Lowest Price in 15 days. Did you find what you were looking for? Yes No. Reviews for Popular Microphone. Jamaruddin Ansari Certified Buyer 7days ago. Its too short as you show up in image and also it doesn't have speakers.
Flipkart Customer Certified Buyer 4months ago. USB mics are low cost, plug-and-play simple and often have volume controls and other functions right on the mic. If you love the convenience of a USB mic, check out the AKG Lyra Ultra-HD Multimode Microphone , which offers four selectable focus patterns that adapt to any source and features useful front-of-mic functions including mute and headphone volume. A microphone responds to sound in a three-dimensional space surrounding its capsule; it picks up sound coming from different directions with varying degrees of sensitivity, depending on mic style and design.
Note that polar patterns are frequency dependent and become more directional as frequencies rise. An omnidirectional microphone picks up sound equally from all directions. Omnis are great for recording wide sources such as choirs, and for capturing performances in rooms with great acoustics. This bass boost can be problematic, but it can also be used to creatively shape sound. This front-focused pattern is the most popular microphone polar pattern, as it does a good job of isolating a sound source from unwanted ambient sounds.
Supercardioid and hypercardioid variations of the cardioid pattern exhibit the same front-forward directionality, with progressively narrower areas of sensitivity on the sides and a lobe of increased sensitivity at the back.
These patterns offer greater isolation at their sides and high resistance to feedback, making them ideal for loud sources and stage applications. Supercardioid microphones exhibit the same front-forward directionality as cardioid microphones, with progressively narrower areas of sensitivity on the sides and a lobe of increased sensitivity at the back.
Bidirectional mics are sensitive at their front and back and reject sounds at their sides in a pattern that looks like a figure-8 with the mic capsule at the crossover point. Bidirectional mics are ideal for situations where you want to record two separate sound sources while blocking out others, such as duets, recording guitar and vocals together and advanced stereo-miking applications such as mid-side and Blumlein recording.
Bidirectional microphones are sensitive at their front and back and reject sounds at their sides. Some mics feature dual diaphragms that can be combined in a variety of polar patterns, switchable between omni, cardioid and figure-8 and patterns in between. These versatile mics are true workhorses with endless applications. Like everything in life, there are some basic rules for picking mics—though like many rules, these are meant to be broken. AKG C imparts classic warmth and presence that contribute to a stunning track.
Every singer is unique; a mic that sounds gorgeous on a jazz singer might not cut it for a metal artist. Often, the best vocal mic for the job adds some flattering coloration and character. The rugged AKG D5 handheld dynamic features our patented Varimotion diaphragm for crystal-clear sound, with a supercardioid pattern for great isolation. AKG P is a great option for recording guitar amps.
It features an attenuation pad for when your guitarist really wants to crank it up. This is a job for a dynamic cardioid mic, which can handle those high SPLs. So, what does that redesign involve?
First up there's the new HF6 capsule, designed to feature a sound signature similar to vintage favourites but exhibiting extremely low noise. Then there's the fact that the transducer is suspended inside the microphone using Rycote's Lyre system, which should minimise external vibrations.
Rode also claims that the NT1 is the world's quietest 1-inch cardioid condenser mic due to the high-grade electronics keeping the self-noise level down to 4. Read our full Rode NT1 review. The AE is a broad-application high-SPL cardioid design, so should be ideal for percussion, drums, guitar amps and brass. The weighty brass casing and top grille feel robust, and the screw-tight rubberised clip should see off any wandering drum sticks while providing some mechanical isolation.
The proprietary double-dome diaphragm improves high-frequency and transient response. The off-axis frequency response is also reasonably linear up to degrees, and not bad even at degrees off-axis, which could certainly be beneficial when setting up a multi-miked drum kit. Read our full Audio-Technica AE review. The MV7 is ideal for these applications, with a few neat tricks on hand to make the recording experience as simple and rewarding as possible.
We particularly like the complementary MOTIV app, which allows you to choose specific vocal presets to give your sound a professional sheen. Sure, it can handle these applications at a push, but this is a speech-specific microphone and, at that, the MV7 is a highly capable option indeed.
Read the full Shure MV7 review. The Aston Origin may be competitively priced, but it possesses a degree of originality that is uncommon in this range. The Origin is a fixed pattern cardioid condenser and is the smaller of Aston's two mics: the larger Spirit is a multi-pattern condenser with an extra 10dB of pad available. There are two switches on the stainless steel casing: 10dB pad and 80Hz low-cut filter.
This latter feature means there's no need for a mic clip, though this does limit angle choices to the capabilities of the stand.
Read our full Aston Microphones Origin review. The AKG C is a large diaphragm condenser which will excel at everything from guitar amps to acoustic instruments, pianos and vocals.
For home studio owners keen to invest in a solid, general-purpose studio microphone, the AKG C represents excellent value for money. Read the full AKG C review. Like many large capsule condensers, omni mode on the sEa II is unlikely to be this mic's forte, and the MkII's response shows a noticeable dip 6dB around the 5kHz mark. However, in use this wasn't that obvious, and is possibly compensated slightly by the gentle boost above 7kHz. Either way, both patterns are useful inclusions, and save you the trouble of buying or setting up another mic, should you want to try out different patterns.
Overall, sE's upgrade is a success, and combined with the multi-pattern option, the a MkII is more desirable than ever. OK, the multi-pattern capability has pushed up the price a bit, but there's always the fixed cardioid version if your budget's tight. Issues with feedback rejection and handling noise have to be balanced against tradeoffs in sound quality. In short, yes. The high frequency range is present and well defined, without the harsh hype and phase-shift peakiness that some cheaper condenser mics either display or attempt to mask with an overall HF pull-down.
Read our full AKG C review. As one of the best-respected names in microphones we were expecting good things from the Neumann TLM This large diaphragm condenser promises superlative performance for vocals, and it does not disappoint. Offering crystal clear reproduction across the frequency range, with a nice bump around the 6 kHz mark, the TLM is a specialist mic which will do wonders for your mixes.
All told this is an ideal investment for anyone looking to upgrade their recording gear and take their tracks to a new level. Read the full Neumann TLM review. Electronically, the NTR is active, running from 48V phantom power and has a built-in transformer that offers a high output so that the mic is not so finickity about preamp requirements as other ribbon mics and can, a fact borne out by our tests, be used with a wide range of preamps without having to turn the gain up to noise-generating levels.
Internal shock mounting results in there being no need for an external suspension cradle, which helps with placement and, even though this is quite a heavy mic, the included compact mount which attaches to its base works great at holding it at any angle on a mic stand with little pressure needed to firm it up.
On a variety of sound sources we found the mic to deliver a very natural representation of whatever was put in front of it with plenty of low-end and a clear top with a natural roll off, rather than the often overdone brightness designed into some condensers. Read our full Rode NTR review. The TS stands for Twin System: it works either in regular multipattern mic mode, or in dual mode, providing independent access to both diaphragm outputs. This allows adjustment of the pickup pattern after recording and also opens up some stereo recording options.
In dual mode the second diaphragm output is accessed via a miniature three-pin connector on the side of body, and in the carry case there's a mini three-pin XLR breakout cable as well as accessories such as foam windshield, suspension cradle, mic pouch and a rather nifty magnetic pop shield.
All told, it's a well put together and stylish package. So in theory, if you can emulate them with software then you should be on to a winner. There have been a few plugs over the years which have claimed to give one mic the character of another but, given the limitations of the original mic, coupled with any number of mic pres that could have been used, plus the quality of the interface that recorded it, most of them have been pretty disappointing.
Slate Digital have taken that idea and built a complete system which removes as many of those variables as possible. With everything plugged up, the first thing that's obvious with the Aria is just how natural it sounds. There's definitely a slight presence lift, but this is in the upper mids rather than right into sibilant territory.
Beyond this there's no high frequency hyping, or the brittleness that plagues mics of that ilk. So, one's attention is drawn to the lows and low mids. On video shoots, we plug a wireless lapel mic directly into the camera, but set up the Zoom with another mic usually a shotgun to get a second audio source. Also, there is a new version of the H4N available , which boasts of newer better microphones, among other features. Wireless microphones have two components: the transmitter and the receiver.
The Sennheiser has a small battery powered receiver that you can mount to a camera, or easily keep out of the way. The biggest downside is the cost. However, depending on your budget, this might be well worth the price. We talk a lot about audio being a critical part of your videos. A good microphone will go a long way in helping you make better productions. Remember to control the noise in the location e.
Finally, learn about your microphone and how to get the best sound out of it, and take the time to learn how to adjust it. It will be well worth it when your audience listens to your sweet audio as they watch your videos. Want to learn more about recording audio for video? Visit the TechSmith Academy for free access to several courses about audio, along with other learning materials and downloadable resources that will help you improve your video creation skills!
In this role speaks and teaches about video creation and visual communication. A graduate of Indiana University he has ten years of experience working in learning and development with a focus on visual instruction.
0コメント