Microphone

DBX 386 Dual Tube Microphone Preamp

• Two channel tube microphone preamplifier
• Selectable 96 kHz, 88.2 kHz,48 kHz, or 44.1 kHz sampling rate
• 24, 20, and 16 bit wordlengths
• Selectable dither and noise shaping
• AES/EBU and S/PDIF digital outputs

Product DescriptionThe dbx 386 Silver Series dual channel tube mic preamp puts the best of both worlds into one affordable package by combining the warmth of the vacuum tube with dbx Type IV digital conversion. The 386 boasts such features as +48V phantom power, a phase invert switch, a low cut filter, and S/PDIF (coax) and AES/EBU digital outputs. For convenience in the studio the 386 features a front panel 1/4′ instrument input, as well as a mic/line switch, 12 segment LED meters, an. . . More >>
DBX 386 Dual Tube Microphone Preamp
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Microphone

DBX 286A Microphone Preamp and Processor

• One-box solution for mic inputs
• Legendary dbx® compression and gating
• HF and LF Detail controls for tone shaping
• New dbx® standard internal power supply
• Frequency control for de-esser

Product DescriptionThe dbx 286A is a Mic Preamp with Five onboard processors, which can be used independently or in any combination. Why mic up vocals and instruments through a noisy, blurry mixer? The dbx 286A’s sonically pristine Mic Preamp has all the features you need, including wide-ranging input gain control, switchable 48V phantom power and an 80Hz high-pass filter. Use the 286A’s patented OverEasy® Compressor to transparently smooth out uneven acoustic tracks or deliver that cl. . . More >>
DBX 286A Microphone Preamp and Processor
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Microphone

Microphone Techniques For Acoustic Guitars

Guitar is a very old musical instrument. It is normally played in an unplugged way. But when played in a show, a microphone is also used. Otherwise the sound will not reach every listener. Acoustic guitars have a unique sound.
Microphones sometimes cause different kinds of problems. And for that reason, the use of a proper microphone is ensured for acoustic guitars. Here we will talk about different microphone techniques for acoustic guitars.
The acoustic guitar delivers a varied range of frequencies. The range is from under 100hz to the extent which is not audible to human beings. The resonance of the largest string delivers low frequencies and the plucking system delivers the high frequencies. In most types of acoustic guitars, the sound hole generates the bass sound.
This instrument has always been so popular that people have thought of making some microphone which will not harm the sound of this instrument. And for this reason, a lot of experiments were made on microphones.
After a lot of experiments, dynamic and condenser microphones were made. These two microphones are suitable for acoustic guitars. But among these two, the condenser microphone delivers the most detailed and the brightest sound.
There are small and large diaphragm microphones available. Both of them are perfect for acoustic guitars. But while playing the lead portion of the acoustic guitar, if you stroke the string hard, then a sharp transient will be produced. It is louder than the sustain portion of the waveform. This will not sound well at the time of recording. So it will be better if you use the dynamic microphones for playing the lead portion.
To get a good sound out of the microphone, it is necessary to know where you should keep the microphone. If you keep the mike just in front of the sound hole, then the guitar will create a very dark, boomy sound. Just like that if you put it in front of the neck then it will produce a thin sound. Even the surrounded portion of the bridge will not be able to produce a proper sound, if you put the mike there.
Actually the proper microphone technique for acoustic guitars depends on the instrument itself and the playing pattern. That means it depends also on whether the instrument will be strummed or plucked, and on the music style and the recording place. The perfect place for a microphone is one to two feet away from the acoustic guitar. The mike must be pointing at a place somewhere between the sound hole and the very place where the neck of the guitar meets its body.
If you use a directional mike, then you have to adjust the distance, to make a balance between the proximity effect and the room ambiance. If you use an omni microphone for acoustic guitars, then you will be able to put it closer to the instrument and also will get a sound which is pretty much well balanced.
The most common microphone technique for acoustic guitars is the use of two microphones. One will be closer to the guitar and the other will be a bit far away.
But the interesting thing about microphone techniques is that you do not always have to use all these existing styles. You can try some technique of your own. And perhaps one day you will be able to make a microphone technique that will help many acoustic guitar players.
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