Sirsalliyan Small Air Compressor

Mic Compressor

How To Record A Bass Guitar

Bass guitar recording and mixing is highly understated. A good bass guitar track can make or break your song, as its the backbone to your song. So here are some tips that I (CJ Jacobson) have learned over the years.

Direct Recording:

Bass guitars either have an active pick up or a passive pick up. If your bass has active pick ups, then you can usually plug directly into the input of your sound card/interface. If your bass has passive pick ups (the most common), you need to have some sort of DI box or an external amp simulator, like a bass pod. These DI boxes take the low level signal of your bass and raise it to a line level. If your sound card/interface has mic pre-amps, you can use that as your DI box.

If you record direct, without the use of an external amp simulator, you will need to edit the sound with a bass amp simulator, compression, EQ, and maybe a bass chorus, to make it sound warm, full and alive.

Mic Recording:

The best and most consistent results come from close mic'ing a bass amp cabinet that is just off center a tad bit. You can and should also add a 2nd mic and set it about 4 feet back. Good mic's to use are the AKG 414 and a senheiser 421.

Compressor Settings:

Compression is needed for bass guitars because each string produces different dynamics and the dynamic range can get pretty big. Compression is used to smooth out that dynamic range so the bass track has that sonic backbone most songs desire.

To tighten up the low-end, set the ratio to 2:1 to 4:1, with an attack between 5ms to 20ms and a release between 120 and 250ms and a threshold between -5 and -10dB. Set the output to make up for the gain that was reduced.

Distortion:

Valve amplifiers are known for some of the best bass sounds and these can get expensive for a home studio budget. So adding a Tape simulator or some slight distortion from an amp sim is a great idea. There are also valve DI boxes and using one of those is a great tool for beefing up your bass sound without totally distorting it.

Combining DI and Mic Recording:

This is by far the best way, cause you have the option to use blend both signals into one huge one. The only worry is that the phase may be off between the DI and the mic'ed bass. So you may need to reverse the phase on one of the sound sources.

Equalization:

The fundamental bass frequencies are between 125 to 400Hz and boosting these can bring out more of the bass lines in the mix.

The harmonics for the bass are from 1.5 to 3kHz. Boosting these frequencies will increase the clarity and pluck.

Boosting between 5 to 7kHz will increase the finger sound.

Cutting between 40 and 50Hz will reduce the boom.

Playing with a pick can add harmonics up to 4kHz and will make the bass sound brighter. Playing with your fingers will produce a more mellow sound

Remember to never boost or cut the same frequencies for the bass guitar and kick drum. If you boost the bass guitar at 100Hz, 250Hz and 3kHz, do not boost the kick drum in those same frequency ranges. If anything, you should cut those same frequency ranges.
About the Author

online mastering

song mastering

Joemeek OneQ Mono EQ Compressor Mic Pre $664.29 Joemeek OneQ Mono EQ Compressor Mic Pre

Drawmer 1960 Mic Pre/Tube Compressor 889406476844 $1012.5 Drawmer 1960 Mic Pre/Tube Compressor 889406476844

Tube-Tech MMC 1A Mic Preamp and Multi-Band Compressor $4590 Tube-Tech MMC 1A Mic Preamp and Multi-Band Compressor

Joemeek OneQ Mono EQ Compressor Mic Pre Regular 886830261022 $620.49 Joemeek OneQ Mono EQ Compressor Mic Pre Regular 886830261022

Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module $1982.89 Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module

Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor $2343.25 Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor

Thermionic Culture Nightingale Dual Mic Pre & Mono Compressor $3325 Thermionic Culture Nightingale Dual Mic Pre & Mono Compressor

Tube-Tech Mmc 1A Mic Preamp And Multi-Band Compressor $4590 Tube-Tech MMC 1A Mic Preamp and Multi-Band Compressor

Used Universal Audio Ua La610 Mkii Mic Microphone Preamp Compressor @778 $1249.99 In Store Used USED UNIVERSAL AUDIO UA LA610 MKII MIC MICROPHONE PREAMP COMPRESSOR @778

Drawmer 1960 Mic Pre/Tube Compressor 889406476844 $1125 Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir

Drawmer 1960 Mic Pre/Tube Compressor $2250 Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir

Used Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module $1982.89 The fully analog Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module combines the outstanding sound quality expected from a Rupert Neve design with the total flexibility required by modern recording studios. The Portico 5015 features independent transformer-coupled mic preamp and compressor-limiter sections identical to those found in the Neve Designs 5012 and 5043 modules.Available in both vertical and horizontal configurations, when used with the 5033 five band EQ it is possible to create a Portico channel strip with preamplification, dynamics processing and equalization. As an additional routing option, the microphone preamp output may be routed directly to the compressor section without patching by pressing the "To Compressor" switch.Portico Series Awards:Rupert Neve Designs has been honored with three TEC Awards since its inception in 2005. The Portico 5015 Mic Pre/Compressor won for achievement in the category of Mic Preamplifier Technology. The Portico 5042 "True Tape" Emulator (#482649) won for achievement in the category of Signal Processing Technology/Hardware. The 5088 Discrete Analogue Mixer won for achievement in the category of Large Format Console Technology.Rupert Neve Designs received the Mix Certified Hit Award in 2006 for the 5088 Console and the Portico Range.Rupert Neve Designs received the Future Music Platinum Award for the Portico Range in 2007.Microphone PreamplifierThe microphone input is balanced but not floating, being a variant of an instrumentation amplifer using a "Transformer-Like-Amplifier" (T.L.A.) configuration with a toroidal Common Mode Rejection Low Pass Filter that excludes frequencies above 150 kHz. The T.L.A. is followed by an actual input transformer designed by Mr. Neve that permits a full +25 dBu input signal to be handled at unity gain without an input pad over the whole audio spectrum. This innovative solution combines the advantages of both an "Electronically Balanced" and true transformer input.In addition to the 72 dB of gain, the Neve Portico 5015 mic preamp includes individually selectable phase, mute, phantom power, a swept high pass filter from 20-250 Hz, and the "Silk" circuit which yields the rich warmth and presence of the renowned classic designs.The Compressor SectionThe Portico 5015 microphone preamp's compressor has fully variable threshold, ratio, attack, release and makeup gain with two selectable VCA modes that provide for exceptional control of any source material. How it Works. In order to control gain, a VCA or voltage controlled amplifier (or attenuator) is used. There are many types of voltage control including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not.The Portico 5043 makes use of a very accurate, low noise, low distortion V.C.A. having, essentially

Used Joemeek Oneq Mono Eq Compressor Mic Pre Regular 886830261022 $620.49 The OneQ is the most full-featured, technologically advanced studio channel Joemeek has ever made! The Joemeek OneQ is a single-channel combining Mic Pre (with Burr-Brown IC), four-band EQthe most flexible yetJoemeek's "signature" optical compressor, a De-Esser, and an Enhancer. It's a master channel like no other. Housed in a 2u chassis, the elegantly sculpted faceplate is intelligently laid out, with clear, easy to read legends and a large analog VU meter. The OneQ also features 24-bit/96kHz A/D converters with word clock input and output.Ultra-clean microphone preamp with Burr-Brown IC"Iron" switch (add transformer-coupling)Highly musical 4-band EQ with sweep low-mid and high-mid, selectable LF and HFFull-featured optical compressor with stereo link for two OneQsLarge, accurate VU meteringHarmonic enhancer adds definition without gain24-bit/96kHz sampling, optical and S/PDIF outputsWord Clock inXLR mic inputs front and rearFront-panel instrument input

Used Joemeek Oneq Mono Eq Compressor Mic Pre $664.29 The OneQ is the most full-featured, technologically advanced studio channel Joemeek has ever made! The Joemeek OneQ is a single-channel combining Mic Pre (with Burr-Brown IC), four-band EQthe most flexible yetJoemeek's "signature" optical compressor, a De-Esser, and an Enhancer. It's a master channel like no other. Housed in a 2u chassis, the elegantly sculpted faceplate is intelligently laid out, with clear, easy to read legends and a large analog VU meter. The OneQ also features 24-bit/96kHz A/D converters with word clock input and output.Ultra-clean microphone preamp with Burr-Brown IC"Iron" switch (add transformer-coupling)Highly musical 4-band EQ with sweep low-mid and high-mid, selectable LF and HFFull-featured optical compressor with stereo link for two OneQsLarge, accurate VU meteringHarmonic enhancer adds definition without gain24-bit/96kHz sampling, optical and S/PDIF outputsWord Clock inXLR mic inputs front and rearFront-panel instrument input

Used Drawmer 1960 Mic Pre/Tube Compressor 889406476844 $1125 Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir

Used Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor $2343.25 The 1969 Mercenary Edition, derived from a collaboration between two of the audio industry's most established names, Drawmer (UK) and Mercenary Audio (USA), Fletcher - Producer/Engineer, Mercenary Audio incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments. Retaining the concept of twin mic pre-amps, the 1969 uses 'Burr-Brown'op amps for a silkier sound - and a phase reverse switch available in instrument, mic and line modes increases versatility. The 1969 employs true stereo link operation with channel one's threshold, attack and release controls becoming master to both channels. Stereo link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100 Hz minimizing undesirable pumping during compression. Output gain make-up can be independently controlled on each channel. 2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost 2 soft-knee tube compressors with variable threshold, attack, release and output gain True stereo link operation with BIGposition for retaining bass frequencies Side chain access and side chain listen facility VU metering of gain reduction and output levels Individual +4dB/-10dB inserts Balanced +4dB XLR input/output connectors

Daking Fet Iii Stereo Compressor $1975 The dual channel Daking FET III compressor limiter from Geoff Daking is built in the US with the same audio path and detector circuits as their highly successful single channel Daking FET II limiter. The FET III compressor circuitry and gain stages are all discrete and fully Class "A" with sound quality that will be at the very top of the scale. Our previous single channel FET II was known for its speed, high performance and its unique ability to sound great on an extraordinary variety of sources. The Daking FET III will equal this benchmark plus add several unique features to improve user control. The differences are as follows: The Daking compressor's variable High Pass Filters from 0 to 200Hz are added to the detector stage of each limiter channel to improve and customize limiter behavior. The HPF's tell the limiter NOT to trigger limiting based on content below the set HPF frequency. This is extremely helpful on bass heavy material. This greatly widens the audio compressor's potential application set and the ability of the user to set this new behavior "on the fly". Variable linking between channels is envisioned for use when compressing two different tracks, such as bass and kick, to tie limiter action together to greater or lesser degrees. The compressor's Stereo Link is continuously variable from 0 to ∞. All controls except "Ratio" are pots. The variable pots add the ability to fine tune behaviors in the studio. Mastering engineers may prefer the repeatability of switches, such as those on the FET II, which will continue in the Daking compressor line. The FET II's relied on control voltage summing for the stereo linking. Because the Daking FET III stereo compressor is two independent units in one box, it uses audio summing, which is much more accurate. The Daking FET III compressor uses THAT CORP differential amps in and out (electronically balanced). The FET II has transformers in and out but they are 1:1 input to output so they do not "color" the sound. (A mic input transformer at 1:10 ratio in a mic pre would color the sound significantly.) The common mode rejection in Daking FET III compressor is equal to that of FET II. The FET III output level is +24 while the FET II can be as high as +30. The FET III and FET II both use an outboard power supply. The unit is fully RoHs compliant. Ultra-flexible and easy to use Fast transparent compression Variable filter in the detector circuit High headroom +24 In and Out Easy to read illuminated VU meters Continuously variable stereo linking Attack 250uS to 64MS Release .5 Sec to auto dual time constant Ratios from 1.5:1 to 20:1

Radial Engineering Komit Compressor Limiter $499.99 The Radial Komit Compressor Limiter is one of the eight modules designed to be comprise the Radial Workhorse Rack and Mixer System that combines the popular 500 series platform with an incredibly flexible patching system to let you create the ultimate studio environment. The Radial Komit is a feature-rich compressor-limiter that simplifies the process of dynamic manipulation while expanding upon creative tone shaping. At one end is a super-clean compressor that delivers amazing results with single knob control. At the other, an old-school diode bridge clipping limiter goes from 'vintage to nasty'. But don't let the minimalist approach deter; the Komit provides exceptional flexibility by integrating a series of automatic functions that are both musical and intuitive.The design begins with an auto-detecting feed-forward VCA that reads the incoming program material and reacts 'real-time' to the time constant. Set the 3-position attack-decay switch to slow for vocals, medium for instruments and fast for percussion. As you increase the ratio, the Komit FlexKnee compression dynamically adjusts the pivot point, seamlessly transitioning from soft to hard knee for more natural results. Yet unlike most limiters that are designed to be transparent, the Komit Clipper is designed to introduce personality to your recordings. The Clipper simulates the sound created by old-school diode bridge circuits from the early days of radio. These clip the input signal when they exceed the headroom. Same deal only here, you are in complete control. Ten settings are graduated from mild harmonic overload to extreme nasty. Think of Nine Inch Nails.To ensure absolute signal integrity, full size discrete electronics are employed throughout while the vintage style Hammond broadcast transformers add extra warmth to the signal path. A variable level control provides gain make-up or can be used to drive the Clipper for added distortion. Dual ballistic VU metering makes it easy to simultaneously view compression and output when making adjustments. Designed for use with all 500 series racks, the Komit can be linked for full stereo operation. When used with the Radial Workhorse, the Omniport is assigned as a key input for frequency dependent compression, de-essing, ducking or any number of dynamic manipulation effects.Applications:Channel StripThe Komit is the ideal compressor to compliment a 'gold' channel strip. Feed the mic into a PowerPre, an EQ and the Komit can keep dynamics under control for more professional results. Stereo programThe Komit can be set to stereo mode by linking two Komits together. This is great for mastering. And even though the two units will share the same time constant, independent compression retains the full stereo image. DuckingUse the key input (via the Omniport on the Workhorse) to automatically duck a guitar track (lower the level) when the vocalist begins to sing. Simply connect the TRS output from the PowerPre into the Omniport key input.Single dial

dbx 1066 Compressor/Limiter/Gate $429.95 1066 Dual Compressor Limiter Gate Want to instantly add Color that classic dbx response to your mix? It's there at the touch of the "Auto" button. Or use the independent Attack and Release controls to tailor the 1066 to your specific needs. Unwanted frequencies or mic bleed in the signal path? Frequency dependent gain control is a snap to set up and execute with our Side Chain External button (SC Ext). Use the Side Chain Monitor button (SC Mon) and your favorite EQ to dial in the specific frequencies you want to trigger the device. As has become our standard, the contour switch allows entire mixes to be easily smoothed with soft compression while keeping low frequencies from punching holes in the overall mix. Selectable input and output metering allow you to make sure that everything is matched up level-wise, maximizing your signal-to-noise ratio.Impressive noise and THD performance specs Sidechain (with SC Monitor) Contour True RMS Power Summing Neutrik XLR audio connectors OverEasy or hard-knee compression algorithms Auto or manual attack and release times PeakStopPlus limiting

Tube-Tech Cl 2A Dual Compressor $4230 If one channel of Tube-Tech compression isn't enough for you, here's the Tube-Tech CL 2A Dual Compressor, which features two independent optical compressors--it's like having two CL 1Bs, giving you the added advantage of stereo compression for keyboards, drum overheads, bass (mic + DI), stereo bus, and multi-mic recording. Of course, just like the CL 1B, it absolutely shines on vocals. Once you have Tube-Tech compression in your signal path, you'll wonder how you ever recorded without it. Tube-Tech CL 2A Dual Compressor, First Take: All-tube amplified optocompressor with non-degrading gain reduction element Two link busses allow up to ten CL 2As can be linked together Balanced I/O and floating transformers All-Tube Amplified Optocompressor The rack mount Tube-Tech CL 2A compressor is a dual optocompressor with the optical gain reduction element placed after the input transformer and then followed by an all tube-based output amplifier with a +10 dB gain. Therefore, the signal is not fed through any semiconductor circuitry on its way to the output, which contributes to the signal clarity of the CL 2B. Additionally, The optical gain unit does not experience any degradation over the long term, providing nearly infinite life. The amplifier is based on two tubes (dual triodes) in push-pull configuration (one ECC 83 as a differential amplifier, and one ECC 82 as the output stage), and an output transformer. The power supply for the differential amplifiers is stabilized and the heaters of all four tubes are fed with a stabilized DC voltage. Stereo and Multi Link Mode A switch with three positions (Link 1, Off, Link 2) is used whenever you want to use the two separate compressors in stereo mode or link several compressors together. The two link busses are identical. Sidechain sockets for interconnection of several compressors are located on the rear panel. A switch on the front selects which compressors are interconnected, and on which bus they are connected. If you e.g. have 10 compressors in a rack, you can select compressor 1,5,7 and 8 on link 1, and compressor 2,3,6 and 9 on link 2, leaving compressor 4 and 6 in the off position. Compressors 1,5,7,8 would now be interconnected and all four will perform the same compression. This applies to compressor 2,3,6 and 9 as well. Compressor 4 and 6 are independent. The interconnection implies that the unit that performs the most compression is controlling the others. Additionally, you can choose which one you want to control the others. Balanced I/O and Floating Transformers Microphone Input/Output are balanced and have fully floating transformers with a static screen. Floating a transformer (not referencing it to ground) provides maximum electronic isolation for superior noise rejection. The static screens shield the transformer's secondary windings from the primary and prevent RF (radio frequency) electromagnetic noise from getting across. The power supply and the sidechain circuits are based on

Shure KSM32/SL Condenser Mic $549 The Shure KSM32/SL Condenser Mic has extended frequency response for incredibly natural sound. A transformerless preamp eliminates crossover distortion and improves linearity. The gold-layered, high-compliance diaphragm improves low frequency and transient response. 15dB attenuation switch handles high SPLs, the switchable low-frequency filter reduces background noise. The 3-stage pop-protection grille reduces breath noises, and internal shock mount reduces handling noise. Frequency response: 20Hz to 20kHz. Includes locking aluminum carrying case, ShureLock elastic-suspension shockmount, ShureLock swivelmount, and padded bag.Requires phantom power.Channel Strips of the Stars: Ronan Chris MurphyWorld-class producer/engineer/mixer Ronan Chris Murphy's credits include King Crimson, Steve Morse, Terry Bozzio, Victor Bisetti, Gregg Bissonette, Tony Levin, and projects with members of Tool, Ministry, Weezer, Dishwalla, and Yes. Ronan was kind enough to share some of his drum-recording signal chains: "Well all of the drums for Terry Bozzio's Jazz trio were recorded with all A Designs Audio solid state preamps. For drum overheads I used Shure KSM32 condenser mics into an A Designs Audio Pacifica (#189903) to a Manley Variable Mu Limiter Compressor (#620908); for kick drums, AKG D112s (#271161) into A designs Pacificas. (I prefer the Shure Beta 52 (#270267) for kick but they were pre-mounted inside Terry's (Bozzio) kick drums. Actually I have used the Shure KSM32 into Pacifica combo on tons of great drummers, including Terry Bozzio Victor Bisetti (Los Lobos), Gregg Bissonette (Santana, David Lee Roth), and Pat Mastelotto (King Crimson, Mister Mister, The Rembrandts)."Transformerless preamp eliminates crossover distortionImproved LF response15dB attenuation switch for high SPLsLF filter for background noise reductionThree-stage pop protection grille

If Mic Was God $6 If Mic Was God - Mic Terror

Used Radial Engineering Komit Compressor Limiter $454.99 The Radial Komit Compressor Limiter is one of the eight modules designed to be comprise the Radial Workhorse Rack and Mixer System that combines the popular 500 series platform with an incredibly flexible patching system to let you create the ultimate studio environment. The Radial Komit is a feature-rich compressor-limiter that simplifies the process of dynamic manipulation while expanding upon creative tone shaping. At one end is a super-clean compressor that delivers amazing results with single knob control. At the other, an old-school diode bridge clipping limiter goes from 'vintage to nasty'. But don't let the minimalist approach deter; the Komit provides exceptional flexibility by integrating a series of automatic functions that are both musical and intuitive.The design begins with an auto-detecting feed-forward VCA that reads the incoming program material and reacts 'real-time' to the time constant. Set the 3-position attack-decay switch to slow for vocals, medium for instruments and fast for percussion. As you increase the ratio, the Komit FlexKnee compression dynamically adjusts the pivot point, seamlessly transitioning from soft to hard knee for more natural results. Yet unlike most limiters that are designed to be transparent, the Komit Clipper is designed to introduce personality to your recordings. The Clipper simulates the sound created by old-school diode bridge circuits from the early days of radio. These clip the input signal when they exceed the headroom. Same deal only here, you are in complete control. Ten settings are graduated from mild harmonic overload to extreme nasty. Think of Nine Inch Nails.To ensure absolute signal integrity, full size discrete electronics are employed throughout while the vintage style Hammond broadcast transformers add extra warmth to the signal path. A variable level control provides gain make-up or can be used to drive the Clipper for added distortion. Dual ballistic VU metering makes it easy to simultaneously view compression and output when making adjustments. Designed for use with all 500 series racks, the Komit can be linked for full stereo operation. When used with the Radial Workhorse, the Omniport is assigned as a key input for frequency dependent compression, de-essing, ducking or any number of dynamic manipulation effects.Applications:Channel StripThe Komit is the ideal compressor to compliment a 'gold' channel strip. Feed the mic into a PowerPre, an EQ and the Komit can keep dynamics under control for more professional results. Stereo programThe Komit can be set to stereo mode by linking two Komits together. This is great for mastering. And even though the two units will share the same time constant, independent compression retains the full stereo image. DuckingUse the key input (via the Omniport on the Workhorse) to automatically duck a guitar track (lower the level) when the vocalist begins to sing. Simply connect the TRS output from the PowerPre into the Omniport key input.Single dial