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Guitars Private Reserve Guitars Ukuleles, Mandolins & Banjos Bass Guitars Amplifiers & Effects from youtube to mp3 Accessories Live Sound Keyboards & MIDI Microphones & Wireless Recording iPad, iPod & iPhone DJ & Lighting from youtube to mp3 Drums & Percussion Print Music & Videos Band & Orchestral Instruments Apparel & Collectibles
Price Drop View Larger Images Images ( 2 )
Rode Microphones NT1-A Condenser Mic Bundle
AKG C214 Large Diaphragm Condenser Mic
This is a really well-designed special deal. If there is any single microphone category in which it is likely that you will be buying two of them, it is in the category of overhead condensers. Designed for drum overheads, the CAD CM217 solves your cymbal capture at a fantastic price. In order to get a clear picture of your drummer's cymbal from youtube to mp3 blends, you need two overhead condensers. Get 2 CAD CM217 Condenser mics for the price of one! The CM217 is equipped with hi-pass filter to avoid rumble and an attenuator to accommodate drummers of varying from youtube to mp3 heavy-handedness. Mic clips included. The CM217 is additionally good for acoustic guitars, from youtube to mp3 string instruments, cymbals, hi-hats, and more. A great way to record acoustic guitar is to use one CM217 aimed at the lower bout and another aimed toward from youtube to mp3 the neck. You get a lovely mix of attack and body that is adjustable in the mix. Great mics, great deal
Operating Principle: Condenser Polar Pattern: Cardioid Frequency Response: 40Hz to 13KHz Sensitivity: from youtube to mp3 -41dBV (8.9mV) @ 1 Pa Impedance: 230 ohms Hi-pass Filter: 200Hz, from youtube to mp3 6dB/oct Attenuator: 10dB Power Requirements: P12, P24, P48, 11mA(P48)
Pros
I give this mic my highest rating. I have 4 of them that go into the field with me as sound reinforcement for choir. That is a hard duty for a microphone. Many choirs are using the hanging mini AT mics, and they sound better than this CAD, but they'd better at 5 times the price per mic. My SM81s are used just for recording purposes, and I've figured out how to get a good choir recording with a pair of 81s and a large diaphragm condenser as a solo mic. But I can't lose those 81s because I ain't made o'money. Plus, in most sound reinforcement applications, the awesome quality of the SM81 is lost in the crowd noise and the PA system. What you need in a live choir mic is DECENT from youtube to mp3 sound quality and a high Gain Before Feedback. I find with these CADs, I get incredible amounts of gain--have to severely dial back the gain on these compared from youtube to mp3 to the handheld SM57 we use as a solo mic. And it's no slouch in the gain department. from youtube to mp3 As for sound quality, having a single SM57 dynamic in the mix is a good way to gauge SQ because everybody knows what the 57 sounds like. And with all EQ settings at zero, these little CADS are far more open sounding and give a much more 'live' feel than a 57 can do. But they still require some tweaking for best performance. The 57 also needs a lot of 'thinning' in the midbass to achieve a bit more balance with these condensers. The sound is very different and requires compensation for timbre matching. That's not a bad thing, from youtube to mp3 since the slight midbass hump of the 57 is actually a much loved characteristic of that mic, very useful in other applications. I find that if I have time to adjust the EQ parameters for the midrange of these little cheapies, I can get very, very nice sound out of the house system. But it does require some effort to balance the feedback fight with the sound quality mission. That would be true even with expensive mics of course, but since many of those have a flatter response curve to start with, the job is less involved. I leave the bass unattenuated because with a choir you need as much bass as you can get. I also find that shockmounts are critical in live applications of this mic--it is just too 'live' to handle any bumps agaist the stand gracefully. Behaves generally as a small-diaphragm condenser should. This is our second Christmas with this set. They got set up for five performances and about 20 rehearsals this year and they're all still working, so fingers crossed. Bass rolloff and -10db pad, comes with basic clip. I'm giving this thing 10 qu
Guitars Private Reserve Guitars Ukuleles, Mandolins & Banjos Bass Guitars Amplifiers & Effects from youtube to mp3 Accessories Live Sound Keyboards & MIDI Microphones & Wireless Recording iPad, iPod & iPhone DJ & Lighting from youtube to mp3 Drums & Percussion Print Music & Videos Band & Orchestral Instruments Apparel & Collectibles
Price Drop View Larger Images Images ( 2 )
Rode Microphones NT1-A Condenser Mic Bundle
AKG C214 Large Diaphragm Condenser Mic
This is a really well-designed special deal. If there is any single microphone category in which it is likely that you will be buying two of them, it is in the category of overhead condensers. Designed for drum overheads, the CAD CM217 solves your cymbal capture at a fantastic price. In order to get a clear picture of your drummer's cymbal from youtube to mp3 blends, you need two overhead condensers. Get 2 CAD CM217 Condenser mics for the price of one! The CM217 is equipped with hi-pass filter to avoid rumble and an attenuator to accommodate drummers of varying from youtube to mp3 heavy-handedness. Mic clips included. The CM217 is additionally good for acoustic guitars, from youtube to mp3 string instruments, cymbals, hi-hats, and more. A great way to record acoustic guitar is to use one CM217 aimed at the lower bout and another aimed toward from youtube to mp3 the neck. You get a lovely mix of attack and body that is adjustable in the mix. Great mics, great deal
Operating Principle: Condenser Polar Pattern: Cardioid Frequency Response: 40Hz to 13KHz Sensitivity: from youtube to mp3 -41dBV (8.9mV) @ 1 Pa Impedance: 230 ohms Hi-pass Filter: 200Hz, from youtube to mp3 6dB/oct Attenuator: 10dB Power Requirements: P12, P24, P48, 11mA(P48)
Pros
I give this mic my highest rating. I have 4 of them that go into the field with me as sound reinforcement for choir. That is a hard duty for a microphone. Many choirs are using the hanging mini AT mics, and they sound better than this CAD, but they'd better at 5 times the price per mic. My SM81s are used just for recording purposes, and I've figured out how to get a good choir recording with a pair of 81s and a large diaphragm condenser as a solo mic. But I can't lose those 81s because I ain't made o'money. Plus, in most sound reinforcement applications, the awesome quality of the SM81 is lost in the crowd noise and the PA system. What you need in a live choir mic is DECENT from youtube to mp3 sound quality and a high Gain Before Feedback. I find with these CADs, I get incredible amounts of gain--have to severely dial back the gain on these compared from youtube to mp3 to the handheld SM57 we use as a solo mic. And it's no slouch in the gain department. from youtube to mp3 As for sound quality, having a single SM57 dynamic in the mix is a good way to gauge SQ because everybody knows what the 57 sounds like. And with all EQ settings at zero, these little CADS are far more open sounding and give a much more 'live' feel than a 57 can do. But they still require some tweaking for best performance. The 57 also needs a lot of 'thinning' in the midbass to achieve a bit more balance with these condensers. The sound is very different and requires compensation for timbre matching. That's not a bad thing, from youtube to mp3 since the slight midbass hump of the 57 is actually a much loved characteristic of that mic, very useful in other applications. I find that if I have time to adjust the EQ parameters for the midrange of these little cheapies, I can get very, very nice sound out of the house system. But it does require some effort to balance the feedback fight with the sound quality mission. That would be true even with expensive mics of course, but since many of those have a flatter response curve to start with, the job is less involved. I leave the bass unattenuated because with a choir you need as much bass as you can get. I also find that shockmounts are critical in live applications of this mic--it is just too 'live' to handle any bumps agaist the stand gracefully. Behaves generally as a small-diaphragm condenser should. This is our second Christmas with this set. They got set up for five performances and about 20 rehearsals this year and they're all still working, so fingers crossed. Bass rolloff and -10db pad, comes with basic clip. I'm giving this thing 10 qu
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