•The force of microphone anxiety•
An insight in the history of a man with a dream, a mission, a leap of technology and the marvellous world of acoustics – It’s time for changes.
For musicians, sound technicians and people alike!
The challenge
Occasionally, it can be a daunting task for musicians and sound technicians to amplify acoustic instruments.
In the following article, we will attempt to demystify a series of issuesand misunderstandings in regards to live sound. These issues and misunderstandings often culminate in musicians and sound technicians having to compromise. Unfortunately, the effort from even extremely talented musicians is often lost, when the sound has to be reproduced.
Furthermore, many people have asked for material comparing data for ”Gain before feedback” for REMIC’s microphone models, and compared to data from competing products.
Therefore, we have collected a series of data in the form of mean values, which is entered into 2D models, in order to be easily compared.
For legal reasons, REMIC is not allowed to give out the names of competing producers and their respective products used in the aforementioned models of comparison. There has been selected 5 products from leading producers of instrument microphones, whose set of data is illustrated in a compiled column.
In this particular article, we have selected to focus on data in regards to microphones for the violin.
In the subsequent article, we will delve into REMIC MICROPHONES’ model ”L”, which assumes characteristics between the ”00” (studio)model and the ”LB”(live)model. Model ”L” will be launched in the beginning of 2015.
All measurements in the following article have been carried out in the same ambient and reflecting environment (live situation) with the microphone in question mounted upon a violin.
technology – which REMIC states allows the sound of an instrument to be “partly captured immediately after the first air molecules are set in motion by the soundboard of the instrument” and partly “in a limited and strongly controlled nearfield, which captures the overtone register of the instrument” – the aim is of course, to eliminate pollution from unwanted sources of sound, like reflections from the venue, PA system, stage monitors and other instruments.the best microphone for violin, the best microphone for cello, the best microphone for double bass, upright bass, how to choose the right microphone,the best microphone for live performance, the best mic for live performance, the mic that doesn’t feed, anti feedback mic, anti feedback microphone.