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Shure SM81-LC Cardioid Condenser Instrument Microphone for Guitar, Piano, and Cymbals, includes Swivel Adapter, Attenuator-Switch Lock, Windscreen, Carrying Case, No Cable Included (SM81-LC)

£169.5£339.00Clearance
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This hi-hat mic features a low inherent noise and high overdrive protection, enabling it to deliver consistent distortion-free recordings even at high sound pressures. Condenser microphones are not known to be the most durable pieces of equipment, but this mic is indeed robust and durable. But enough of all the features, how does it sound? Surprisingly good actually. Its frequency response of 40Hz to 20KHz is more than wide enough to capture acoustic guitar and its response curve is pretty flat with just a few subtle peaks at the top end and a gentle bass roll off at about 200Hz. Recordings are smooth, bright and transparent with lots of high-end clarity. If you're plagued by a dull, boxy sounding acoustic, chances are a C451 or two will bring enough clarity and brightness to lift it out of the mix. This is partly due to the C451's ultra-fine diaphragm and somewhat down to its pronounced presence bump after about 5KHz. In addition, the switchable low-cut filter that can roll-off the bass at 75Hz or 150Hz, will help to remove any muddiness induced by the proximity effect when close miking, letting that shimmer shine on through. Enter the Voodoo series from sE Electronics. It has been developed by CEO and classical musician Siwei Zou to have a wide frequency response from 20Hz right up to 20KHz. Not only that, but the response curve is not much of a curve at all, it's actually as flat as a pancake that's been run over by a steam roller. Twice. OK, there is a very, very slight presence boost between 2KHz and 10KHz, but essentially this mic will capture everything and capture it authentically. If you aren’t too familiar with the technicalities of recording drums, you may want to consider a simpler microphone model; in the case of this list, everything except Sennheiser’s SKM 835-XSW-A fits the bill. Conclusion

Its uncolored sonic signature vividly captures the sounds the cymbals are making, while the broad frequency response range ensures you’ll hear every detail in your recordings. It is possible that some company went a bit late but the analysis of pictures seem to show that really the transition was fast enough. Some more information is written in the series of books on the colours and markings of Italian fighters written by Waldis and De Bortoli, in particular this volume covers the Tavola 10 introduction:Nothing looks or sounds quite like the Voodoo VR2 (OK, other than it's passive sibling the VR1). Ribbon mics are known for capturing a very life-like, yet rich sound, which, let's face it, is what most producers want. However, many can't compete with condenser mics when it comes to recording higher frequencies – they just don't have the required top-end response.

Remember the Royer R-121? Well, it turns out that its maker, David Roger, also started a custom mic shop named Mojave Audio.The Audio-Technica ATM450 has a brightened response that highlights presence, slightly adding to upper midrange and brilliance. The peak is at 6.5 kHz, which can remind some discerning ears of an SM57 albeit with a less aggressive and smoother sound.

Alternatively, you could experiment with aiming at the soundhole but with your mic placed below or above it to avoid the boom from all that air moving directly into the mic. Shure SM81 is a brilliant choice for miking guitars although a bit costly. It gives you amazing definition with a rich, realistic low end and mind-blowing crispiness. Positioning of the mic is crucial, so take your time to try, and adjust if necessary. By pointing towards the hole or away from the hole, you can control how much low end gets through to find your ideal balance. I think it’s highly debatable that using bright mics will have any advantage in guitar miking. For instance, CAD e70 is brighter and it works beautifully for acoustics. SM81 is neutral and it sounds… even better! Perhaps it is quality that matters. Its frequency response is 20 Hz to 20 kHz and you’ll find a modest presence peak around 12kHz, but otherwise the frequency response is rather flat. This makes for a mic with a relatively neutral character suitable for a variety of instruments.These frequency banks have vastly different frequency ranges, which you can switch manually or let the Automatic Frequency Management technology do it for you. As far as sound quality is of concern, Sennheiser’s SKM 835-XSW-A has a flat frequency response unblemished by jitter or distortion, even at louder volumes. The MA-200 is the end result of Royer’s 20 plus years in the custom microphone field. This is a large-diaphragm condenser mic that offers you full-bodied reproductions of instruments and vocals but steers clear of the shrillness and high-frequency noise that is often found with modern condenser mics. With an ultra-low self-noise performance of just 13dB-A, these Neumann mics are ideal to record soft 'could hear a pin drop' playing styles, but they can also handle high sound pressure levels of up to 138dB, making them good for the loud stuff too. Most mics that are used for recording acoustic guitar have arrived via a circuitous route that usually involves a drum kit, or bits of it. It's hard to think of two instruments that are less alike but what works well for miking up a cymbal usually works well for an acoustic guitar too – after all, it's all about capturing transients, clarity and that high-end shimmer.

SKM 835-XSW-A is a top-quality cardioid microphone that boasts a variety of premium technologies, such as fully automatic frequency management, super-reliable wireless connectivity, Evolution capsules, and more. Features Large diaphragm condensers are go-to mics for vocals because they boast impressive low self-noise, a high frequency presence boost and, at the low end, a lush open sound. But they're often left collecting dust on the studio shelf when it comes to recording acoustic guitar. It’s well-rounded enough to be used with different instruments, and aside from its exclusively wired connectivity, I have nothing bad to say about it. Pros I’d suggest placing the hi-hat mic about 4-5 inches above the top hi-hat cymbal, pointing towards the edge of the cymbal.And I'm really satisfied! I have already recorded steel string acoustic guitars, drum overhead, percussion and saxophone. All of the records were really successful!!! This mic brings excellent clarity for the price. Even if this aircraft was used for many tasks and by many units, the modest speed of the S.81 soon led to it being replaced by the SM.79 for many applications. One of the later SM.81 models developed had two Isotta Fraschini Asso inline liquid cooled engines with 626kW (840hp). But its performance was quite disappointing, including 330km/h (210mph) maximum speed, so the modifications were not successful. An SM.81 with an A.130/AR.8 long-range radio landed at Kirkuk in the spring of 1941. It was the command aircraft for the expedition made by Italian forces (together with the Germans), to help the 1941 Iraqi rising. But the Iraqis were already defeated by the British, so the Axis mission failed. Of the 12 Fiat CR.42s of the " Squadriglia Irak", only seven returned. Without the pad, the AT2035 can tolerate sound levels up to 148dB SPL (1kHz), which in itself is impressively high. You can switch on the pad to get another 10dB. Self-noise is a respectably low 12dB EIN, equating to a signal‑to‑noise ratio of 82dB at 1kHz at 1Pa. The fuel tanks, as was standard for Italian multi-engined aircraft, were metal self-sealing fuel tanks using materials developed by SEMAPE, the specialized manufacturer. Eight tanks were fitted, with six in the centre wing (4 × 150L/40 US gallon and 2 × 1,140L/301US gal tanks) and two 370L (100US gal) tanks (or 780L/210US gal with Gnome-Rhône 14K engines) in the outer wings [ citation needed]. This gave an overall fuel capacity of 3,620 or 4,400L (960 or 1,160US gal).

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