Frequency response shaped specifically for kick drums and bass instruments Built-in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drum Studio-quality performance, even at extremely high sound-pressure levels Supercardioid pattern for high gain-before-feedback and superior rejection of unwanted noise Hardened steel mesh grille resists wear and abuse Advanced pneumatic shockmount system minimizes transmission of mechanical noise and vibration
The Shure Beta 52A Kick Drum Mic is a high-output, dynamic microphone with a frequency response tailored specifically for kick drums and other bass instruments. It provides superb attack and punch, and delivers studio-quality sound even at extremely high SPLs. Its modified supercardioid pattern ensures high gain-before-feedback and excellent rejection of unwanted sound. Channel Strips of the Stars: Ronan Chris Murphy World-class producer/engineer/mixer Ronan Chris Murphy's credits include King C
Imp: Normal 1000 ohm +/- 30% and tele 2200 ohm +/- 30%
Crisp & intelligible pickup far away or up close. In its “Tele” range setting, this cardioid condenser is engineered to pick up dialogue and sound effects at a distance, while bypassing ambient noise such as traffic, air-handling systems, room reverberation and mechanically coupled vibrations. Designed especially for use with video cameras.Designed especially for use with video cameras, this condenser shotgun mic features a switchable polar pattern for effectively capturing nearby or distant
This is one of those areas of life that is all about your brain. You know the phrase “fake it to make it” – well, I’m not actually recommending that you fake anything, but what I am saying may surprise you (if you’re still an inexperienced performer).
As an inexperienced DJ, I used to hang out and study the professionals in my area. One DJ in particular – actually, and sadly unusually, a young woman – took pity on me and began to befriend me, mentoring me a little. She would chat to me in-between tracks, checking out whether I was able to explain back to her why she had made particular sequencing choices; asking me what tune I would be planning to play three records ahead; or getting me to tell her which segments of the audience that were not dancing at that moment she should aim some tunes at within the next 20 minutes or so.
(You do think in these ways yourself, don’t you, when running your set? A pro-DJ should be highly audience-aware, and be planning ahead to ensure that as many segments of the audience as possible get to hear tunes that suit them. That’s good business. It also takes a lot of gigs to get your antennae working effectively!)
Anyway, what happened is this: one night, in a moderately busy club at about 1 p.m., my mentor popped to the toilet. Except she didn’t pop; she disappeared altogether. I was standing there waiting for her to return as the track – “You’re putting a Rush on Me” (what a joke!) – neared its end.
Suddenly, I knew exactly what she had done. I knew this was a test; I knew she was watching from somewhere in the club. I also knew that the club’s staff, and the regular customers, had got used to seeing me nearby or alongside the DJ, and that they would assume I was taking over while Susie took a break.
So I did. The next record was ready, and I faded it in; and for the next 30 minutes I was in heaven. I picked a selection of tunes to play, with a plan for moving from some slightly mellow tunes to a more frenetic phase – oh, and I did my best to look as though this was just routine to me. Do you know what? When Susie came back after half an hour later, just as many people were dancing as had been when she pulled her stunt!
What did this teach me (apart from enduring adoration for Susie)?
Authority, composure, being in control, professionalism, even coolness – they’re in the eyes of the beholder. The audience and staff that night treated me like Susie’s deputy, and so I was. I even treated myself like it!
It’s almost as though there is a cartoon DJ that the audience sees as well as – and pretty much separate from – the real you. The audience sees the cartoon you, not the real you. Keep this idea with you, and utilize it: the cartoon you – the stage DJ – can have a different persona to your private self.
Even if (like me) you’re actually a bit shy, the cartoon you needn’t evidence any shyness.
If you act confident then your confidence is basically a matter of fact. After all, how does your audience know you’re nervous unless you transmit that to them?
That lesson was scary at first, but actually I think Susie was very clever – if she’d built up to it so I knew it was coming, I’d probably have crumbled into a bag of nerves. She helped cure me of my fears about performing.
By the way,if any of you are involved in training, or even in the same situation that I used to be in and you have identified a mentor – the type of interaction I described earlier is, I now have learned, one of the most powerful and enduring training methods known in the business world. Very few people are privileged to get such high-quality, detailed, practical, skills-based mentoring from a successful practitioner. If you can organize it for yourself from a pro DJ you admire, rip his or her hands off!
A brief look at my Audio Equipment that I use on the road & some of my back-up equipment should things go pear shaped! The lighting will be covered in a seperate video. The music is The Ting Tings – That’s Not My Name (Instrumental Version) Thanks For Watching – Simon P www.floorfillerzmobiledisco.co.uk Video Rating: 4 / 5
Attaining perfection in work is not difficult when you have all the necessary equipments in place. An audio studio comprises of many equipments that work together to get that perfect sound for you. Starting from simple microphones to the complex audio mixers, one needs them all.
Starting with the microphones, one can choose from a variety of types:
USB Microphones
Condenser Microphones
Headwork Microphones
Microphone Stands
Instrument Microphones
Dynamic Microphones
Microphone Accessories
Lavalier Microphones
Podium Microphones
Microphone Booms
Wireless Microphone Accessories
Shotgun Microphones
Special Application Microphones
Ribbon Microphones
Stereo Microphones
Windscreens
Audio mixers are also one of the most important items to have in your studio. They can be differentiated as compact and remote mixers, DJ mixers, PA mixers, Production mixers and Telephone mixers. They help in mixing sounds from various signals and sources. Some of the mixers are high-end and require a good expertise to work with.
The main task performed in the studio is that of recording and for that purpose, one requires recorders and accessories that can store the sounds. The recorders can be of various types:
Mini Disc Recorders & Players
Compact disc accessories
DVD Recorders & Players
Compact disc Players & Recorders
Cassette Players
Handheld Flash Recorders
Flash Recorders & Players
Logging Recorders & Software
The sound is recorded in the recorders with the help of microphones and speakers. Thus speakers also form an important part of any studio. They may be attached to your computer or to the microphones and there is a variety to choose from. There are active monitor, confirmation, passive, powered, and PA speakers which help in better audio outputs.
Sound comes in the form of signals and to channelise and increase the amplitude of the signals. The amplifiers need to be there to ensure better working of other equipments and to record effectively. Other equipments that are required include channel strips, equalizers, converters and software. To make sure your equipments are in place and in a good working condition, it is important to take care that they are protected from dust and dirt. For their maintenance one can use products like disk cleaners, cover-ups, mouth-piece disinfectant sprays and polishing cloths.
