Archive for the ‘Articles’ Category

Omni Application Guide

Tuesday, May 10th, 2011

At Earthworks we are concerned that unfamiliarity with omni microphone use may be precluding some people from trying out our omnis. Before Earthworks, most of us never gave omnis a second look much less a serious listen simply because of their lack of directionality. They cause feedback, right? How do you get any separation? They pick up everything, don’t they? And what about their imaging in stereo? It turns out that omnis do have very positive strengths for recording and even sound reinforcement applications. They sound great! They add very little phase distortion or coloration. You just have to know how to use them. Don’t let the discussions of technical issues throw you off, skip ahead to the specifics that interest you.

Why omni? – Omnis have some inherent advantages over directional mics. They sample sound at a single point in space, capturing it exactly – directional mics use a combination of sounds sampled at several different points to achieve rear rejection, creating phase problems in the process. The omnis do not exhibit any proximity effect or off-axis coloration. They have extended accurate low frequency response.

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Using Live Mics for Acoustic Performances

Sunday, September 19th, 2010

From Premier Guitar

February 2009

by Rich Tozzoli

This month I’d like to step out of the studio and onto the stage. Still jetlagged as I type this, I recently returned from recording some shows for a live DVD over in Europe with flamenco/jazz guitarist Hernan Romero. The hard part of this was that we used live mics on his guitar—without the aid of DIs or built-in pickup. As most of you know, live guitar mics and PA systems don’t always get along with each other. Read on for the gory details.

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How Earthworks® High Definition Microphones™ Can Dramatically Improve the Quality of Your Worship Services

Tuesday, June 15th, 2010

By Larry Blakely

Earthworks High Definition Microphones™ are the result of major advances in microphone technology and are made differently from any other microphones in the world. They reproduce sound with far greater accuracy and fidelity, while overcoming all major obstacles encountered when using microphones in church sound reinforcement systems. Let us look at the problems typically encountered in church sound systems and then see how they can be overcome with the use of Earthworks High Definition Microphones™.

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The World Beyond 20kHz

Tuesday, June 15th, 2010

By David E. Blackmer

Using a study of the human hearing mechanism as his foundation, Earthworks’ founder David E. Blackmer presents his arguments for, and his vision of, high-definition audio.

THERE IS MUCH controversy about how we might move forward towards higher quality reproduction of sound. The compact-disc standard assumes that there is no useful information beyond 20kHz and therefore includes a brick-wall filter just above 20kHz. Many listeners hear a great difference when 20kHz band-limited audio signals are compared with wide band signals. A number of digital systems have been proposed which sample audio signals at 96kHz and above, and with up to 24 bits of quantisation.

Many engineers have been trained to believe that human hearing receives no meaningful input from frequency components above 20kHz. I have read many irate letters from such engineers insisting that information above 20kHz is clearly useless, and any attempts to include such information in audio signals is deceptive, wasteful and foolish, and that any right-minded audio engineer should realize that this 20kHz limitation has been known to be an absolute limitation for many decades. Those of us who are convinced that there is critically important audio information to at least 40kHz are viewed as misguided.

We must look at the mechanisms involved in hearing, and attempt to understand them. Through that understanding we can develop a model of the capabilities of the transduction and analysis systems in human audition and work toward new and better standards for audio system design.

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How Earthworks Measures Microphones

Tuesday, June 15th, 2010

By Alex Khenkin, Former Director of Engineering, Earthworks

How to measure microphones and the implications relating to measuring loudspeakers.

In the 1920s, they said that Victrola was so good that its sound was indistinguishable from the original. Many similar claims were made for later innovations, some of them with considerably more justification. When CDs were introduced to the public in the 80s, the history repeated itself once again – many experts pronounced CDs to be the ultimate recording media (as well as many others who pronounced quite the opposite.) It seems like the subjective boundaries of the audio perception are being constantly pushed away. Now a new, 96 kHz 24 bit media is coming; it does sound better, more realistic and “live”, than CDs do. The availability of wideband and extreme dynamic range recording techniques requires careful rethinking of all components of audio systems,and has important implications for loudspeaker designers. It is becoming increasingly evident that audio perception extends below 20 Hz and above 20 kHz and that maintenance of accurate time relationships is critical to achieve an accurate sound reproduction. Consequently, measuring audio components is becoming more and more challenging task; the most difficult to measure elements in the audio chain being microphones and loudspeakers.

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Warm and Clear: Choosing the best podium microphone for public venues

Tuesday, June 15th, 2010

In the opinion of Kyu-Chol Jung

Generally musicians and sound engineers develop a strong preference for a microphone whose coloration and response are favorable to the type of music they most commonly record. They believe that the consistency of the characteristics of a familiar model will ensure a quality recording. Microphones for sound reinforcement of orators before an audience have entirely different requirements – often much different than those used for musical recording.

In venues where there are known and regular speakers, such as church clergy or a recurring lecturer, etc. – it is proper to choose a microphone that complements that individual, and should be chosen accordingly. However – when choosing a microphone for use as a podium microphone at public venues where the speakers are varied and unknown the requirements are much different.

The essential characteristics for a podium microphone should be delivering clear, warm and uncolored sound, without any assumptions about the speaker. A harsh and edgy sound with a great deal of sibilance can quickly tire an audience, while a warm and gentle voice quality calms the audience, making the audience far more receptive to the speaker’s message.

Many Podium Microphones have been brought to market, most of them are well made, provide adequate frequency response and have the ability to deliver clear and uncolored sound. Unfortunately – most can be somewhat harsh and susceptible to pops and other distracting artifacts limiting their usefulness as a podium microphone.

I have tested many different gooseneck microphones in live sound environments and the Earthworks FM Series Microphones deliver the most pleasing and “listen-able” sound. In my opinion, it’s far more important to connect the speaker with the audience – than meeting some “expectation” of a recording engineer.

Smooth bass, pop-resistant; clear but warm and pleasing at the same time — This is what makes Earthworks FM Series so special.

Mr. Kyu-Chol Jung is the F.O.H Engineer for SOUNDFORCE (Korea); he is a popular Lecturer at the Sound Reinforcement System Academy and author of two published books: Live Sound 2008 (The first edition 2000); and Live Sound Engineering (2003)

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