To the musician: Frequencies that are useful to remember. Frequency Musician Memo
The network (power) is noisy at a frequency of 50 Hz (and multiplied). To eliminate this, you need to remove the frequencies of 50 and 100 Hz using a parametric…

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About the vocals
Vocalist (from the Latin words vox - “voice” and vocalis - “sounding”) - a musical profession, a role in a musical collective, involves the performance of various vocal parts. Now,…

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Christine Linklater Voice Release
The exercises of this system are aimed at releasing the voice from tension, at developing and strengthening it, primarily as a human instrument and as an actor’s tool. It is,…

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Microphone for home music studio

Which musician did not encounter the problem of choosing a microphone ‘Often, when they come to the store, most of them simply don’t know what their microphone should be like. Why is a capacitor better or worse than a dynamic one, in which cases to take the “eight”, and in which cases – the usual cardioid, and so on … Eyes run wide, and as a result of the huge assortment the choice falls on anything, but not what really necessary. But actuallychoosing a  microphone is not so difficult. Walking through the windows, you should mainly pay attention to only three points – type, orientation and frequency range – in case you select a microphone for a specific instrument or voice.

Suppose you have decided on a frequency range, since today there are many universal microphones that can work well with a large number of different tones. Now let’s find out which type of microphone is most suitable for your working environment. There are two types of microphones used today – dynamic and condenser. A dynamic microphone will be the most appropriate choice if its application is not limited by the conditions of a home studio, especially if this home studio is an ordinary apartment without the slightest sound insulation. Unlike condenser ones, dynamic microphones are the least sensitive to room acoustics and even with concrete walls give a very decent result.In addition, they are much more resistant to overloads – fans of a heavy roar under the squeal of guitars will appreciate this advantage. The second plus, especially with a limited budget – dynamic microphones do not require phantom power. If you have not got a mixer yet, then it does not matter, because to record a signal with a dynamic microphone, it will be enough to connect it to the input of the sound card, and you can work. It would seem that dynamic microphones have only one advantage – they are hardy and are not demanding of the room, and work fine without a “phantom”, and even cost much less. So why does any self-respecting recording studio sooner or later acquire an expensive condenser microphone? The whole charm of condenser microphones, compared with the rest, is that they give a more lively, natural sound, which is why they are an integral part of professional studios, where its advantages are especially expressively revealed when working with acoustic instruments and vocals. But for the operation of such a microphone, you need if not a mixer, then at least a special small amplifier with phantom power 48 V (it will cost you about $ 50 and will be no more than a brick in size). The benefit from such an amplifier is very doubtful, since only expensive professional preamps can give the microphone the proper color (especially when it comes to tube amplifiers, since transistor ones noticeably “drain” the sound). There is no need to talk about cheap ones – they will only make the microphone work, but because of their cheapness they will kill all its possible advantages with the “quality” of their tract. Summary: if you still do not have enough money to buy an acceptable condenser microphone, due to its design features having a price an order of magnitude higher than the dynamic one, and a decent preamp for it, then the most reasonable is to purchase a dynamic microphone – the result will not disappoint Especially if your “live” musical the material consists not only of vocal parts, but also of live bass and electric guitars that need to be “removed” from the combos – all this, returning to the topic of overloads, once again inclines the choice namely, a dynamic microphone. If you nevertheless make the choice in favor of a condenser microphone, it would not be superfluous to immediately think about purchasing a pop filter – an accessory created to eliminate “mumbling” in the form of explosive consonants “6”, “p” and sizzling. As a rule, it is not used for dynamic microphones, since the corresponding protection has already been implemented in the construction of their steel head, but when used in a studio condenser microphone, this is simply irreplaceable. If you don’t have enough money for it or just don’t have it at hand, you can portray a kind of household version of a pop filter, popularly called a “spit net”. To do this, you will need a plastic ring with a diameter of no more than 20 cm and a piece of nylon – this can be played by embroidery hoops and women’s tights available in the nearest “household”. The nylon must be tightly pulled on the hoop and clamped between them. As a result, this design needs to be fixed at a distance of about 15 cm from the microphone, while the vocalist will be able to sit right next to the grid and sing into it. Returning to the choice of the microphone, it is worth noting that the directionality plays an equally important role.

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