Instrument Mic Xlr
Instrument Mic Xlr
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 AKG C1000S Superb Microphone Made in Austria Unused Ex Display Bargain  US $83.73
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 BEHRINGER STUDIO CONDENSER MICROPHONE C 1 C 1 FREE SHIPPING USA BUY IT NOW US $59.99
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 BEHRINGER C 2 STUDIO CONDENSER MICROPHONE C 2 NO RESERVE BUY IT NOW FREE SHIP US $54.99
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 NEW PAIR BEHRINGER C 4 STUDIO CONDENSER MICROPHONE C4 BUY IT NOW FREE FAST SHIP US $72.88
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 BEHRINGER C 3 STUDIO CONDENSER MICROPHONE FREE SHIPPING BUY IT NOW US $62.88
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 NEW Behringer T 47 Studio Vacuum Tube Condenser Mic BUY IT NOW FREE SHIPPING US $169.88
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 PylePro PDMIK1 Professional Moving Coil Dynamic Handheld Microphone MIC US $8.79
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 Brand New Pyle Pro PDWM2600 Dual UHF Wireless Mic Microphone System Mikes US $115.95
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 Pyle Pro PDMIK1 Dynamic Handheld Microphone 65 XLR to 1 4 Male Cord Musician US $8.59
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 Studio Projects C4 Condenser microphones with case and accessories US $86.00
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 Blue Baby Bottle Condenser Professional Microphone US $255.50
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 AKG 100 Perception Condenser Microphone US $75.00
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 Blue bird Condenser Wireless Professional Microphone US $175.00
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 AKG D2200S Dynamic Cable Professional Microphone US $18.99
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 SSL Solid State Logic Alpha VHD PRE 4 Channel Preamp Mint XLogic US $1,026.00
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 ART Tube AMP Microphone Pre Amp US $19.95
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 Audio Technica Wireless ATW R310 Receiver ATW T310 Trans ATM73a Cardioid Headset US $51.01
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 Audix F15 Condenser Cable Professional Microphone US $45.00
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 New Hisonic HS800 Professional Wired Dynamic Handheld Microphone US $19.99
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 SAMSON CONCERT IV CR4 WIRELESS INSTRUMENT TRANSMITTER US $99.98
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 HCL AFFINITY a2 ALL TUBE MICROPHONE PREAMP Auth Dealer US $1,199.00
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 PH1 PHANTOM CONDENSER MIC OMNI RECORDING MICROPHONE US $24.99
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 Signature Music Pro HS800 Wired Dynamic Microphone with Volume Control US $19.99
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 Audio Technica ATR 30 Dynamic Cable Professional Microphone Cord Used US $29.99 |
 AKG D77S XLR Dynamic Professional Microphone US $11.83
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 Behringer C 1 Studio Condenser Microphone US $50.00
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 Audix D4 Drum Mic Rack Floor Tom Microphone Perfect Flawless US $118.99
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 CAD Trion Audio 6000 Multi Pattern Condenser Cable Pro Microphone w shock mount US $179.99
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 Rode M3 Condenser Cable Pro Microphone w hard case windscreen and shock mount US $129.99
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 Neumann TLM 49 Condenser Cable Professional Microphone US $945.00
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 Sennheiser MKH 40 Condenser Recording and PA Microphone US $510.00
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 Focusrite Platinum Penta Preset Stereo Compressor US $250.00
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 Shure SM57LC Legendary Instrument Microphone Dynamic New in Box US $39.00
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 AKG ACOUSTICS D22 XLR INSTRUMENT MICROPHONE NEW IN OPEN BOX US $70.00
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 AKG D12E Vintage Cardioid Dynamic Microphone Bass Drum US $500.00
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 Sennheiser EW 300 IEM G2 Wireless In Ear Monitors In A Band US $400.00
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 Shure BETA 52A Kick Drum Mic US $99.00
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 Samson UHF True Diversity wireless Instrument System Mic Tested Pro Stage Guitar US $225.00
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 Sennheiser MD 421 Dynamic Cable Professional Microphone US $200.00
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 Sennheiser MD421 Dynamic Cable Professional Microphone US $275.00
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 Neumann N 80 48 Volt Power Supply US $65.00
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 Audix i 5 Dynamic Cable Professional Microphone US $50.00
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 YPA M605 Supercardioid Condenser Microphone Toms Congas US $119.99
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 Neumann TLM103 condenser microphone TLM 103 mic w wooden box and shockmount US $700.00
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 Shure Beta 98H C Procision Crafted Instruments Cardioid Microphone US $220.00
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 Earthworks TC30K Professional Microphones set of 2 w Wooden Case US $999.00
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 Blue Dragonfly microphone with shockmount US $300.99
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 Shure ULXP 14 Instrument Wireless System US $699.99
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 NEUMANN MICROPHONE TLM 127 W WOODEN BOX CLEAN US $1,799.00 |
 Guardian Audio Professional Dynamic Microphone Standard US $35.00
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Presonus Bluetube Dp V2 2-Channel Mic/Instrument Tube Preamp $229.95 The PreSonus name is synonymous with quality and performance in any studio, and they continue to build on that reputation with the BlueTube DP v2, a 2-channel tube preamp with PreSonus popular Class A XMAX preamps, which have been widely acclaimed for both their clarity and transparency. PreSonus tube preamps are known for their warm, smooth sound. With the Blue Tube DP dual-path mic/instrument preamp, you get both types of high-quality sound in one unit.The BlueTube DP v2 is an improvement on the classic BlueTube DP preamp. The solid-state path now feeds PreSonus pure Class A XMAX mic preamplifier with 80dB of variable gainan upgrade from the original BlueTube DPs solid-state stage. The tube path features a 12AX7 tube, which operates on voltages double that of other preamplifiers in its class, producing lots of headroom and big tone. BlueTube DP v2 offers lower noise, more high-end clarity, and an even smoother tube sound than its predecessor.You still get all the secondary features you expect in a professional-grade preamp: 48V phantom power, an 80Hz high-pass filter, -20dB pad to control hot input signals, and a polarity-reverse switch. Each channel has an illuminated VU meter so you can visually monitor your input levels.A Tube Drive control provides a wide range of sounds: when its clicked off, youre using the solid-state preamp for quiet, transparent amplification; when its engaged, your signals flow through the tube preamp, and you can achieve anything from gentle warmth to edgy distortion.Versatile and AffordableWith two combo mic/instrument inputs, the half-rackspace BlueTube DP v2 is a great choice for guitars and basses as well as for vocals. Singer-songwriters can run their vocal through one channel and their guitar through the other, feeding both to the P.A.no guitar amp needed. It also serves as a DI box, thanks to balanced XLR and unbalanced 1/4 outputs, and is housed in a new, rugged, 1/2U case. Try the BlueTube DP v2 as a front end for a DAW, too; sure, your recording interface might already include preamps, but few of them give you both tube and solid-state operation.We have also updated the preamps compact, rugged enclosure; it has more rounded edges and looks modern and sleek. It can be used as a desktop unit or it can be screw-mounted to a standard rack tray.Dual path mic/instrument tube preampHigh-headroom Class A XMAX mic preamplifier with 80dB gain range12AX7 Vacuum tube gain stageTube Drive tube-saturation control48V Phantom power80Hz High-pass filter-20dB Pad to reduce hot input levelsPolarity-reverse switchIlluminated analog VU input-level meter2 Balanced combo mic/unbalanced instrument inputs2 Balanced XLR main (L/R) line outputs2 Unbalanced main (L/R) line outputsCompact 1/2U chassisExternal 12 VDC, 1A power supply |
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Audix F5 Instrument Microphone $79.99 The all-purpose Audix f5 Fusion Series dynamic instrument microphone is designed to mic a wide variety of musical instruments, including snare, toms, percussion, guitar and bass cabinets, brass, flute, and woodwinds, as well as vocals and speech. Assembled and tested by Audix in the USA, the f5 is an ideal mic for both stage and studio applications. With a wide frequency response of 55Hz-15kHz, the versatile Audix f5 mic provides clear, accurate, natural sound reproduction without having to rely on EQ. The f5 mic handles sound pressure levels in excess of 137dB without distortion, which lets you mic anything from guitar and bass cabinets to heavy brass with supreme confidence. Sturdy, compact, and easy to position, the f5's roadworthy construction includes a precision-cast zinc-alloy body, black finish, laser etched model number, steel mesh grill, gold XLR connector, and a tension-fit heavy-duty-nylon mic clip.Using in Audix f5:The f5 has a tight (hypercardioid) pick-up pattern in order to help eliminate sound from other instruments on stage from bleeding into the microphone. For this reason, it the f5 is exceptionally effective for drums and percussion in be able to capture the sound of each component of the kit. Snare:Start with the f5 about 2 inches above the head and aimed towards the center of the drum. For more "rim" effect, the f5 can be aimed less towards the center and more towards the rim. It is not uncommon for engineers to place the mic practically right on the drumhead to achieve a very tight, cracking sensation. Toms, congas:Similar to snare. For tighter sound and more attack place, the mic closer to the head. For more decay and overtones pull the mic further away from the head. Guitar cabs:The f5 can be placed within 1-2 inches of the grill cover at a 90 angle pointing directly into the speaker. If the mic is placed closer to the edge of the speaker, you will minimize the higher frequencies and get a warmer, fatter tone. To capture more highs, move the mic closer towards the center of the speaker, but avoid the middle of the speaker.Horns:Place the mic within 1 - 2 inches of the bell, especially when on a stage with drums, bass, guitar, etc. For jazz, classical, and music where the stage volume is lower, the mic can be placed further away for a richer, fuller, sound. Operation:The f5 is a low impedance microphone and should be plugged into a mic-level input on your console, mixer, or recording device. Please note that your microphone does not require phantom power and will not be effected in any way by phantom power should it be running simultaneously when the microphone is in operation. Avoid plugging or unplugging the microphone from the PA system unless the channel is muted or the volume of the system turned down. Failure to do so may result in a loud popping noise, which could seriously damage the speakers in the PA system. Hypercardioid pickup pattern for isolation and feedback controlLow-mass diaphragm for clear, natural, ac |
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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 |
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Daking Mic-Pre Iv $2195 The Daking Mic-Pre IV offers four channels of high performance, Class A preamplifiers in a single rack space unit with outboard power supply. Configured for four microphone inputs or four line inputs from XLR/TRS Neutrik combo jacks on the back, plus four line inputs (+10 to -50) or 1/4" hi-z instrument inputs on the front, the Mic-Pre IV utilizes all discrete Class A circuitry with transformer-balanced inputs and outputs. The new Mic-Pre IV from Geoffrey Daking & Co. is the latest example of exemplary audio quality and craftsmanship in the tradition of the great console manufacturers such as Neve, Trident, and API. The latest addition to the company's range of professional recording studio products, the Daking Mic-Pre IV is a highly cost-effective solution for high-end preamps to be used in studio or live applications. Used standalone or in conjunction with a console, each input offers a stepped (5dB) increments) gain control for repeatability, that feature Daking's signature aluminum knobs, a 20-segment LED level meter with +24db peak indicator, switchable mic/line or hi-z instrument, switchable +48V phantom power, switchable input phase and switchable 20dB pad. The Daking Mic-Pre IV is housed in a robust all stainless steel enclosure with an outboard DC power supply in a separate housing, offering not only durability but immunity from noise and RF interference. The attention to detail extends to the internal components, which include gold bifurcated contacts on all relay switching. The preamp is supplied by a universal power supply that can operate at any voltage for use worldwide. 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), master mixers Chris and Tom Lord-Alge (everybody else from James Brown to the Rolling Stones), and William Wittman (Cindy Lauper, Joan Osbourne, The Outfield, The Fixx), who has made entire records with just Daking preamps.All discrete transistor circuitry transformer balanced inputs and outputs 30dB headroom Class "A" amplifiers All relay switching with gold bi-furcated contacts Switchable phantom power 20dB pad on mic input Steel construction for strength and noise immunity Three inputs, Mic-Line-Instrument |
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Blue Icicle XLR to USB Mic Converter/Mic Preamp $59 The Icicle XLR to USB Converter/Mic Preamp lets you easily connect your favorite microphone directly to your Mac or PC. The Blue Icicle performs dual functions as an XLR to USB adapter and a studio-quality microphone preamp. It features an analog gain control and also provides 48V phantom power for condenser microphones. The Icicle converter and preamp is the quick and easy way to perform digital recording, podcasting, and voice messaging. Includes 6-ft USB cable |
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Headway Edb-1 Acoustic Instrument Preamp $319.59 With the compact Headway EDB-1 (Sheer Acoustic Equaliser Direct Blend) mega multi-purpose external pre-amplifier box you can completely shape your sound with a 5-band interactive EQ, switchable input impedance, and 3-way range switch. The preamp's controls offer acoustic guitar, bass, or violin settingswhich cut unwanted low end tones below the useable frequency range of the instrument. This cuts body-handling noise, unwanted resonances, feedback, and violin bowing noise. Feedback and other resonance problems may be further tackled by a very effective, broad-ranging tunable notch filter and a phase reverse control. The Headway EDB-1 preamp's inputs provide plenty of options for any amplification you use. Whether using a 1/4" jack, balanced stereo 1/4" jack, or XLR jack for a microphone, the EDB-1 has got you covered. Headway EDB-1 inputs include mono jack, stereo jack and XLR, through 2 channels. The inputs enable you to blend in an extra pickup, or microphone. You can plug into them with 1 or 2 standard mono jack leads, a jack lead plus an XLR, or a stereo jack lead. An unbalanced 1/4" jack would be related to the Channel 1 input. A balanced 1/4" jack relates to the stereo input (using channels 1 and 2), for an instrument using an internal mic and pickup, being blended internally. Channel 2 mic is an XLR input allowing you to use a microphone onstage, if your instrument does not have a pickup. Each channel's input impedance switches allow you to optimize the voicing for any of the major pickup types, while a huge amount of extra levels can be applied via the gain controls and master volume. Phantom power is also available to jack in and XLR inputs, making the unit friendly for use with quality condenser mics and Instruments wired with no battery inside instrument, but with active pickups needing powering. The outputs use a balanced XLR out and a line out jack. If an earth loop is heard causing hum, you may kill it by pressing the earth lift switch. The two outputs also allow you to split the signal, such as between an acoustic combo amp for stage monitoring and an out front mixing desk. The Headway EDB-1 preamp can be mounted on its rubber feet, carried with you on a belt clip. Powering is via two 9v PP3 ( 6F22 ) batteries, or via plug-in DC Power supply.Pro-audio qualityMono/Stereo jacks inputsXLR inputInput impedance switchable to optimize various pickup types3-way Range control selects High Pass Filter/Low-cut settings for guitar,violin, or bass.2 channels5-band interactive EQTunable Notch Filter with variable band width + In/OutPhantom power to Inputs via switchBalanced XLR Line Out (Mix of 2 channels ) + Earth Lift switchJack line out in mono mix of 2 channels.Battery or external DC Plug-in power supplyLow battery indicatorMount via rubber feet, Belt clipWeight: 1-1/2 lb.Dimensions: 5-1/2"D x 3-3/4"W x 1-3/4"H (height includes low-profile knobs) |
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Shure Beta 181/O Instrument Microphone $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/Bi Instrument Microphone $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 Microphone $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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Tonelux Mp5a All-Discrete Mic Preamp $785 The Tonelux MP5A is a discrete mic preamp with a DI (direct input) on the front panel. The MP5As Mic In is transformer coupled in and out, and has a 20dB pad (affects both Mic and DI), 48V Phantom power switch, and Phase or Polarity switch. The pad and polarity switches affect both inputs. The inner, or larger (silver) knob sets the mic pre gain and the outer smaller (black) knob controls the output level. We chose the fader control for the outer knob so the gain knob, once set, won't be bumped when adjusting the output level.The 8-segment LED VU meter follows the balanced output of the preamp. The level of the VU meter is adjustable over the entire range from Off to +28. The Peak LED is set at +14VU or +18dBu and can grab a fast peak and display it. An internal jumper selects the Mic Pre Main Output or the Mic Pre Gain Stage signal to feed the VU Meter. This allows the engineer to monitor the real mic pre gain or output level of the MP5A. When monitoring the Mic Pre Gain, the meter shows the actual gain-stage level, and is not affected by the output fader.The Combo XLR/Direct input is for use with a Hi-Z instrument, etc. The Tilt tone control works with both the Mic in and DI, and has it's own Tilt EQ In switch, which is a hardwire bypass switch when out. When turned up, the Tilt control has a 0 to 6dB boost on the high end while cutting the low end the same amount. If turned down, Tilt will boost the low end up to 6dB and cut the high end up to 6dB. The front-panel XLR is multed to the rear-panel XLR, and is also multed to the D-Sub Input on the rear of the V4 Roadster 500-series rack. The Insert Return input of the V4 is a resistor-isolated mic-level input that can be used when the MP5A is in a live recording situation and there is no splitter. It will bridge the mic line with 10x the impedance to minimize loading the microphone. Included with the MP5A Mic Pre is the ability to PFL (Pre Fader Listen) the output to an external amplifier or to the mixer/master section for previewing the signal directly off the mic pre output. |
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Digital Reference DRI100 Dynamic Instrument Mic $49.99 The Digital Reference DRI100 Dynamic Instrument Microphone offers frequency response for superior sound reproduction. The mic's clarity and warmth makes guitars, amps, percussion and horns sound their very best. The DRI100 microphone's tight pickup pattern isolates your instrument from other performers, while at the same time reducing feedback. Designed to handle high sound pressure levels, the Digital Reference DRI100 mic captures all the subtle nuances of drums and saxophones as well as vocals and stringed instruments. |
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Blue Icicle Xlr To Usb Mic Converter/Mic Preamp $59 The Icicle XLR to USB Converter/Mic Preamp lets you easily connect your favorite microphone directly to your Mac or PC. The Blue Icicle performs dual functions as an XLR to USB adapter and a studio-quality microphone preamp. It features an analog gain control and also provides 48V phantom power for condenser microphones. The Icicle converter and preamp is the quick and easy way to perform digital recording, podcasting, and voice messaging. Includes 6-ft USB cableWorks with Mac or PC computersNo Special Drivers RequiredStudio Quality USB microphone preampSupplies 48V phantom power for . condenser microphonesPhantom power active lightFully balanced low noise analog front endAnalog gain control |
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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 |
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Used Daking Mic-Pre Iv $1997.45 The Daking Mic-Pre IV offers four channels of high performance, Class A preamplifiers in a single rack space unit with outboard power supply. Configured for four microphone inputs or four line inputs from XLR/TRS Neutrik combo jacks on the back, plus four line inputs (+10 to -50) or 1/4" hi-z instrument inputs on the front, the Mic-Pre IV utilizes all discrete Class A circuitry with transformer-balanced inputs and outputs. The new Mic-Pre IV from Geoffrey Daking & Co. is the latest example of exemplary audio quality and craftsmanship in the tradition of the great console manufacturers such as Neve, Trident, and API. The latest addition to the company's range of professional recording studio products, the Daking Mic-Pre IV is a highly cost-effective solution for high-end preamps to be used in studio or live applications. Used standalone or in conjunction with a console, each input offers a stepped (5dB) increments) gain control for repeatability, that feature Daking's signature aluminum knobs, a 20-segment LED level meter with +24db peak indicator, switchable mic/line or hi-z instrument, switchable +48V phantom power, switchable input phase and switchable 20dB pad. The Daking Mic-Pre IV is housed in a robust all stainless steel enclosure with an outboard DC power supply in a separate housing, offering not only durability but immunity from noise and RF interference. The attention to detail extends to the internal components, which include gold bifurcated contacts on all relay switching. The preamp is supplied by a universal power supply that can operate at any voltage for use worldwide. 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), master mixers Chris and Tom Lord-Alge (everybody else from James Brown to the Rolling Stones), and William Wittman (Cindy Lauper, Joan Osbourne, The Outfield, The Fixx), who has made entire records with just Daking preamps.All discrete transistor circuitry transformer balanced inputs and outputs 30dB headroom Class "A" amplifiers All relay switching with gold bi-furcated contacts Switchable phantom power 20dB pad on mic input Steel construction for strength and noise immunity Three inputs, Mic-Line-Instrument |
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AKG C411L Ultra Light Instrument Mic W/Mini XLR Instrument Mic List Price: $189.00 Sale Price: $139.00  |
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The C 411 condenser acoustic pickup with its tailored frequency response is ideal for acoustic guitar, mandolin, violin and most other stringed instruments. Placing the small ultra-light C 411 on or near the bridge will reproduce a clear and uncolored sound without changing the balance of the instrument... |
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"XLR Female To 1/4"" Male Adapter" List Price: $0.00 Sale Price: $1.21 Used From: $2.60 |
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"Our selection of XLR to 1/4"" adaptors feature rugged, all metal construction. Perfect for quick fixing non-matching cables. Note: These adaptors are not impedance matching." |
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Pyle Pro PPMJL30 30' Professional Microphone Cable 1/4" Male to XLR Female List Price: $31.99 Sale Price: Too low to display |
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30ft. Professional Microphone Cable 1/4'' Male to XLR Female |
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Pyle-Pro PMSAX1 Instrument/Saxaphone XLR Condenser Microphone List Price: $111.99 Sale Price: Too low to display |
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Need to record your wind instrument? This XLR uni-directional condenser microphone uses a back electret condenser for crystal-clear recording of your instrument. It easily clips onto your trumpet, saxophone, flute, etc... |
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GLS Audio Professional Microphone ES-57 & Mic Clip List Price: $69.99 Sale Price: $29.99 Used From: $27.89 |
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The ES-57 Professional Microphones were designed to sound just like the standard in the industry, the Shure SM57. If you like the Shure SM-57, you will LOVE these GLS Audio ES-57 mics. |
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Hosa CMP153 Y Cable 1/8 Inch TRS to Dual 1/4 Inch TS Cable - 3 Foot List Price: $10.95 Sale Price: $3.99 |
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The Hosa CMP153 splits a Stereo Minijack signal into Left and Right quarter-inch connections. For 20 Years, Hosa has provided a cost effective solution to the cabling needs of musicians, engineers, and audio and video enthusiasts the world over... |
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Behringer C-1 Studio Condenser Microphone List Price: $87.99 Sale Price: $35.99 Used From: $37.79 |
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The C-1 is a cardioid condenser microphone designed to capture your sounds with incredible realism, sensitivity and accuracy. This condenser mic is an excellent choice for live and studio applications, and it's available at a price that will leave you with enough cash left over to secure other recording essentials... |
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Behringer CT100 Cable Tester List Price: $43.99 Sale Price: Too low to display |
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Make sure every cable in your arsenal is in good working order with the invaluable BEHRINGER Cable Tester CT100. This incredibly portable audio solution is a must-have for sound engineers and musicians alike... |
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CBI Low Z XLR Microphone Cable, 20 Foot List Price: $24.95 Sale Price: $6.10 Used From: $5.51 |
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The CBI MLC20 is a 20 foot mic cable that's built to last and priced to save you big money! This is a low-z cable with high quality XLR male and female connectors. It's compatible with any XLR connection-microphones, mixers, recorders... |
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Hosa XVM-110M Right Angle 3.5mm TRS to XLR3M 10 Ft List Price: $12.90 Sale Price: $8.57 Used From: $7.89 |
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The XVM100M Series cables are great for connecting the stereo output of portable CD Player, Walkman, Camcorder, etc., to a single XLR line input on a mixing console. Sums Left and Right Stereo signals to a single mono feed. |
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.