Can a modern product like SSL’s X-Desk really compare with their classic large format consoles? If so, you may finally be able to mix through the same mix bus as the many of the best engineers in the world. I put the X-Desk’s summing to the test against the 9000J, and also did some serious thinking about this seemingly stripped down mixer. I’ll do my best to provide an accurate summary of its analog summing.
There was a time when shooting HD video meant big equipment and even bigger budgets. Nowadays, you can shoot amazing HD footage with something that costs under $200 and fits in your pocket. But how about great sound, or even surround sound, to match that awesome video? Like HD video, surround sound used to be bulky, expensive, and reserved for use by the pros. Nowadays, thanks to a company called Holophone (not to be confused with the instrument from Futurama) just about anyone can add 5.1 surround sound to their home movies or independent films without having a duffel bag full of equipment or a Hollywood budget.
The year 2010 marked, for better or worse, my fourth consecutive National Association of Broadcasters (NAB) convention. It was, for the industry's sake, good to see larger crowds than I remember from the past couple years, and, at the very least, there seemed to be more “excitement” in the air. In particular, 3-D was all the rage (and, should you be interested, 2009 was notable for DSLR Video, 2008 for The Great Recession and 2007 for Final Cut Studio and The Red Camera). It was as though most companies had, overnight (post-Avatar), transitioned their entire business model to remodeling your favorite sporting event or video game. I was skeptical at first, thinking 3-D sounded a bit “gimmicky,” but that all faded away the moment I laid my bespectacled eyes on the massive 3-D purposed screen in Sony's booth. It appears the third dimension really does make all the difference.
If you caught the parts one and two of this direct recording series, then you’ve seen that direct recording is all about flexibility.It’s hard to imagine that I’ve still not mentioned the most flexible technique of all, re-amping.Treating a direct signal with a software emulator or a plug-in will always be cool, but using outboard equipment might just be that much cooler.Re-amping is simply the process of sending the analog output of a prerecorded digital signal into some hardware device (namely an amp or effects) and then rerecording it.Your options will be somewhat limited by your collection of hardware, but there can be a benefit just from bringing your signal out into the analog realm.
The new workstations at B&H bring together the worlds of video post and audio production like never before. They allow you to test drive the latest software and hardware, and witness firsthand how the sonic and visual sides of post production interact. Have you ever used Final Cut Studio software on a powerful Apple Mac Pro computer? Want to audition the latest Universal Audio UAD-2 plug-ins in a Logic session? Now you can!
Our customers have always been Sennheiser fanatics. Their Evolution Series wireless systems and wired microphones have maintained a well deserved popularity. Even when I walk around the B&H executive offices, I always see lots of our employees wearing Sennheiser's HD-280 Pro headphones (because they sound so nice and really block out noise). So it goes without saying that B&H is indeed proud to be named Sennheiser's Dealer of the Year in their professional audio business category.
Over the last few years here at B&H, I've done my fair share of hands-on headphone reviews. However, I haven't really spent much time looking at the wireless options that are available. To be honest, I've never really had a great experience with various wireless headphones in the past. Recently, I took 3 offerings from Sennheiser for a spin and let me just say, I may be a wireless convert from here on out.
The quiet little world of camera XLR adapters has been ablaze with activity lately. Here's a brief recap: the juicedLink DN101 came out and proved to be a great accessory for DSLR video shooters who own a CX series juicedLink XLR adapter. The latest news is great for people who need to plug professional microphones into their video-enabled DSLR cameras, but don't own an XLR adapter yet. JuicedLink has released the DT454, which gives you all of the functionality of a CX series box, with a DN101 built-in.
When the president of the United States speaks, the world listens, so long as the mic is on. Since 1968 that mic has been the Shure SM57 in a dual configuration. Dual mics add redundancy, and frankly, a sense of importantance.
One SM57 is usually wired to house audio, and the other to a breakout box which is fed to media outlets. In all the years I've been watching Presidents talk (since Carter!) I've never heard a dropout or tech failure--a salute to the rock solid reliability Shure SM57s have.
This curious looking wavy blue ring is causing a lot of confusion for customers who buy new R0DE microphones. The ring is a small spacer that comes installed inside of the mic. The ring can be easily removed, and it's a good idea to remove it immediately after you buy a new R0DE. The ring prohibits many XLR cables from connecting, and you may think your new mic is defective if you're unaware of this issue.
We are very honored to announce that the Pro Audio Department at B&H has received the Dealer of the Year Award for sales and service from Grace Design. As a premier manufacturer of microphone preamps and monitor control systems,
No, B&H does not sell mannequin parts (at least, not that I'm aware of). The Neumann Dummy Head is a stereo microphone that's designed to capture sound the same way human ears do. It can be used to create incredibly realistic sounding ambient recordings, but more importantly, the microphone itself is really, really cool looking. We thought it would be fun to round up some of the more interesting looking microphones available at B&H and make a gallery to show them off...
If you tuned in for the last part of this series then you learned all about the fundamentals of recording a direct signal. Now that you've got a solid understanding of the options available for direct recording, hopefully, you've had some time to make some direct recordings of your own. But a direct signal is only useful if you do something with it, and that's what the next two parts of this series will focus on. This segment will cover the basic things to watch out for with your direct signals, and cover some of the great software emulators out there that can take those sounds in an infinite number of directions.
Many budding recordists have heard the term "direct box," or even used one without really knowing what it does. Maybe you've heard that a direct box (or DI) matches the "impedance" of your devices, but you really have no idea what that means. If all you're looking for is a nice tone from your instrument into your computer, then don't fret--a strong understanding of impedance is not necessary--but, you may want a little back-story to help wrap your mind around the concept (if not, skip to the section about types).
Previously, in Part 1 of this series on studio monitors, we discussed the advantages of mixing your productions on "studio monitors" instead of of "speakers." To recap, we learned that monitors will replicate the volume of different frequencies (or pitches) with far greater accuracy than speakers, and, as such, are best suited for engineers needing to to make informed decisions in their mix.
Prices, specifications, and images are subject to change without notice. Not responsible for typographical or illustrative errors. Manufacturer rebates, terms, conditions, and expiration dates are subject to manufacturers printed forms