The Sound of Sunrise
Sunrise Studios, Houston, Texas
Contents
NEUMANN TLM-170
PAGE 7
“The TLM170 is our favourite string and french horn spot mic here. It is every bit as good as a U87Ai, but different.” Kjetil Laukholm, European Classical Records
Tamara Yvette Poole
1 AKG 414B-ULS
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2 AKG D-112
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1 AKG 451B
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2 Audio Technica AT871R Boundary
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2 Oktava MC 012
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1 Neumann TLM-170
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1 Groove Tube MD 2
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2 Groove Tube GT55
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2 Groove Tubes GT67
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2 Rode Classic Tube
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1 Rode NT4
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5 Sennheiser MD 421
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3 Sennheiser E604
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Matching Pair of Earthworks Z30X
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2 SE Electronics SE-1
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1 Demeter Tube D.I.
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3 Whirlwind Imp 2 D.I.
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1 Sans Amp D.I.
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1 Shure SM-7
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6 Shure SM-57's
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2 Shure SM-58's
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1 Shure Beta 58
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Audio101
Fall 2009
The Sound of Sunrise
AKG 414B-ULS Polar pattern cardioid, hypercardioid, omnidirectional, figure-eight Frequency range 20 to 20,000 Hz Sensitivity 12.5 mV/Pa (-38 dBV) Max. SPL 140/150/160 dB (THD=0.5%) Equivalent noise level (CCIR 468-3) 25 dB Equivalent noise level 14 dB-A Signal/noise ratio (Aweighted) 14 dB-A Preattenuation pad 10 dB, 20 dB, selectable Bass filter 12 dB/ octave at 75 or 150 Hz Impedance 180 ohms Recommended load impedance >1000 ohms Supply voltage 9 to 52 V phantom power to DIN 45596 Powering <2 mA Connector 3-pin XLR Dimensions 141 x 45 x 35 mm / 5.6 x 1.8 x 1.4 in. Net weight 320 g / 11.3 oz. Patent(s) Electrostatic transducer (Patent no. AT 395.225, DE 4.103.784, JP T. Y. Poole Aud101
Microphones
Fall 2009
A K G 4 1 4 B U L S 2
The Sound of Sunrise
Microphones
Fall 2009
AKG D-112 DYNAMIC CARDIOID The pop recording industry often prefers selected models of dynamic microphones for the pickup of closely spaced bass drums and bass guitar amplifiers. The reason is that the moving system of the dynamic can be designed to handle these high excursions with very high mechanical linearity. The AKG Model D 112 is a descendent of AKG’s earlier D 12 dynamic microphone, widely known for its ability to handle high level signals from bass drums and bass guitars in the studio. The microphone has been designed with a low resonance frequency and can handle very high transient signals with virtually unmeasurable distortion. High frequency response has been tailored to keep both bass drum and bass guitar clearly distinguishable in the mix. A built-in windscreen makes the D 112 also suitable for high SPL instruments (trombone and tuba).
Dynamic pressure gradient CARDIOID Frequency response from 20- Hz to 20 kHz (+/- 10 dB), 40 Hz - 17 kHz (+/- 3 dB). T. Y. Poole Aud101
Sound pressure level for 1% /3% THD: virtually unmeasurable Sensitivity: 1.8 mV/Pa; -55 dB (re 1 V) Impedance: 210 ohms
Size: 5.9” x 2.8” x 4.5” (150 mm x 70 mm x 115 mm)
Response tailored for bass guitar and bass drum pickup, both in the studio and on-stage 3
The Sound of Sunrise
Microphones
Fall 2009
AKG 451B Professional condenser microphone with gradient capsule. Its application range includes instrument miking and recording, live recording, live sound reinforcement, lecterns and places of worship; Overhead miking, Hi-hat, Cymbals, Snare drum, Percussions, Acoustic Guitar Identical acoustics to legendary CK 1 Precise, nearly frequency independent cardioid Extremely accurate signal transfer and ruler-flat on-axis frequency response Also available as a matched stereo pair
T. Y. Poole Aud101
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The Sound of Sunrise
Microphones
Fall 2009
Audio Technica
AT871R Boundary
UNIDIRECTIONAL CONDENSER The AT871R is a wide-range condenser microphone with a hemicardioid (half-space cardioid) polar pattern. It is useful in surfacemounted applications such as high-quality sound reinforcement, professional recording, television, and other demanding sound pickup applications. Positioning a properly designed miniature cardioid microphone centrally on a large, flat, unobstructed surface yields several distinct advantages. Directionality is increased by 3 dB, promoting enhanced gain before feedback and further suppression of ambient noise. Sensitivity is increased for improved signal to noise ratio. Phase distortion due to reflected sound energy from the boundary itself is eliminated.
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The Sound of Sunrise
Microphones
Fall 2009
Oktava MC012 A compact, high-quality capacitor microphone which uses interchangeable capsules to provide a choice of cardioid, hypercardioid or omnidirectional pickup patterns. The MC 012 is designed for sound recording studios and reinforcement at cinema, TV and radio studios, and during theatre and entertainment events. Great on acoustic guitar, hi-hat, drum overhead, choirs.
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The Sound of Sunrise
Microphones
Fall 2009
Neumann TLM-170 For universal use, very transparent, without coloration. Announcer's mic for broadcasting, dubbing, voice-over. Ideal mic for close miking of instruments with high sound pressure levels. Spot mic for wind instruments, especially trumpet and saxophone, strings, piano, kick drum, guitar amps. During recordings when the mic is in a location where it is difficult to change polar patterns, for example, suspended from a ceiling. A special remote control is available.
T. Y. Poole Aud101
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The Sound of Sunrise
Microphones
Fall 2009
GROOVE TUBE
MD-2
This vintage large diaphragm condenser microphone has a bright yet rich tone as well as a liberal dose of the late night DJ, throaty character which flatters most vocalists. It uses a dual-triode 12AX7 valve and is designed to maintain a fast transient response. The MD-2 has all the warmth you expect from a top notch valve large diaphragm condenser microphone with a little more air around the tope end. The MD-2 seems to handle delicate, transient sounds particularly well and sounds great on acoustic guitars and percussion instruments, as well as on vocals and saxophone.
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The Sound of Sunrise
Microphones
Fall 2009
GROOVE TUBE
GT55 The Groove tubes GT55 is a large diaphragm condenser mic with a unidirectional polar pattern. Applications include numerous sound sources: vocals, acoustic guitar, drums, grand piano, cello, and as a room mic. Features: 1.1-inch, 3-micron gold evaporated diaphragms; Disk resonator technology; Class A; 10 dB pad; 75 Hz low frequency roll off filter
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The Sound of Sunrise
Microphones
Fall 2009
Groove Tubes GT67 The GT67 is a side-address true condenser that features a hand-assembled, handtested 1.10-inch diameter capsule. The incredibly thin 3-micron evaporated-gold diaphragm with Disk Resonator technology provides incredible sensitivity that delivers a sparkling, transparent sound across the full frequency spectrum. Use this mic to smooth a thin or brassy female vocal or impart a big "chesty" tone to any voice. The GT67 is also great for acoustic guitar, piano, drums, percussion, and literally just about anything else-including recording stereo performances when paired. The GT67 also offers omni, supercardioid and figure 8 patterns in addition to the standard cardioid. Unlike other large condenser mics, the GT67's extended frequency response is ideal for accurately capturing the realism of just about any sound source.
• • • • • • • • • • • • •
Low Noise Tube based Class A Design Tube Type Selected low-noise GT6205M-USA Switchable Cardioid, Hypercardioid, Omni, and Figure-8 Polar Patterns High Pass Filter Switchable 75Hz,12dB/octave Attenuation Pad Switchable -10dB Frequency Response 20Hz - 20kHz, ±1.5dB Equivalent Noise 23dB SPL - A weighted Sensitivity 35mV/Pa Maximum SPL 130dB-140dB Exclusive Disk Resonator design Hand-selected low noise USA-made vacuum tube 25' Custom multicore low-capacitance, low noise mic cable w/Neutrik™ connectors Auto load-compensating PSM Power Supply for extended cable runs
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The Sound of Sunrise
Microphones
Fall 2009
Rode Classic II FEATURES: · Valve Preamplifier using the 6072 Twin Triode · New 1” Capsule with Edge-Terminated Gold sputtered Diaphragm · Custom designed JENSENTM Transformer · -10dB and –20dB Pads (Switched from Power Supply) · 2 Position High-Pass-Filter (Switched from Power Supply) · 9 Polar Patterns (Switched from Power Supply) · Low Loss Oxygen-Free Copper Multicore Cable with customdesigned heavy duty plugs and sockets. Applications: This microphone is warm, clear, and handles igh spl as well. Great for vocals and acoustic guitars.
Frequency Response
Polar Pattern
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The Sound of Sunrise
Microphones
Fall 2009
RODE NT4 With a fixed 90 Degree X/Y configuration and perfectly matched stereo condenser capsules, the NT4 lets you record any source with immaculate stereo detail. The NT4 has a 128 dB dynamic range, 143 dBA SPL and low selfnoise. Offering selectable battery or phantom power operation with power indicator light, the NT4 is ideally suited to both studio and location recording.
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The Sound of Sunrise
Microphones
Fall 2009
Sennheiser
MD421
The MD 421 is a well-known Sennheiser microphone of proven reliability and performance for many years now. The broadcasting stations use it for radio and TV field work, the musician prefers it for stage work as well as the recording amateur for home and outdoor recordings. The studio cardioid microphone MD 421 features a wide frequency response from 30 to 17,000 Hz. Its high sensitivity and slight increase in response towards high frequencies are responsible for its brilliant sound. The cardioid directional characteristic of the MD 421 with its front-to-back ratio of approximately 18 dB is an important feature making the microphone suitable for use in sound reinforcement systems and all situations where it has to be used near loudspeakers. To prevent hum pickup by magnetic stray fields the IVID 421 is fitted with a compensation coil.
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The Sound of Sunrise
Microphones
Fall 2009
Sennheiser
E604 • • • •
Low distortion microphone Rugged reinforced glass-fibre body Easy to position due to compact design Low sensitivity to impact and handling noise drums microphones, bass microphones
The frequency response and cardioid pick-up pattern are optimized for drum sets and other percussion instrument miking, while also producing exceptional results on all forms of brass and woodwind. An integral stand mount screws directly onto mic stands and included clip attaches mic to rim of drum. Very high sound pressure level handling, in excess of 160 dB, is combined with a balanced, clear, low distortion signal similar to a high-end studio condenser microphone. Lightweight voice coil provides extended high frequency and rapid transient response. A tough reinforced glass fiber body takes the knocks and shocks and suppresses impact noise.
Cardioid Coil, frequency response Sensitivity(free field, no load) Impedance Terminating impedance Dimensions in inches Weight
T. Y. Poole Aud101
instrument microphone, hum compensating 40 Hz–18 kHz 1.8 mV/Pa at 1 kHz, nominal 350 Ω, min. 1kΩ 1.3 x 2.32 2.17 oz
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The Sound of Sunrise
Microphones
Fall 2009
Earthworks Z30X
Earthworks Z30X directional microphones deliver a natural and uncolored representation of the sound as it arrives at the front of the mic. They maintain most of the being there quality of our omnis. The sound quality of both models is very smooth, open and uniform across their entire front hemisphere . Their on-axis frequency response is flat from 30Hz to 30kHz at 15cm. Closer there is more bass, at a distance there is less. The Z30s impulse response is unusually fast and smooth for directional microphones. Their off-axis rejection is very thorough and uncolored. The Z30X is a classic cardioid with maximum rear rejection at 180º. The Z30XL is an unusually good hypercardioid with maximum rear rejection at 130º. The Z30XL has somewhat greater reach. For recording applications the value of their superb sound quality and uncolored directionality is obvious. They offer superior performance for a wide variety of studio applications, especially voice! Other favorite applications are guitar, flute, saxophone, vibes and drums . The Z30s are particularly powerful for broadcast and vocal production applications where their lifelike clarity and detail will enhance communication through realism.
Frequency response @ 15cm: Polar pattern: Sensitivity: Power requirements: Max acoustic input: Peak output voltage: Output: Minimum output load: Noise: Dimensions (L x D): Weight:
T. Y. Poole Aud101
30Hz to 30kHz ±1.5dB Z30X Cardioid, Z30XL Hypercardioid 10mV/Pa (-40dBV/Pa) 48V Phantom, 10mA 145 db SPL with 5k ohm load 3V into 1k ohm, 10V into 5k ohm XLR intended to drive a balanced input (Pin 2+) 600 ohms between pins 2 and 3 22 dB SPL equivalent (A weighted) 235 mm x 22mm (9.25 x .860 inches) 225g (.5 lb)
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The Sound of Sunrise
Microphones
Fall 2009
SE Electronics SE-1
With a sensitivity of around 10mV/Pa and a useful frequency range of 30Hz-20kHz, the matched SE1s come with individual frequency plots that reveal a subtle presence peak centered at around 8kHz which, along with the other small ripples in the response, becomes more pronounced when the mic is used off-axis. The plots don't include noise figures, but in practical tests the noise level was low enough to be irrelevant in all normal applications. The plots also show a better than expected degree of matching when you buy a stereo pair. Being a capacitor mic, the SE1 requires a 48V phantom power source, so connection is via the usual three-pin XLR connector, this one having gold-plated pins. The body of the mic itself is machined from metal and has a chunky, substantial feel with a satin silver finish.
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The Sound of Sunrise
Microphones
Fall 2009
Demeter Tube DI The clear, warm quality of the Tube Direct enables it to maximize the sound of all types of musical instruments. Whether your application is an acoustic guitar pickup into a porta-studio or thousands of dollars of synths and samplers recorded direct-to-disk, the Demeter Tube Direct Box provides the highest fidelity available.
Used in the studio and on the road over the past fifteen years, this is the choice for flexibility, portability and economy. It has the extremely high input impedance and tremendous headroom necessary to prevent loading and to preserve the wide dynamic range of the instrument.
Acoustic Guitar: The extremely high impedance (over 20 M) of the Tube Direct insures a perfect match with every pickup to provide a warmer, more natural sound-both live and in the studio. Electric Guitar (clean DI sound): The Tube Direct provides a clear, warm sound that retains all of the guitar's natural brilliance and harmonics for creating a viable (many feel the only) direct electric guitar sound with or without additional signal processing. Electric Guitar (amplified): The buffered 1/4" output jack can be used to drive an amplifier through up to 50 feet of guitar cable. It also prevents cable loading to produce a fuller sound from both single coil and humbucking pickups. Pedalboards and Effects Devices: The buffered 1/4" output jack is ideal for running through all types of pedals and effects with virtually no signal loss. Synthesizers, Drum Machines and Samplers: The Tube Direct warms up the sound of the synthesizer and provides an ideal interface for the variety of synthesizer output levels and impedances. Digital and Hard Disk Recording: The clarity and sheen of digital and hard disk recording can sometimes seem a little harsh or more brittle than desired. Judicious use of the Tube Direct can often mitigate this problem at several points in the recording chain, including mixdown.
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The Sound of Sunrise
Microphones
Fall 2009
Whirlwind Imp 2 DI The IMP 2 converts a line or instrument level unbalanced signal to a low impedance mic level balanced signal. The IMP2 is a basic, yet rugged and high performance DI. It contains a high quality transformer (Whirlwind's TRHL) for transparent response, parallel input and through jacks and a ground lift switch. It's the ideal direct box for anyone requiring professional quality and durability in an economical package.
Features 1/4 in. parallel wired in/out jacks Ground Lift switch to help isolate hum and buzz Uses Whirlwind's TRHL transformer that's riveted, not glued, to the chassis Built rugged on the inside and outside, this is the world famous DI found in pro systems everywhere.
T. Y. Poole Aud101
Input Impedance:
20K Ohms
Output Impedance:
150 Ohms
Frequency Response:
50 -17KHz Âą1dB
Signal Loss (input to output):
-20dB
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The Sound of Sunrise
Microphones
Fall 2009
Sans Amp Bass Driver D.I.
Much more than just a direct box, the SansAmp Bass Driver DI is capable of dialing up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. Three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the proportion of direct signal and SansAmp circuitry; and active EQ specifically tuned for bass with 12dB of cut or boost. Features Presence: controls the amount of definition and upper harmonic content Drive: adjusts the overall gain structure and overdrive Level: regulates the XLR and effected 1/4" output levels Blend: allows you to mix the direct bass signal with SansAmp Tube Amplifier Emulation circuitry: particularly useful for basses equipped with piezo pickups Bass and Treble: active EQ controls, specifically tuned for bass guitar, that cut or boost +/- 12dB For studio and live applications, SansAmp Bass Driver DI is engineered with 3 outputs: an effected XLR, and effected 1/4 in., and a parallel, uneffected 1/4 in. The footswitch activates the Tube Amplifier Emulation circuitry. Disengaging the circuitry enables you to use SansAmp Bass Driver DI as a standard active transparent direct box. Technical Info Phantom power operable, or uses optional DC power supply, Tech 21 Model #DC2, or 9V alkaline battery (not included). Size: 4.5 x 3.5 x 1.5 in. Weight: 14 oz.
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The Sound of Sunrise
The Model SM7B dynamic microphone has a smooth, flat, wide-range frequency response appropriate for music and speech in all professional audio applications. It features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices. The SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to its standard windscreen, it also includes the A7WS windscreen for close-talk applications. Impedance
Microphones
Fall 2009
Shure SM-7
Microphone impedance rating is 150 Ω (150 Ω actual) for connection to microphone inputs rated at 19 to 300 ohms.
Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3. Output Level (at 1,000 Hz) Open Circuit Voltage* . . . . . . . . . . – 59.0 dB (1.12 mV) *0 dB = 1 volt per Pascal Electromagnetic Hum Sensitivity (Typical, Equivalent SPL/milliOersted) 60 Hz: 11 dB 500 Hz: 24 dB 1 kHz: 33 dB Switches Bass rolloff and mid-range emphasis: Slotted response selector switches. See Figure 3 for bass rolloff and mid-range emphasis (presence boost) response. Cartridge Shock Mount Internal air-suspension shock and vibration isolator. Microphone Connector Three-pin professional audio (XLR) Swivel Assembly Integrated, captive nut for ease of attachment to stand, fits 5/8 in.–27 thread. Case Dark gray enamel aluminum and steel case with dark gray foam windscreen.
APPLICATIONS
The exceptional performance and unique features of the SM7B make it the outstanding choice for such applications as: • Recording Studio—Instrumental and Vocal • Location Recording • Motion Picture and Television Scoring • Television Talk Shows and News Desks • Radio Announcing and Production • Narration T. Y. Poole Aud101
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