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Alfa Romeo 126 RC.34, 582–671kW (780–900hp), also fitted to early versions of the SM.79. 58 built. [3]
Shure’s SM81-LC is much taller and is compatible with a wider range of accessories, which allows you to customize its performance and adapt to different situations.The Mojave Audio MA-200 is another premium choice for vintage lovers. It is one of the best acoustic guitar mics on this list that is equally competent at recording many other instruments as well. 6. Shure KSM44A Given all of its features, sound, and reliability, the AT2035 is popular among owners of home and project studios, offering stellar value. My feeling is that after the discovery of the use of Verde Anticorrosione as a primer too many authors assumed that this colour was ubiquitous without caring too much to look into primary sources. Some modellers did their own research and found more information although a lot of information was also available years ago but seems to be forgotten... my notes on the interior of the SM.79 are based on articles published in club bulletins many years ago, themselves based on SIAI documents. Yes years later there were books showing drawings of SM.79 interiors in green....
All things considered, Nady’s CM-88 offers performance and versatility that you won’t find in similarly-priced products.Audio-Technica’s AT2021 is a cardioid condenser mic, meaning that you can use it for practically anything from streaming your gaming sessions to karaoke to miking your drums. Audio bleeding is one of the main issues drummers face when amplifying and recording their instruments. The SM.81 was a militarised version of Savoia-Marchetti's earlier SM.73 airliner, having cantilever wings, three engines and a fixed undercarriage. The origins of this version were in pursuit of the interests of Italo Balbo, a brilliant exponent of the Fascist regime (but nevertheless "exiled" in Libya by Mussolini), who required a fast and efficient aircraft that was capable of serving the vast Italian colonies in Africa. Its uncolored sonic signature vividly captures the sounds the cymbals are making, while the broad frequency response range ensures you’ll hear every detail in your recordings.
It features a very tight hypercardioid pattern that can target just what you want to hear and little else. Even better, it sounds wonderful too, with a lovely bass response, smooth mids and silky highs. Since its introduction in the mid-1950s it has earned a glorious reputation for making strident, raw sources sound buttery smooth. Countless classic recordings have featured the M160 miking up drum kits and distorted guitar cabs but trust us, it makes acoustic guitars and other stringed instruments sound other-worldly too. This mic's almost flat frequency response curve does have a slight lift at the treble end but essentially it's going to capture a very faithful rendition of your playing. This honesty can be a little disconcerting to listen to at first but it's more desirable than trying to fix a poorly coloured sound with EQ. When using this mic you will notice the midrange is flat and uncolored. With the low-end you may perceive a roll-off, but really everything is reduced evenly like a shelf filter. The response remains flat all the way to the lowest frequency of 40 Hz. I needed more money for the Schoeps. The Neumann firma doesn't produce the Km 84 anymore. I bought the SM 81 stereo pair. Most mics that are used for recording acoustic guitar have arrived via a circuitous route that usually involves a drum kit, or bits of it. It's hard to think of two instruments that are less alike but what works well for miking up a cymbal usually works well for an acoustic guitar too – after all, it's all about capturing transients, clarity and that high-end shimmer.
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This is a small-diaphragm cardioid condenser microphone that has a transparent and clear sound comparable to premium tube mics but at a fraction of the cost. This microphone delivers crystal clear mids and high-end frequencies, making it perfect for cymbals and overheads. It really captures subtle tones and accentuates differences in how the hi-hats are played with each stroke. The sound is balanced and not too sharp. The Neumann KM 184 is a pencil-style small-diaphragm condenser microphone that can match the sensitivity of large-diaphragm microphones and still manage high sound pressure levels.
Getting mic placement right is more than half the battle to getting a sublime recorded tone. Place the mic in the wrong place and your sound will be either weak and gutless, or muddy and indistinct. We'll be exploring the best places to aim your mic and looking at the rudiments of multi-mic setups. Just head to the buying advice at the end of this article. The SM81 is the perfect choice for a professional musician or sound engineer who is looking to mic up acoustic instruments such as acoustic guitar, piano and cymbals. It can ideally be used on stage and because of its high quality is also at home in the recording studio. Like anything Neumman builds, this mic features superior build quality and feel. High input gain is no problem with its supremely quiet operation.
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An acoustic dreadnought is about a metre long and almost half a metre wide, with many other guitar sizes not really that much smaller. Where exactly should you place a mic – pointing one at the sound hole seems the obvious place to start? Well, not really… Cardioids has proximity effect (increased lowend) at nearfield recording situations! If your instrument quiet silent maybe you have to put the mic so close to get a transparent sound, but in this case you may have strong proximity if your instrument has significant lowend. And It can be Another experimental example was an aircraft for dealing with magnetic mines: it was called the Saturno because it had a large electrified steel ring to trigger the mines. The weight of the gear was initially too high so the ring was changed to one made of aluminium.
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