Podcasts about sm57

Episode 119: A Close Look at the Newest Pedals from Walrus Audio, Warm Audio, and UA Welcome to the Chairmen of the Boards Podcast! The ultimate pedalboard podcast with the foremost rig builders in the world: Grant Klassen (Goodwood Audio), Brian Omilion (Omilion Audio), and Mason Marangella (Vertex Effects/The Rig Doctor). We've teamed up to democratize great tone and provide you with our best tricks, tips, resources and hacks so you can build the pedalboard of your dreams! //SPONSORS// The Guitar Sanctuary - https://theguitarsanctuary.com Neural DSP - https://neuraldsp.com (use discount code "chairmen" for 30% off) Mono - https://monocreators.com (use discount code "chairmen" for 10% off) Best-Tronics - https://btpa.com (use code "dachairs" for 10% off) //HOSTS// Grant Klassen (Goodwood Audio) YT - ‪@GoodwoodAudio‬ IG - https://instagram.com/goodwoodaudio Brian Omilion (Omilion Audio) YT - ‪@omilionaudio‬ IG - https://instagram.com/omilionaudio Mason Marangella (Vertex Effects) YT - ‪@VertexEffectsInc‬ IG - https://instagram.com/vertexeffects //YOUTUBE// Watch COTB Podcast live: https://bit.ly/3VhbNea

Wir begrüßen Schlagzeuger und Mikrofon-Entwickler Sibi Siebert auf unserem Studiosofa. Sibi ist Vertriebsleiter bei Sky Music Distribution, worüber auch die von ihm mitentwickelten Mikrofone von SIB Systems vertrieben werden. Die Mikrofone Rocket-One, -Tow und -Three sind eigentlich für die Aufnahme von Drums gedacht, können aber auch für Gitarren durchaus zweckentfremdet werden. Wir sprechen mit Sibi über die Entwicklung der Mikrofone, über Mikrofondesign, und er erklärt uns, was das Besondere an seinen Mikrofonen ist und welche Raketentechnik darin steckt. Viel Spaß beim Hören! ➡️ (00:13:44) - SIB Systems ➡️ (00:23:53) - Zielgruppe ➡️ (00:28:07) - Ziele bei der Entwicklung ➡️ (00:35:47) - Produktion ➡️ (00:39:33) - Funktionalität & Robustheit ➡️ (00:43:46) - Rocket 2 vs. SM57 ➡️ (00:46:07) - Die Zukunft ➡️ (00:47:47) - Wichtig für einen Drum-Sound ➡️ (00:49:39) - Typfragen ➡️ (00:51:47) - Referenztrack-Empfehlungen

Embark on a sonic journey with Anne and audio expert, Gillian Pelkonen, as they explore the world of microphones. From understanding the difference between dynamic, condenser, and ribbon mics, to unraveling the pricing mystery and debunking the 'quality equals cost' myth, your hosts cover it all. Learn what makes a great microphone, how to choose the best one for your unique voice, and how to navigate the complex pricing landscape. Whether you're a seasoned pro or just starting out, this episode is your ticket to achieving your dream sound without breaking the bank.   Transcript   Anne Ganguzza (00:01.171) Hey everyone, welcome to the VO Boss podcast. I'm your host, Anne Ganguzza, and I am so excited to bring back once again, very special guest, audio engineer, musician, and all around amazing tech person, Gillian Pelkonen. Hey, Gillian.   Gillian (00:18.462) Hi, so good to be back talking to you and the bosses.   Anne Ganguzza (00:24.311) Yes, I love talking to you because, wait, hang on a second here. I know it's corny, but here. Is this thing on?   Gillian (00:33.543) Oh, it's on. Let me tell you, it is on.   Anne Ganguzza (00:39.433) How do I sound?   Gillian (00:41.738) Honestly, I'm not even saying this because we're on. I think that you sound great and this podcast sounds so great and your audio editor who is listening to this now, you don't need me to tell you, but you're doing a good job. I really like how it sounds because I listen to a lot of stuff and I'm very critical. I'm always like, oh, I don't really like that. But I really like the way VioBoss sounds.   Anne Ganguzza (00:45.727) Ha ha ha!   Anne Ganguzza (00:54.953) Aww.   Anne Ganguzza (01:01.676) Well, I would imagine an audio engineer listening to a podcast. I mean, that's what you do. So I think there's so many contributing factors to what really produces great sound. And I know that we've talked about studios in the past and things that we can do to create great sound. But we haven't really concentrated on   Gillian (01:09.523) Mm-hmm.   Gillian (01:20.43) Mm-hmm.   Anne Ganguzza (01:25.707) this guy right here because first of all we were always maintaining that you didn't have to have a great mic to sound great. However, I think that it would be really a good topic. Yes, there you go. I think it would be a good time to talk about microphones.   Gillian (01:27.17) Mm-hmm.   Gillian (01:33.697) Mm-hmm. Expensive. Expensive is...   Gillian (01:41.694) It's not really, there's, yeah. Yeah, no, I totally agree. And I always say that great mics come at many different price points and people think, oh, a great mic is the $1,000 mic, is the $1,500 mic, even like the $800 mic. And that's not.   always, you know, it's not always true and there is a lot that goes into microphones and I am learning more and more all the time. Realistically, the price point has a lot to do with like how it's made, where it's made, but if you break down what's inside the mic, which I don't know if any like, I don't even know if audio engineers care about this, but like there's the capsules and the transformers and all of those things that are in the mic that are what produce the sound quality that either makes it more expensive or less expensive or sometimes   Anne Ganguzza (02:03.241) Mm.   Gillian (02:29.928) expensive mic has the same inside design as a more expensive one, but it's just like a brand thing or that might not be 100% correct, but it is true that people will take the shell of one type of mic and they can make the insides and kind of scope it out to be similar electronics to a more expensive mic. So I don't know, it's not all about the price point, it's all about what you what you think.   Anne Ganguzza (02:35.079) Mmm.   Mm-hmm.   Anne Ganguzza (02:54.087) So do I dare ask, have you gone inside the capsule? I mean, have you taken, I mean, is that what you do? Do you go into microphones sometimes to check them out, repair them, just be geekily interested?   Gillian (03:08.154) Sometimes you have to fix... I haven't opened up microphones. I mean a lot of the times like if you're looking at... well you have a you have like a pop filter windscreen on yours because I know you use a 416 and I use a KMS 105   Anne Ganguzza (03:22.022) Mm-mm.   I do.   Gillian (03:28.83) which is just my talking mic. I like to use it for vocals. It's one of the only mics I own because I work at so many studios. I can just basically use whatever mics are there. But this one I love for singing, for talking. It's a really good live mic. But it has like an... I wish I could like take it off without disrupting the audio, but I can't. It has like an outer windscreen, like a metal windscreen that a lot of mics have. And if you look, you can actually see the capsule in there.   Gillian (03:58.784) looking at capsules is if you shine a flashlight in you can like really see it. But no, to answer your question in a long-winded way, I haven't taken apart a mic yet. I have been doing a lot of looking at the inside of like outboard gear, like pre-amplifiers and stuff like that, but microphones are on the list for me to look at.   Anne Ganguzza (04:18.235) Well, so because you use so many different types of microphones, I think, in your everyday job being an audio engineer, you're not just working with voiceover artists. You're working with musicians. I'd love to like, can you break it down for the bosses? Like, let's make it easy. Like, what are the different types of microphones? Like, would...   Gillian (04:26.274) Mm-hmm.   Gillian (04:32.718) Mm-hmm.   Gillian (04:40.398) Mm-hmm.   Anne Ganguzza (04:43.908) a voiceover artist from what I understand that we're not gonna be using the same mics as a musician necessarily. So let's talk about those types of mics, differences in microphones, like from a very bass level.   Gillian (04:48.407) Mm-hmm.   Gillian (04:57.09) Yes, there are basically three different types of microphones and the types are determined a lot by how they work but a lot of what is going on inside of them. So there's dynamic microphones which are never really used for voice, they're used for other things. And then there's condenser mics which are used by voice actors and used a lot for voice and for detailed things. And then there are ribbon mics which are not usually used for speaking voice. So basically as a voice actor all you need to worry about are condenser mics.   microphones, but there are other types of microphones that work for other things that you want to be recording. I could go into more detail about them, but I don't know how necessary it is for voice actors. They always say dynamic mics are durable. That's like, I mean, you use certain ones for voice, like a SM57 or SM58, which is like a   Anne Ganguzza (05:43.945) Mm-hmm.   Gillian (05:50.046) you go to a house party or you go to like a live event, someone's going to be using one of those microphones, the joke is like they're $99 and you can throw them off a building and they'll still work. Like they are so durable. They're, they're so, I don't know. It's   Anne Ganguzza (05:50.047) Mm-hmm.   Anne Ganguzza (05:56.952) Mm-hmm.   Anne Ganguzza (06:01.801) Ha ha!   Gillian (06:05.786) I think I don't know how to break one without like submerging it in water. And condenser mics are known for being sensitive, which is why we want to use them with our voice because there's so many intricacies in your voice and in your performance that need to be picked up. And ribbon mics, they're ribbons because they have a little metal ribbon on the inside and it's part of how it works. And those are more sensitive mics and use those a lot either on like, I mean, I know we use them a lot for like guitar amps or like horn instruments because you can be really   Anne Ganguzza (06:15.071) Mm-hmm.   Gillian (06:35.76) loud and it like smooths out the signal from my understanding of how I use them and what I know about them.   Anne Ganguzza (06:41.199) Ah, mm-hmm, mm-hmm. And so a voice artist wants to use the condenser mic. And so for our podcast, OK, so I will say in my studio here, I've got a couple of different mics. Now before I purchased my 416, I had a TLM 103, which I also have here in the studio, which I like.   Gillian (06:48.706) condenser microphone. Yeah, TLDR, condenser mic.   Gillian (07:03.83) Mm-hmm.   Anne Ganguzza (07:08.579) But even before that, I had a Rode NT1 mic. And of course, I went through, I think, the gamut of price ranges. And I think when I started, I mean, goodness, I just admitted the other day on a podcast that when I was streaming live from my living room, my first VO peeps meetups, I used a USB mic that was the Blue Snowball. And from there, I went to a Rode NT. And then I went to an AT2020 too, which I think was...   Gillian (07:16.834) Mm-hmm.   Gillian (07:27.618) Mm-hmm.   Anne Ganguzza (07:37.127) you know, in terms of expensiveness was not that expensive, but I thought it was a decent mic. And I think at that point, you know, what would you say in terms of the different types of mics? Cause like my TLM 103 was over a thousand dollars, you know, compared to my AT2020, which is like right now, I think you can buy one for $99. What would you say is the biggest difference between those two mics?   Gillian (07:40.61) Mm-hmm.   Gillian (07:51.255) Mm-hmm.   Gillian (07:57.659) Mm-hmm.   Gillian (08:06.047) I mean, without knowing a ton about what goes into either of them, I do kind of, like I said before, I think the price difference does come from parts. And so...   Anne Ganguzza (08:10.419) Mm-hmm.   Anne Ganguzza (08:17.503) Mm-hmm.   Gillian (08:18.162) I would assume the capsule inside of a Tlm 103 is more expensive than the other one, the electronics. Really upgrading, when we talk about upgrading mics, it does come with a price, but if you think about what the mic is, it's the capsule, everything inside, the electronics working together, higher quality materials will produce a higher quality signal that's recorded into your computer. So, can you get a lower priced mic that sounds good? Yes.   Anne Ganguzza (08:32.838) Mm-hmm   Gillian (08:47.956) of we're degrading the audio quality and listening to it through a phone speaker or out of computer speakers. So having really a really good signal to start with is great but sometimes it's not, basically you can get a signal that sounds good enough to sound professional at those lower price points but I do think it all comes down to.   Anne Ganguzza (08:53.927) Mm.   Anne Ganguzza (09:04.255) Basically you can get a signal that sounds good enough to sound rational.   Gillian (09:10.786) price of materials and sometimes like prestige of brand, at least a little bit, because there are a lot of brands that I know like Warm Audio, Flea Audio, they make remakes of vintage mics, but also they make like remakes of like a U87, which U87s are still sold, which basically all of the remakes is kind of what I was talking about earlier, similar parts to get a similar sound without the brand price point.   Anne Ganguzza (09:14.343) like the Steve Huff brand. Mm-hmm.   Anne Ganguzza (09:26.727) Remakes of like a U87, which is still sold. Which basically all of the remakes is kind of what I was talking about earlier.   Anne Ganguzza (09:40.211) So it's not necessarily, and I know we've talked about this before, so it's not necessary for a voice artist to get good sound by paying more for a microphone.   Gillian (09:50.478) Mm-hmm.   Yeah, it's like anything when you're starting out in a business. Like I keep talking about my tech work because it's on my mind. I've been doing it all week. I just bought a soldering iron and I bought a $40 soldering iron and the guy I'm working with has a $200 one, but I don't know how much I'm going to be doing it. I'm just dipping my toes in. I don't have a big budget for something that's not paying me back yet. And so it's kind of like this is my intro thing and it works. We're doing the same work. It works. One day would I want the more expensive one? Maybe. Just to have a higher quality.   Anne Ganguzza (10:10.459) Mm-hmm.   Anne Ganguzza (10:21.807) Yeah.   Gillian (10:23.013) But you know when you're especially for people who are starting you got to have something to work up to and something to you know get started with because who is starting a voiceover and has a couple thousand dollars to drop on microphones I don't know anybody   Anne Ganguzza (10:30.843) Sure.   Anne Ganguzza (10:38.735) Yeah, that's rare. That's rare. And I do know that it took me, oh gosh, at least 10 years to get my TLM 103, because my Rode NT1, which was a few hundred dollars, did a great job for me for many years, at least six years, in the voiceover industry. And I finally decided, well, you know what? I mean, people talk about the TLM 103, and I   Gillian (10:47.464) Mm-hmm.   Gillian (10:57.774) Mm-hmm.   Anne Ganguzza (11:05.763) I actually went for that one before I bought my 416, and then I decided that after I got my TLM 103 and I moved to a new studio, I would entertain the 416 because I was also thinking about my 416 for a travel mic. And so I think in terms of microphones, and you were talking about sensitivity before, I know that, you know,   Gillian (11:09.806) Mm-hmm.   Gillian (11:23.445) Mm-hmm.   Gillian (11:29.367) Mm-hmm.   Anne Ganguzza (11:31.803) I have, you know, sitting outside of the studio, I have a Shure SM7B, which I use because I'm not in my studio, but it's a lot of podcasts, you know, use that mic, podcast hosts use that mic, because it doesn't pick up a lot of external noise and it sounds good kind of no matter what environment you're in. However, the higher the mic price, the higher the sensitivity, it seems. My TLM 103 picks up like, you know, a fly.   Gillian (11:36.526) Mm-hmm.   Mm-hmm.   Gillian (11:56.162) Mmm.   Anne Ganguzza (12:00.463) you know, or a breath, like super easily. And my 416 does as well, but I have to be in a particular location, right? It picks up more in the front of the mic versus the TLM 103, which picks up all the way around. So I guess maybe it has to do with, you know, it's something, it's called the cardioid pattern, is that correct?   Gillian (12:01.098) Yeah.   Gillian (12:11.104) Yeah.   Gillian (12:22.522) I know, yeah, yes, we're talking about polar patterns. It's so interesting, I hear you talking and I'm like, I know exactly why you think these things. Because it is interesting, the SM7B is a dynamic microphone actually, but it has a cardioid polar pattern and we use those all the time. I personally don't like the way my voice sounds on it for singing purposes, but a ton of people love it. It's a great studio microphone just in the music recording environment. If you wanna be in the control room,   Anne Ganguzza (12:24.819) Mm-hmm. Yeah.   Anne Ganguzza (12:36.638) Mm-hmm.   Anne Ganguzza (12:50.291) Mm-hmm.   Gillian (12:52.336) singing with stuff playing back on the speakers. It's a great mic because it's dynamic and because of the pickup pattern, because it doesn't feedback the way if you use the TLM 103 with speakers, just the pickup pattern, it would feedback. Anyway, am I losing everybody? I'm sorry. I'm just nerding out. Basically, what we're talking about is TLM 103. It's actually a large...   Anne Ganguzza (12:54.778) Mm-hmm.   Anne Ganguzza (13:02.419) Right.   Gillian (13:17.154) I'm pretty sure it's a medium or large diaphragm condenser mic. And so the polar pattern is more wide and the capsule is bigger, so it's more precise and it picks up more sound. The issue that I personally have with the 416 that we can talk about is not everyone has good mic technique with it. And because the pickup pattern of that mic is so precise, I don't know...   Anne Ganguzza (13:21.138) Mm-hmm.   Anne Ganguzza (13:40.999) Mmm.   Gillian (13:46.262) I don't know exactly what the pickup pattern is of it, but it's definitely cardioid if not like super cardioid, which means the pickup pattern area is even smaller. I find people love that mic because they say, oh, I hear a lot of things that like, once I have this mic, then I'll sound great. And people get a 416, they spend a lot of money on it, and then they're outside the range of where the mic picks up. And then it's like, I can't...   Anne Ganguzza (13:52.703) Mm-hmm. It's smaller. Mm-hmm.   Gillian (14:11.282) hear you, you know? So I don't know, technique is a big part of sounding good on a mic too. It's not just about the gear, it's knowing where the mic's picking up and just positioning yourself in that area so that it gets you the best sound.   Anne Ganguzza (14:13.444) Yeah, yeah.   Anne Ganguzza (14:26.803) That makes so much sense. And I know that one of the reasons why I love the 416 for travel is because you end up in environments where it's less than ideal. And so, I mean, you're not like in my studio here, I've got all my acoustic panels, it's built, it's double walled. And so I have a really good environment in which I'm recording. But when I go travel and I'm in a hotel, I don't have this studio. And so...   Gillian (14:28.834) Mm-hmm.   Gillian (14:39.587) Mm-hmm.   Gillian (14:49.846) Mm-hmm.   Anne Ganguzza (14:56.075) I need something that is not gonna pick up the hum of the air conditioner or the fan that's in the room. And the 416 I found to make a huge difference. And yeah, you're so right about understanding like your mic and how to use it and mic technique because I have to be in a particular place in order to make my voice sound good with the 416, close to the proximity.   Gillian (15:02.058) Mm-hmm.   Gillian (15:23.379) Mm-hmm.   Anne Ganguzza (15:25.347) versus my TLM 103 where it's not as critical because, but yeah, I couldn't take my TLM 103 to a hotel easily and make it sound as good as I do here in this studio.   Gillian (15:30.725) Mm-hmm.   Gillian (15:35.038) It picks up everything.   Gillian (15:39.614) Yeah, and something interesting about polar patterns when I first learned about them, and you can look it up. There's diagrams that show you basically the shape.   of what they look like. I was always thinking, oh, like the pickup pattern, I need to be thinking about what it's picking up. But another big thing about it is thinking about the rejection. Like if it's picking up in a certain way, it's actually rejecting audio from other spaces, which makes everything you're talking about completely true. It's going to reject a lot of the stuff that you don't want in your recordings, which could be a really helpful choice when picking a mic. Like what's your environment like? If you have a noisy studio or if you have a less than ideal situation, then maybe a   Anne Ganguzza (15:57.927) Mmm.   Anne Ganguzza (16:11.743) Sure.   Gillian (16:16.88) condenser TLM 103 is going to pick up too much unwanted noise. So there's a lot of things that go into making the decision and just things to think about to help you find the best mic for your voice and your situation, I think.   Anne Ganguzza (16:21.467) Mm-hmm.   Anne Ganguzza (16:31.935) What would be your recommendations for people starting out? I mean, is there a particular mic that you think would be great, or is there a particular, I guess, methodology in terms of picking out a good mic for your voice? Like, what would you recommend? I mean, there's so many people that post on the forums, and they're like, what should I buy? Like, how do you attack that in terms of selecting a mic for your voice?   Gillian (16:51.63) Mm-hmm.   Gillian (16:57.326) Um, well, I think my situation is different than most because I work at a bunch of recording studios so I, um...   When I was picking my favorite mics for my voice, I did what is called a shootout, where you just line up a whole bunch of mics and you record yourself on all of them and then you see which one sounds the best to you. I know you have a bunch of recommendations on your site and on my site I do as well, but I guess without getting into specific, like you should get this mic, you should get that mic. There are a few places I actually, this past weekend I went into New York City, if anyone   Anne Ganguzza (17:12.295) Mm-hmm.   Anne Ganguzza (17:22.975) Mm-hmm. I do.   Gillian (17:36.016) area, B&H, photo, video, whatever, that technology store has a room and you can go in and there's a technician that sits with you and you can try out all of the microphones. So really like my advice would be to have a chance. I know at music stores too you also have that. If you go to like Sam Ash or Guitar Center, you can totally go and try a few microphones before you buy them and all the ones that we're talking about, the 416, the TLM 103,   Anne Ganguzza (17:39.076) Oh yeah.   Anne Ganguzza (17:47.843) Oh, that's wonderful.   Anne Ganguzza (17:53.986) Mm-hmm.   Gillian (18:03.414) the SM7B, those are all there, because those are very popular microphones. So if you have a chance to try them, great. If you have a friend that has one that you could try it. But also, if you can't do a shootout in person, there's a lot of resources on YouTube of people.   Anne Ganguzza (18:05.907) Mm-hmm.   Anne Ganguzza (18:12.616) Mm-hmm.   Gillian (18:18.626) testing out different microphones. Sweetwater is one of my favorite resources. They give you so much information and they do recorded mic shootouts so you can hear what they sound like on a voice or on the same voice and maybe just determine what you think sounds good for yourself. And then also be aware of your price range. Sorry, I'm just giving like a bullet point list of advice and maybe look into a company like Warm Audio that has a remake of the U87   Anne Ganguzza (18:22.431) Mm-hmm. Water is one of my favorite resources. Mm-hmm.   Anne Ganguzza (18:42.64) Mm-hmm.   Gillian (18:48.64) for most people's voices but is cheaper than a real U87 to get a similar sound without paying the full price. That'd be my advice to do a combo of all those things.   Anne Ganguzza (18:53.053) Mm-hmm.   Anne Ganguzza (18:59.116) And also I know that certain companies like Sweetwater, you can buy and they have a great return policy. So it's kind of like try before you buy or, you know, and I think it's just wise for anyone who's trying out a mic. I mean, don't, I wouldn't go on blanket advice from anyone really. I think you still have to, you have to get that mic and it has to be in your environment. I remember   Gillian (19:04.246) Mm-hmm.   Gillian (19:15.92) Mm-hmm.   Anne Ganguzza (19:23.847) Gosh, a long time ago I went into a studio and I loved the way I sounded on this particular mic and I went and I bought it immediately. And when I put it in my studio, it did not sound the same. And of course that makes a lot of sense because the studio I was in versus the studio that I had at home were completely different. I mean, number one, the studio I was in was a huge studio, had different acoustics than what I had in my room and I just didn't like it as much and I ended up returning it.   Gillian (19:47.182) Mm-hmm.   Anne Ganguzza (19:52.871) And so I feel like, yes, I have lots of recommendations of like, here, I think this would sound good. But I think you should always try first and put it in your environment and see if you like it. And then always have that option to return it.   Gillian (19:59.426) Mm-hmm.   Gillian (20:09.842) Yeah, I think that's a great point. And Sweetwater too, they have representatives that you can talk to and get on with them and be like, this is my situation. This is my pre-empt that I have. This is what I'm using my mic for. This is what my... and they can give you recommendations as well. And I don't... I've never returned with them, but I do know they have a good return policy. And also, I mean, we've said this in previous episodes, like people...   Anne Ganguzza (20:19.827) Mm-hmm.   Gillian (20:32.066) glamorize the microphone, but really, first off, no one ever asks you what microphone you're using. And as an audio engineer, I don't care what microphone you're using, as long as you sound good. If you sound good, I don't care, I'm happy. And there's so many other things within the chain that we've talked about, the computer, the preamp, all of those things that contribute to how high or low quality your final sound is.   Anne Ganguzza (20:34.879) Mm-hmm.   Anne Ganguzza (20:39.647) Hmm.   Anne Ganguzza (20:55.139) Mm-hmm. I do know that there are some studios or some clients that do request a particular mic, but I have a feeling it's if you're trying. Yeah.   Gillian (21:04.215) Really?   Anne Ganguzza (21:08.687) I think what they're trying to do is they're either matching or trying to match like a sound from the mic from before, but it's very rare. It's not, I don't think it's typical. As a matter of fact, in most of the work that I do, nobody ever said to me, you need to have this type of microphone. It's in very rare instances where they say, and maybe in promo or something like that, you need to have a 416 or... But I also feel like...   Gillian (21:13.029) Mm-hmm.   Gillian (21:18.143) Mm-hmm.   Gillian (21:26.743) Mm-hmm.   Gillian (21:34.239) Yeah.   Anne Ganguzza (21:37.743) I could be just saying that. I know I've read that, that it's very infrequent, but it does happen. But for the most part, I've never been requested to have a particular type of mic. As a matter of fact, nobody's ever asked. And so I've just only heard if my mic, or if I didn't sound good, and that had a lot of different factors to it. Wasn't just the microphone that was at play there.   Gillian (21:51.212) Mm-hmm.   Gillian (22:00.366) Mm-hmm. Yeah. I agree. Facts.   Anne Ganguzza (22:06.455) So any other good tips that you have in terms of, I guess, purchasing a mic or for a person just starting out? I mean, in terms of price point, do you think, like, I mean, if a microphone costs $79, do you, you know, is that something that you think is a good price point to start with or is it, you know, what are your thoughts?   Gillian (22:30.618) Yeah, I guess that's a good question. I never think about it like that, but I think um   Obviously if you can avoid a USB microphone, I would just because I think we might have talked about this previously or I just talk about All the time basically with a USB microphone. You're paying the price which is usually lower than most for all of the you know a to D conversion Your microphone your preamp all of that in one and then the power source is Coming fully just from like that USB a so everything within that mic is usually lower quality   Anne Ganguzza (22:43.067) Mm-hmm.   Anne Ganguzza (23:04.275) Mm-hmm.   Gillian (23:07.888) afford to have a preamp and mic even if they're not very expensive. And in my head, not very expensive is like $200. I would say like $200 microphone, $150 microphone, even some that are like $100 and then preamps same sit at like $100, $115, $200. Then that's what I consider inexpensive. And then anything in like the $250 range is like mid.   Anne Ganguzza (23:17.467) Yeah.   Anne Ganguzza (23:22.925) Mm-hmm.   Anne Ganguzza (23:28.818) Yeah.   Gillian (23:37.948) like 300, 400, 500, I would say that's like higher than all of the like super pro super expensive stuff is usually closer to a thousand dollars. So that's what in my brain what the range is.   Anne Ganguzza (23:40.871) Mm-hmm.   Anne Ganguzza (23:45.81) Yeah.   Anne Ganguzza (23:50.791) Well, I know that when I'm recommending to a student, and I have a studio gear page, and I know you do too, and it really depends on their budget, number one. I think if they aren't sure that this is a career for them or   Gillian (23:59.81) Mm-hmm.   Mm-hmm.   Anne Ganguzza (24:08.499) They may not get into it more than a few hours a week, or they're just not sure about it. I say don't invest a ton of money right away. I mean, you can get some really reasonable equipment. And I'm not talking USB. I would never recommend a USB as a mic for you to use for creating audio for your client. It's good for webinars. It's good for maybe some quick.   Gillian (24:17.966) Mm-hmm.   Gillian (24:24.366) Mm-hmm.   Gillian (24:31.979) Mm-hmm.   Gillian (24:36.174) here.   Anne Ganguzza (24:37.603) Auditions, even then I say, oh, try not to because you want to put your best foot forward. So, I mean, but there's some really inexpensive mics that I think sound great as long as you've got a good environment. And audio interfaces, like I would recommend, the AT2020 mic I think is a great mic. The Rode NT1 mic is great. It's not more than a few hundred dollars. And audio interface, we've talked about this before. I love the Steinberg.   Gillian (24:44.93) Mm-hmm.   Gillian (24:56.412) Mm-hmm.   Gillian (25:04.392) Mm-hmm.   Anne Ganguzza (25:05.351) and I think the Steinberg is a great interface and it's $169. So you're not talking about a large investment and it's something that you can probably resell easily if you decide you don't wanna get into the voiceover. Yeah, absolutely.   Gillian (25:09.667) Mm-hmm.   Gillian (25:15.718) And reuse. I mean, everybody is online now. Zoom meetings, it's just.   so much better to have some sort of microphone. And I have, there's one USB mic that I've heard that is actually like, I've been like, oh, what mic is that? Thinking it was, you know, an interface and it was just like a gaming mic, but that was like a $200 USB microphone. So even like, when I was talking about USB microphones, I'm talking about like the $50 ones, the $20 ones that you see on Amazon that it's like, oh, just get this and you'll have a microphone. That's not   Anne Ganguzza (25:23.321) Mm-hmm.   Anne Ganguzza (25:33.299) Mm-hmm.   Anne Ganguzza (25:36.883) Mm-hmm. Yeah.   Anne Ganguzza (25:45.631) Mm-hmm, mm-hmm.   Anne Ganguzza (25:49.905) Yeah.   Gillian (25:51.724) enough quality for professional voiceover, I don't think.   Anne Ganguzza (25:56.111) Agreed, agreed. And I think, you know, going along with, if somebody doesn't have a huge budget and they're just getting into the voiceover industry, I think you have to pay equal attention to your microphone as well as the space that you are recording in because you want that sound, right, that potential audition or that sound to be decent.   Gillian (26:13.486) Mm-hmm.   Gillian (26:21.291) Mm-hmm.   Anne Ganguzza (26:21.979) You know, and to really, again, first impressions are everything. And so I think it's a combination of, you know, a decent mic with a place that's not gonna be, you know, having a ton of echo or, you know, I mean, that's probably the first thing that we do as casting directors is when we get an audition is throw away somebody that has poor quality audio. And the mic is a part of it, you know, the mic is a part of it, so.   Gillian (26:27.722) Mm-hmm.   Gillian (26:45.571) I agree, 100%.   Anne Ganguzza (26:51.131) Absolutely. Well, we could probably talk all day about microphones, but I think this is a great primer on microphones for those bosses that are just starting out. I mean, absolutely. I think, you know, Gillian, I'm sure if you had any other recommendations, can people go to your Studio Gear page? I know VIA Boss has Studio Gear as well. Mm hmm. For for recommendations.   Gillian (26:58.315) Yeah.   Gillian (27:14.558) Yeah, yeah, it's gear recommendations. So you can check it out. And I will say outside of.   gear issues and mic issues. My next biggest gripe, which we can do an episode on with voiceover audio that I am like, I wish this was different, is over or incorrect processing. So that's really that starts to be almost worse. So we will leave it there. But just so you know what's in the near future for you guys, I know we're going to have much, much more to talk about.   Anne Ganguzza (27:36.424) Ah yes, agreed.   Anne Ganguzza (27:47.145) Well, thank you so much. Yes. Thank you so much, Gillian, for those words of wisdom. Absolutely. Bosses, take a moment and imagine a world full of passionate, empowered, diverse individuals giving collectively and intentionally to create the world they want to see. You can make a difference. Visit 100VoicesWhoCare.org to learn more.   Gillian (27:49.467) Oh, thank you for having me.   Anne Ganguzza (28:10.111) And I'm going to give a great big shout out to our sponsor, IPDTL. You too can network and connect like bosses. Find out more at IPDTL.com. You guys have an amazing week and we will see you next week. Thank you. Bye.

Jonas Jonsson från ElektroPub kommer till studion och det är ju omöjligt att inte prata om Depeche Mode som nyligen varit på besök i Stockholm. Vi har också ny svensk synth, en skivpåse och massor av trivia om både bandet och SM57 och 58. Lokalisera Blasphemous Rumours, det är Blå måndag!

Adam Steele and Rob from mastering.com are at the Cloud Booth discussing the affordable equipment that is available today. They are using the new Cloud lifter X, which is a transformer-based Cloud lifter, and they are impressed with the extra zing it adds to the vocals. They recall their own experiences of starting out in the industry, with Adam's first microphone being an AKG C1000 and Rob's being a Behringer BE1, which he admits was not very good. They both joke about the age-old advice of using an SM57 on everything, which still holds true to this day. Check out the new Cloudlifter CL-X: https://sweetwater.sjv.io/PyOL6M Check out Cloud Microphone Products: https://sweetwater.sjv.io/VmxrbJ Check out Cloud Microphone website: https://www.cloudmicrophones.com/ Check out Adam's channel: @adamsteelproducer Check out Rob's channel: @masteringcom Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

Adam Steele and Rob from mastering.com are at the Cloud Booth discussing the affordable equipment that is available today. They are using the new Cloud lifter X, which is a transformer-based Cloud lifter, and they are impressed with the extra zing it adds to the vocals. They recall their own experiences of starting out in the industry, with Adam's first microphone being an AKG C1000 and Rob's being a Behringer BE1, which he admits was not very good. They both joke about the age-old advice of using an SM57 on everything, which still holds true to this day. Check out the new Cloudlifter CL-X: https://sweetwater.sjv.io/PyOL6M Check out Cloud Microphone Products: https://sweetwater.sjv.io/VmxrbJ Check out Cloud Microphone website: https://www.cloudmicrophones.com/ Check out Adam's channel: @adamsteelproducer Check out Rob's channel: @masteringcom Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

Buy the SM57 (affiliate Link) Amazon: https://amzn.to/3N4EPcy   Buy the Arturia Minifuse 2 (affiliate link) Amazon: https://amzn.to/3m30oOw   Buy the Sennheiser hd280 headphones (affiliate Link) Amazon: https://amzn.to/3wQ3jzi   Full Transcript Here: https://www.thinkweird.co/17   Sign Up for the newsletter (free or paid): https://thinkweird.substack.com/   Buy Me a Coffee: https://www.buymeacoffee.com/helengrace   Check out these links, too: Website: https://www.thinkweird.co/ Instagram: https://www.instagram.com/thehelengarcia/

After a lengthy hiatus, Reesa and Chad reconvene to discuss their bedtime behaviours, being early vs late, time travel, and things they wish they were great at. Current post-episode SM57 price: 700 CAD

The SM 57 is one versatile microphone, especially in live performances. But when it comes to podcasting, it has some downsides. In this podcast we will try to tame the beast. hahahaha I've recorded this podcast systematically with the adjustments I made.... 0:06-1:10 - Unfiltered Voice Recording with BGM 1:15-1:26 - Proximity Effect 1:28-2:04 - Don't move your head, and a 45degree angle 2:05-2:15 - De-click it 2:17-2:58 - Leveling it 3:01-4:15 - Tonal tuning And that's it. Cheers!

If you have heard of or own this one...reach out to @MicsObscure on Twitter! It is a really fun mic to use! Recorded on the Tascam DR-10XSupport this podcast at — https://redcircle.com/hear-the-gear/exclusive-content

Happy holidays to you from us at Spoken Word with Electronics. Primary music in track two is goth santas Alien Sex Fiend, whose Stuff the Turkey should be sung around every chimney. We also review an Electro-Voice RE20, whose flat frequency curve at 5K makes it the far better microphone for this show than any Shure product. That mic comparison (RE20 vs SM57 vs SM7B) is discussed in the introduction. Enjoy the season. Oh, Mariah! This track: Demo of RE20 on a shockmount in an untreated room. Comparison of Shure SM7B and Shure SM57 to an Electrovoice RE20.

Happy holidays to you from us at Spoken Word with Electronics. Primary music in track two is goth santas Alien Sex Fiend, whose Stuff the Turkey should be sung around every chimney. We also review an Electro-Voice RE20, whose flat frequency curve at 5K makes it the far better microphone for this show than any Shure product. That mic comparison (RE20 vs SM57 vs SM7B) is discussed in the introduction. Enjoy the season. Oh, Mariah! This track: Demo of RE20 on a shockmount in an untreated room. Comparison of Shure SM7B and Shure SM57 to an Electrovoice RE20.

In dieser Episode stellen wir euch unsere Top EQ-Plug-ins zum Musik mischen und Sound formen vor. Dazu gehören sowohl grafische EQs, als auch parametrische, die bereits feste Frequenzbänder zur Bearbeitung vorgeben. Hier diskutieren wir auch über die Vor- & Nachteile, wenn das Auge “mitmischt”. Aber auch Simulationen bekannter Hardware-Legenden gehören zu unseren Top EQs, genauso wie intelligente Equalizer, die mit ihrer KI in bestimmten Anwendungen ein absolutes Zeitersparnis liefern. Wir treten außerdem den Vergleich der DAW-internen EQs an – Logic Pro X vs. Cubase 11 Pro! Viel Spaß beim Hören!

Shorty! R. pours hot wax on herself while her and C. discuss internet regrets, bats, work committees, and Sofia Coppola. Post-episode SM57 price: 400 CAD

Neural DSP Quad Cortex - www.neuraldsp.com/quad-cortexTwo Notes Torpedo C.A.B. M. - www.two-notes.com/en/torpedo-series/torpedo-cab-m/Fuzz Imp "The Shroot" - www.fuzzimp.com/product/shroot-drive-pedalFuzz Imp "Machina" - www.fuzzimp.com/product/fuzz-imp-machina-dual-fuzz-deviceStonegate FX "Divination" - www.stonegatefx.com/product-page/divinationStonegate FX "Dark Messenger" - www.stonegatefx.com/product-page/the-dark-messengerSETTINGS:Two Notes Torpedo C.A.B. M. - 6L6 Power Tube Section, Victory Kraken 4X12 Cab, Large Diaphragm Condenser and SM57 blended.(Neural Captures) *SHROOT KRAKEN III*  -  Fuzz Imp "The Shroot" BEARS, BEETS & BATTLESTAR GALACTICA all set to 3 o'clock  into Two Notes Torpedo C.A.B. M.*GLDN TRIAD II* - Fuzz Imp "Machina"Gate @ 1 o'clock, Gain @ Noon, Squish @ 2 o'clock, Kaos @ 4 o'clock, Volume @ Noon--INTO--Stonegate FX "Dark Messenger"Full Range Boost selected (switch to the left), Boost @ 2 o'clockNeural DSP Quad Cortex - (USER PRESET - "patch"): 9H - "GOLDEN SHROOT"1) Adaptive Gate - Legendary 87 Comp - *SHROOT KRAKEN III* - Digital Delay2) Adaptive Gate - Opto Comp - *GLDN TRIAD II* - Ambiance Reverb

Welcome to The Truth About Recording & Mixing episode 10 where we visit with Timothy Herzog and learn more about impedance, circuit design and Spectra Sonics. Timothy is the drummer in Godspeed You Black Emperor, records and produces and builds consoles.  Topics: 0:00 Introduction2:00 Comment from Jon Ulrigg on Impedance being frequency dependent.6:05 Listener question from Liam on todays musicians and the artists who frequent Crackle & Pop! Studio.18:30 Welcome Timothy Herzog - and jumping right in on clarifying the topic of Impedance & interconnects.34:50 Timothy's history and how he got into the things he does.40:00 Family history - both Timothy's father & grandfather were electrical engineers.44:30 Meeting J Mascis & Mike Watt and going on the road and eventually getting involved with Godspeed You Black Emperor56:55 Getting introduced to Spectra Sonics and then getting obsessed with Spectra Sonics01:06:50 Richard Guy and more Spectra history. William Dilley's approach to solid state designs.01:16:00 Learning from Richard Guy and building his first consoles.01:22:00 Working on other Spectras. Auditronics and Welton Jetton.1:34:30 Current projects. Matt Ross Spang's studio build and the Ardent Spectra.1:44:00 One more correction - how to measure impedance. 01:49:00 The polarity of kick drums discussion returns!!! Gah! Submit your questions for Johnny by sending us a voice memo or email to podcast@fretboardjournal.com. The Truth About Recording & Mixing is a bi-weekly podcast produced by the Fretboard Journal magazine, loosely based on our Truth About Vintage Amps Q&A podcast. www.johnnysangster.com www.cracklepopstudio.com www.fretboardjournal.com www.instagram.com/recordingpodcast/ Gear mentioned - Spectra Sonics, Spectra1964, Spectra C610, Spectra 101, Coles Ribbon Mics, Beyer Dynamic Ribbon Mics, RE20, SM57, 

Over the cries of wee kittens, R. and C. discuss seeking solitude in libraries, car salesmen, consumer math, and not making friends. It's not personal, it's business. Current post-episode SM57 price: 375 CAD

Wedding rings, bad hair, racy gitch, and post-pandemic forgiveness. R. and C. dive into the big topics. Full hearts, empty brains, can't lose. Current post-episode SM57 price: 400 CAD

Welcome to Episode 9 of The Truth About Recording & Mixing. This week we take on the topic of impedances and interconnecting all the different formats of gear one finds in the recording studio. Ed Brooks of Resonant Mastering walks us through the different categories of gear, how their impedances and levels differ and how we most successfully interconnect them. We also get a visit from electronics engineer and Spectra Sonics wiz Timothy Herzog who explains the design parameters and uses of his 3301 Hi Impedance Instrument Amplifier.  03:15 - Welcome back Ed Brooks!05:30 - Let's start with speaker connectors08:30 - Instrument Cable! Wait - what is Impedance and how circuit designers moved from impedance matching to voltage matching.15:30 Instrument & high impedance unbalanced connections.19:30 How does a balanced connection work?27:15 What about RCA or other unbalanced connections?30:00 Back to instruments and hi impedance sources.35:00 How do we get a balanced mic level source into an instrument input?39:00 Instrument cable capacitance and what happens with long cable runs.41:35 Timothy Herzog describes his instrument preamp / buffer pedal.52:30 Connecting +4 balanced sources with instrument level devices - i.e. Reamping.58:00 What about connecting balanced and unbalanced sources?01:05:20 UAD Unison Mic Pre's - impedance switching? 01:06:15 Listener question about how to measure impedance01:08:50 What about the impedance switches on some mic preamps?01:11:30 How to get mic level signal off of a speaker out.01:14:30 Using headphones or a speaker as a microphone. NS10 kick drum mic! Our sponsor for this episode is iZotope. Submit your questions for Johnny by sending us a voice memo or email to podcast@fretboardjournal.com. The Truth About Recording & Mixing is a bi-weekly podcast produced by the Fretboard Journal magazine, loosely based on our Truth About Vintage Amps Q&A podcast. www.johnnysangster.com www.cracklepopstudio.com www.fretboardjournal.com www.instagram.com/recordingpodcast/ Gear mentioned: Mic to Instrument Impedance transformer, Herzog Electronics 3301 Hi Impedance Instrument Amplifier, Epiphone Firebird, Rickenbacher guitars, Telecaster, Radial Reamper, Aphex 124, Radial J+4 2 Channel Signal Level Transformers, Cloud Lifter preamplifier, Universal Audio OX, Hughes & Kettner Red Box, NS10 Kick Mic, The transformerless SM57!

Porch session 3! R. and C. cap off a work day by examining our respective Pfizer pfeelings, and the effects of a painful loss. Plus, a gluten status report and the mocking of a neighbourhood paparazzo. Current post-episode SM57 price: We forgot to pick a price

Back out at the lake, R. and C. get the fire blazing to talk about grandma food, paranoia pep talks, hockey bags filled with chocolate, and little girls who look like big brothers. Current post-episode SM57 price: 10,000 CAD

Friendship, falling, and flatulence. R. and C. cozy up on the porch to talk about being a Charlotte, happy place memories, hard laughs, and head trauma. Current post-episode SM57 price: 917 CAD

A nickel ain't worth a dime, and worries ain't worth the time. R. an C. let themselves fantasize about how they might disperse a vulgar inpouring of cold hard cash, and what their dream job would look like. Plus, goopy vs creamy pies, dry vs. wet gangreen! Who will reign supreme? Current post-episode SM57 price: Presently off the market

Slithering snakes and stinky rats! R. and C. reflect on the creatures they've lived with and offer up some possible benefits to growing up with pets. Also, reasons for podcasting, methods of education, exceptionalism, and a cacophony of microphone handling. How could you not listen? Current post-episode SM57 price: Still not for sale

This week we review the 1991 album Goat by Jesus Lizard. Jamie talks about his reasons for disliking David Yow, and Mike mistakenly tries to counsel Jamie on his rage issues. Special guest Rudy makes an appearance at the end of the episode tying together all the conspiracy theories and topics we talk about on the show. The Name of the Rose Upcoming Episodes! EP37 - The Temptations - Cloud Nine EP38 - Kraftwerk - Man Machine EP39 - Prince - Purple Rain EP40 - Helicopters - Payin the Dues EP41 - Shearwater - Rook EP42 - Cage the Elephant - Thank You Happy Birthday EP43 - The Rolling Stones - Beggars Banquet EP44 - Queen - A Night at the Opera EP45 - Guns and Roses - AFD EP46 - Slint - Spiderland EP47 - Jaga Jazzist - A Livingroom Hush EP48 - The Struts - Everybody wants Bon Scott Steve Albini What is Weasel Coffee? The Quad Cities Friends Circle Club Sofa Glue David Sims The Jesus Lizard's “Then Comes Dudley” - Riff Rundown Rig Rundown - Duane Denison Tomahawk Hank 3 Van Halen using a SM57 on kick drum Sub Kick Pigface Don't cup the mic Scratch Acid Rapeman Big Black Shellac --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/goldenshower/message Support this podcast: https://anchor.fm/goldenshower/support

A pure celebration of geekdom and nerd squads. As I said to my daughter just before recording this: "I'm like a super geekazoid, huh?" Her answer: "Yeah you are." Aha! Someone agrees with me! This episode stays in the technical domain. There's a lot to talk about in the world of computers and the components that enable them. We will be going from a discussion of Raspberry Pi to the Apple M1 creating a mighty hunger for some Apple Pie.I received a parcel from across the pond today. It contained a Raspberry Pi Pico, the new $4 programmable microprocessor, arriving from the England. The Pi Pico intrigues me because I have already thought of some cool projects to use them for. One of the projects is a sweet Valentine's oriented couple's project: to merge my sweetie Sue's hobby (arts and crafts) with my geeky creations to create something interesting and fun. Now I just have to implement at least part of it by Valentine's day because I think this is a clever, unique, interesting way to bring our leisure hobbies together. How much more (super geek) romantic could something be? I am not joking about this either.I had already been in the middle of several Raspberry Pi projects using Pi Zero W, several Pi 3bs, and a Pi 4/4GB RAM. The image for this episode shows some of the Pi boards, my soldering workstation, and peripheral components such as a hi quality camera, sound cards and synthesizers, a breadboard and other cool nerd toys. If you look closely, there's a yellow CD case from Symantec C++, a product I worked on while working at Symantec in the early 1990s. It's there as a reminder and behind it are some Jibo robots. I "stage" my work areas to always include something inspirational whether a book, product, picture, guitar, piece of some product from my 40 years as a maker, or pictures of puppies.Many products are mentioned. None paid or asked for placement. This remains an non-monetized, unbiased, rant-oriented podcast series. But at the end I hint that one of the companies should consider sponsoring me in some way based on the plans I have to do business with them.Music is just some pre-Super Bowl snippets from a 45 minute, high gain, loud, experimental jam. It was like driving a Mustang Cobra with 600 Horsepower on the verge of losing its grip on the pavement. This is why we love tubes. The responsiveness and added harmonic content is delicious and oh so satisfying. Apologies to Ms Sue. I played super duper loud pushing all 4 tubes in the recording chain to their limits and letting the Tele bridge pickup work it's magic. Played on Liz The Firecracker (2020 Squier by Fender Affinity Tele with special upgrades) through Blackstar Studio 10 KT88 with new Genalex Gold Lion tubes for both the 12AX7 preamp and KT88 power amp. Another Gold Lion in the SM57's signal chain pointed two inches off center of the Celestion, and an Electro Harmonix 12AX7 LPS in the Rode NT5 room mics signal chain. All tubes hand selected and modern Russian-made reissues of the classic British tubes.Blah, blah, blah. My intros are longer than the episodes!

After a week off, R. and C. light some candles and get into physically processing emotions, how we've changed from who we once were, tastelessness, and gore. Plus, a new Terra Delu song. Current post-episode SM57 price: 600 CAD

R. and C.  briefly pull themselves together, assisted by cocktails, to discuss discipline, the activities we miss, the buffoons who spoil things, and saddle sores. Current post-episode SM57 price: 1000 CAD

At the end of a long work day for R. and C., they plug in the microphones and discuss Saskatoon laundromat crowds, whale sharks, stealing Tanqueray, and all kinds of stuff.  Pop a Claritin and enjoy. Current post episode SM57 price: 300 CAD

New Year, new you, nougat! Cracking into some cava, late Christmas night, R. and C reflect on Canad Inns, Viva Puffs, and self acceptance. Current post episode SM57 price: 800 CAD

Back in their West End abode, R. and C. sit down to discuss sourdough journeys, finicky cooking, and craving a lack of responsibility. Give it, like, a listen. Current post episode SM57 price: 625-630 CAD

R. and C. nestle in by the warm glow of the fireplace, in a cozy cabin on the shore of Lake Winnipeg, to share memories of their early school years. Listen with your main squeeze or your Saddle Club collection. Current post episode SM57 price: 650 CAD

Show Notes: edmprod.com/153 This week, RAC sat down to chat on the EDMProdcast. RAC is a Grammy Award winning musician and producer currently based in Portland, OR. He's fresh off releasing his third full album BOY, an 18-track journey featuring collaborators like Louis The Child and Jamie Lidell. He's also well known for his remix work, gaining a Grammy nomination for his remix of ODESZA's Say My Name, and winning a Grammy Award for his remix of Bob Moses' Tearing Me Up. We start off with RAC's background, discussing his upbringing in Portugal and his early experiences with piano and guitar. We discuss his first DAW that he found in a cereal box, and the albums worth of music he created before graduating high school. We talk about his initial idea for the RAC project, which began as a collective of remix artists. He discusses his unique vision for the project, and how he made the pivot into releasing original music. RAC explains the driving forces for each of his albums, distilling what he feels has helped him sustain his success in the music industry. On the production side, RAC dives deep into his songwriting and technical workflows. He explains his refined production process that allows him to write polished demos in under two hours, the key components of his impressive home studio, and why he boiled his SM57 microphone. He also breaks down his guitar rig and recording setup, his favorite plugins for mixing, and his detailed approach to find simplicity in his writing. Later on, RAC explains his process for remote collaboration, which has become increasingly useful during the Covid-19 pandemic. On that, he explains how he and his team have adapted during the pandemic, questioning the norms within the music industry and pushing his project further. RAC also explains his more recent projects, including a creative approach for Twitch streaming, as well as his foray into cryptocurrency. Connect with RAC: Facebook: facebook.com/remixartistcollective Twitter: https://twitter.com/rac Instagram: https://www.instagram.com/rac/ Spotify: https://open.spotify.com/artist/4AGwPDdh1y8hochNzHy5HC Soundcloud: https://soundcloud.com/rac

My guest is Harry Morton - podcast producer and founder of Lower Street. We discussed podcast audio production IN DEPTH including these topics: AKG C414 microphone Bunch of AT835b mics SM57/58's of course AKG lavalier  mic Sound Devices Mix-Pre 6 Zoom H4n An old Allen & Heath 16 channel mixer for music MacBook Pro Pair of Yamaha HS8s monitors ATR2100 mic Squadcast Marantz PMD recorder ProTools 3rd party Plugins: Fabfilter: Compressor, EQ Waves: Vocal Rider, L3 for mastering iZotope RX7: De-noise, De-reverb, De-plosive Generates MP3 mixes straight out of ProTools, Stereo 128kbps Transistor for media hosting Descript - he loves it Getting back into producing music: SH01A synthesizer, Drum machine, modular synthesis, JAMUARY!!! Thanks for being a great guest, Harry! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. We appreciate you listening. Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Spotify, Pandora, Google Podcasts, iHeartRadio, Stitcher, TuneIn, Android, RSS, Email  

Die Geschichte des Shure SM57, so wie wir es heute kennen, begann zwischen 1937 und 1939. Ben Bauer, Ingenieur von Shure, war es, der damals die Idee hatte das erste unidirektionale Mikrofon zu entwickeln – das Shure 55 Unidyne. Mittlerweile ist das SM57 55 Jahre alt und vor den E-Gitarren-Verstärkern der Weltgeschichte nicht mehr wegzudenken. In dieser Episode sprechen wir mit Ruben Jahrling und Jannic Waßmuth aus dem Sky.line Tonstudio in Gießen über den Sound des SM57 und die Alternativen zur Abnahme des E-Gitarren-Amps. Die beiden Engineers erzählen uns außerdem, wie sie beim E-Gitarren-Recording vorgehen, worauf sie achten, und geben euch Tipps und Empfehlungen rund um das Thema E-Gitarren-Aufnahmen. Viel Spaß beim Hören! Folge uns auf: Facebook: https://bit.ly/3fGHgR2 Spotify: https://spoti.fi/2F8weat Apple Podcasts: https://apple.co/31Jp5VV YouTube: https://bit.ly/2QUlL5K Shownotes: Sky.line: www.facebook.com/skylinegiessen www.soundandrecording.de www.studioszene.de Shure SM57 – Die Geschichte eines Mikrofon-Klassikers   https://www.soundandrecording.de/stories/shure-sm57-die-geschichte-eines-mikrofon-klassikers/   SM57 und E906 im Hörvergleich am Gitarrenamp  https://www.soundandrecording.de/tutorials/sm57-und-e906-im-hoervergleich-am-gitarrenamp/  E-Gitarren Recording mit Hans Martin Buff, Ingo Powitzer und Stephan Lembke  https://www.soundandrecording.de/tutorials/e-gitarren-recording-mit-hans-martin-buff-ingo-powitzer-und-stephan-lembke/  Unsere Top 5 Mikrofone zum E-Gitarre aufnehmen  https://www.soundandrecording.de/equipment/unsere-top-5-mikrofone-zum-e-gitarre-aufnehmen/  Mikrofonvergleich vor dem E-Gitarrenverstärker  https://www.soundandrecording.de/tutorials/mikrofonvergleich-vor-dem-e-gitarrenverstaerker/  Auto-Tune Unlimited https://www.antarestech.com/product/auto-tune-unlimited/ Empirical Labs Big FrEQ http://www.empiricallabs.com/big-freq/ Plugin Alliance NEOLD V76U73: https://www.plugin-alliance.com/en/products/neold_v76u73.html

Die komplette Veranstaltungsindustrie steht auf Stop. Keine Konzerte, Festivals, Messen, Clubs, Konferenzen, nicht mal die mobile Disco für die Gartenparty. Lichttechniker, Tontechniker, Rigger, Stagehands, Backliner, Caterer, Promoter, Booker und Betreiber von Veranstaltungsstätten arbeiten nicht. Dürfen sie nicht. Denn das finale Resultat ihrer Arbeit, runtergebrochen das Zusammenführen von Menschen, ist gegenwärtig nicht erlaubt und das ist mal Fakt. Und während sich so Mancher über den Sinn und Unsinn das Maul zerreißen mag, setze ich mich mit drei guten Freunden und jahrelangen Wegbegleitern innerhalb der Branche zusammen, um einfach mal darüber zu sprechen. Und sobald wir den anfänglich fokussierten Ansatz zur Analyse der Sachlage verlassen haben, mäandert das Gespräch über das bedingungslose Grundeinkommen, Empfehlungen zum Schwarzfahren, Anzuchttipps für Hobbygärtner bis hin zu den ganz großen systemumstürzlerischen Theorien. Viel Spaß! PS: 57 oder 58 bezeichnet zwei allgegenwärtige Mikrofonmodelle der Firma Shure, nämlich das SM57 und das SM58. Wir haben uns für die 58er entschieden. Aus Gründen.

Welcome to the thirteenth episode of Zero to One Podcast! I am super eager to get this message out to you today because Jeff Martin not only has a wealth of knowledge on music production, he also happens to be the drummer for one of my favorite musicians, Trevor Hall. About a year ago, I had the opportunity to see Trevor Hall live in Columbus. For those of you who don't know Trevor Hall, he is known for his rather soothing acoustic music. Still, on his last record, he decided to incorporate more acoustic percussion and just an overall bigger sound, which opened up a door for Jeff Martin. Shortly after that, Jeff would find himself touring all across America, playing some of the biggest venues in the country with Trevor. In between tours, you will discover jeff in Columbus, Ohio, working out of his home studio where he has recorded several different local and national acts. In today's interview, we discuss what Jeff is doing with his time in isolation. We talk about what manifested his love for recording music and how it all started when he was 17 with an old MacBook, mixing board, and a box of his father's SM57 microphones. We talk about some of the lessons he has learned and how moving out to LA for music made him recognize you have to be more adaptable to make this a career. We talk about how he got his big break with Trevor Hall and some of his experiences with touring and recording Trevor Hall's latest single at his home studio here in Columbus. Lastly, we discuss his most significant zero to one moment and how touring with Trevor has enabled him to be in a place where he can be more stable. Connect with Jeff Martin on Instagram: @beatdoctor.jeff Connect with Zero to One Podcast: https://www.zerotoonepodcast.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Se ainda te falta um empurrãozinho para você iniciar seu Podcast, eu vou te dar doze para que você não tenha como resistir ao planejamento de seu próprio Podcast!

Que tal descobrir a origem tecnológica dos Podcasts e também a origem semântica dessa palavrinha que tanto adoramos? Te conto como um hack deu origem a tudo isso.

On episode 180 of the BSP, I analyze YouTube making changes to the manual copyright claiming system to curb abuse, and allow creators more power in this arena. I also discuss fair use, and common myths of fair use.    Subscribe to the full audio podcast at http://www.bandrewsays.com   Gear Used This Episode (Affiliate Links): Shure Sm7b:  https://geni.us/shuresm7b Warm Audio WA73-EQ: https://geni.us/wa73eq Universal Audio Arrow: https://geni.us/uaarrow Sony MDR7506: https://geni.us/7506   Twitter: @bandrewsays Ask Questions: AskBandrew@gmail.com Merch; https://teespring.com/stores/podcastage-store Discord: https://discord.gg/dXQUc7v   00:00 - Intro   01:03 - YouTube Updates Manual Copyright Claim System 04:36 - Four Factors of Fair Use 10:18 - Four Myths of Fair Use 13:00 - What is Public Domain? Manual Claiming Monetization: https://youtube-creators.googleblog.com/2019/08/updates-to-manual-claiming-policies.html Manual Claiming Actions: https://youtube-creators.googleblog.com/2019/07/better-tools-to-resolve-manual-Content-ID-claims.html Fair Use: https://www.youtube.com/yt/about/copyright/fair-use/ FAQs: https://support.google.com/youtube/answer/2797449#c-pd 17:10 - Keychron K2 Wireless Mechanical Keyboard  18:40 - Beyerdynamic DT770 & DT990 20:18 - WYHTS: Using Two Blue Yeti’s at the Same Time Blue FAQ: https://www.bluedesigns.com/faq/ 21:32 - WYHTS: Don’t Have Money? Buy a Cheap Lav Mic. 23:08 - WYHTS: What Should the FCC Do About Equifax? Better Podcasting: https://www.betterpodcasting.com 29:35 - Ask Bandrew  30:17 - Email 1 30:44 - Should I Upgrade from the Scarlett 2i2 to the RME Baby Face Pro? 33:22 - Email 2 33:55 - Is the Podmic or SM57 with A81WS less Sibilant? 35:27 - Email 3 35:45 - When 2 of Your Top 5 Condensers Are…. 37:38 - Voice Submission 41:02 - 24-bit vs 32-bit floating Voice of Mail Podcast: https://www.voiceofmail.com Mike Russel’s Video: https://www.youtube.com/watch?v=THFyeDmmz4k Repear Blog: https://www.youtube.com/watch?v=4gEw92Za9xQ 45:11  - Outro

MEP EP#179: Mach 3 CheeseburgersThe MacroFab Engineering Podcast Useless Machine Contest Sponsored by Mouser Electronics is in full swing! We have cash prizes up for grabs. Contest Ends August 10, 2019. Check out the Macrofab Blog and Podcast Episode 175 for more contest details. Parker PinoTaur Updates Simulated Mosfet Driving Limiting the 74hc595 driver to 10mA Solenoid Mosfet Current Sensing ACS711KEXLT-15AB-T DOOM SAO Hardware Repo is assembled Software Next Detailed instructions on building the environment How the main code functions Stephen Fredman clip Parker brought up the SM57 microphone holder he 3D printed to compare to the clip that was bought online Text Based Adventure Update Majority of the story, characters, and environment are designed R.F.O. Cheeseburger Wind Tunnel Tests Could this be McDonald's wind tunnel tests so you can eat burgers faster? Millennium Falcon wind tunnel tests at Mach 3! Wire Bender Aims To Take Circuit Sculptures To The Next Level Great example of 3d printing done right! Apparatus For Facilitating The Birth of A Child by Centrifugal Force Patent If you could design something that would operate by using Centrifugal Force what would it be? Visit our Public Slack Channel and join the conversation in between episodes!

On episode 148 of the BSP we analyze: The 2018 YouTube Subscriber Purge and why it’s good for you, Why YouTube is distancing themselves from Logan Paul / PewDiePie / Shane Dawson, Gavin Mcinnes being banned from youtube for copyright infringement, and Taylor Swift using facial recognition on her fans!   Become a Podcastage member: https://www.youtube.com/channel/UCvOU-zTlankT-JjN3ZzvuKA/join Subscribe to the full audio podcast: http://www.bandrewsays.com   Twitter: @bandrewsays Ask Questions: AskBandrew@gmail.com Merch: https://teespring.com/stores/podcastage-store Discord: https://discord.gg/dXQUc7v   00:00 - Intro 00:58 - Waymo Accepting Early Riders Waymo Application: https://waymo.com/apply/ 01:39 - YouTube Monetizing Homepage Autoplay Feature 02:43 - 2018 YouTube Subscriber Purge! YT Sub Purge Blog Post: https://productforums.google.com/forum/?hl=en#!topic/youtube/AWHJfWAsqVk 07:17 - Why YouTube Didn’t Include Logan Paul, PewDiePie, or Shane Dawson in YouTube Rewind 11:40 - Gavin Mcinnes Banned from YouTube Anti-Semitism Video: https://www.youtube.com/watch?v=lJ79gyvaxWs The Verge Article: https://www.theverge.com/2018/12/10/18134863/gavin-mcinnes-proud-boys-alt-right-youtube-ban-copyright-infringement NY Post Article: https://nypost.com/2018/12/10/gavin-mcinnes-banned-from-youtube-over-public-urination-video/ FBI Proud Boys Classification: https://www.washingtonpost.com/nation/2018/12/08/fbi-says-proud-boys-are-not-an-extremist-group-after-all/?noredirect=on&utm_term=.b948fcb57d76 17:15 - Taylor Smith Wants Your Face Tay Swift Tracking: https://www.rollingstone.com/culture/culture-lists/future-entertainment-technology-music-tv-movies-760659/facial-recognition-concert-security-760696/ 20:37 - Last Episode With the NTG3 21:38 - I Say Podcast Wrong!? 23:16 - Thankful for the Fethead 24:16 - Thankful for the Procaster, CellTap 4c, Scarlett 2i2 25:37 - Thankful for the MPOW Ground Loop Isolators 26:26 - Thankful for the Apogee Element 46 27:17 - Thankful for the Neewer Boom Arm 28:01 - Ask Bandrew 28:49 - Email 1 28:57 - How Should I EQ the SM57 29:57 - Email 2 30:19 - Can I Boost my Podcast Audio As Loud as Possible for my Listeners? 32:29 - Email 3 32:38 - You Should Check Out the sE Electronics Dynamite DM-1 sE Electronics Dynamite Video: https://www.youtube.com/watch?v=tTByG3cztSU 33:02 - Email 4 33:45 - Do you still use the U Audio Arrow? 34:00 - What plugins do you use? 35:34 - Email 5 35:48 - How’s Your Day Going? 36:36 - Email 6 37:38 -  Thoughts on Lone Gunmen Spinoff 38:45 - Are you Taking Part in No Shave November 39:17 - Thoughts on Twin Peaks? 39:45 - Thoughts on Bill Burr’s F is For Family? 40:14 - Too Many New Shows on Netflix 41:30 - Favorite Show/Movie on a Streaming Service? 42:00 - Outro 

Today on episode 32 of the play guitar podcast, I'm talking microphones for your guitar! With a little bit of knowledge your rig can sound fabulous with the just the right mic. Show notes at: https://www.playguitaracademy.com/blog/how-to-choose-the-right-microphone-for-guitar-032 Copyright ©2018 Play Guitar Podcast

Russ, Julian and Alan get controversial, examining Julian's recent comment that the SM57 and the SM7B are overrated (light blue touch paper and stand well back...). They also answer your questions, share community feedback, and their finds of the week.

The inaugural episode of Project Studio Tea Break sees Mike Senior and Jon Whitten settle down with their cuppas to ponder the big issues of project-studio existence. The SM57's tuning dial, for instance. Or toast Foley. The Tell-tale Tummy. Whether it matters what side a dulcimer-player dresses. Plus, do you know what a Meccano X-Wing, the wine-tasting clap, nipple clamps, and Minecraft's mullet-mod have in common? Or that The Phantom Facepalm hails from Godalming? For in-depth coverage of these crucial issues and more, join Mike & Jon on their first pioneeringly open-source podcast adventure. (May contain traces of laser-printed fruit.) Fancy more of this nonsense? Then please support the podcast!

The inaugural episode of Project Studio Tea Break sees Mike Senior and Jon Whitten settle down with their cuppas to ponder the big issues of project-studio existence. The SM57's tuning dial, for instance. Or toast Foley. The Tell-tale Tummy. Whether it matters what side a dulcimer-player dresses. Plus, do you know what a Meccano X-Wing, the wine-tasting clap, nipple clamps, and Minecraft's mullet-mod have in common? Or that The Phantom Facepalm hails from Godalming? For in-depth coverage of these crucial issues and more, join Mike & Jon on their first pioneeringly open-source podcast adventure. (May contain traces of laser-printed fruit.) Fancy more of this nonsense? Then please support the podcast!

Guests: Hope Dunbar, Nipper Lewis Hosts: Stuart Yoshida, Doug Brown Crisp October air brings with it the Fall, as we bring back some old friends: Hope Dunbar of the Star Belle Trio and our guest at the infamous lost Podcast from the Denver Ukulele Festival; plus Nipper Lewis, one of the co-hosts of the long-running Ukecast. We talk about blending ukulele with other instruments on a song, using effects pedals, and how we might use ukuleles to keep teenagers engaged in life. Hope Dunbar: “Three Black Crows" CD: https://hopedunbar1.bandcamp.com/album/three-black-crows Facebook: https://www.facebook.com/hopedunbarmusic “Revolver” single: https://soundcloud.com/hopedunbar/revolver Ukulele Nipper: Water Gypsy’s “Caravan” EP: https://thewatergypsies.bandcamp.com/releases.. Website: http://www.ukulelenipper.com/ Ukecast Podcast: http://www.ukecast.com/ Gypsy Jazz: https://en.wikipedia.org/wiki/Gypsy_jazz Django Reinhardt: https://en.wikipedia.org/wiki/Django_Reinhardt YouTube channel: https://www.youtube.com/user/TauntonUkulele Ukulele School Orchestra instructional book: https://www.amazon.co.uk/School-Ukulele-Orchestra/dp/1844179125 Doug Brown: Denver Ukulele Community: http://den-uke.com/ Links: American teenagers suffering severe anxiety:https://www.nytimes.com/2017/10/11/magazine/why-are-more-american-teenagers-than-ever-suffering-from-severe-anxiety.html?_r=0 China-made ukuleles (reference from last show): http://www.caramelukulele.com/ Podcast with Mary Agnes Krell and the Grand Northern Ukulele Festival: https://ooktown.com/ep-54-inspecting-hedges James Hill and Janelle: https://www.jameshillannejanelle.com/ Tina and Her Pony: http://tinaandherpony.com/ Chris Kennison’s website: http://steelguitarwizard.com/ OokTown Podcast with Star Belle Trio: https://ooktown.com/2013-shows/ep-13-i-approach-from-the-left-side The Wrecking Crew: https://en.wikipedia.org/wiki/The_Wrecking_Crew_(music) Zoom G3 effects pedal: https://www.zoom-na.com/products/guitar-bass-effects/bass/zoom-b3-bass-effects-amp-simulator-pedal L.R. Baggs acoustic preamp: https://www.sweetwater.com/store/detail/ParaDI?mrkgcl=28&mrkgadid=3032569834&rkg_id=h-b37d8ad3b3925850fc245c057b9508fa_t-1508097585&utm_source=MSN&utm_medium=PPC&utm_campaign=aaShopping&utm_term=Brand%3Dlr%2520baggs&campaigntype=shopping&campaign=aaShopping&adgroup=Accessories%2520-%2520Audio%2520Tools&placement=bing&creative=9338692668&device=c&matchtype=e Boss AD-5 acoustic preamp: http://www.musiciansfriend.com/amplifiers-effects/boss-ad-5-acoustic-instrument-processor Share SM57 mic: https://www.sweetwater.com/store/detail/SM57?mrkgcl=28&mrkgadid=3032771300&rkg_id=h-b37d8ad3b3925850fc245c057b9508fa_t-1508097745&utm_source=MSN&utm_medium=PPC&utm_campaign=aaShopping%2520Catch%2520All&utm_term=All%2520Products&campaigntype=shopping&campaign=aaShopping%2520Catch%2520All&adgroup=All%2520Products&placement=bing&creative=9338692666&device=c&matchtype=e Carlos Santana collaborations: http://wror.com/2016/07/20/happy-birthday-carlos-santana-3/ Carlos Santana and Sarah McLachlan: https://www.youtube.com/watch?v=tFr03FpjVP8 iRig acoustic pickup: http://www.ikmultimedia.com/products/irigacousticstage/ OokTown Facebook page: https://www.facebook.com/groups/1818591761745561/

My guest is Roy Stegman - Audio Engineer, Podcast and Audiobook producer, and Host of The Complete Audio Producer podcast. We had a blast discussing the following items and more: SM57 with a wind screen Original PreSonus Blue Tube FastTrack Ultra TC Electronics Loudness Meter SSl E Channel Plugin Legacy LA2A plugin Nigel Amp simulator plugin UAD1 and UAD2 - signal processing units from Universal Audio Marking edit spots in Adobe Audition What is 32 bit float and where is it used? Thanks for having fun with us, Roy! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. Thanks for listening! Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in iTunes, Google Play, Stitcher, TuneIn Radio, Android, RSS

This podcast is a little different than most of the MixCoach Podcasts.  It's in depth and quite a bit longer than my regular podcasts.  Let me know what you think of the longer format. In this episode, I get the opportunity to talk to David about the parallels of mixing in the studio and mixing Front Of House. We also talk about: The McGurk Effect   Heil PR22 vs. SM57 (you be the judge)   If you have questions, go to  and leave us questions if you have them.   Also, if you'd like some cool files to mix to get the core of mixing under your belt, a GREAT place (in my humble opinion) is at   Thanks for listening    

I veckans avsnitt möter vi Christian Alsing från Fender Scandinavia igen och pratar om Eddie Van Halen och hans förstärkare och gitarrer samt tittar på den specialbeställda Custom Shop Strata som beställdes i februari 2016. Klippen i programmet är inspelade med En Custom Shop strata genom en EVH LBX 15 watt, SM57 och en 4x12a med Greenbacks. Första klippet "blå kanal" och andra klippet "röd kanal", båda med 50% gain.  Gäst: Christian AlsingSidekick: Marcus Jidell, Avatarium och SoenProgramledare: Fredrik Svensson  

Wes has worked in the entertainment industry for some 20 years as an advocate / agent for performers. Primarily in the voice-over, advertising, endorsement, gaming, animation and social media arenas. He represents a diverse group of film, television, music, sports and social media celebrities as well as working actors. These days he focuses on the shifts in what defines "engagement" and "relevance" in entertainment and media. He also works on how to measure this, create it and leverage it. He is representing a handful of clients with significant social media reach and matching them with appropriate brands to organically achieve these partners' marketing goals and increase their levels of engagement. In this weeks interview with Andrew he expands on these ideas, as well as the background to his start in the industry and his thoughts on the changing tide in terms of home studios. Plus Robbo and Andrew ask the questions "can you record an award winning spot on an SM57? And is there ever a time you should eq and Compress your home studio voice tracks before delivery?" Find out on this weeks episode.

Ryan sits down for a shootout between the Boss FRV-1, Catalinbread Topanga, Surfy Bear FET Reverb, and the SolidGoldFX Surf Rider.  Who will win in the battle for surf reverb drip?!!!Today's amp was a Fender Princeton Reverb RI mic'd with a SM57 and SM58. The guitar was a Hallmark Swept-Wing, and Ryan had eggs and potatoes for breakfast.Here's a view of the set up. http://i.imgur.com/rpc0nV8.jpghttp://i.imgur.com/VksvLth.jpg

Hey! Aaron from the future (2019) here. You can check out my updated gear guide at https://kit.com/thepodcastdude. There are a few things you’ll need to buy if you want your podcast to sound great. In this episode, I talk about why a great microphone is an essential investment for your show, and how much you’ll need to invest if you want your show to sound great and stand out from other podcasts. My goal was to create a comprehensive podcasting equipment guide for a beginner podcaster. I won't talk about every microphone, interface or pre-amp available, but I'll cover the essential pieces of gear you’ll need to get your show started. Podcasting Equipment Guide There are a lot of things you'll need to buy if you want to start a podcast. In this episode, I talk about why a great microphone is an essential investment for your show, and how much you'll need to invest if you want a great setup that will set you apart from other podcasters. My goal was to create a comprehensive podcasting equipment guide. I don't talk about every microphone, interface or pre-amp available, but I cover the essential pieces of gear you'll need to get started, and share what some of the best podcasters in the world are using to record shows. After listening, you'll know what the best options are for your budget. Key Takeaways: A great microphone is the most important piece of gear you'll buy. To stand out from other podcasts in a crowded market, you have to provide great content and high quality sound. Great sound quality makes your show easier and more enjoyable to listen to. You only get one chance to make a first impression. Make it a good one. If you have a tight budget, consider buying used gear online. When deciding which interface to buy, consider how many mic inputs you'll need. Always, always, always use a pop filter. Wear headphones to avoid causing echo from guests in your recording. If you're serious about making a great podcast and growing your audience, don't settle for the cheapest option. How to Stand Out in a Sea of Podcasts There are thousands of other podcasts vying for your listener's attention. To stand out, you have to provide great content, but you also need to have good sound. Great sound quality makes your show easier and more enjoyable to listen to. Attention to sound quality shows your listeners that you take podcasting seriously, which means they will take you seriously and be more likely to invest time listening to you. You only get one chance to make a first impression. Make it a good one. A Great Microphone Needs Less Post-Production Good mics require less post-production. Most recordings can be improved with post-production (noise removal, EQ, Compression, etc), but a great mic will require less post-production. If you're going to be podcasting, you can either hire someone to edit, mix, and master your show, or spend a little time to learn how to do it yourself. Cheaper mics just don't sound as good. They often have harsher high end, they sound brittle and don't have a good low-end (bass frequencies). A lot of people ask me, “What's the minimum I can spend to get started?” I don't want you to just meet the minimum. If you're going to do it, do it right. Get a great microphone as soon as possible. If you can't afford a decent mic, practice with what you have, but save money to get the mic you want. If You Have a Small Budget, Consider Buying Used Gear I understand that not everyone can spend $800 on a podcasting setup. When I started podcasting, I was using a Shure PG42 USB mic, but I wish I had invested in a better mic right away. If you have a small budget, I recommend checking out Guitar Center's used gear online, or checking your local music store for used gear. Make sure to save the receipts in case anything doesn't work, and make sure you buy from reputable sellers who offer returns if you're shopping on Ebay. If you have a tight budget, consider buying used gear online. Should I Buy a USB Mic, or a XLR Mic? One of the questions I often get asked about microphones is, “Should I get a USB mic, or an XLR mic?” If you're just starting out, and you want to spend the bare minimum, you can get a USB like the Audio Technica ATR-2100 ($60), or the Samson Q2U (also about $60). However, keep in mind that these are budget microphones, and will not give you great sound. Additionally, it's a pain in the butt to record multiple USB mics at the same, so if you plan on recording anyone else in the same place as you, go with XLR mics and an audio interface instead. If you want a good USB mic and are willing to spend a little more, check out the Rode NT USB mic. It's $170 but sounds noticably better than the cheaper USB mics. You'll also need to get a mic stand and a pop filter for each mic too: More on that a bit later. What about Dynamic vs Condenser? A dynamic mic will give you more mid-range warmth and has better off-mic noise rejection, so it won't pick up as much of the room sound or background noise. A condenser mic will give you more detailed recordings, but are often more sensitive than dynamic mics, so they may pick up more room echo and background noise. Dynamic microphones are usually a better choice for podcasting (there are a few exceptions, such as the Shure Beta 87A which is a condenser mic). If you're interested in learning more about dynamic vs condenser mics, check out 10 Statements on Condenser Microphones vs. Dynamic Microphones. The pickup pattern of the mic also affects how much background noise it'll record. Click here to learn more about microphone pickup patterns. XLR Microphones I love and recommend XLR microphones for podcasting. The microphone I use is the Shure Beta 87A. It's $250 new but you can find them used for less, and they sound great and pick up much less background noise then the other mics I've tested in that price range. If you're looking for an affordable XLR mic, you can't go wrong with a Shure SM57 or SM58. They sell new for $100, but you can find them used online for half that price. Pair a SM57 or SM58 with a simple USB interface (like the Focusrite Scarlett 2i2), and you've got a great sounding, affordable recording setup. Recording On the Go If you need to record with multiple microphones on the go, the Zoom H4N ($199) is a great option. This is a small, handheld device that has 2 microphone inputs plus a built-in condenser mic on top. If you need more than two mic inputs, get the Zoom H6 ($399) instead. The H6 has 4 mic inputs in addition to a built-in condenser mic on top. Lavaliere Mics I don't have much experience with using lav mics, but they're commonly used on stages, and they can work pretty well if you're out and about recording interviews. If you're looking for a lav mic you can use with your smartphone, check out the Rode Smartlav ($80), which is an affordable option for recording to an phone. I took a listen to the audio, and it wasn't as high quality as more expensive lav mics, but it's more affordable and convenient for mobile recordings. USB Audio Interfaces If you decide to get a XLR microphone, you will need an interface to convert the analog signal from the mic into a digital signal that your computer can record. Most interfaces connect to your computer via USB, and the smaller ones use USB for power as well. When deciding which interface to buy, consider how many mic inputs you'll need. Things to consider: How many mics will you be using at the same time? If you're just going to be recording yourself, an interface with one or two mic inputs will work fine. If you're going to be recording multiple people in the same room, you'll need an interface with four or maybe eight mic inputs. How many headphone monitoring channels will you need? Most interfaces offer one or two headphone monitoring ports (so you can listen to yourself while recording, or run your computers audio out through your interface). If you need more than one or two headphone jacks, you may want to invest in a headphone amp that you can plug additional headphone lines into. The audio interface that I'm using to record this episode is the Scarlett 2i2 ($149). It's USB powered, has two microphone inputs, and a single headphone jack. Quick note: most interfaces will give you phantom power (or 48v), which is used to power XLR condenser microphones. If you're using a dynamic microphone, you won't need to use phantom power (in fact, make sure it's turned off before you record). If you need more mic inputs (or headphone jacks), you'll want to go with the Scarlett 18i8 ($299). This has 4 mic inputs and 2 headphone jacks. If you need an interface with 8 mic inputs, get the Scarlett 18i20 ($350). Even though this interface has a higher price than the others I've listed so far, I wanted to mention the Apollo Twin Solo ($599). It's not cheap, and this model only has two mic inputs, but if you want to invest a little more money and get a fantastic interface, check it out. Cables, Stands, Pop Filters, and Other Accessories If you go with an XLR microphone, you'll need an XLR cable to connect your microphone to your interface. I use the Monoprice 15ft XLR Cable ($10). It's affordable and works great. You'll also need a mic stand. I use a normal microphone boom stand like the Samson Mic Stand ($20), which works fine for most mics. I would recommend the standard boom stand for most people, but if you want to invest a little more money and get something nice, you could go with the Heil Sound PL-2T Overhead Broadcast Boom ($120. This is a swiveling boom arm that attaches to your desk, and is very convenient for moving the mic around to any position you want. I recommend avoiding any stand that sits directly on your desk. They may cause your mic to pick up any vibrations (caused by typing or bumping the desk), which will cause thumps in your recordings. A shock mount for your mic might alleviate that, but I recommend using a standard boom stand or a boom arm instead. Always use a pop filter. A pop filter diffuses and prevents plosives and sibilants, and lets you get closer to the mic which will make your voice sound more rich and warm and gives a sense of intimacy to your recordings. The Nady Pop Filter is $10 on Amazon and is a no-brainer (pretty much any pop filter will get the job done). Power Conditioner A power conditioner cleans and filters noise and hums that might come through your computer or interface's power supply. You might not need one of these, but if you hear a hum or buzz in your recording that you can't eliminate, try a power conditioner to see if it helps. I plug my computer and pre-processor into a Furman Power Conditioner ($55). Audio Pre-Processors You may have heard about the DBX 286 ($200) before. The DBX 286 is pre-amp, compressor, de-esser, and noise gate. It's a pre-processor used by many professional podcasters to improve the sound quality of raw recordings. If you are brand new to audio, you'll need to invest some time in learning how to use the various controls of this unit, but if you want to get even better sound out of your XLR microphone, it's a solid investment. If you decide to buy a DBX 286 or any other pre-processor or pre-amp, you'll need to buy an additional XLR cable to connect it to your interface. Headphones Headphones are essential for both recording and editing. If you are talking to someone over Skype and you aren't wearing headphones, the sound will come out of your speakers and get recorded in your track which will cause a really annoying echo (and ruin your recording). Wear headphones to avoid getting echo from computer speakers in your recording. The headphones I use and love are the Sony MDR-7506 ($85). If you want to spend a little less, there are a lot of other options, including the Sennheiser HD-280 ($69) and the Panasonic RPHJE120K Earbuds ($12) (fine for listening and even mixing). Recording Software After you buy your recording gear, you'll need to use some kind of software to record audio. If you have a Mac, Quicktime is an easy way to record an audio track. It should already be installed, so you can open it up, select your mic or interface and be good to go. You might also have Garageband included in your Mac, and that works fine for recording audio as well. Audacity is a free program that works on both Mac and Windows. Here's a short tutorial on how to record an audio track in Quicktime or Audacity. If you'd like to spend a little bit of money on a real DAW (digital audio workstation), Reaper is a good affordable option (both Mac and Windows, $60). I use and love Logic Pro X, and there's also Pro Tools or Adobe Audition These programs are more for the audio professional, someone who is going to be doing a lot of editing, mixing and mastering. If you plan on learning and doing the post production yourself, you should invest in one of these programs. Recording Skype Conversations If you're going to be interviewing someone or talking to a co-host over Skype, there are a few options for recording Skype calls including Ecamm Call Recorder (for Mac), and MP3 Skype Recorder (for Windows). I recommend that each person on the call record a track on their computer and then send those to the person responsible for editing (this is called a "double-ender"). You should also record the audio from the Skype conversation to have as a backup. You might also check out Squadcast.fm, it's a web app that makes it easy to record multiple people at the same time. It costs $20/month but does come with a free 14 day trial. My Recommended Setups If you're looking for the most affordable option, I recommend the Samson Q2U with a pop filter and mic stand. This will cost about $100. The setup that I'm currently using is the Shure Beta 87a and an Scarlett 18i8 interface, with a few Shure SM58 mics to have as backups. I invested around $500 for this setup (buying everything used), but it sounds great and I can record up to 4 people at the same time if I need to. If you're serious about making a great podcast and growing your audience, don't settle for the cheapest option. Consider waiting to start recording your podcast until you've saved up enough money to be able to buy the gear you want, so you can make a show that sounds good from the start. You'll thank yourself later, and your listeners will too. Cool Stuff to Check Out: Recommended Gear: https://kit.com/thepodcastdude Podcast: https://thepodcastdude.simplecast.com Twitter: https://twitter.com/thepodcastdude Youtube: https://www.youtube.com/c/thepodcastdude Successful Podcasting: http://successfulpodcasting.com Simplecast Blog: http://blog.simplecast.com/

Original post: http://wp.me/p1sfi8-1iW Support Sound Design Live on Patreon for as little as $1: https://www.patreon.com/sounddesignlive In this episode of Sound Design Live I talk with Kenneth 'Pooch' Van Druten, the FOH sound engineer for Linkin Park, Alice and Chains, Kid Rock, and System of a Down. We discuss: 1. How Van Druten got his first job in audio. 2. The number one skill that gets him in the door for every job. 3. The value of microphone placement. 4. Why speaker coverage is important beyond anything else. 5. How to set gates using side-chains and virtual sound check. 6. Results and trends from Van Druten's annual hearing health check. 7. Mixing monitors for Pantera. 8. Van Druten's SPL strategy for Linkin Park. 9. How Van Druten managed to record and mix every Linkin Park show for two years solid. 10. Whether mixing live show recordings is a viable second income stream? 11. Good plugins for vocals. Quotes: "One of the things that you have to do to break into this industry is be willing to do anything." "Often someone will ask me, 'How'd you do that?' And I'll say, 'I have no idea.'" "I worked with an engineer that made me spend an entire day moving an SM57 microphone centimeters around a guitar amp." "The only kind of relationship I can have with an artist is an honest one." "Being a great system engineer is a different skill set than the one I have." "Coverage is important beyond anything else." "The entire drum kit is an instrument. Not just the tom or the snare." "There are situations when you just can't win." "I listen to 200 shows a year. It's important to me not to listen to those at 106dB A-weighted." "You mix at 100dB? That doesn't mean anything." "I don't know if you've measured crowds recently. At a Linkin Park show, if there are 11 songs, there are 11 times where it goes to 107 dB A-weighted no problem." "I feel responsible not only for my own hearing, but for the hearing of people that come to my shows." Takeaways: Don't wait till after college to get an internship. Van Druten started as a studio intern at a local recording studio when he entered school and by the time he graduated he was the head engineer. Learn social intelligence and empathy (i.e., how to talk to crazy people) because you have to be able to get along with them before you can get the job. Mic placement is important. Time spent learning it now will benefit you for the rest of your career.

Published on May 19, 2014 Guests: Paul Strikwerda, VO and author of “Making Money in your PJ's” George on audio processing Dan on the best mic for VO 0:02:30  Next week: no show.  George tells about his head wound.   0:03:14  Dan shares the mustache gifts he gets and a non-mustache gift he got. 0:05:07  Thanking the sponsors!  Harlan Hogan, John Florian at Voiceover Xtra, and Edge Studio. 0:05:43  Dan's Tip of the Week—what microphone is “best” for VO?  Which ones aren't good?   Among those: SM57—good for guitar amps and snare drumheads, not live VO.  You don't sound real talking half an inch from someone's eardrum. 0:07:32  The RE20 is great for radio, but not the best for VO.  We take a side trip into Dan's radio history.   0:09:08  Tip of the Week: In your personal studio, the less optimum a mic you need to use.  Without a professional booth, don't spend a lot of money on a mic.  A mic between $200 and $350 will work if you use it right, it will capture YOU. 0:10:05  Dan shows his mice -TLM 103.  It's extremely sensitive and not so good for noisy days.  And it's $1000 -E100S.  Great mic.  Not expensive. -Harlan Hogan's VO1A.  Good price and good sound. -Sennheisser 416 shotgun mic.   Anyone of along with the Perception Series, will fill the bill. 0:12:28  While any mic can fill the bill, you have to know how to use it and interpret copy.  Our job is present our voices to potential clients in the way they want to hear them.   0:13:26  George joins the discussion.  It's the mic you already have (unless you have a bad sounding or broken mic).  Nobody will know what mic you use.  Nobody needs to see where or how the sausage is made.  Keep your audio chain simple.  Don't overthink it. 0:15:15 End of rant. 0:16:04  Break 0:17:42  They're back.  Dan has Studio Suit in the basement.  Buy it so Dan can clear the extra bed he needs in June when it mom visits.   0:19:07  George's “Whittam's World Episode 18” on audio processing.  George describes applying processing filters. 0:28:19  George is back.   0:28:59  Break 0:30:20  They're back with Paul Strikwerda.  Paul tells about his journey in writing books on voice-over.  Paul's website: http://www.nethervoice.com/ Paul appeared on EWABS in Episode 30 (Dec. 4, 2011; https://www.youtube.com/watch?v=Lty2kDbnpFA) and Episode 58 (July 29, 2012; https://www.youtube.com/watch?v=3gUjQrchEj8) 0:36:30 Paul wanted something with staying power.  He wondered if he should write about being a freelancer or being a VO actor.   0:39:00  He wanted a book about how to be a professional not just for VO actors only, but for all freelancers.   0:39:40  Dan comments that people don't know what it means to be an entrepreneur anymore.  Paul replies that people know a lot about their art, but not about being in business and marketing yourself. 0:41:40  Dan asks Paul what makes his book different.  Paul has developed his writing style from 4 years of blog work.  He's found it isn't effective to tell people what to do.  But, if they hear stories about other people, that's more digestible.    0:43:34  Dan asks Paul for a sample reading.  Paul also shows his colored computer glasses.   0:44:50  Paul reads a story from the book about the “Most Obnoxious Man in Voice-Over.”   0:47:10  Paul ends the great story and discussion ensues.   0:48:56  Dan asks where can you can get the book.  It's available for download devices, Amazon, and from http://makingmoneyinyourpjs.com/   0:49:28  Paul has a contest.  Buy the book in the next 3 weeks, take a photo of themselves with the book, and send it to Paul to win some prizes, including getting interviewed for Paul's blog. 0:50:00  George asks when the audiobook version will be available.  Paul thinks in about a month. 0:51:15  VO is hot right now, and this book gives insights into that.  Some people are reading the book together including people in other fields. 0:54:24  George asks Paul how he learned an American English accent. 0:56:16  Harlan Hogan commercial. 0:58:20  Back with Paul.  How do you say his name? 0:59:14  Dan asks Paul about his blog 7-8 months ago about pay-to-play sites.  Paul has tried them all and now has said good bye to them all, including Bodalgo.  He thinks they have cheapened the industry.  We've traded convenience for low pay and low quality.  He can't price for profit at the pay-to-plays.  They're for the hobbyist.  You have to do a lot more for a lot less.  There are good things about them too.   1:03:50  Paul wrote a blog post, “Leaving voices.Com.”  He plays bad auditions he heard on just one day.  George talks about how so many people don't get additional coaching.   1:05:40  Paul comments that there's so much information online.  Ignorance is no excuse.   1:06:41  Dan thinks the whole business is going through a major shift in the next year or two.  Paul talks about crowdsourcing and how he used it to design his book cover.  Paul said if pay was better and quality control was better. 1:08:41  Dan asks about Paul's new studio.  Paul describes it.  He wrote a book, “Building a Booth on a Budget,” available only on his site.  Paul won his mic at http://recordinghacks.com/   He goes on to talk about his gear. 1:11:57  George shows an example of Paul's new interface, the Audient ID 22.  http://audient.com/products/id22  Paul talks about his use of the interface, and his previous preamps. 1:14:50  Questions from the audience: Where are your main customers in the U.S., Europe or both? A: Sixty percent are in Europe, 30-40 pct in the US.  He also has clients in Egypt and Oman. He gets up early! 1:16:04  Q: What do you think of crowd sourcing at VoiceBank.com.  A: Paul wishes it were different.  He'd rather get work through an agent, like Eric Shepard, to get his top five.  Sorting through the 100 auditions crowdsourced is a waste of time, Paul says. 1:18:43  Break 1:19:28  They're back.   1:19:48  Announcements: Dan asks George what's up with Joe Cipriano is doing with BSW.  Joe is working on a way to get more 416s in people's hands.  You get a Sennheisser 416 and Joe's book, “Living on Air,” for $799.   See more at: http://alturl.com/urpgc   Buy from BSW and use promo code: Livingonair. 1:22:14   Thanks to the donors.  To donate go to http://www.ewabs.net/ and click on the DONATE button, in the upper left of the screen. 1:23:10  George is on a “Twitter-chat” on Wednesday at 5 p.m. Pacific, 8 p.m. Eastern.  Tweet with the hashtag, #ACX, to ask a question or @VOSTUDIOTECH.COM.   1:24:20  There's a YouTube Channel for EWABS.  https://www.youtube.com/user/ewabsshow  where you can see all 144 episodes! 1:25:00 EWABS Essentials—a pile of short tidbits from EWABS.   1:25:50  No show next week for Memorial Day.  The chat room will still be there. 1:26:28  On June 9, Debra Deyan and Colleen Marlow from the Deyan Institute  http://www.deyaninstitute.com/home.html .  They offer classes for audiobook narration. There are marketing and demo demolition roundtables in the works, too. 1:27:37  Thanks to sponsors.  LIKE us on Facebook!  Follow us on Twitter at EWABS_SHOW.   Like the YouTube videos.  Thanks to the wives and support staff.   1:30:42  End of show.

All Ronan’s Recording Show episodes are migrating to their new home at Recording Boot Camp. Watch the new Episode Here To watch on your iphone or ipad, download the m4v version

Published on Jul 29, 2013 Scott Rummell, Anne Ganguzza and the VOPeeps join us for Episode 103. Dan assembles a Studio Suit booth onsite! Peeps test out the SM57, Sennheiser 416, and AT2020 mics in the booth. We join the live audience as Anne explains a little about VO Peeps to us. Anne introduces us to some of the raffle items to be given away this episode. Dan introduces us to This Weeks Guest: Orange County VO Scott Rummle. http://www.scottrummell.com/ http://www.imdb.com/name/nm1083086/#A... Scott's beginnings in voice over, and his early affiliation with Daws Butler. Scott's close friendship with Don LaFontaine. Giving back. Scott shares some stories. Scott's home studio. If scott could give beginners one piece of advice, what would it be? What networking advice does Scott have for the new voice actor? Visit George at VOStudioTech.com Or follow George's Twitter: @EWABS_Show VO Peeps Scholarship Fund: http://vopeeps.com/donate/ Visit Dan at HomeVoiceOverStudio.com/ Or follow Dan's Twitter: @HomStudioMan Announcements: Aug. 5th at 9pm Eastern, the show goes to one hour on Monday nights. Aug.24-The 3rd annual Don LaFontaine Poker Classic George will be attending this, and John Taylor has sponsored a table.  http://www.sagfoundation.org/content/... Sept. 18-20 Voice Over Virtual: An online virtual conference. http://www.voiceoverxtra.com/article.... Be sure to take the EWABS survey found on the front page of: EWABS.com. EWABS E-support membership: Unlimited one on one help with Dan and George. $39.95/mo. Click the support Link at the top of ewabs.com  Donations are always welcome.ewabs.com  For Studio Suit Orders and Info.: http://www.vostudiosuit.com/  Like our Facebook page. https://www.facebook.com/ewabshop. Subscribe on YouTube https://www.youtube.com/user/ewabs ewabs_show on Twitter Visit World Voices at  the new web address Worldvo.com. Don't forget to get your gear !    shop.ewabs.com  Thanks to Harlan Hogan and Voice Over Essentials. voiceoveressentials.com/ Harlan is the exclusive supplier of portable studio booths for TED. Dan's mom makes a brief guest appearance. Dan and George assemble a homemade, portable sound dampening booth featuring Studio Suit. Dan fields questions about Studio Suit, and the assembly. Thanks to Harlan Hogan and Voice Over Essentials. voiceoveressentials.com/ Harlan is the exclusive supplier of portable studio booths for TED. Giant 3-day Online Conference, all you need is an Internet connection. http://www.voiceoverxtra.com/article.... John Florian, and Voice Over Xtra.  The daily resource for voice over success. http://www.voiceoverxtra.com/index.htm  Audience members volunteer to read scripts as Dan demonstrates three different microphones inside the Studio Suit booth. Anne, and Dan draw names for the raffle. Prizes included: Full Registration to That's Voiceover!   (2 Tickets) 6 months subscription includes EWABS Pro content and eSupport 1 hour home VO studio consultation with Dan 1 hour VO Studio Consult EWABS SWAG!  Next week's guest is: Marc Graue Aug.12: Juan Carlos aka Some Audio Guy Aug.26: Google Hangout WOULD YOU like to be one of our monthly sponsors???   Contact us at ewabshop.com to discuss! Join the EWABS Correspondent Contest. Make a VO or home studio related video, and send it to ewabshop@gmail.com  The best way to keep track of the shows activities is to visit the EWABS Facebook page.  https://www.facebook.com/eastwest.aud... EWABS Twitter: EWABS_Show Thanks again to our sponsors. Harlan Hogan's Voice over Essentials. voiceoveressentials.com Voice Over Xtra  http://www.voiceoverxtra.com/index.htm  Thanks to Larry Hudson, Silvia McClure, Larry and Elizabeth Davis, and Rosemary Benson for the show's bumpers, promotions and drops. Special thanks to the shows producer, Katherine Curriden, Dave Courvosier for providing the shows weekly intro, Lee Pinney for posting the podcast, and, to Jason Lawson for providing our weekly show notes. Send us questions, and be on our show where Dan and George will solve your home studio problems live!  Call 818-47EWABS, that's 818 473-9227, and leave us your question in the voice mail box.   Go to ewabs.com for details.  Contributions are also welcome at shop.ewabs.com

Roderick on the Line - Ep. 12: “Cold-Calling the Jewess” on HuffdufferThe Problems: Merlin’s sniffly allergies (sorry); directions for the connoisseur of keyboard-oriented music; your hosts’s chronic and irreconcilable Sloan disconnect; that time when Tiny Tim wheeled over to The Magazine Shoppe with John’s Radiohead; the dynamics of recording in a rented castle; almost getting ASCAP’d for a Little Grass Shack; favoring amongst the four R.E.M.s; how Carl Newman’s maybe a little like a cat; overdue credit for Hetfield’s pointing; getting Telecasters into the trunk; almost getting to Merlin’s rules; skipping hard over “Electioneering”; relocating John’s candles to the piano; some follow-up on “The Jeez”; tucking a beard in a belt; goin’ deep catalog on Jerry Lewis; sniffing at the indestructible SM57; high-profile christening of Hotel Motherfucker; going to see the doctor of divinity; suspending the D; Tom Wolfe scoffs that it lacks a “persuasive theory”; and how one mysterious visitor very nearly filled Merlin’s wife with spiders.Roderick on the Line Ep. 12 Show Notes(Curated each week by Merlin)

TTfA 16: Podcasting Tipps Diesmal richtet sich bei Tontechnik für Anfänger alles um die “Anfänge des Podcastings”. Sehr ominös, oder? Dabei aber eigentlich ganz einfach. Ich gebe euch ein paar Tipps und Tricks zum Kauf eines Mikrofons, damit ihr auch bald einen eigenen Podcast starten könnt. Was gibt es für Unterschiede bei den Mikrofonen? Was ist eine Richtcharakteristik beziehungsweise ein Polar Pattern? Was gibt es grundsätzlich bei der Aufnahme zu beachten? Welche Mikrofone gibt es? (Microphone Data und Microphone Database) Die vorgestellten Mikrofone sind das Shure SM57 und das AKG C414.

This podcast is all about recording Electric guitar with a trusty SM57.