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AKG Perception 120 Condenser Cable Professional Microphone    US $60.00

MXL V67i Dual Capsule Condensor Microphone New    US $245.44

BEHRINGER ULTRAGAIN PRO MIC2200 PRE AMP NO RESERVEBUY IT NOW FREE SHIPPING USA    US $109.88

BEHRINGER B 2 PRO CONDENSER MIC B2 PRO BUY IT NOW FREE SHIPPING USA    US $139.00

2 NEW SHURE SM58 BUY IT NOW FREE SHIPPING USA    US $228.88

2 NEW SHURE SM58 BUY IT NOW FREE SHIPPING USA Best Deal on ebay    US $236.88

Sennheiser MD421 U 5 Dynamic Studio Microphone    US $177.50

Round Micophone Mesh Grill head for Shure SM58 Beta58    US $.99

Shure SM86 Cardioid Condenser Vocal Microphone    US $165.00

Studio Projects C4 Condenser microphones with case and accessories    US $86.00

Blue Baby Bottle Condenser Professional Microphone    US $255.50

NEW Realistic Highball 2 Dynamic Microphone all purpose Omni w feedback filter    US $29.95

EV CO11 New microphone w boom stand cable Look 7 Days Free Shipping    US $97.00

Logitech Noise Canceling USB Desktop Microphone for PC or Mac    US $32.99

Blue bird Condenser Wireless Professional Microphone    US $175.00

AKG D2200S Dynamic Cable Professional Microphone    US $18.99

Revolabs Solo Executive 8 Channel Wireless Microphone System 01 EXERAC BLK 11    US $275.00

CAD Audio U37 Condenser Plug in Microphone    US $75.00

FOUR Rim Mounts Drum Mic Clips High Quality Item NEW    US $24.99

Azden SGM2X SGM 2X SuperCardioid Shotgun Microphone NEW    US $198.97

PH1 PHANTOM CONDENSER MIC OMNI RECORDING MICROPHONE    US $24.99

MXL 3000 Condenser Cable Professional Microphone    US $90.95

SONY ECM 50PS ELECTRET CONDENSER MICROPHONE WITH ACCESSORIES FREE SHIPPING    US $120.00

universal shockmount with pop filter    US $40.70

Dynasty DMC100 Pro Supercardioid mic Cable More NEW    US $27.99

Shure KSM137 SL Cardioid Condenser Instrument Microphone    US $112.50

NEW Shure SM81 Condenser Mic    US $230.00

M Audio Producer USB Microphone    US $31.00

VINTAGE SHURE UNISPHERE I MODEL 566 DYNAMIC MICROPHONE w STAND    US $53.38

Sennheiser MKH 40 Condenser Recording and PA Microphone    US $510.00

Focusrite Tone Factory Mic Pre DI    US $150.00

Shure SM98 Mini Condenser Microphone with Gooseneck    US $120.00

New Shure PGX24 SM58 Handheld Wireless Microphone Mic SM 58 Free Cable    US $349.99

Studio Projects TB1 Tube Condenser Microphone    US $310.00

Universal Shockmount for Microphones    US $29.70

Blue Bottle 8 Mic Capsule Kit B0 B1 B2 B3 B4 B5 B7 B8    US $4,299.00

UA LA610 MKII Channel Strip Exc NR    US $995.00

BLUE Kickball Drum Mic    US $60.00

Studio Projects B1 Condenser Professional Microphone shockmount    US $29.00

Audio Technica AT803a Condenser Lavalier Microphone    US $50.00

6 Studio Mic microphone Wind Screen pop filter SHIELD    US $9.99

Shure Beta Microphone Series Vocal Mic 87C Cardioid Design    US $284.95

CAD Dual Diaphragm Condenser Mic Microphone CD M179    US $199.95

Rode Classic II Limited Collectors Edition valve condenser mic ex display MINT    US $1,738.31

AKG C451 B ST Pair    US $800.00

LECTROSONICS CR187 VHF COMPACT WIRELESS RECEIVER 169505MHZ NEW OLD STOCK    US $400.00

LECTROSONICS UH400A WIRELESS MICROPHONE PLUG ON TRANSMITTER BLOCK 27 USED    US $700.00

Shure SM86 Cardiod Condenser Handheld Vocal Mic Microphone SM86    US $189.95

Blue Mouse Large Diameter Cardioid Condenser Microphone    US $1,249.00

Shure SLX24 Beta87 Handheld Wireless System    US $675.00

MXL 3000 Mic Bundle $181.95 The MXL 3000 Mic Bundle includes the MXL 3000 microphone, a 25' Mogami mic cable, shock mount, and matching pop filter. The MXL 3000 has a large 25 mm gold-sputtered capsule and an FET preamplifier with premium components within the signal path. Its transformer-coupled output is very reminiscent of the circuit designs found in early British recording consoles. When used for recording vocals the microphone has amazing clarity and warmth. It is a stunningly detailed microphone that is also appropriate for instrument miking, especially of string and wind instruments.Requires phantom power.

Nady PCM-100 Classic Condenser Mic $99.99 The Nady PCM-100 Classic Condenser Mic is perfect for broadcasting and stage vocal use. It is versatile in the studio, too. The Nady PCM-100 mic features a high-quality electret condenser element, cardioid polar pattern, and a smooth frequency response tailored for vivid vocal reproduction with a perfectly positioned presence peak. Switchable low-cut filter. Integral mic holder mount. Comes with foam-padded plastic carrying case. Requires phantom power.

Antares Mic Modeler EFX Native $129 Using patented Spectral Shaping Tool technology, Antares have created precise digital models of a wide variety of historical classic and exotic microphones. Simply tell Mic Mod EFX what microphone you are actually using and what microphone you'd like it to sound like. It's as simple as that. With over 125 microphones models included in Mic Mod EFX, you can afford to record each track through a model of the specific mic that will best produce that ideal sound you're looking for. Or use it in live performance to get the sound of mics you'd never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track. Not only do the models reproduce all of the subtle sonic characteristics that make each microphone unique, but they also give you control of each mic's specific options. Does the mic have a low cut filter? If so, it's in the model. Wind screen on or off? Close or far placement? Each option results in the same sonic effect that it would have with the actual modeled mic. And for that final touch of perfection, you can even add some tasty tube saturation. Source Mic and Modeled Mic Simply select the mic you're using (or used during your original recording) and the mic you want it to sound like. ProximityProximity Effect is a bass boost that results from placing a directional mic in close proximity to a signal source (e.g., a singer's lips). With Mic Mod EFX's Proximity controls, you can actually create the effects of different mic distances based on the specific physical properties of each individual modeled mic. Low Cut Filter If your source mic has a low cut filter, enter its setting in the Source Mic Low Cut menu. If your selected modeled mic has a low cut filter, you can model the effects of any of its settings with the Modeled Mic Low Cut menu. Pickup Pattern If your source mic has variable pickup patterns, enter the selected pattern in the Source Mic Pattern menu. If your selected modeled mic has variable pickup patterns, you can experiment with the effects of any of its patterns with the Modeled Mic Pattern menu. Tube SaturationBased on the same technology as Antares' famed WARM Tube Saturation Generator, the Tube Saturation control lets you give your track the warmth of a high-quality tube pre-amp. Mic Mod EFX is available as a plug-in for RTAS (Mac & PC), VST (Mac & PC) and Audio Units. At a fraction of the cost of even a modestly lust-worthy mic.

Antares Mic Modeler Efx Native $129 Using patented Spectral Shaping Tool technology, Antares have created precise digital models of a wide variety of historical classic and exotic microphones. Simply tell Mic Mod EFX what microphone you are actually using and what microphone you'd like it to sound like. It's as simple as that. With over 125 microphones models included in Mic Mod EFX, you can afford to record each track through a model of the specific mic that will best produce that ideal sound you're looking for. Or use it in live performance to get the sound of mics you'd never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track. Not only do the models reproduce all of the subtle sonic characteristics that make each microphone unique, but they also give you control of each mic's specific options. Does the mic have a low cut filter? If so, it's in the model. Wind screen on or off? Close or far placement? Each option results in the same sonic effect that it would have with the actual modeled mic. And for that final touch of perfection, you can even add some tasty tube saturation. Source Mic and Modeled Mic Simply select the mic you're using (or used during your original recording) and the mic you want it to sound like. ProximityProximity Effect is a bass boost that results from placing a directional mic in close proximity to a signal source (e.g., a singer's lips). With Mic Mod EFX's Proximity controls, you can actually create the effects of different mic distances based on the specific physical properties of each individual modeled mic. Low Cut Filter If your source mic has a low cut filter, enter its setting in the Source Mic Low Cut menu. If your selected modeled mic has a low cut filter, you can model the effects of any of its settings with the Modeled Mic Low Cut menu. Pickup Pattern If your source mic has variable pickup patterns, enter the selected pattern in the Source Mic Pattern menu. If your selected modeled mic has variable pickup patterns, you can experiment with the effects of any of its patterns with the Modeled Mic Pattern menu. Tube SaturationBased on the same technology as Antares' famed WARM Tube Saturation Generator, the Tube Saturation control lets you give your track the warmth of a high-quality tube pre-amp. Mic Mod EFX is available as a plug-in for RTAS (Mac & PC), VST (Mac & PC) and Audio Units. At a fraction of the cost of even a modestly lust-worthy mic.Modeled Microphones The following is the list of the models that are included with Mic Mod EFX. Please Note: All trademarks appearing below are the property of their respective owners. The following manufacturer names and model designations are used solely to identify the microphones analysed in the development of our digital models and do not in any way imply any association with or endorsement by any of the named manufacturers. AEA R44C AKG C12A; C414; C414B/ULS Limited Edition Gold; C414B/ULS Modified by Audio Upgrades; 460B/C

Daking Mic-Pre One Preamp $765 The Daking Mic Pre One is a free-standing single-channel preamplifier that uses the same circuitry found in Daking's 4-channel Mic-Pre IV, a favorite among top producers and engineers such as Butch Vig (Nirvana, Green Day, Smashing Pumpkins), David Pensado (Mary J Blige, Beyonce, Brian McKnight), and both Chris and Tom Lord-Alge (who haven't they mixed?). Built in the tradition of the great console manufacturers such as Neve and API, Daking preamps feature bulletproof construction and marvelous sound, reminiscent of the coveted classic pres. While sharing the gain structure and Class A, fully discrete transistor circuitry design of the popular Daking Mic Pre IV, the Mic Pre One adds a unique variable high-pass filter and comes in a freestanding 'DI-style' steel enclosure, ensuring both durability and immunity from noise. Mic Pre One features switchable phase, 20dB mic input pad and +48V phantom power, plus a selectable 1/4" front panel Hi-Z instrument input, all utilizing relays with gold bi-furcated contacts. Two large knurled aluminum knobs control the variable high-pass filter (0-200Hz) and continuously variable input gain between 25dB and 70dB. A 20-segment LED bargraph display provides accurate metering. Another LED signifies when power is supplied to the Mic-Pre One. Rear-panel connections include a transformer-isolated input for a microphone, plus line outputs on 1/4" jack and XLR. Class A amplifier, all-discrete solid state design Jensen transformer-isolated mic input Variable high-pass filter (0-200Hz) 20dB pad Inputs for mic, line, and instrument-level signals Front-panel Hi-Z instrument input Phase reversal switch +48V phantom power Full-width 20-segment, bi-color LED meter Balanced XLR output and 1/4" line output External power supply for noise-free operation and longer component live Rohs Compliant

Used Shure Sm58 Mic $90.09 The Shure SM58 mic is legendary for its uncanny ability to withstand abuse that would destroy any other microphone. The Shure SM58 has not only helped to define the sound of rock vocals on stage, it's also been used as a hammer to build stages and gone on to perform flawlessly later at the gig. Using a club's house system? You'll be singing through an SM58. And in the studio? Daniel Lanois always uses the SM58 or Beta 58 on Bono's vocals. The Shure SM58 mic is world-renowned for its distinctive upper-midrange presence peak that ensures an intelligible, lively sound. Perfectly fits a performer's hand, balanced for total comfort during long gigs. Frequency response is a smooth, vocal-tailored 50Hz-15kHz, and the price is a bargain considering its life expectancy.Performance tested, industry standardUniform cardioid pick-up pattern for maximum gain before feedback and excellent rejection of off-axis soundTailored frequency response specifically shaped for vocals, with brightened midrange and bass roll off to control proximity effectAdvanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibrationSteel-mesh grille and enamel-coated metal construction resist wear and abuseEffective built in pop-filter reduces undesirable wind and breathe noiseFurnished with zippered storage bag and break-resistant stand adapterExtremely durable under the heaviest useShure quality, ruggedness, and reliability

Nady SCM 900 Condenser Mic $69.99 The Nady SCM 900 Condenser Mic has the quality for even the most demanding digital recording use. The hand-tooled brass microphone capsule features an ultrathin (3 micron), 1" gold-sputtered Mylar diaphragm. The FET preamp offers natural reproduction. Cardioid pattern, internal shockmount construction, gold-plated XLR jack, 30Hz-16kHz frequency response, -6dB@100Hz low cut filter, 125dB SPL handling, and 76dB S/N ratio. 48V phantom power required.

Daking Mic Pre One 500 $599 Daking Mic Pre One 500: Geoff Daking, a designer of audio gear in the tradition of the greats; Neve, API, and Trident, has turned his considerable expertise on both sides of the control-room glass into a premier line of preamps, compressors, and custom consoles used by engineers and producers the likes of Joe Chiccarelli and Butch Vig. His latest creation is the Mic Pre One 500, a modular 500-series* preamp based on his popular Mic Pre One. The Mic Pre One 500 features switchable phase, 20dB mic input pad, +48V phantom power, and a selectable 1/4" line/Hi-Z instrument input.Like the Mic-Pre One, the Mic Pre 500 shares the gain structure and Class A, fully-discrete transistor circuitry design of Daking's popular Mic Pre IV. The front panel controls include a variable high-pass filter (with a range of 10-200Hz @ 12db per octave) as well as continuously variable input gain. It also includes an eight-segment tri-color LED meter with simultaneous VU and Peak. In addition, because the home recordist faces challenges that the professional studio owner does not, the Mic-Pre One 500 features a powerful continuously variable high-pass filter with a range of 10-200Hz @ 12db per octaveThe Mic Pre One 500 gives you both the punchy and exciting sound of its prime inspiration, the Trident A Range console (considered to be the best sounding console for rock by Daking himself, and numerous platinum producers), and the convenience of a 500-series module, which gives you the ability to add more great Daking channels as your budget allows.*Note: In order to operate, 500-series units require a VPR**-compliant power suppy, or "lunchbox" such as the Radial Workhorse (#H74107), A Designs Audio 500HR Rackmount Frame (#241582), or Empirical Labs EL 500 (#H72812).** What is the VPR Alliance?Initiated by API Audio, the VPR Alliance is a program of standardization and consistency guidelines for manufacturers wishing to make products designed to fit into API's 500 series rack format. The program provides complete design specifications for manufacturers interested in producing third party products that physically fit and electronically conform to API's rack specifications.The creation of the VPR Alliance has been encouraged by the overwhelming popularity of API's 500 series racks, including the ten-space 500VPR and the six-space lunchbox, which has led to a proliferation of third party modules to fit the API format. Typically installed into API racks, these third party modules have raised issues of warranty and interaction with API-manufactured modules in the same rack.Because of the variables related to those third party modules, API has previously been forced to declare that including third-party modules into a 500VPR or lunchbox simply voids the warranty of the API rack. Through the VPR Alliance, API is able to eliminate confusion as to which third party products void the API warranty and which do not. This straightforward resolution saves the company both time and money, a

Used Daking Mic-Pre One Preamp $696.15 The Daking Mic Pre One is a free-standing single-channel preamplifier that uses the same circuitry found in Daking's 4-channel Mic-Pre IV, a favorite among top producers and engineers such as Butch Vig (Nirvana, Green Day, Smashing Pumpkins), David Pensado (Mary J Blige, Beyonce, Brian McKnight), and both Chris and Tom Lord-Alge (who haven't they mixed?). Built in the tradition of the great console manufacturers such as Neve and API, Daking preamps feature bulletproof construction and marvelous sound, reminiscent of the coveted classic pres. While sharing the gain structure and Class A, fully discrete transistor circuitry design of the popular Daking Mic Pre IV, the Mic Pre One adds a unique variable high-pass filter and comes in a freestanding 'DI-style' steel enclosure, ensuring both durability and immunity from noise. Mic Pre One features switchable phase, 20dB mic input pad and +48V phantom power, plus a selectable 1/4" front panel Hi-Z instrument input, all utilizing relays with gold bi-furcated contacts. Two large knurled aluminum knobs control the variable high-pass filter (0-200Hz) and continuously variable input gain between 25dB and 70dB. A 20-segment LED bargraph display provides accurate metering. Another LED signifies when power is supplied to the Mic-Pre One. Rear-panel connections include a transformer-isolated input for a microphone, plus line outputs on 1/4" jack and XLR. Class A amplifier, all-discrete solid state design Jensen transformer-isolated mic input Variable high-pass filter (0-200Hz) 20dB pad Inputs for mic, line, and instrument-level signals Front-panel Hi-Z instrument input Phase reversal switch +48V phantom power Full-width 20-segment, bi-color LED meter Balanced XLR output and 1/4" line output External power supply for noise-free operation and longer component live Rohs Compliant

Nady Pop Filter $19.99 Attaches to mic stand; gooseneck allows proper placement of 6" Lycra screen in front of mic. Stops plosives. Protects your mic.

Daking Mic-Pre/4 Band Eq $1445 The Daking Mic-Pre/4 Band EQ is a single channel high end, all discrete Class A transformer balanced (input and output) unit that combines a great mic pre and world class EQ in one single rack unit. Separate mic and line inputs can be selected from the front panel Line switch without changing cables on the back panel. Both inputs are combo XLR/1/4" TRS. The Mic-Pre/EQ has a gain of 70dB, which allows it to easily handle all types of mics from ribbons to dynamics and condensers. Switched phantom power enables secure ribbon mic use, and a 20dB pad switch prevents overload on high-output condenser mics. It also has a front-panel phase switch for inverting input phase, while a large overall mute button and bypass button e workflow. Geoff Daking's famous "A Range"-inspired EQ has four individual EQ bands and five stepped frequencies per band with frequencies specially chosen for effective results. This is thought to be some of the best EQ available for tracking, mixing or mastering. It features continuously variable EQ boost or cut of 15dB; 25Hz High Pass 6 db/octave filter for getting rid of the low-end rumble that ruins tracks; and a 12dB per octave low-pass filter at 15kHz, which helps get rid of extreme top end edginess. Separate overall output level control makes up gain lost in extensive EQ cuts. Built to last and provide top-notch performance, all relay switching features gold bifurcated contacts for long life and steel construction for strength and noise immunity. An outboard in-line universal power supply provides remote power in order to keep the noise floor low. In use: Truly astounding in its ability to reveal vocal detail and character when used with a large-diaphragm condenser, the Mic-Pre/EQ also provides exceptional clarity while maintaining warmth. It imparts a beautiful high-end sheen with none of the harshness associated with certain modern designs. It has all the character of the classic preamps on which it is based, but without the unreliable behavior, plus more richness, detail, and sparkle. Notable users of Daking preamps and compressors: Includes Grammy winners Joe Chicarelli (Tori Amos, Counting Crows, U2) and Ted Perlman (Chicago, Bob Dylan, Elton John), Butch Vig (Nirvana, Smashing Pumpkins, Garbage) Steve Albini (Nirvana, PJ Harvey, Cheap Trick), Russ Long (Wilco, Dolly Parton, Sixpence None the Richer), and master mixers Chris and Tom Lord-Alge (everybody else from James Brown to the Rolling Stones).Transformer balanced Iiputs and output All discrete transistor circuitry Class "A" amplifiers Four Band EQ with hard bypass Continuously variable boost and cut: +-16dB Stepped frequencies: High shelving 8-10-12-15k-20k Upper Mids 1.5-3-5-7-9K Lower Mids 125hZ-250hZ-500hZ-1K-2K Low shelving 30-50-80-100-150hZ High & Low Pass Filters 25hZ & 15KhZ All relay switching w/gold bi-furcated contacts Switched +48v Phantom power Remoteable mute and bypass 20dB pad on mic input Stainless steel construction fo

Summit Audio 2Ba-221 Tube Mic And Line Module $679 The variable-impedence Summit Audio 2BA-221 Tube Mic and Line Module is a microphone preamp that has individual controls to mix mic with Hi-Z or line inputs for variable vacuum tube output. You can mix them together through 12AX7A/ECC83 tube output or separately through individual solid state outputs. A stackable input design allows multiple 2BA-221s to be linked for a modular mixing device with individual outs, inserts per channel, and a final vacuum tube gain stage. Its swept high-pass filter, multiple simultaneous tube and solid state outputs, insert jack, and internal power supply makes the 2BA-221 a powerful tracking and mixing tool. Variable mic input impedance from 100 ohms to 10K ohms Variable high-pass filter Hi-Z instrument, line, and mic level inputs Hi-Z input and mic input available simultaneously with separate gain controls Separate solid state and tube outputs Insert jack Stackable with more 2BA-221s 1/2 rack size 3 year warranty XLR and 1/4" I/O 3 variable, independent gain stages

CAD CM217 Condenser Mic - Buy One, Get One FREE!!! $59.98 Get 2 CAD CM217 Condenser mics for the price of one! Designed for acoustic guitars, stringed instruments, cymbals, hi-hats, and more. Features include hi-pass filter and attenuator. Mic clip included.

Summit Audio 2BA-221 Tube Mic and Line Module $679 The variable-impedence Summit Audio 2BA-221 Tube Mic and Line Module is a microphone preamp that has individual controls to mix mic with Hi-Z or line inputs for variable vacuum tube output. You can mix them together through 12AX7A/ECC83 tube output or separately through individual solid state outputs. A stackable input design allows multiple 2BA-221s to be linked for a modular mixing device with individual outs, inserts per channel, and a final vacuum tube gain stage. Its swept high-pass filter, multiple simultaneous tube and solid state outputs, insert jack, and internal power supply makes the 2BA-221 a powerful tracking and mixing tool.

Chameleon Labs 7602 Mkii Mic Pre / Eq Mic And Transformer Upgrade $968 The Model 7602 MKII is the sequel to Chameleon Labs smash hit 7602 Microphone Preamplifier/Equalizer. The 7602 MKII new features include: selectable mic impedance, LED input metering, upgraded knob styles, and two different power options - all of this for the same price as the original unit. The 7602 MKII ships with an inline power transformer (all regulation is done inside the unit). The rackmountable CPS-1 can also still be used, but is no longer required. The Model 7602 MKII Microphone Preamplifier/Equalizer is based on a classic and revered design utilizing pure Class 'A' circuitry. This unit is made with 100% discrete components, hand wound transformers and was fabricated to precisely match vintage counterparts manufactured in the early to mid 70's. The Model 7602 MKII represents a dramatic breakthrough in delivering vintage audio performance at an affordable price. The 7602 MKII Microphone Preamp and EQ adds a factory installed Carnhill mic and output transformers to the 7602 unit. This upgrade adds increased performance and functionality to the 7602 MKII (sold separately). Equalizer Section (Selectable 3-band design with a flexible filter section): Filter - This is a high pass filter with 3db loss at 300Hz, 160Hz, 80Hz, and 50Hz with an 18dB cut per octave slope. Low Equalization - This section has a shelving slope with four frequency selections: 220Hz, 110Hz, 60Hz, and 35Hz. This equalizer affects the selected frequency and all others below it. The gain control provides 20dB of boost or cut. Mid Equalization - This section has a peaking characteristic with six frequency selections: 360Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, and 7.2kHz. The gain control provides 20dB of boost or cut. High Equalization - This section has a shelving characteristic with five frequency selections: 16kHz, 12kHz, 7kHz, 4.9kHz and 3.4kHz. This section adjusts the selected frequency and all others above it. The gain control provides 20dB of boost or cut. Electronics: By employing classic circuit design, polystyrene capacitors, a gold contact ELMA gain selector and custom wound transformers, Chameleon Labs ensures that the Model 7602 MKII will exhibit classic audio sound. The Model 7602 MKII has a transformer-balanced input with a range between 20dB and 80dB of gain. The separate line input is transformer balanced and accepts input levels from -20 to +10dB. What Makes Chameleon Labs Different? Chameleon Labs is a new type of company, focused on delivering performance and value at a price previously thought impossible. How do they do it? By reinventing how global manufacturing is approached. Chameleon Labs engineers are not inexperienced kids in a garage, buying products that are designed and built in China. Chameleon Labs is comprised of audio professionals with many decades of experience in high-end pro audio gear. From its inception seven years ago, they pioneered the idea of "blended technology", using top-notch parts from the US,

	Nady MPF-6 6-Inch Clamp On Microphone Pop Filter List Price: $24.99 Sale Price: $15.49 Used From: $19.29
	Mic Pop Filter With Boom

	SEISMIC AUDIO - SA-MicScreen - Flexible Microphone Wind Screen Studio Mic Pop Filter Windscreen List Price: $29.99 Sale Price: $14.99
	Model Number: SA-MicScreen Microphone Wind Screen Screen Diameter: 6 inches Neck Length: 13.5 inches Brand New One Year Warranty

	Studio Microphone Mic Wind Screen Pop Filter Mask Shied Sale Price: $11.99
	Package Include: 1 x Wind Screen Shield

	Mic Pop Filter List Price: $16.99 Sale Price: $11.99
	Pop filter for vocal microphonesDesigned for professional vocal recording environmentsIncludes boom and microphone stand clamp

	On Stage ASVS4B 4-Inch Pop Filter List Price: $30.99 Sale Price: $11.04 Used From: $14.99
	On Stage ASVS4B 4 inch pop filter features a plastic hood, and a micro-weave black nylon diffuser. Perfect and must have accessory for the active vocalist! With support from the gooseneck and clothespin-style shaft clip, this On Stage pop filter provides proper placement in front of the microphone...

	On Stage Foam Ball-Type Mic Windscreen, Black List Price: $5.99 Sale Price: $0.85 Used From: $3.00
	Protect your mics against wind interference and singers' spit with an On Stage Foam Ball-Type Mic Windscreen. Designed for noral sized handheld mics similar in design to a Shure SM58, these colorful foam windscreens fit most mics...

	On Stage Stands 7701B Tripod Boom Microphone Stand List Price: $50.99 Sale Price: $19.20 Used From: $22.67
	The On Stage 7701B Microphone Stand is a durable tripod mic stand and boom combination and just about the best value we've ever offered. These stands use the highest quality components. The legs fold down for the most compact storage...

	Blue Microphones The Pop Universal Pop Filter List Price: $79.00 Sale Price: $44.99 Used From: $40.49
	The Pop is a universal windscreen for use with any microphone. Simply clamp it to the mic stand and position where desired. The sturdy wire mesh and frame ensure years of durability. Blue Microphones The Pop Universal Pop Filter Do not Miss!! The Pop is a universal windscreen for use with any microphone...

	CAD Audio EPF-15A Pop Filter on 15-Inch Gooseneck List Price: $29.00 Sale Price: Too low to display
	The CAD Audio EPF15A is one of the most well-recognized "pop" filters in the world

	Broadcasting Studio Microphone Arm stand with Shock Mount + 6" Dual Mic Pop Filter List Price: $69.99 Sale Price: $61.99
	This microphone arm stand will include the following five parts: Scissor microphone arm stand Standard microphone clip for handheld microphones Crank style table mounting clamp Professional studio shock mount for diaphragm condenser microphones XLR male to female microphone cable Feature: 1...

Is Your Church Social? Part 21 – Podcasts – Producing Studio Podcasts

Last week we talked about how to plan for your studio podcast. Hopefully, you’ve figured out what you want to do, who you are doing it for, and what you hope to accomplish with the podcast. Now, let’s look at the actually production of the podcast and putting the “studio” in studio podcasting.

Pre-production:
Don’t wing it!! You may think that you’re fine on the fly, but trust me; your target audience probably doesn’t think so. You don’t have to write out every word (and you shouldn’t) but you need to have some idea of what your going to talk about.

• Create an outline for each show. This will help keep you on topic and make sure you don’t miss anything.
• Be specific. Decide not only on a specific topic, but specific points within that topic that you want to discuss.
• Don’t ramble. This is the point of having an outline. Rambling does NOT make for a good podcast.
• If more than one person is talking in the podcast, and I recommend you do that, decide who will talk about what. That doesn’t mean that the other people can’t add to what the “designated person” says, but it’s good to have a plan of who will bring up what points.
• Find a good recording environment. You want a quiet room free of distractions. It could be at the church or maybe in your living room. Avoid outside locations as outside noises and wind tend to be an issue.
• Most importantly, remember this is a God thing, not a man thing. So, follow Gods direction through this whole process. Pray before every pre-planning meeting and every podcast. Your podcast is about God, for God, and its success depends on God.

Production:
Quality is important when producing a studio podcast. I know I said that studio podcasts aren’t exactly professional and that they are casual, but that’s the style/format. The audio quality and quality of content is very important. People will get turned off by poor audio quality and people will only listen if the content is quality. You may want to listen to a few studio podcasts before you get started. I’d recommend checking out Twit (a podcast about technology) and the old podcasts of Geeks and God (a Christian tech podcast). Here are some other tips:

• Use real mics. So, you’re not talking into the built-in laptop mic. Go spend a couple of bucks and get some good mics. Cheap mics produce poor quality audio. You don’t necessarily have to spend a couple hundred dollars, but spend more than $10 (unless you already have some good mics)
• Address the mic properly. Get close to the mic, even touching the mic.
• Use a pop filter. A pop filter is something that sits in front of the mic that prevents your breath from making overly loud pops in the recording, especially when saying words with P’s and K’s. You can buy one, but you can also just use a piece of pantyhose stretched over a frame.
• If you have more than one person, face each other. It will make the conversation sound more natural.
• Use a quiet room and remove all distractions. No phones. No TVs. No interruptions.
• Schedule more than enough time. The recording will probably take at least twice as long as the length of the show, even longer for the first few shows.
• Use closed-eared headphones. You need to be able to hear what is actually being recorded, but you don’t want the sound to go beyond your ears and be picked up by the mics)
• Get comfortable. Choose a comfortable location and use comfortable chairs. You’ll be there a while.

Additional Thoughts:
When you are getting started, record a couple of shows that you do not intend to use. This will allow you to work the kinks out of the recording process and get the host(s) more comfortable and naturally sounding. Also, listen to your own podcasts. A good chef doesn’t serve food that he or she hasn’t tasted. You shouldn’t serve a podcast that you haven’t listened to. You will probably be your own toughest critic and it will improve the quality of the podcast. Don’t be afraid to get the opinion of other as well, but keep in mind that everyone will have their own ideas of “what would make the podcast perfect.” You don’t need to accept the opinions of others and you should evaluate whether you think their suggestions have merit…it’s your show.

About the Author

Kurt Steinbrueck is the author of the Church Marketing Online blog. He has been Director of Marketing Services with Ourchurch.Com for over 5 years providing Christian SEO services including services specific for church marketing solutions and private school marketing. Kurt is also a Deacon at his church. You can find the original version of this article at http://churchmarketingonline.com/2009/04/is-your-church-social-part-21-podcasts-planning-a-studio-podcast/.