Instrument Mic Xlr
October 9th, 2007
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Shure SM57 SM57LC DynaMic Instrument Mic XLR+CABGRABBER |  |
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US $119.00 | 28d 12h 51m |
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Instrument Mic Xlr
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No items matching your keywords were found.
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Shure SM57 SM57LC DynaMic Instrument Mic XLR+CABGRABBER | |
|
US $119.00 | 28d 12h 51m |
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No items matching your keywords were found.
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No items matching your keywords were found.
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INSTRUMENT MIC PAIR $144.99 INSTRUMENT MIC PAIR |
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Shure Beta 181/Bi Instrument Mic $499 The Shure Beta 181/BI Instrument Mic is a Shure Beta RPM181/Pre preamp fitted with a Shure RPM181/BI bidirectional capsule. The RPM181/BI capsule is ideal for mono drum overheads, and dual instrument sound source applications.The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between capsule and preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/BI). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Additional capsules sold separately). Comes with mic clip, zippered carrying case, and windscreen.This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.Premier live performance microphone with Shure quality, ruggedness, and reliabilitySmall diaphragm design provides superior audio with textbook polar responsesThe RPM181/BI capsule is ideal for mono drum overheads, and dual instrument sound source applicationsSide-address form allows for discreet positioning in tight performance and recording settingsFrequency response tailored for wide dynamic range for use in high SPL environmentsCompact preamp attaches to four interchangeable capsules for custom flexibility (capsules sold separately)Innnovative locking ring provides a secure connection between capsule and preampHardened steel mesh grille resists denting, wear, and abuseCompact design, under 12 cm (5 in.), reduces stage clutterFurnished with stand adapter and carrying case |
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Shure Beta 181/C Instrument Mic $499 The Shure Beta 181/C Instrument Mic is a Shure Beta RPM181/Pre preamp fitted with a Shure RPM181/C cardioid capsule. The RPM181/C is ideal for drum overhead, piano, acoustic instrument applications, and M/S stereo recording (paired with a Shure Beta 181/BI).The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between capsule and preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/C). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Additional capsules sold separately). Comes with mic clip, zippered carrying case, and windscreen.This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.Premier live performance microphone with Shure quality, ruggedness, and reliabilitySmall diaphragm design provides superior audio with textbook polar responsesThe RPM181/C is ideal for drum overhead, piano, acoustic instrument applications, M/S stereo recording (paired with the Beta 181/BI)Side-address form allows for discreet positioning in tight performance and recording settingsFrequency response tailored for wide dynamic range for use in high SPL environmentsCompact preamp attaches to four interchangeable capsules for custom flexibility (capsules sold separately)Innnovative locking ring provides a secure connection between capsule and preampHardened steel mesh grille resists denting, wear, and abuseCompact design, under 12 cm (5 in.), reduces stage clutterFurnished with stand adapter and carrying case |
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Shure Beta 181/O Instrument Mic $499 The Shure Beta 181/O Instrument Mic is a Shure Beta RPM181/Pre preamp fitted with a Shure RPM181/O omnidirectional capsule. The RPM181/O capsule is ideal for use for ambient recordings or for instrument ensemble applications.The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between capsule and preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/O). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Additional capsules sold separately). Comes with mic clip, zippered carrying case, and windscreen.This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.Premier live performance microphone with Shure quality, ruggedness, and reliabilitySmall diaphragm design provides superior audio with textbook polar responsesThe RPM181/O capsule is ideal for use for ambient recordings or for instrument ensemble applicationsSide-address form allows for discreet positioning in tight performance and recording settingsFrequency response tailored for wide dynamic range for use in high SPL environmentsCompact preamp attaches to four interchangeable capsules for custom flexibility (capsules sold separately)Innnovative locking ring provides a secure connection between capsule and preampHardened steel mesh grille resists denting, wear, and abuseCompact design, under 12 cm (5 in.), reduces stage clutterFurnished with stand adapter and carrying case |
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Shure Beta 181/S Instrument Mic $499 The Shure Beta 181/S Instrument Mic is a Shure Beta RPM181/Pre Preamplifier fitted with a Shure RPM181/S supercardioid capsule. The Beta RPM181/S capsule is ideal for snare drums, acoustic instruments, and any other close-miking applications.The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between capsule and preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/S). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Additional capsules sold separately). Comes with mic clip, zippered carrying case, and windscreen.This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.Premier live performance microphone with Shure quality, ruggedness, and reliabilitySmall diaphragm design provides superior audio with textbook polar responsesThe Beta RPM181/S capsule is ideal for snare drums, acoustic instruments, and any other close-miking applicationsSide-address form allows for discreet positioning in tight performance and recording settingsFrequency response tailored for wide dynamic range for use in high SPL environmentsCompact preamp attaches to four interchangeable capsules for custom flexibility (capsules sold separately)Innnovative locking ring provides a secure connection between capsule and preampHardened steel mesh grille resists denting, wear, and abuseCompact design, under 12 cm (5 in.), reduces stage clutterFurnished with stand adapter and carrying case |
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Uhf Xlr Lavaliere Mic System $544.99 UHF XLR LAVALIERE MIC SYSTEM |
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Shure SM57 Instrument/Vocal Mic $99 Shure SM57 Instrument/Vocal Mic |
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Shure Beta 98A/C Instrument Mic $199 Shure Beta 98A/C Instrument Mic |
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Shure Sm57 Instrument/Vocal Mic $99.99 Shure SM57 Instrument/Vocal Mic |
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15Ft Xlr-Xlr Mic Cable(Pack of 2) $19.55 15Ft Xlr-Xlr Mic Cable. Pyle Pro Ppmcl15 Xlr Microphone Cable, 15 Ft (Xlr Female To Male Symmetric). Specs: 15 Ft ; Xlr Female To Male Symmetric. Warranty: One Year. |
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Monster 603545 S100m50 50Ft Xlr-Xlr Mic Cable $59.95 In Store Clearance MONSTER 603545 S100M50 50FT XLR-XLR MIC CABLE |
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Blue Icicle XLR Microphone and USB Converter
The New Bands Guide to Getting the Best From Their Live Sound
When you are a new band, playing live is nerve wracking enough without having to worry about the front of house sound. Surely it’s enough to be concerned about whether your finely crafted and highly practised material will stand up to public scrutiny, or if you’ll make a tube of yourself by falling off the stage in front of the gathered mass of friends and family. Very important things both, but there are a number of simple things you can do to help yourselves and the sound engineer ensure you have the best possible sound coming through the PA. With that sorted you can worry less about the sound and more about whether you look like a tool in your new skinny jeans and winkle pickers.
First and most importantly arrive on time, en masse and fully equipped for your sound check. The sound check is as important as the live performance as this is the time the sound engineer will tune the PA system to get the best from your performance. He will tweak the system to suit your style of music, vocals and tone as well as familiarise himself with your set-up and any requirements you may have that are slightly out of the ordinary. It’s no good showing to your first gig five minutes before you are due to go on with an unexpected twelve piece choir and full brass section and expect the engineer to accommodate them and get them sounding their best. No doubt he will do his best, but the sound may not be as good as it could be and your performance may suffer as a result.
Arriving on time will allow you to have a relaxed and thorough sound check, to solve any little problems that might come up and for you to familiarise yourselves with the venue and stage layout.
Discuss your sound and how you want to come across to the audience with the sound engineer during your soundcheck. More than likely he will have never have heard you before and so will not know what sort of mix you require, so cannot be expected to magically guess what you want to sound like. You may not be able to get the exact sound your after due to limitations in the PA, poor acoustics in the venue or any number of reasons. But if you are on time, polite and constructive when addressing the engineer he will do his best to get you sounding as good as is possible with the equipment available to him and will more than likely look forward to working with you again.
Another tip is to consider your on-stage amplification purely as monitoring for yourselves and only turn them up loud enough for you to comfortably hear them. You may be used to winding your amps up to eleven in the practice studio, but doing that during a live performance can cause a number of problems. Firstly the sound engineer will have mic’ed the amps up and as such will be controlling they’re sound through the PA. The louder you have your amps on stage, the lower he has to have them through the PA and the less control he has over the overall sound mix, so you have a slightly messy and disjointed sound out front. Secondly, you will have on-stage monitoring so you can hear you vocals, as such the louder you have your amps, the louder the monitors have to be for you to hear yourselves. This increases the risk of feedback and can result in a slightly messy and disjointed sound on stage. So overall that’s a slightly messy and disjointed sound out front and on-stage and with everybody struggling to hear what’s going on everywhere. Not good. Trust the engineer to make the most of your sound out front and leave the volume dial on your amps alone. One way of improve your ability to monitor your amps is by sticking them on crates so they are closer to your ears and not pointing directly at your legs.
The tone of your amps can also prove to be problematic. Excessive treble will carry through the PA and result in a nasty jangly sound. This excessive top end is not always noticed by bands as by the time the sound has reached them from the amp it is ok, but bear in mind the position of the instrument mic. If you listen to your amp from the proximity of the mic, you’ll be surprised by how much more treble is evident. Adjust the settings on the amp from the position of the mic to get the best sound through the PA system.
Bad microphone technique is a common issue and can have a derogatory effect on the production of your vocals. Dynamic unidirectional vocal microphones of the type predominantly used for live vocals have a very specific area in which they pick up sound, usually within a couple of inches of the mic head. This design feature is to reduce the likelihood of other noises being picked up from around the stage helping to produce a cleaner sound and reduced chance of feedback. To get the optimum sound from the mic, try and keep within a couple of inches of the head, sing clearly and don’t move your head excessively when singing. This way, a fairly consistent signal will be picked up by the mic and your vocal won’t appear to be fading in and out. Also, try not to cup your hand over the mic head or hold the mic’ upside down as this will more than likely cause feedback.
Positioning yourself correctly on the stage can have a positive impact on your sound. More than likely you’ll have been trapped three feet apart from each other in a sweaty, rehearsal studio for weeks previously, so when faced with a nice, big stage, the temptation to get as far away from each other as possible is understandable. But try and stay compact on stage, particularly if you are only a small band, as this will not only help you hear each others amps better for monitoring purposes but will also prevent you looking and sounding disjointed and appear more of a cohesive unit.
Lastly, there are certain items that you should always remember as although the engineer may be able to help supply you with them, do not expect him to. There may be a time when he cannot and that may leave you in a pickle.
• Drum mat – a vital addition to your drummer’s gear. Without it the kit will make its way slowly across the stage and into the audience. Lack of a mat usually results in the extensive use of the sound guy’s vital and surprisingly expensive gaffer tape to secure the kick drum.
• Electrical adaptors – ensure you have sufficient extension reels and adaptors to support all you gear. The engineer may only have enough to cover the PA equipment so, again if you really have to plug in all fourteen of you effects pedals make sure you have sufficient power supplies to do so.
• Audio cables and adaptors – make sure you have enough guitar leads (including spares in case of breakdown), as again the engineer may not carry spares. Also if you are plugging in keyboards, click tracks or decks have the correct leads or adaptors to plug them into the PA – usually either ¼ inch jacks or XLR.
• To be nice to the engineer – He will have been there four hours before you mucking around with cables and lugging heavy equipment around to make you sound half decent and will be there two hours after you’ve disappeared down the pub to muck around with cables and lug heavy equipment around, so be nice.
Professional PA hire companies such as Audiorent.co.uk have highly experienced, professional and approachable engineers who will be more than happy to discuss any aspect of your set-up or performance. It is the engineer’s job to get the best from your music and ensure that the audience can focus on your performance rather than any anomalies in the sound, so if you follow the simple tips given above the chances of that are greatly increased.
If you need any information about the hire of PA equipment for your bands live performances or any aspect of PA, lighting, backline or AV hire in Nottingham and throughout the UK, contact Audiorent.co.uk on contact@audiorent.co.uk or call us on 07951164194.
About the Author
Audiorent.co.uk is a professional PA hire company supplying PA, lighting, backline and AV equipment for all conceivable events.
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