Unidirectional electret condenser microphone for live amplified & acoustic instruments - can be powered by AA battery or phantom power
Notes: The SM94 is a unidirectional electret condenser microphone tailored to the instrument miking needs of professional musicians and sound engineers in both live performance and sound recording. Its smooth, flat frequency response is free of either a presence peak or a low-frequency rolloff, making it a perfect choice for all types of musical instruments.
The SM94 is equally at home in sound reinforcement systems or in sound studios and motion picture/TV scoring stages. It is ideally suited for most instruments including harmonica, cymbals, brass and saxophone, as well as guitar amps. When used with the optional wind-screen, the SM94 can be used by vocalists and speech-makers who desire a wide, flat response with minimum coloration.
Pair of condenser microphones for recording drum overheads, group vocals, acoustic instruments and live performances
Notes: The NT5 matched pairs are a masterpiece of small-diaphragm cardioid-condenser microphone design.
Intended for recording acoustic instruments, drum overheads, cymbals and live performances, the compact externally polarized mic employs a 1/2" capsule, an active J-FET impedance converter with bipolar output buffer.
Finished in durable satin nickel, the NT5 is intended for either single or stereo X/Y mic set-ups. The NT5 matched pairs comes supplied in a custom carry case with windshields and mounts.
Professional flat-response condenser instrument microphone
Notes: The SM137 is a versatile, flat-response cardioid condenser probe microphone.
The SM137 has an ultra-thin diaphragm for a frequency response that combines a smooth high-end with a tight, controlled low-end and a 15db pad for natural sound reproduction in both acoustic and high volume performance applications.
The SM137 can be used with the Acoustic Bass Acoustic Guitar Cymbals Guitar Amp Orchestra/Strings Percussion Piano/Organ Stage Overhead Studio Ensemble Studio Instrument Woodwinds.
B-STOCK: Box opened, product in perfect working order
Notes: ***B-STOCK: Box opened, product in perfect working order***
TM-DRUMS is a set of four microphones tailored for getting a good drum sound with ease using a Tascam multi-track recorder or audio interface with DAW software. Especially designed for beginners who cannot afford separate mics for each and every part of the drum kit, this mic set meets the minimum requirements for multi-microphone recordings and can even be handled by people who are not yet so familiar with creating a good sounding mix with many sources.
TM-DRUMS comprises of one dynamic mic designed for the bass or kick drum, another dynamic mic designed for the snare, and two condenser mics that can be used for hi-hat, toms and cymbals. Each of the three mic types has its own special characteristics to enhance the instrument it was made for.
The TM-50DB's frequency response delivers a thick bass thump with the right amount of punch, while the TM-50DS enhances the special character of the snare drum with attack and clarity. The TM-50C microphone can be used as an overhead microphone to capture the sound of your hi-hat and cymbals. As a condenser microphone, it handles high sound pressure levels and captures a wide frequency range. Since there are two of these in the set, you can also use that pair to easily create a stereo recording of the entire drum kit, supported by the two mics for kick and snare drum.
Creating a great-sounding drum sound is not hard to accomplish. With two overhead microphones and separate mics for the kick drum and snare drum, you'll get a wide stereo image with clear highs. Start with the overheads and try out different positions until you find that toms, cymbals and hi-hat build a balanced base sound. Then, add a thick kick drum and a well-defined snare drum to that base sound with their separate mics.
If a clear hi-hat is important to your music, you can emphasize it by placing one of the TM-50C over the hi-hat and use the second TM-50C as overhead on the other end of your drum kit. By going this way, you will have more influence on the basic instruments: kick, snare, and hi-hat. You will certainly find a good position for the overhead mic where it can capture the rest of your kit. This approach does not deliver a stereo image like with two overheads but it still gives you some amount of width when panning the hi-hat to one side and the overhead to the other side.
Tascam TM-80 Once you created your basic drum sound and you're familiar with multi-microphone recording, it is easy to add more mics. Is your drum kit located in a room with a nice ambient sound? Why not add that room ambience to make your sound more natural?