Crown PZM30D Boundary Microphone Review

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(More customer reviews)The microphone performed as required.
I get a good sound from hanging it close to drums, piano.
The transient attack of the percussive hit will sell you on
the performance.


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This Crown PZM30D Boundary Microphone is a Pressure Zone Microphone designed for pro recording, sound reinforcement, and broadcasting. It has many applications, miking anything from full orchestras to individual instruments. Dual frequency response is switchable between rising (R) and flat (F). The R setting delivers the crisp attack needed for piano and percussion while the F setting offers smooth, flat, high-frequency response. With a frequency response of 20Hz to 20kHz and a maximum SPL of 150dB it can handle just about any sound capture chore you throw at it.

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Crown PZM-30D Pressure Zone Microphone Review

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(More customer reviews)You may look at the picture of this microphone and wonder just how big it really is. Well, it's quite small, actually. The plate is made of metal and it seems quite sturdy. Performance is great for those who understand how to use this type of microphone. This type of microphone works best when placed on a rigid, flat surface. The pickup pattern seems to be 360 degrees so if you are hoping to buy a microphone that picks up "everything" then this would be a good choice. If you want a microphone that focuses on a specific subject while ignoring sound coming from other directions, then you might want to consider a shotgun-style microphone instead. This particular microphone takes an XLR cable and operates on phantom power from your mixer. I use it in a distance-learning classroom. This microphone is almost as good as the $1,500 "AudioScience" microphones.

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The PZM ® -30D is a Pressure Zone Microphone ® designed for professional recording, sound reinforcement and broadcasting. It has many applications, from miking full orchestras or individual musical instruments to security or teleconferencing. The PZM-30D has a switchable dual frequency response: rising (R) or flat (F). The "rising" position adds brilliance. This makes it useful wherever a crisp attack is desired, such as on percussion, drums, or piano. The user can get a bright sound without boosting high frequencies on the recording console; the result is lower noise. The "flat" position provides a smooth, flat, high-frequency response for natural sound reproduction. These sturdy microphones are especially reliable because they can be used with a rugged detachable cable. The output is a male 3-pin XLR-type, balanced and low impedance, which permits long cable runs without hum pickup or high-frequency loss. Like other Pressure Zone Microphones, the PZM-30D TM utilizes the Pressure Recording Process in which a miniature condenser microphone capsule is positioned very close to a sound-reflecting plate or boundary. The capsule is mounted in the "Pressure Zone" just above the boundary, a region where sound coming directly from the sound source combines in phase with sound reflected off the boundary. The benefits are a wide, smooth frequency response free of phase interference, excellent clarity and "reach," a hemispherical polar pattern, and uncolored off-axis response.

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MXL V67Q Stereo Condenser Microphone Review

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(More customer reviews)I bought this microphone to record piano music, chamber music and choral concerts. This is a serious professional microphone at a very reasonable price. It is stereo, and requires phantom power, which right away limits the devices you record on. You basically have to use pro equipment. It comes with a 5 pin stereo XLR connector cable which is only 10 feet long, You can get longer 5 pin stereo XLR connectors from musiciansfriend, Amazon or B and H photo/video. I use a Marantz CDR-300 recorder, but you could also use a marantz 310, any digital multi-track recorder or pro-tool/mac/digidesign interface box setup. (just make sure the interface box has two XLR inputs). The advantage to using a stereo mike is that it only requires one stand and one cable, and this mike sounds fantastic. You do have to back up from whatever you are recording, because it is very sensitive. Watch your levels when you are recording. It records the entire frequency spectrum, very quiet mike, but also very sensitive, you will hear every sniff and cough. It is a neutral mic, warm enough, and doesn't have a digital "edge" to it. I'm very happy with it. The color scheme is a little loud (I call it my Notre Dame Leprechaun Bling-Bling microphone) but once you get past that, it's a serious piece of electronic recording hardware. My previous microphone was a $200 Sony ECM-957 and I've also used a Rode NT-4 (~$600) this is as good as the Rode, but at one third the price. The MXL V67Q is the same price as the Sony but much better, wider spectrum, more neutrl and quieter. You should get a shock mount (I use the MXL 57) and a good tripod (I have an On-stage tripod, the end of the tripod accepts the MXL 57 shock mount). In summary, you can't do much better than this if you are trying to record classical music in a live venue with a digital recorder that has phantom power and XLR connectors. Highly recommended. for more info, go to www.mxlmics.com.

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MXL is proud to announce the newest addition to the V67 series, the V67Q Stereo microphone. This mic is the perfect addition to the home recording or studio environment. A fixed 90 degree XY pattern delivers a spacious stereo image, but also minimizes loss when translating to mono. The width can be adjusted later with panning if desired, as the left and right signals are delivered on separate balanced XLR connectors. The open tonality of the microphone compliments close micing by capturing the natural reverb of a room, provides an easy solution for drum overheads, and fits nicely under the lid of a grand piano. Follow the link above to hear a sample of the V67Q on guitar as well as other microphone samples.

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RODE NT1000 Vocal Condenser Microphone Review

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(More customer reviews)I went shopping for a Rode NT1. Rode mics use superb capsules mounted in machined housings you could drive a truck over, and the NT1 is a great mic for male vocals. The guy at the store suggested the NT1000. I recorded myself on both, and there wasn't much difference, but the 1000 just sounded a little smoother. But, the NT1 had a painted finish (may have changed since), made out of aluminum. When you screw the mount on it feels rough, like screwing in a light bulb with an aluminum base. The NT1000, though, feels rich and expensive, a nickel-steel finish (I guess) more like the expensive Neumanns. And when you screw the parts together they feel precise and elegant. It was a hundred bucks more than the NT1, but with the slightly nicer sound, and the much nicer look and handling feel, it seemed worth it.
The only problem I've had with it is weight. It's fairly heavy, and can't be extended very far on my boom stand without falling over.
Great dynamic range, low noise, very detailed.

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The Rode NT1000 brings new standards to the recording industry. When today's musicians and recording engineers demand clarity and dynamic range, they demand large capsule performance. The Rode NT1000 is superior in both vocal and instrumental performances. Voiced for application versatility , the NT1000 has been hailed by many as the ultimate drum over-head and grand piano mic selection. The NT1000 is also equally at home as a first call vocal mic. With its Australian made 1 inch HF-2 capsule incorporating internal shock mounting, the NT1000 boasts a 134 dB dynamic range, and 140 dBA SPL capabilities and a 20 Hz - 20 kHz frequency response. Includes mic stand mount, and zippered pouch. Rode NT1000 Features HF2 1 inch capsule with gold-plated diaphragm Ultra low-noise transformerless circuitry Cardioid polar pattern Heavy-duty cast metal satin nickel body High-strength welded and heat-treated mesh head Internal capsule shock-mounting True externally biased condenser Full frequency response AmericanMusical.com is an authorized dealer of Rode products.

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Sony ECM-MS957 Stereo Microphone with Rotating Mid Capsule Review

Average Reviews:

(More customer reviews)I bought this mike for use with my minidisc recorders, mainly to record choral concerts at church and in other places. It has a nice stereo directionality and separation choices, but I advise you to watch your record levels or mike sensitivity setting because the sound levels tended to overload on loud passages or with percussive music like piano when used with my recorder's default (high) mike sensitivity setting.
It's very solid and well made. I'd rather have a boxed carrying case instead of the soft pouch provided, but that's a quibble.

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For advanced, amateur and professional use.For instrumental recording.Ideal for Sony MD Walkman and DAT Walkman® Portable Stereos.One-Point Stereo design.Mid/Side (MS) capsules with switchable pickup angle.Rotating Mid capsule.Cannon XLR connector.Oxygen-free copper (OFC) Litz cord.Gold-plated L-shaped stereo miniplug

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Studio Projects B3 Multi-Pattern Large Diaphragm Condenser Microphone Review

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(More customer reviews)This mic turned out to be pretty good! I was leaving my home town and moving to another Continent, but didn't want to loose my clients and VO jobs, so I decided to purchase home recording equipment. This was the mic I chose. I tried it out at one of the main professional audio studios I work with and the sound technician gave this mic a 2 thumbs up! Of course you do need the CEntrance MicPort Pro for it to work out properly, and that will be another review..
Very good Quality of sound, gives you all 3 patterns (omni, duo, and full).
VERY IMPORTANT! Just so you know, it comes in a very sturdy wood box, and it brings a shock mount and a wind-stopper (which works as popper stopper, too) ... I didn't realize this and bought and additional shock mount (that doesn't fit my mic!) and an additional pop filter, which i will eventually use.
Over all, very staisfied!

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The new Studio Projects B3 is the ultimate in large diaphragm condenser microphones at this price anywhere. This microphone has all the technical refinements to be an enduring classic. With features you would expect in a world class microphone, the B3 offer's three recording pattern positions (cardioid, omni and a true figure eight)with pad and Hi-Pass filter.Equipped with a true 1" 3 um gold sputtered dual gold large diaphragm in a pressure gradient transducer capsule, the B3 will ensure the finest quality of recordings while offering linear response and a classic deep rich sound. The B3 can be connected to any external microphone preamplifier or mixing console which provides 48 volt phantom power or via any 48 volt external power supply.Type: FET 3 micron 1" large dual diaphragmPolar pattern: Cardioid, Figure of Eight, OmniFrequency response: 20~20000HzSensitivity: 14/16/18mV/Pa(Omni./Cardioid/Figure 8) (-37/-36/-35dB @1000Hz)Output impedance: 1000 OhmMaximum SPL: 132/142dB SPL for 1% THD @1000Hz(0dB/-10dB pad, 0dB SPL=0.00002Pa)Noise: 14dB-A (Cardioid)S/N: 80 dBPad: -10dBLow cut: 6dB/Octave at 150 HzPower requirement: 48 +/- 4VCurrent consumption:

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Shure KSM 137/SL End-Address Cardioid Condenser Microphone Review

Average Reviews:

(More customer reviews)I had been looking around for a good condenser microphone for recording acoustic guitar and a sales representative recommended this one. I absolutely fell in love with this microphone the first time I pushed in the 48v button for my Pro Tools rig. It's a great price for an excellent microphone, Shure has always made affordable go to microphones especially for live performance ie the 57 or the 58. I really like the roll off switches, I don't use the db switch because on my pre I have a pad that I rarely use on an acoustic guitar. I usually place this mic at the 12 fret and use a vocal condenser as a room mic for the stereo effect, so far the work has turned out very well. I would recommend this microphone to someone looking above maybe that entry level or would like to produce there own music.

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Versatile, durable, and precise, the Shure KSM137 end-address condenser microphone is an outstanding microphone for instruments ranging from percussion to wind, strings to brass, and piano to guitar. Designed for studio use, yet rugged enough for live applications, the KSM137 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments.

Key Features
A highly consistent cardioid polar pattern
Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar diaphragm for superior transient response
Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion
Premium electronic components, including gold-plated internal and external connectors
Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration
Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs)
Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
Three-position switchable low-frequency filter reduces background noise and counteracts proximity effect

Performance Characteristics
Extended frequency response
Low self-noise
Exceptional reproduction of low-frequency sounds
Can withstand high sound pressure levels (SPL)
High output level
No crossover distortion
Uniform polar response
Superior common mode rejection and suppression of RFI (radio frequency interference)

Applications Some typical applications for the KSM137 are listed below. Microphone use is a matter of personal taste and the KSM137 may be used for a variety of applications other than those listed.
Acoustic instruments -- such as piano, guitar, drums, percussion, strings
Wind instruments -- brass and woodwind
Low frequency instruments -- such as double bass, electric bass, kick drum
Overhead miking -- drums or percussion
Ensembles -- choral or orchestral
Room ambiance pick-up -- guitar amplifier or drums

Specifications
Type: Permanently Biased Condenser
Frequency Response: 20­ to 20,000 Hz
Directional Polar Pattern: Cardioid
Output Impedance: 150 ohms (actual)
Attenuation Switch: 0 dB, 15 dB, or 25 dB attenuation
Low Frequency Response Switch: Flat; ­6 db/octave below 115 Hz; -18 dB/octave below 80 Hz
Phantom Power: 48 Vdc +/- 4 Vdc (IEC­268­15/DIN 45 596), positive pins 2 and 3
Current Drain: 4.65 mA typical at 48 Vdc
Common Mode Rejection: ≥50 dB, 20 Hz to 20 kHz
Sensitivity (typical, at 1000 Hz; 1 Pa = 94 dB SPL): -37 dBV/Pa
Self­noise (typical, equivalent SPL; A-weighted, IEC 651): 14 dB
Polarity: Positive pressure on diaphragm produces positive voltage on output pin 2 relative to pin 3
Weight: 3.5 ounces

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Sterling Audio PHP1 48V Phantom Power Supply Review

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(More customer reviews)This is a fantastic little unit. It makes my mic sound much better- not because of any crazy circuitry, but because the mic is fully powered. Many phantom power supplies are shared and weak (like USB powered audio interfaces etc), so this thing really gives it the juice it needs.
Built like a tank and cheap. Perfect combo. Thanks Sterling Audio!

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The Sterling Audio PHP1 Power Supply provides stable 48V phantom power for one condenser microphone. Meets DIN 45596 standard.

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Behringer C-1 Studio Condenser Microphone Review

Average Reviews:

(More customer reviews)This thing is killer; throw in a pop filter and some sort of stand and you have an amazingly pro setup for not much. If like me you have tried using a different type of mic (like a standard dynamic mic) to record normal accoustic sounds like voice or non-amplified instruments, this thing will be way, way better. I can't compare directly to other condenser mics but do not perceive any fundamental drawbacks with this one, which is amazing given the price.

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The C-1 is a cardioid condenser microphone designed to capture your sounds with incredible realism, sensitivity and accuracy. This condenser mic is an excellent choice for live and studio applications, and it's available at a price that will leave you with enough cash left over to secure other recording essentials.

What is a Condenser Mic? Condenser microphones are the ideal choice for capturing vocals and acoustic instruments. They're the primary type of microphone used in recording studios and radio stations. They are capable of capturing much more detail than dynamic microphones because of their wider, flatter frequency response. Another difference between condenser and dynamic mics is that they contain active circuitry that requires phantom power (+48 V DC) for operation. You can power them from any phantom power equipped BEHRINGER XENYX mixer, plus enjoy the benefits of our state-of-the-art XENYX mic preamps.
Why the C-1? The C-1 is an affordable, high-quality way to put this essential studio tool to work for you. Thanks to its cardioid (heart-shaped) pattern, the C-1 microphone picks up your source signal while rejecting off-axis sounds that can ruin an otherwise perfect recording. With its pressure-gradient, shock-mounted transducer and gold-plated XLR output, the C-1 is very neutral sounding and truly delivers on the promise of noise-free transmission.
With its exceptionally flat frequency response and ultra-high sound resolution, it's perfect for perfect for acoustic instruments, overhead, piano, and plenty more.
Built to Last The C-1 is built to be your go-to condenser mic for years to come. Its tough, die-cast body can withstand all the rigors of bleary-eyed late-night recording marathons. And with its rugged foam-padded carrying case, it travels in safety and style. We also included a swivel stand mount so it can be affixed to your studio's mic stands.
C-1 Specs
Transducer Type: Condenser, 16 mm
Polar Pattern: Cardioid
Connection: Gold-plated balanced XLR connector
Open Circuit Sensitivity: -33 +/- 2 dBV (0 dBV = 1 V/Pa)
Frequency Response: 40 Hz - 20 kHz
Max. SPL (1% THD @ 1 kHz): 136 dB
Nominal Impedance: 100 ohms
Load Impedance: >1 kohms
Supply Voltage: +36 - 52 V
Supply Current: 2.5 mA
Dimensions: Shaft: 54 mm, length: 169 mm
Weight: Approximately 0.45 kg

What's in the Box Behringer C-1 Studio Condenser Microphone, Carrying Case, User's Manual

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Behringer C-4 Single Diaphragm Condenser Microphones 2 Matched Single Diaphragm Condenser Microphones (Price Per Pair, Only Sold In Pairs) Review

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(More customer reviews)This is an excellent liitle set of matched mics.The kit comes with all the extra's to make using them a snap.I have already recorded with them and the sound quality is fantastic.Zero feedback from these little gems makes them a pleasure to use.

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2 Matched Single Diaphragm Condenser Microphones (price per pair, only sold in pairs)

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Audio Technica Pro Series Cardioid Condenser Lavalier/Instrument Microphone Review

Average Reviews:

(More customer reviews)Make sure you're buying the one that includes the battery power pack. I have included an audio sample from the store, which I recorded with my Zoom H4. There was some loud music playing on the speakers, so it'll give you a good idea of how it might sound under such circumstances. The Pro70 battery pack was powering the mic (not Zoom H4's phantom power). I was impressed with the sound of this mic, and the overall quality. It doesn't have the dynamic range of the next model up in the series (the 831b, which I own) but when you switch on the low-cut of the 831b, it and the Pro-70 sound virtually identical. I like this mic, and feel it's a good value for someone looking for a professional XLR mic that has good sound. Again, I find I generall prefer to swich on the "low cut" switch with my 831b anyway, so there's little reason to spend more than this if you're, say, a podcaster or wedding video place looking for excellent audio quality and bang for the buck. By the way, if it sounds a bit overdriven, that's my fault -- not the mic. I had my levels too high.

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This miniature condenser microphone achieves full-sounding pickup and is known for outstanding consistency and dependable performance. Supplied with both a clothing clip and guitar mount, it provides natural and articulate vocal reproduction when used as a clip-on lavalier and excels in pickup of acoustic guitar.

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M-Audio Pulsar II Matched Pair Small-Diaphragm Studio Condenser Microphones Review

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(More customer reviews)Wasted my money on this one. Bought it in usa, came back to my country just to find out that there is this huge wind-like noise coming out of both mics. Returning them would be the same as buying another set, due to high shipping costs. These mics were probably exposed to moisture, or worse. I dont know exactly who to blame for that, I just regret deeply buying this product.

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The M Audio Pulsar II small-diaphragm cardioid condenser microphone takes M-Audio's pencil condenser technology to an even higher level. Designed in the U.S.A. by veteran engineers and hand-assembled to exacting standards, this precision microphone exhibits quality comparable to that of vintage classics. New features like -10dB pad and 80Hz high-pass filter switches, higher SPL than the original and a redesigned solid-brass backplate deliver smooth, accurate sound in the studio and on stage. The Pulsar II has many applications, including drum overheads, acoustic guitar, piano, close-miking strings and woodwinds, room miking and more. Flexible New Features The Pulsar II can adapt to many recording and live situations. The 12dB/octave high-pass filter reduces low-frequency rumble and the potential for overloading mic preamps with low-frequency signals. The Pulsar II also handles higher SPLs - an overall 2dB boost thanks to a new thermal diaphragm treatment, plus a new 10dB switchable attenuation pad. M Audio Pulsar II Features Professional small-capsule condenser microphone 3/4 inch, 6-micron Mylar evaporated gold diaphragm Solid brass backplate Solid brass body Class-A FET electronics Switchable 10dB pad and 80Hz high-pass filter Wooden storage box houses microphone, windscreen and clip Available as a Matched Pair This Pulsar IIpair is a matched set with only ±1dB tolerance from the excellent published frequency response curves - which extend from 20Hz to 20kHz. This makes the Pulsar II mics ideal for stereo rroom miking, stereo overheads and similar applications where balance

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Samson C02 Stereo Pair Condenser Microphones Review

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(More customer reviews)[Edited for usefulness on 11/15]
I can't bring myself to be super-critical of the Samson C02, because in spite of my occasional dissatisfaction it does have a lot going for it. I've had my pair for about a year, and I use them frequently as overheads on the drum kit, on acoustic guitar, and as "room sound" mics for vocals.
For the latter two applications they are adequate, or at least I can't complain. Unfortunately as drum overheads they have been disappointing, and this is what I primarily wanted to use them for. To my ears they sound a little thin and lack presence and clarity, especially on cymbals. I like the overheads to get a detailed overall picture of the drum kit, so that's a drag. Another bummer is that there are no switches on the mic - something like a bass cut or -10dB pad would have been nice. Without a pad switch, putting this mic under a snare drum is a recipe for disaster. Or maybe you could just ask the drummer to play quieter?
So I guess when it comes to small-diaphragm condensers I still haven't found what I'm looking for. The bad news is that the $400-$700 price bracket is apparently where I have to look next. On most of my projects over the last year I have been able to use a famous similar type of microphone made by AKG, and the comparison is not exactly flattering. Of course, a pair of AKG's "Microphone X" costs about ten times what you're looking at here. And maybe we've come to the root of why it's hard for me to say a lot of nasty things about my Samson CO2s. They are so, so cheap for what you get, namely: a pair of condenser mics, two mini shock-mount/mic clips, two windscreens, and a sturdy, padded plastic carrying case. My griping aside, these things do a borderline-acceptable job as overheads, and in other applications (such as acoustic guitar) they are quite useful. I would probably recommend them to beginning engineers, people on a recession budget, or to anyone looking to keep a couple of budget mics on hand. More serious project studios and home recordists might want to save up for something a little nicer.

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Samson C02 Condenser mics let you capture and record all the ambience and dynamic depth of acoustic guitars, piano, overhead drums, acoustic instruments, and vocals - in stereo! C02 microphones can be used either individually or in pairs for stereo recordings, neck and sound hole placement for miking acoustic guitars, and low/high octave placement in acoustic pianos. The C02 is an extremely sensitive cardioid condenser (10mv/pa) with an expanded frequency response of 40Hz to 20kHz and a maximum SPL of 134dB. What's all this mean? It means that the C02 delivers professional performance at an incredible price and will make a dramatic difference in every recording. C02s are shipped in pairs with shock mounts and a molded, foam-lined carrying case. 48volt phantom power required.

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Behringer C2 Condenser Microphone Cardioid Review

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(More customer reviews)Normally I'm not a big fan of Behringer products. They tend to be less expensive, often cheap, copies (or very near copies) of much better equipment. They and Mackie had quite a number of shootouts over the years.
However, when it came time to get a bunch of choir microphones for outdoor PA venues, I just couldn't bring myself to plop $150 or more per mic. I only use these things 4 times a year generally and couldn't justify the $$.
So I picked up a set of these C-2s to test at my local retail music store. I was very impressed, to say the least. They're well made, have standard built-in flat/base-roll-off/-10db cut switch on the side. Very handy in gazebos and the like where the base is a big problem due to natural reverb and feedback.
I ended up getting 4 boxes (8 mics) initially and used them for the concerts with excellent results. I just put them up overhead about 7'-8', aim them outward from each other at about 45 degrees, and run each to a channel on the board. That way, I keep track easily of where each is and, when a horn player or such stands to play a solo, I can jump the correct channel easily and pump them up as needed.
This purchase is to up the ante to 12 mics since the bands turned into 60 or more piece orchestras this year. It just helps to have more coverage sometimes.
Again, for the price, these cannot be beat. I dare anyone to discern a 5x or more improvement in sound between these and the more expensive mics. Of course, if it's studio use you're interested in, you can definitely hear a difference but it's still questionable that the difference is important enough to warrant the extra $$. After all, >90% of all recorded material these days is listened to on iPods or the like and the digitizing and compression encoding technology damages the quality of recording much more than the tiny differences between these mics and the $$ ones.
Get 'em - you'll like 'em.

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2 Matched True Condenser Microphones (price per pair, only sold in pairs)

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MXL USB007 USB Stereo Condenser Microphone Review

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(More customer reviews)As a music director, I bought this for its portability to record concerts in stereo. Just hook it up to a laptop computer (plugs into a USB port) and record away - anywhere! The resulting WAV file is already on the computer ready to tweak in Sound Forge. The stereo sound quality is rich and accurate. We have been very impressed.

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MXL Introduces the World's First USB Large Gold Diaphragm Stereo Condenser Mic. It's like having a recording studio in a mic. No mixers, pre-amps, or expensive studio gear. No mixers, preamps or expensive studio gear. No special software or drivers, just plug in to your portable or desktop computer, set your preferences and enjoy instant studio quality recordings. The mic uses dual gold diaphragm capsules in a XY pattern together with low noise electronics and the latest in enhanced digital conversion techniques for pristine audio quality. In a demonstration CD a vintage acoustic guitar was recorded with a famous studio mic going thru high quality studio gear to a hard disk recorder and then was compared to the MXL USB.007 recorded direct to a standard computer. The results were nothing short of amazing; the MXL USB.007 sounded like a pristine direct to disc recording while the studio mic sounded nice but lacked punch or detail of the USB mic. Because of its high quality and ease of use the new mic opens up new possibilities for direct stereo recording with a standard computer such as live performances in the professional, school and home environment. It's also a very exciting tool for podcasts, multimedia, news and broadcast applications using portable computers for remote stereo recording of concerts, lectures, or even documenting outdoor sounds in stereo for film and and sharing with friends and TV backgrounds. Imagine the fun of recording performances and sound effects from anywhere in the world on a portable computer in full stereo and sharing with friends and associates. The MXL USB .007 comes with a carry bag, a desktop mic stand, mic stand adapter, a 10-foot USB cable, wind screen, owners manual and an applications guide. The new MXL USB mics usher in a new era of high quality recording never before achieved without a studio. It completely redefines what users can do on their computers opening up a new world for the audio, computer and broadcast industries. All New MXL Microphones are Designed in Our HDTV Design Center inLos Angeles, CAand are wired with MOGAMI.

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Audio Technica AT2041 Studio Microphone Package Review

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(More customer reviews)We're using in a church worship service, one for picking up spoken voice and one for picking up an acoustic guitar and variously also our children's choir.
Both microphones work excellently, have nice clear noise-free sound, pick up even children's voices quite nicely without having to overdrive the sound system, and appear to be fairly solidly built.
My only disappointment with them is the AT2020 side-address condenser - I thought that it work as a mic from either side, but it is unidirectional. There was nothing in the advertising telling me that it should work from both sides, it was just an assumption I made, which assumption comes from the fact that I know very little about microphones. Perhaps it's a known fact that "side-address" means one side only, I don't know.
I don't offer that as a complaint, only as a helpful guide in case someone else who doesn't know much about microphones is wondering how it works.
As I said, sound-quality-wise, these are both wonderful, and we're getting another set for the church.

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On Stage Classic Single-X Keyboard Stand Review

Average Reviews:

(More customer reviews)Purchased this stand in conjunction with my acquisition of the Casio Privia 330 as I am learning piano. The stand is sturdy enough for home use although I can see if you really bang the keys hard on your keyboard it can cause the stand to wobble a bit. An earlier review said that this stand is not good for the Privia which I disagree with. The rubber "grips" on the stand are adjustable to the width of the keyboard resting on it. Initially, it appears that the stand is too wide and the Privia would be resting on the metal bars which would cause the keyboard to be unsecure and slide. All you have to do is twist & move the rubber "grips" in towards the center so that they rest underneath the Privia. Overall a very good stand.

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Many of today's musicians like things simple and affordable.That's why we continue to offer this Single-X with its classic bullet-nose pull knob and improved design with stronger square tubing.

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