wild like straight stands feature friction based adjustment points. Only this time instead of one or two you have five or more. You see where this is going. Ever try using a boom stand as a straight stand with all those loosey -goosey lock points? Many times I've ended up looking like a contortionist with hands at odd angles trying to adjust and lock on the fly while another extension point starts slipping as I'm re-securing another. However if that's what you're going for then this is the stand for you. MS401B: A BETTER MICROPHONE STAND! The Hercules Stands MS401B is actually rather clever. Not so much revolutionary as opposed to evolutionary Hercules has taken the microphone stand and reset the bar both from an engineering and useability standpoint. Let's start with the most interesting feature: The MS401B is essentially a hybrid straight and boom stand in one. With one pivot point at the base of a nicely weighted flat tripod setup it easily serves as both a pivoting straight stand for performers looking for more flexibility than a standard straight stand as well as a pseudo boom that can angle into the right position. While the MS401B comes with a rather innovative quick release mic clip attachment one could easily add other boom extensions and then quick switch back without the need to thread on different attachments. Tired of two hand height adjustments? Hercules has you covered here as this stand features single-handed height adjustment via a stand grip. Why this wasn't done years ago is baffling as its absolutely brilliant to use in practice. WRAP-UP It's hard to argue when someone takes something and just makes it better. Hercules certainly delivers just that with their MS401B. Think of it as the iPhone5 of microphone stands. It's engineered better, it looks better and certainly works better giving you one less thing to worry about during a performance. The Hercules Stands MS401B is now on sale at many of your favorite music retailers for $75.99. Do yourself a favor and throw away your other stands. This is better. ~TN http://www.herculesstands.com/mics/MS401B.html Review by Travis North *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International .
  4. Kick the nasties coating your mic to the curb with Mic Wipes INTRODICUNG MIC CHECK WIPES If you ever find yourself in the situation of being at the mercy of using a crusty club mic then you're going to want to know about Mic Check Mic Wipes. Because god only knows where one of those things has been. You may have even improvised and gone as far as to pick up a box of GASP chemical laden Kitchen wipes to do the job. Thanks to Mic Wipes you no longer have to ingest green crusties or chemicals. Mic Wipes are a specially formulated single use packet cleaning and disinfecting wipe designed just for your microphone. According to the company Mic Check Mic Wipes have a higher alcohol content of 70% than normal wipes which is effective at killing 99.9% of all germs. Unlike chemicals in other wipes the Ethyl Alcohol used in Mic Wipes is completely safe so there is no concern of inhaling anything toxic to your body. In addition, the wipe material used is a more porous material which is better suited at cleaning all the crevices of the microphone grill. IN PRACTICE I found Mic Wipes to be fairly effective in not only cleaning the grill but the body of the mic as well. There is enough moisture in a single wipe to easily clean the average handheld microphone such as a Shure SM58 with enough left over to go wipe off something else sitting nearby which over the course of my review I found myself compulsively doing. Everything cleaned with Mic Wipes is left with a subtle yet fresh minty smell. WRAP UP Overalls Mic Wipes are a good addition to the gig bag. A pack of 50 for $34.50 (all the product you can see HERE) on the street would probably last the average singer or sound engineer a reasonable amount a time and it 's hard to put a price on preventing yourself from getting sick. Go check them out. ~TN www.checkthatmic.com Review by Travis North *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.
  5. Hi all, I've been a-looking for a lo-fi mic for sometime now to use in the studio and, mainly, live (some of you may have read my endless posts on other forums). I finally came across the Wasaphone I on eBay and I absolutely love it. I just wanted to share the fruits of my quest with y'all and hope that others will enjoy their gear as I do. They are affordable and nail the tonal balance of grit and warmth. There's a great lil' demo of their flagship model here: If you want to be part of the world's largest online community for singing where great professionalists will review your singing, don't miss the chance and use the 50% Discount Code for "Review my singing" Forum: TMVWorld50
  6. Hello, fellow singers! My next cover is here: If you like it, please share the video and subscribe to my channel! Thank you all.I hope you enjoy!
  7. RODE Microphones brings the big guns to iOS with the iXY RODE i-XY Podcast However good they claim to be I've always been a bit leary of using iOS devices along with the loads of 3rd party plug-in devices for anything remotely related to audio. Most surmount to little more than toys with sketchy build quality and laughable user interfaces that inevitably result in more irritation and poor quality sound than the price of admission. Australia-based Rode Microphones hopes to change that perception with the introduction of their iXY Stereo Microphone. Immediately out of the box its clear that Rode has brought the proverbial gun to a knife fight. The i-XY is unquestionably one of the most professional looking iThings to plug into the 30 pin dock of an iOS device. Side note - sorry iPhone 5 adopters there isn't an i-XY for you - yet. The Rode i-XY features twin stereo capsules in a clever X/Y stereo configuration and is housed in a rather attractive silver alloy casing. Machined allen-head screws complete with Rode's trademark gold pickup area dot and a b uilt-in power on indicator light fill out the look. Construction is in fact so robust that in hand it feels almost as if Rode constructed the iXY out of a solid block of aluminum. The 30 pin connector fits rather tightly into the base of your iOS device leaving little concern for getting dislodged. Along with the iX Y unit comes twin foam wind screens as well as a compact hard zipped carrying case. Rode also provides a recording app - RØDE Rec - for download in the iTunes store. More on that below. Order RODE i-XY Recording Microphone for iPhone and iPad from The Vocal Gear Store I tested the i-XY with a variety of sound sources from spoken voice to acoustic guitar as well as a rather l oud metal concert. The i-XY seemed to handle all with relative ease and had more than enough headroom to preserve the original recording without clipping or phasing issues. The noise floor was reasonably low for a field recording microphone with minimal background noise when recording in quieter settings such as acoustic guitar. However, as expected, the Rode did prefer to be as close to the source as possible especially when dealing with soft-spoken tracks. Overall the iXY gives any high-quality field recording array some solid competition from the standpoint of preserving the original source. While the Rode i-XY is an impressive piece of hardware on its own the available Rode Rec iOS app is what makes the i-XY shine. Starting with the ability to track in 24-bit 96 kHz resolution the Rode Rec app also features built-in editing much like a DAW as well as the ability to add various effects such as compression, EQ and some additional processing courtesy of Izotope. While recording you also have the option of live monitoring through the iPhone/iPads build in 1/8" mini jack. The main recording transport screen features quick rather accurate metering that's a nice bonus and when the device is flipped sideways the transport gives way to simple yet intui tive editing screen which allows for simple to more complex fades and trimming. Once you complete your recording tapping the 'Share' tab reveals a rather complete set of file sharing including SoundCloud, Dropbox and the usual email and iTunes options. Talking about iPhones and iPads, take a look on this wonderful iPad accessory - Hercules DG305B iPad Holder, order online from The Vocal Gear Store When it comes high-quality field recording for iOS devices Rode brings their A-Game with the iXY. They've managed to package high-quality hardware with a clever and complete recording application that in our opinion negates the need to carry around a separate field recording device. The Rode iXY is available now for $199.00 on the street. The Rode Rec (not included) is available for $5.99 in the iTunes store. ~TN i -XY Specifications Acoustic PrinciplePressure GradientCapsule0.50"Polar PatternAddress TypeEndFrequency Range20Hz - 20kHzMaximum SPL120dB SPL (@ 1kHz, 1% THD into 1KΩ load)Sensitivity-42.0dB re 1 Volt/Pascal (8.52mV @ 94 dB SPL) +/- 2 dB @ 1kHzEquivalent Noise Level (A-weighted)18dB-APower Options(Powered by iOS device)Weight40.00gm 46.00mmH x 55.00mmW x 40.00mmD http://www.rode.com/microphones/ixy Review by Travis North *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.
  8. Putting The TC Helicon VoiceTone T1 To The Test If you were following The Modern Vocalist Journal earlier this year with the debut TMVJ Product Reviews, some of you may recall the review of the TC Helicon D1 VoiceTone pedal. The VoiceTone Singles series feature 7 new single function pedals designed to add professional vocal results and offer maximum flexibility and portability. The are all stoutly built 'stomp boxes' for vocalists that can be linked together in the signal chain with the ability to be controlled via the newly released TC Helicon MP-75 microphone - one I might add TMVJ is slated to review later this fall. More to come. Back to the subject at hand: The TC Helicon VoiceTone T1. TC Helicon VoiceTone T1: FEATURES OVERVIEW Like its singles pedal brethren the VoiceTone T1 utilizes the same durable alloy stomp box form factor. The purpose of the T1 according to TC is to "adapt studio-quality compression, de-ess and EQ to your [sic ] voice". Sounds interesting considering the T1 features a total of 3 adjustment controls. Those consist of rotary "Shape" and "Comp/De-ess" knobs and a "Warmth" in/out switch. Other controls are a main effect stomp switch with on/off led indicator, mic gain control with signal/clip light and Mic-Control off/on switch for MP-75 control. Labeling and layout is up to typical high TCH standards as is the quality of the controls. Each singles pedal features different colored accents to differentiate them. In this case the T1 sports bright yellow accents on black with a grippy matching rubber anti-skid mat. As of this writing the T1 was retailing on GuitarCenter.com for $129.00. Standard XLR in/out are provided along with fairly typical wall-wart power jack. One thing to note is the lack of a phantom power switch. The VoiceTone pedals do in fact have phantom power that is always on. It's an interesting design decision but ultimately I would prefer a micro-switch to disable it. A USB port for setting tweaks and upgrades using the downloadable TC-Helicon VoiceSupport application available on both Win and Mac platforms. TC Helicon VoiceTone T1: IN PRACTICE While I never believe in writing a review before I live with a piece of gear for a while the VoiceTone T1 is on the high side of long term as I have spent nearly 4 months dealing with it on a regular basis. While mic's were swapped, effects switched in and out the T1 stayed plugged into live signal chain for the better part of that. In fact at times I almost would forget I had it plugged in at all - but not because it doesn't do anything. In a word the T1 is ultimately transparent operating unobtrusively in the signal chain. Right out of the box I left the T1's Shape and Comp/De-ess knobs centered out, Warmth switch in the off setting and plugged it into last link in my signal chain prior to the board using my trusty warm yet slightly boomy EV N/D767A. After performing some test A/B vocal passes using some of my vocal warm up material, I began to get a feel for the T1's sound. While generally speaking I'm not a huge advocate of adding compression and ultimately removing too much of the dynamics in live vocals due to how it can effect how the vocalist sings my ears tell me the average compression ratio of the T1 to be relatively low. With only two knobs, I can only speculate what's actually happening behind the scenes but I found it to actually leave the bulk of the vocals alone while adding a little bit of beef to the low end and providing just a touch of attenuation on some of my higher belts ultimately providing a slightly smoother vocal. After dialing in my sound a bit more I finally settled on the Shape knob around 8 o'clock and Comp/De-ess around 9 with Warmth still in the off position. Generally speaking I did not find the Warmth setting to be entirely necessary in my application as I found it to add in a bit too much muddiness into the vocals however I could see this being useful given a thinner sounding microphone or singer. My vocals also benefited when using the T1 with the full band. The additi onal clarity provided gave a nice bump of extra vocal cut with a bit more sparkle on the top. With the T1 doing the work of adding a bit of compression and EQ I was safely able to bring up the overall levels a few db's giving me a bit more girth on my lower less-powerful register without fear of feedback. While I understand the point of a minimal amount of available controls with which to tweak the sound I found myself at times yearning for a little bit more in the way of tweak-ability. It might be nice to change the compression ratio or enable/disable de-ess for example. TC Helicon VoiceTone T1: WRAP-UP At the end of the day the TC-Helicon VoiceTone T1 represents yet another solid offering from the company which has brought us the likes of the VoiceLive and VoiceWorks products. This would be a great addition for those of us looking to add icing to the cake on our already good live vocals. Is it absolutely necessary? No. If you're torn between upgrading to the T1 or upgrading your mic start with improving your primary signal chain first. Once you've got your other bases covered then it comes time to add in the VoiceTone. Given TCH's class-leading reputation for build quality and from my experience so far the VoiceTone T1 is worth checking out for those of you looking for a little something extra. Order TC-Helicon T1 Vocal Tone and Dynamics Ef fect Pedal from The Vocal Gear Store NOW! Getting In Touch With TC-Helicon www.tc-helicon.com TC-Helicon Vocal Technologies 1075 Pendergast Street, Suite 204 Victoria BC V8V 0A1 Canada (800) 565-2523 Review by Travis North *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.
  9. Since the introduction of recording, bands and artists have used specific microphones to capture sound from the entire room. Unfortunately, once captured, trying to fix certain sounds or mistakes was next to impossible. This is where Zylia comes in with their ZM-1 Microphone. It makes use of 19 separate condenser microphones that are spread across the spherical body, as well as a single LED ring that runs through the equator of the device to indicate its recording functionality. Essentially, recordists have the ability to capture a 3D, 360-degree sound, as well as traditional stereo. We like to think of it as the virtual reality of the audio world. Let's dive into our Zylia ZM-1 Review to see what this bad boy is all about. Specs 19 Microphone Omnidirectional Digital MEMS Capsules LED Ring Status Recording Indicat0r 48 kHz / 24-bit Recording USB Connectivity 20-20,000 Hz Frequency Range The Review Overall, the ZM-1 is impressive. It is easy to see something like this and think that it might be a gimmick, as there is a hollow character with many of these types of microphones. Luckily, it's just not the case. The Zylia ZM-1 comes with a tabletop stand and a threaded microphone stand, which allows you to place it just about anywhere in the room. It connects to your computer via USB and uses special software to get it going. It is as simple as setting your microphone up in the middle of the room, calibrating it, and recording. The software will even ask you what kind of instruments you are recording before asking you to play an eight-second bit on each of the instruments so that it can find the instruments in the space. Though you might have to move the instruments around in the room a bit to get the mix that you desire, the software gives you the ability to tweak the mix much more than you'd think. Let's say your guitar that was placed in the corner of the room needs to be turned up. You can simply adjust that guitar in correlation with the microphone that was picking it up the most. Essentially, you get a room recording with multi-track session editing capability. The track separation is impeccable. Even the small amounts of bleed can be tweaked using regular DAW software in post. It is great for picking up live performances and crowd responses at the same time, perfect for those who are looking to record a live EP, for example. You can even use it to capture 360-degree audio for YouTube of Facebook, making the creation of enveloping soundscapes a breeze. Pros and Cons Pros Innovative Design Perfect For Live Performances High-Quality Audio Capturing Solid Software Tweak-ability Cons None that that are worthy of mentioning. Not really... Should You Buy It? The Zylia ZM-1 is a well-executed recording device that delivers beautiful room recordings with the ability to edit and re-mix well after the fact. There is nothing currently available that we've found that can do what this thing can do. Yes, it might take a bit to get used to, but once you get it set up, it is the perfect device for on-the-spot recordings in just about any space you can think of. Don’t leave without grabbing The Four Pillars of Singing if you haven’t already and make sure to subscribe to our Facebook group to get all of the vocal information you could possibly need! If you currently use the Zylia ZM-1 let us know what you think in the comments!
  10. The Mojave Audio MA-1000 Click Here to Purchase
  11. Are you in the market for a microphone? Don't say no. If you are a serious vocalist, then you are ALWAYS looking out for the latest and greatest microphones on the market. (And we already know that you're a serious vocalist, because you're here, reading the TVS blog, after all.) Maybe you're already a microphone aficionado, and reading this blog post will be like eating candy for you. Perhaps you aren't yet an expert, and you're wondering which are the best microphones for singers. Whatever brings you here, read on, because this post is for you. If you are a dedicated vocalist studying the TVS method, then you'll definitely want to start training with amplification. That much is a given. So let's discuss some of the different types of microphones out there, talk about a few of Robert Lunte's go-to recommendations, and then check out some of the newest, coolest mics from the recent 2018 NAMM show. First off, basics. Feel free to skip this first section if you're already a complete authority on microphones. For the relative newbies to the world of vocal amplification, there are TONS of different mics on the market, but we're going to briefly discuss a few major classifications today: Dynamic Microphones Condenser Microphones Ribbon Microphones Modeling Microphones Wireless Microphones Read on to find out the some of the main differences between these types of tech. [caption id="attachment_155243" align="alignright" width="238"] The JZ HH1 - A Great Handheld Microphone from Latvia. Dynamic Microphones Dynamic microphones are more commonly used in live settings, on stage. They are generally the most sturdy microphones out there and are usually on the less expensive side. If you have never before purchased a microphone, a decent dynamic mic is an excellent place to start, as they are the top recommended microphones for beginners. Click HERE and use the code: VOCALISTSTUDIO to get a special TVS deal on the JZ HH1. Condenser Microphones The Audio Technica AT5047 Cardioid Condenser Microphone commonly used in studio settings. Typically a bit more delicate than dynamic microphones, condenser mics are more sensitive and responsive, and they offer a more true-to-life sound than dynamics. They can pick up on finer nuances in sound. If you are looking for a microphone to use in a home studio that has some degree of soundproofing, you might want to look into condenser microphones. Ribbon Microphones The AEA KU4 Unidirectional Ribbon Mic Ribbon microphones are a unique style of mic, built around a thin piece of metal -- the “ribbon.” They have a rich natural sound and can capture the glorious tone from old recordings made in the 40s. However, they are often very delicate and fragile and they can be quite expensive. There are ribbon mics out there designed for live use, but they can still be a little more easily damaged than your go-to dynamic mic... so be very careful if using a ribbon mic on your next rock gig, and maybe consider saving the ribbon for studio use only! The Antelope Audio Edge Modeling Microphone Modeling Microphones Modeling microphones are more of a specialty item right now, but they are promising technology, poised to change the way we record vocalists and change the way we even think about mics. These are microphones that are designed to “model” other microphones. Picture a microphone that can recreate either the same iconic sound from the mic the Frank Sinatra used… OR the same sound from the mic that your favorite radio host uses today. These microphones are incredibly versatile. They pair with advanced modeling engines to create killer recordings, and are amazing. The Rode RODELink Performer Kit Digital Wireless Wireless Microphones Wireless microphones are used in any setting where the vocalist needs to be moving around a great deal. Training with a wireless microphone can be incredibly useful for vocalists who need to prepare for work in musical theatre or in any active performance setting. (Think of Beyoncé. Does she just stand and sing in front of a stationary mic at every show? Absolutely not.) Vocalists need to be able to perform in various different settings, with various different microphones, so training on a wireless system can be extremely beneficial, even for a beginning vocalist. Click HERE For Recommended Microphones & Home Recording Gear! Top Recommended Microphones To access the full list of mics that Robert recommends that vocalists use, in order to train with amplification, then you’ll need to pick up your copy of The Four Pillars of Singing. However, we can tell you two hand-picked mics from Robert Lunte’s list: 1) The JZ HH1 & The Sennheiser e935 Dynamic Microphone These are robust, reliable handheld microphones that are reliable and sound great. The e935 has a fantastically balanced EQ, both low and high end. It is also super durable. Definitely should be one of your frontline microphones. The JZ HH1 is unique because it has a great balance of low and high end, but unlike other handhelds, it has an "airyness" or "windyness" to the coloration which I actually really like! This unique element to the microphones coloration gives the mic a hair of white noise. I think this mic is very well suited for rock and metal for this reason. 2) The Antelope Audio Edge Duo & Edge Solo The Antelope Audio emulation microphones are really cutting-edge. Emulation technology allows singers to use plug-ins to capture the unique sound coloration characteristics of 18 of the world's most legendary, classic recording microphones. In other words, you can purchase one microphone system, and get the sound color and characteristics of 18 microphones but just dropping and menu and selecting the emulation you want. VIEW THE VIDEOS BELOW. Make sure to check out the Antelope Audio emulation microphones at The Vocalist Studio Vocal Gear Store! You can also purchase directly from Antelope Audio HERE and use this code to save $50: thevocaliststudio% 3) The Rode RODELink Performer Kit Digital Wireless Audio System The Rode RODELink Performer Kit is a fabulous solution for the vocalist on the lookout for a wireless microphone that is inexpensive. Easy to set up, with a good sound, this system is something to consider if you’ve ever wanted to train and perform with a wireless microphone. 4) Vintage Microphones from the 60s, 70s & 80s Two vintage microphones from Robert Lunte's collection. The Electro-Voice SRO-627B and the Italian RCF MD 2702[/caption] One of the most interesting and fun ways to purchase a microphone is to shop for refurbished microphones from previous eras. Many of these microphones sound great, just as good, or almost as good as contemporary microphones. They are all very rare. Great for microphone geeks and collectors. The industrial design and novelty of vintage handheld microphones is a big reason why these microphones are sought after. Here is a site where Robert Lunte shops for vintage microphones. Reverb. Click HERE For Recommended Microphones & Home Recording Gear!
  12. In a world full of manufacturers who offer various dynamic microphone models, a handful of proven classics rule the market. Many will agree that the design of this type of instrument has been pretty much perfected and completed over the years, so is it worth paying attention to similar products that still pop up from time to time? We chose one recent entry that has made quite a big name for itself, the JZ Microphones’ HH1, and tested it to see whether it really is an improvement of age-old microphone technology. The HH1 is a handheld dynamic microphone made by a European company called JZ Microphones. It’s their first product to feature a dynamic capsule. They claim it is “developed in best traditions of JZ Microphones” and provides users with “extended frequency range to suit most vocal and instrumental needs.” Neodymium magnet equipped cardioid capsule is housed in a handcrafted metal body with a special shock-mounting technology. It comes with a rather elegant pouch and a microphone clamp. Lighter and brighter That’s the thing with JZ Microphones: it seems that everything they make has some unique visual twist. As you can see, the same goes for the HH1. One has to admit that the microphone looks awesome: matte black coloring, a fancy logo, and diamond-shaped flat-fronted grille. It is the size of a typical dynamic (58 x 172 mm), has an XLR-3 connector, and an extended frequency response (50 Hz – 18 kHz). Weighing 280 grams (9.8oz), it is a bit lighter than the SM58. The frequency graph that comes along with the microphone shows a noticeable peak at 5 kHz and shelving-down right before 200Hz, meaning that it’s lighter and brighter than most standard dynamics. The simple geniality of a flat grille JZ Microphones says that the HH1 is a perfect fit for vocals, drums, and guitar amps. We tested it in various scenarios for all three applications. We started by trying it on both male and female vocals, and were impressed instantly. It turns out this mic needs little to no EQ. Gone were our fears that the HH1 would have a cheap brightness you get from low-quality mics. Instead, it had great clarity on male as well as female vocals. The HH1’s flat grille has to be mentioned here as well. It keeps the sound source on-axis while avoiding tone and level variations. It was the same story when it came to the acoustic guitar, which produced just the right amount of brightness even at close distances. The flat grille also made for easy, spot-on guitar amp miking (obviously). It was a good fit for a snare drum as well, providing much-needed definition. Among all the pros, the only con I could think of would be a mild self-noise (the HH1 has a pretty strong output). To be frank, it is not even close to being a real problem (at least for us, in our setting it wasn’t) but it is a bit more noticeable than that of other classics. HH1 – a dynamic with distinct studio mic pedigree In conclusion, the HH1 easily fits among the best sounding industry standard dynamic mics. It has its own sound but isn’t a black sheep or avant-garde in any way, and if the market for dynamic microphones wasn’t so oversaturated, this little piece of technology would make the competition worried. It is hard to be completely blown away by yet another dynamic because there are so many to choose from. However, there’s no denying that with the HH1, JZ Microphones has managed to raise the bar for sound and design. It is very apparent that this dynamic mic was made by people who mainly specialize in high-quality studio microphones. It is elegant yet very well built and should withstand the punishment of live performances. If you’re ready to try something new, don’t hesitate and get one of these. This can be an excellent choice for rehearsal studios, live performances, demo making, and bedroom studio projects. Find out more about JZ Microphones products.
  13. Hello Fellow TMVW members! Humbling though it may be, I thought I would share a track I'm working on, (Beatles - In My Life) and the vocal "sculpting" process I go through in an effort to record my best performance. (I'd never share unfinished tracks except to friends and in this forum . . . plain vanity) I've had a lot of experience analyzing my vocals for recordings, I never quite knew how to articulate the process I was engaging in nearly as well as after having gone through The Four Pillars of Singing, learning the "talk track" I've heard Robert Lunte utilize across many hours of lecture videos! Once one is familiar enough with these "mechanisms" for mending, strengthening, or otherwise fine tuning a vocal line, the mystery about what to do goes away! Rob's techniques are structured in a simple, yet meticulous sequence that really does create the feeling of having a vocal sculpting tool box! I'm posting this both as a subject of interest to others who may be starting out with this type of challenge, and as a means of accountability for me to complete the process, which has been brutal for me due to inexperience with the recording software. It's good for me though, as I intend to record several old hit favorite song interpretations in the coming months. I'll post my final "sculpture" here for this track when I finally complete it. "Work to be done" on this vocal performance is: Pitchy lyrics / appaggio drop out, vowel mods for best resonance, better phrasing, embouchure brightening, slight lightening of mass throughout, . . . . I'm sure there's more, also, rhythm guitar mistakes, and guitar solo is not quite tight yet, not happy with the effects on my voice yet either. I'm contemplating leaving the last "in my life" line unresolved like it is now. I was trying to sing that last half of the last line and had to quit recording due to a leaf blower. I think i'll like it that way, maybe with a high harmony over the top. Lastly, I may end up using a different mic than I did for this take. One thing that clearly gets hammered home in this process is that performing live is a far more forgiving environment than being under the microscope of a recording. Peace, k
  14. Hi there, Why does this spectrogram of me singing a scale show more than one frequency at the same time?
  15. Please go and visited my channel and view some videos www.paytonsellsmusic.com
  16. European company JZ Microphones is amongst many manufacturers that offer a modern take on vintage sound. Their Vintage 11 (V11) is said to produce very smooth sounding top end, and in theory, should be very good for voice-over work. But the concept of “modern vintage” still sounds a bit vague and lacking explanation to some. Needless to say, we got our hands on one of these mics to see what it does. When it comes to striking visual design characteristic of JZ Microphones, the V11 is no exception. This thing looks like it belongs in the interior of an expensive luxury car, perhaps as an ashtray or a compartment for your diamond encrusted smartphone. A modern take on a vintage sound The V11 is a high-performance cardioid condenser microphone with a one-inch gold sputtered capsule (JZ Microphones patented GDC capsule making technology). JZ Microphones claims that while the microphone is quite versatile it works best on acoustic guitar, vocals, and wind instruments. The frequency graph of V11 shows a noticeable bump in the lower end and suggests it is designed to deliver smooth, rich, and warm sounds. The V11 has a large diaphragm 27 mm (1,06") capsule, extra low self-noise level (6,5 dB (A)) maximum sound pressure level (SPL) of 134,5 dB, class-A discrete electronics, and gold-plated output contacts. It comes with an external specially designed shock-mount and, just like all other mics that JZ Microphones produces, is handcrafted. Noticeably above the similarly priced competition Opinions about microphones are subjective, but it has to be mentioned that V11 has caught the attention of award-winning producer Rafa Sardina (Lady Gaga, Beyoncé, Stevie Wonder). Sardina has repeatedly stated that he loves many JZ Microphones products and judging from the interviews, the V11 is one of his favorites. We tested it on both male and female singers, trying out a number of singing styles and settings.6 Other “Vintage” series mics (V47, V67) are supposedly made to bring back the sound of all time classics but with the V11 (11 stands for 2011 – the year in which the mic was launched) the company’s founder and designer Juris Zarins hoped to create a microphone that would give you a vintage vibe, but with quite a bit of modern mic-making tradition present in design and during production. The sound, however, shows why JZ Microphones is confident enough to call it the “next classic” on more than one occasion. It proved to be a true gem when it came to spoken word performances. This microphone doesn’t look the part, but it is indeed an excellent tool for radio and performs exceptionally well as a voiceover microphone. Minimal to no EQ intervention is needed, in my opinion. When it comes to singing, it is quite warm yet does not lose clarity. Also, if the bass lift is not welcome at all, you can deal with it easily. The built-in shock-mount is very simple, easy to use, and actually works. The V11’s price tag makes it fair to compare it to all other work-horses that are used for spoken word and broadcasting, and the V11 stands out with a more refined, classy sound. You can just feel that it wasn’t designed as a budget microphone meant to overwhelm the market. They’ve obviously put serious thought into it. I can’t find any problems with construction or sound. I’m going to guess that the reason for this is that the company mainly produces expensive “premium” class microphones and hasn’t really optimized the V11’s production to fit the mid-range price tag. I am pretty sure that most if not all of the high-grade components they use for their most expensive mics are in the V11 as well. After all, are there many other mid-priced microphones that have impressed the likes of Rafa Sardina? In conclusion All in all, what strikes me is the big picture. From what’s written in brochures, the big claims and peculiar marketing strategy might make some buyers confused. I’m still not sure why the whole “modern yet vintage” concept was chosen. In reality, it is simply a very good, very well built, warm-sounding studio microphone with an attractive price tag (and from what I can see, they have generous discounts very often). Someone who is operating on a budget looking for that hi-end studio sound should consider the V11. Accomplished pros have no reason to shy away from it, too. Granted, it is not made to compete with and function like more expensive studio classics, but it is so much more (I can’t stress this enough) than the price tag suggests. Find out more about JZ Microphones products.
  17. For about ten years, a European company called JZ Microphones has made its flagship Black Hole 2 (BH2) studio microphone, supposedly a versatile, visually stunning, and beautifully sounding mic that “easily finds its place among celebrated all-time classics”. It seems that up until now critics have showered this piece of technology with one favorable review after another (to the point where it almost gets a bit ridiculous), so we thought we’d give it a try and see if it really deserves such generosity. The looks JZ Microphones present their BH2 as a “premium”, “high-end” studio microphone, but I’m sure most of you will agree that it does not really look the part. First of all, there’s a hole in the middle. The microphone seems to be rather small and thin, and it doesn’t look like it will fit in a standard spider shock-mount. It leaves you with quite a few questions when you unpack it for the first time, but let’s take a look at some important facts in the brochure. The tech BH2 is a fixed cardioid, large diaphragm 1,06" (27mm) condenser microphone with one large, true electrostatic capsule inside the compact head. Qualities that make it stand out amongst the rest of the herd are JZ Microphones’ patented capsule making technology, Golden Drop Capsule (GDC). Once this technology is implemented, it gives the microphone extra low self-noise level of 7,5 dB (A), discrete class-A electronics, maximum Sound Pressure Level (SPL) of 134,5 dB, and a unique reverberation-canceling shape. It also comes with a specially designed shock-mount and is made by hand. The sound When we decided to test the BH2 we came up with quite an obstacle course: we would use it in all sorts of vocal applications with numerous singers and different types of voices. Upon playing back the very first takes, it became clear how unfair it was to judge this microphone by its looks. The recorded voice sang to us with almost no coloration yet the sound was very flattering (especially for male vocals, as it later became clear) and seemed polished. BH2 presented itself to us in a very primal way. It was like being approached by a large wild animal: you feel its presence instantly. There was no need to analyze the sound or compare it to something else. It was clear right then and there that this mic should not be disregarded. It produces very crisp, detailed voice recordings and would probably do an amazing job with rap vocals. It performs very well both close up and from a considerable distance and captures clear recordings of multiple singers at once. Sure, it gave off U87 and C414 vibes (as often mentioned in reviews), but the amazing part that there’s a very large, dominating chunk of its own personality in there. It delivers the actual sound of whatever it is you’re recording with no apparent noise and features ridiculously low, yet beautiful coloration. This microphone is made for professionals and should be used in high-class studios. To a seasoned recording engineer, it will deliver the pristine sound that is expected of such a specialist. To a singer, it will bring out the very best characteristics of your voice. To someone who is not yet ready, it will tell it to you straight and emphasize your shortcomings. There is no disputing that putting “premium”, “high-end” (or any other fancy English words that the BH2’s European engineers can think of) on to the box of this microphone is completely justified. Although the unusual shape and origins of this microphone can leave you perplexed at first, it soon becomes clear that back in 2007 when JZ Microphones created the BH2, they came up with a whole new design for technology that recently celebrated its 100th birthday. Find out more about JZ Microphones products.
  18. Hello all, I used to use a crappy USB Art M-one condenser mic but after doing much research have upgraded to a Scarlett 2i2 combined with an MXL V67G. Problem I recorded myself and to be honest, while the recording is clean and clear (at least compared to my crappy USB condenser mic), it sounds so different from when I sing in person. This recording lacks power, and it just has this really dampened feeling, and sounds so boring compared to myself singing in person (friends who I show this to agree also). I'm wondering if this can be fixed just through software like EQ-ing and compressing, reverb etc, or do I need a better mic? If I do, I would preferably like to spend below $100. Recording Info The recording I have below is just noise reduction and normalize, no compression, reverb, equalizer nothing. I have tried some basic compression & reverb on another recording and while it improves the output (have not uploaded this MP3 yet), still doesn't sound the same as in person. Am I just a newb at EQ-ing? Or is this a microphone limitation? Recording below EDIT: If this is the wrong forum, mods please move to correct one
  19. Robert Lunte & RØDE Microphones present four weeks of vocal training in Germany, Italy and France. April, 2018. For information click the links below or reach out to the people tagged in this post. See you in April! TVS Events Page http://bit.ly/TVSEvents Download The Tour Poster HERE: http://bit.ly/TVSMCTourSpring2018 14-15 APR Ansbach, Germany http://bit.ly/TVSMCAnsbachGermany 21-22 APR Pescara, Italy http://bit.ly/TVSMCPescaraItaly 28-29 APR Cagliari, Italy http://bit.ly/TVSMCCagliariItaly 1-2 MAY Nimes, France http://bit.ly/TVSMCNimesFrance If you have any questions about the event or private lessons, contact me on my personal email or here at TMV World. I look forward to helping you with your singing. You will get results, guaranteed.
  20. Robert Lunte & RØDE Microphones present four weeks of vocal training in Germany, Italy and France. April, 2018. For information click the links below or reach out to the people tagged in this post. See you in April! TVS Events Page http://bit.ly/TVSEvents Download The Tour Poster HERE: http://bit.ly/TVSMCTourSpring2018 14-15 APR Ansbach, Germany http://bit.ly/TVSMCAnsbachGermany 21-22 APR Pescara, Italy http://bit.ly/TVSMCPescaraItaly 28-29 APR Cagliari, Italy http://bit.ly/TVSMCCagliariItaly 1-2 MAY Nimes, France http://bit.ly/TVSMCNimesFrance If you have any questions about the event or private lessons, contact me on my personal email or here at TMV World. I look forward to helping you with your singing. You will get results, guaranteed.
  21. Microphones from NAMM 2018! Click "22 New Photos" Below
  22. The Carbonphone by Placid Audio is a very unique microphone for anyone who is interested in experimenting with sound. Its military grade carbon granule element captures sound and creates a "lofi" sound that is naturally distorted. Creating sounds similar to scratchy vinyl or an old military radio, this microphone is perfect for anyone looking to recreate a more vintage tone or anyone looking to create something new altogether. Included with the microphone is the Tone Box which provides the current which is needed to power the microphone. While the microphone can be powered by any standard 9 volt power supply, the Tone Box can also shape the sound through a variable five position filter circuit. Each selection on the control knob offers a different frequency response, allowing the Carbonphone to be used on a broad range instruments and for various applications. Because the sound of Carbonphone has a character unlike many other traditional mics, it makes a great addition to any recording enthusiast’s arsenal of microphones. It can be used as an all out obvious ‘effect’ on it’s own or it can be paired with other traditional microphones for infinite blending possibilities. The Carbonphone is a perfect microphone for any person looking to update their studio with new sounds but it is also usable for live performances and with its high durability and great resistance to high pressure sound levels. FEATURES Military grade carbon granule capsule Fully balanced output Quality Hammond output transformer Rugged copper housing and components Powered 5 position variable filter Tone Box Tone Box doubles as a phantom power source Tone Box can be used with other microphones 9 volt power supply for Tone Box High quality Nuetrik 3 pin XLR connectors Handcrafted in the U.S.A Lifetime operational warranty Adjustable aircraft aluminum mounting bracket to fit North American style stands (will fit European style stands with common threaded adapter) SPECS Type: Carbon Polar Pattern: Cardioid Frequency Response: 100Hz ­- 10kHz Impedance: 600 ohms Output: 120 +/­ 2dB SPL @ 1 kHz Mic Dimensions: 1.75 x 5.5 inches Tone Box Dimensions: 5.25 x 4.25 x 2.25 inches Mic Weight: 1 lbs. Tone Box Weight 0.70 lbs. *The Modern Vocalist World is brought to you by The Vocalist Studio, course and training for singers.
  23. The Chantelle Microphone by Ear Trumpet Labs is created to be the best live vocal microphone, bringing the clarity and warmth of a large diaphragm capsule to a low-profile body. In addition to a smooth high end with no harsh tones and an upper-midrange emphasis, included is also a full foam pop filter for even greater sound control.With exceptional feedback rejection, the can be used on even the loudest of stages.The microphone comes specifically tuned to handle any stage and still provide excellent feedback rejection. Chosen by performers in diverse genres, from R&B (Andra Day) to indie folk (Rachel Sermanni) to roots (Dustbowl Revival), Chantelle has a beautiful copper body and distinctive aesthetic that will inspire singers to give their best performance. Chantelle is an end-address large-diaphragm condenser with a flexible pivoting body, excellent for vocals live, in studio, and in videos. This microphone is perfect for any vocalist wanting a diverse sound with a great amount of control over feedback and tone. With a great design and a very slick aesthetic, this microphone is sure to be a great addition for any singer's arsenal. FEATURES Hand-made microphone with unique appearance Side or end address, using pivoting bracket Capsule and electronics tuned for close vocal use on the loudest of stages with excellent feedback rejection Internal shock dampers for minimal handling noise Integral silk and mesh pop filter, for effective control of plosives without loss of clarity Transformerless FET fully balanced electronics Highest quality hand-wired electronic components - film caps, precision resistors, hand tested and matched transistors, with component values tuned for the individual circuit. TECHNICAL SPECS: Transducer Type: Condenser, large (26 mm) diaphragm Polar Pattern: Cardioid Frequency Response: 20 - 15K hz (-3dB) Sensitivity: -49dB (4 mV/Pa) Output Impedance: <50 Ohm Noise Level(A-weighted): <17 dBA Power Requirement: +48V phantom power Weight: 1 lb (4 lbs cased) Dimensions: 8” x 2” x 2”; head is 2” in diameter Sku: ETL-CHANTELLE Hear The Chantelle *The Modern Vocalist World is brought to you by The Vocalist Studio, course and training for singers.
×
×
  • Create New...