#neumann u87 ai

[soundnestro]

Neumann U87 AI Microphone by Cristina Lascu.

[shownusfool]

me: im not into asmr in vtubing, nor do i really care about the characters/personas that are kinda flitry and are kinda feeding into a parasocial relationship by doing those almost nsfw content bc it’s embarrassing and uncomfortable for me to listen to

yuki: does all that but also goes into a tangent about microphone specs and the neumann u87 ai or whatever else microphone what have u

me: well. how can I NOT like him?

[30killabeatz]

Recording Vocals With a Neumann U87 ai, Neve 1073 SPX, Distressor Compre...

[nethervoice]

I FINALLY OWN A NEUMANN U87... SORT OF

I FINALLY OWN A NEUMANN U87… SORT OF

Please listen to the sound file first, before reading the article below. https://www.nethervoice.com/wp-content/uploads/2022/05/Intro-U87-blog-post-Paul-Strikwerda.mp3 It’s the dream of many voice over artists: to own the holy grail of microphones, the Neumann U87.  It’s a very expensive dream, because a new one will set you back about $3300. A genuine U87 shock mount will cost an additional…

[don-lichterman]

Starship's Nothing's Gonna Stop Us Now. A handful of puppets. CHAOS @BBC Children in Need - BBC

Starship's Nothing's Gonna Stop Us Now. A handful of puppets. CHAOS @BBC Children in Need – BBC

Subscribe and 🔔 to the BBC 👉 https://bit.ly/BBCYouTubeSub Watch the BBC first on iPlayer 👉 https://bbc.in/iPlayer-Home Our favourite childhood TV puppets 🤗 Starring Oucho T Cactus, Otis the Aardvark, Gordon the Gopher, Nelson, Marion, Larry the Lizard, Pudsey Bear, Basil Brush, Nelson, Mr Punch, Milkshake! Monkey, Bungle, George, Zippy, Dodge T Dog, Hacker T Dog, Basil Brush, Pudsey Bear and…

[laurakgiron]

Sloth for https://www.audioforall.co/

[mdriftmeyer]

Logic Pro X 10.5 was released and it’s a major update. I went back to master my Tears for Fears Shout! vocal trio (my vocal lead with their iTunes Mastered dual vocals) I reworked the binaural spaced reverbs applied the new -6dB compensated Pan always in LPX, added Wavesfactory Spectre and Spacetracker on the original Master sidechained against my Mid/Side Vocal arrangements—all those aux sends to other busses give me my virtual console in the DAW. All but the output level automation on the vocal mono lead is hidden. Learning automation, binaural spacing with reverbs bused out to stock Apple Tape Delay with Ozone 9, Spectre 1.0.3, Trackspacer 2.5, Exponential Sudio Nimbus and Excalibur Reverbs all with custom automation produced this: Dropbox https://www.dropbox.com/s/09ndj85xovtqqs5/Tears%20for%20Fears%20Quartet%20%28Shout%21%20Mastered%29--Remix.m4a?dl=0 PS. When I get the Avalon 737sp Tube channel strip, and later the Neumann U87 Ai I’ll recut against a recut Blue Stage One Rocket Cap B7 for comparison. https://www.instagram.com/p/CAHmcU7Aibx/?igshid=dbdokkro7d3j

[mic18me]

Neumann U87 ai microphone - 香港 Hong Kong Pro Audio 音響工程 Buy Neumann U87 ai microphone in Hong Kong for reasonable price - 香港 Hong Kong Pro Audio 音響工程 提供價錢與購買方法

[daisys-discography]

My recording session: 

We asked Dan to help us record as we needed someone in the control room. We decided to go for a live kind of recording as the song is acoustic and we wanted to capture it in one take, so that it would be more natural. We had one microphone each, as if we were playing live but with better quality microphones. We chose condenser microphones as these are better for picking up all sounds that are made, especially softer sounds (like singing and an acoustic guitar). They pick up more delicate sounds and have a wider frequency response range as they have a thin diaphragm and increased sensitivity. We chose the Neumann U87 Ai microphone as when researching about mics we found that it was commonly used for studio recording and it sounds very natural and clear. 

The set up:

Before setting up, we discussed how we wanted the microphones to be set up and what would be the best positions for them. We decided that we would each have a microphone on each side of the room with a board in between us. The board would help separate the sound of the guitar and the vocals, so that the microphone that is recording the guitar will only pick up the guitar with only a little bit of bleed from the vocals (and vice versa). We also placed the microphones facing away from each other so that there’s less bleed. To record the guitar, we placed the microphone at the height of the strings, facing the hole in the guitar. This is where the microphone will pick up the guitar best, at a good quality. I had to sit when playing the guitar as I didn’t have a guitar strap, but also because that’s how I’m most comfortable playing, so we got a stool for me to sit on. 

Once the microphones were set up, we then moved onto a sound check. We made sure that we put phantom power as we used condenser mics and they need extra power (48v). When we were doing the sound check for levels, the microphone started to slip down so I had to adjust the mic stand as it was slightly top heavy (the mic stand had more weight on the side of the microphone and so it started to slowly move down). I made sure that the weight was near equal and tightened everything so that it wouldn’t slip down again. We set up talk-back so that Dan could speak to us from the control room and we could hear him through headphones in the live room. We did a run through so me and Sophie were ready to record, but also so that Dan could check the levels and hear what we were going to record. It’s important, when doing a sound check, to play what you’re going to record and play it how you will when you’re recording as then you can set the levels correct. You should play the loudest part so that you can make sure the levels don’t peak at that point. 

After the sound check, Dan told us when he pressed record and me and Sophie did a few takes of the song. It’s important to do more than one take as you may not be happy with just one and you may find that you like the first half in one take but like the second half in another. This would mean that you could have the possibility to combine the two takes into one recording. Luckily, we didn’t have to do this. We used pro tools to record as its the software on the computer in the control room. Once we had finished recording, Dan then sent me and Sophie the files of the recording which I then had to drag the audio files onto logic so I could mix it. 

[moekxegoopna]

Neumann Silver U87Ai U87 Ai Studio Condenser PRO Microphone ( 88 Bids ) #Neumann #Silver #U87Ai https://ebay.to/2u0lXYi

[alexkernsaudio]

My most recent project completed was a microphone shootout using female vocals. I’m going to describe some things I discovered, how I went about this project, and how I would personally rank the four microphones I used. Before I get to that, I should extend an important thank you to Audrey Watkins, my participant who was willing to sing a few bars for me to record. Now here’s what I found by pursuing this project:

By doing some research online, I discovered this article, in which the author shares their top 9 microphones to record female vocals, and as to be expected, the Neumann U87 is on the list. But the important thing to note is the author had this to say about the mic: “To best describe the Neumann U87 Ai sound quality without using the word professional is best described as ‘authoritative clarity.’ It captures the most identical sound to the singer’s voice of every microphone I have ever heard in my career.” This is an important thing to note about this microphone, because I’ll get to formulate my own opinion on the same microphone in a little bit. Another piece of research which I consider important is this vocal mic shootout I found on YouTube. In the video, you’ll see that the engineers have each microphone lined up, but a foot or two away from each other. I didn’t really like this setup, because this means the vocalist has to do a different performance for each microphone. So the idea I came up with to differ from this type of setup is putting all four microphones in a formation in which the capsules are as close together as possible, and the same distance from the performer. That way, you can have one take which is an identical take for each microphone, so you can hear the most subtle nuances between the microphones which you may not be able to hear if you record each microphone separately. 

Now for the microphones I used. As I mentioned earlier, I chose four different microphones to use in my shootout:

Royer 122

Neumann U87

Shure SM57

SE Z5600a

The Royer 122 is a ribbon microphone which requires phantom power. The Neumann U87 is an industry standard large diaphragm condenser microphone. Most audio engineers are familiar with the Shure SM57; a dynamic $99 workhorse that you can use on almost anything. Lastly, the SE Z5600a is a tube microphone, plain and simple. I ran all these microphones as cardioid (with the exception of the Royer ribbon) through a UA 4-710d preamp with settings that produced an as-close-as-possible input volume into ProTools.

https://soundcloud.com/user-465745228/royer-vocal

Here’s what the performance sounded like through the Royer. With a critical ear, you’ll notice the sound of the vocalist’s voice is very warm, yet crisp. Ribbon microphones are known to have an exceptionally warm tone to them, but there’s something about the Royer which makes the sound extra clear. But the one thing I don’t like about the Royer is how it brings out some specific frequencies which make the vocalist sound a bit nasally, and the word nasal is never one you want to hear in the studio.

https://soundcloud.com/user-465745228/neumann-vocal

The second microphone, the Neumann U87, produced a fantastic raw image of the vocalist’s take. The clarity was basically immaculate, with a very flat frequency response. Accuracy is key in the studio, and listening to this microphone sounds almost exactly like the take in real life. It’s these characteristics which make the U87 so audibly pleasing.

https://soundcloud.com/user-465745228/shure-vocal

Next we have the Shure SM57, a live sound staple. Listening to the take, you’ll hear some humming on the track. This is not from the studio equipment, but from the mic. I’m not sure (haha) if all SM57s do this, but this particular microphone had some ground shortage noise which immediately took away from the pure sound. On top of that flaw, once you start to pay attention to the vocals, you’ll hear how boxy the microphone truly is. It doesn’t sound like a studio quality microphone at all, but I think that’s mostly because we’re using it on female vocals, which is one of the most nuanced things to record to begin with. And not to rub salt in the wound, but overall the mic just has a weak sound.

https://soundcloud.com/user-465745228/se-vocal

Our last competitor is the SE Z5600a. This tube microphone showed an immediate issue similar to the SM57; it has a noise issue. I know that this particular microphone has a tube amp which needs to be plugged into the wall, and that’s most likely where all the noise is coming from, but it’s just unprofessional to have noise in your recordings. But if you look the hum, you can hear that the microphone is actually quite clear. It shows a strong midrange response and the fricatives are very pleasant and not overwhelming. Overall, this mic captures the full range of the voice quite well, but the noise takes away from a lot of its potential.

Now that we’ve looked over all four microphones, I have come up with a personal ranking on our four microphones from best to worst. In my opinion, I think the Neumann U87 hit it out of the park. Now I know it might seem like I’m a little biased having been a U87 fan before I started the project and after reading that article from earlier, but I truly think the Neumann would be my go-to microphone for recording female vocals in a professional studio setting. There just seemed to be nothing wrong with it.

For second place, I would put the Royer ribbon microphone. I love the way the Royer sounds on female vocals especially because the warmer tone brings out the quieter low tones in a female voice. Sadly, since this microphone sounds a bit nasally, I’m going to put it below the U87.

Our third place winner is the SE tube microphone. I know the noise is extremely annoying, and it is definitely noticeable, but the great sound almost makes up for it. The mic gives a full tone and wide frequency response with exceptional clarity and that’s why I have it at third place and not last.

To finalize this project, the Shure SM57 comes in last place. When used on female vocals, the hum can get a little obnoxious, but when paired with a boxy and weak sound and very unpredictable proximity effect, this microphone just shouldn’t be used on female vocals unless you’re in a pinch. I know the other microphones are around 20X more expensive than this one, but if you want a good vocal recording that’s not weak and shrill, then consider using a microphone other than the SM57.

Thanks for reading and listening to my female vocal microphone shootout. Stay tuned for more intriguing projects and experiments in the future!

-Alex

[helptheearthblog-blog]

Violin Recording

                    Autho: Karina Zukova         Date: 09/03/2019

This project involves musical composition which was composed via digital domain of Logic Pro X DAW. The next step was to replace software generated violin sound with the actual instrument which meant to record a violinist.

Session date: 10/03/2019 Violinist: Karina Zukova Sound Engineer: Aaliyah Brown Sound Engineer Assistant: Karina Zukova Location: dBs Music, Bristol, Studio 6 Desk: Solid State Logic Duality Delta (SSL Duality) Microphones: Neumann U87 Ai - Cardioid and 2 x AKG C414 XLS - Cardioid. Mic positioning: 1 foot from the player as shown in the image below.

The U87 microphone has provided with great clarity in high ends which was desired for solo parts. Both C414 allowed the audio to be blend for space enlargement which is great for the orchestral interpretation. All microphones polar patterns was carefully selected for direct miking technique (Robjohns, 2010). An employment and experimentation of three microphones have provided with flexibility in mixing process such as by delaying one of the audio tracks mixing engineer can achieve perception of violin ensemble or parallel blending of dry and wet parameters for best results.

Although recording was successful, more experiments, preferably,  will be undertaken with natural reverberation of the Studio 3 at dBs Music, Bristol. This would be advantageous as Robjohns (2010) quotes: “I'd suggest finding a room with lots of wood; a wooden stage or wooden wall panelling.” This technique can enhance the tonal qualities of the violin.

Robjohns, H. (2010) ‘Q. How should I mike-up a violin?’, The Sound On Sound [Online]. Available at URL https://www.soundonsound.com/sound-advice/q-how-should-i-mike-violin (Accessed 07 March 2019).

[30killabeatz]

United Twin 87 BETTER Than a Neumann u87 ai Condenser Microphone?

[thortsdrift]

Post 3

Restrictions for musicians, Microphones and Recording techniques.

Recording in isolation - As this project is a collaboration between recorded artists and a producer, it is important that musical direction is not provided to the musician. The idea of recording in isolation with only a metronome provided is so each individual can portray their own thoughts, feelings and emotions without any influences or distraction, aiding the individuals focus and potentially helping their inhibitions on the task (Monday, 2020). Each artist will be housed in an entirely different room to the recording engineer (the producer) with no windows or direct contact, other than control room communication for relaying information on when recording is starting or has finished. This also serves a purpose for the artists in case they need any information or would like a different mix within their headphones, once different layers have been recorded and played back (Talbot-Smith, 2012).

Microphones and recording techniques - Specific microphones have been pre chosen for each session depending on what is being recorded. Each artist has different skill sets that they are bringing to the project so it is imperative to choose the correct microphone for the activity. The 1st consideration is for the vocal microphone, as there are limited microphones to choose from research was implemented to choose the best one for the situation. The Neumann U87 condenser microphone was chosen due to its epitome of a large diaphragm, based on design principles of a tube driven predecessor,  but with the means of a unique FET circuit with a minimal signal path and a balanced transformer output, rendering the audio as excellent (Neumann, 2020). The next choice from the available was a shure SM57, this was chosen to record any percussive strikes or hits during the performances. Placed on a stand, close to the instrument pointing directly at the intended spot of impact (Strong, 2005). To pick up any bass provided from the drum percussion the Audix D6 was chosen due to its ability to pick up low frequencies, its slim transformerless design allows for the cardioid mic to be placed easily within reach to pick up the low end (Audix, 2020). To complete the microphone set up the a set of Neumann KM184 pencil mics were chosen to pick up the entire percussive elements. The matched pair recording technique will be implemented, by placing the mics equally on stands at the same heights each side of the musician, this allows to capture a wide stereo image of the instruments and help to avoid phasing issues (Bartlett & Bartlett, 1999).

References

Audix. (2020). Audix D6 - Kick Drum Microphone. Audixusa.com. Retrieved 23 February 2020, from https://audixusa.com/docs_12/units/D6.shtml.

Bartlett, B., & Bartlett, J. (1999). On-location recording techniques (1st ed., p. 79). Focal Press.

Monday, M. (2020). 5 Simple Steps to Ninja Like Focus in the Studio... - Mike Monday. Mike Monday. Retrieved 23 February 2020, from https://mikemonday.com/focus-5-steps/.

Neumann. (2020). U 87 Ai Studio Set. En-de.neumann.com. Retrieved 23 February 2020, from https://en-de.neumann.com/u-87-ai.

Strong, J. (2005). Home recording for musicians for dummies (1st ed., p. 187). John Wiley.

Talbot-Smith, M. (2012). Audio Engineer's Reference Book (1st ed., p. 614). Taylor and Francis.

[musiccritic]

New review: Music Critic Read more at https://ift.tt/35yW9zE

[ptracheljakeman-blog]

Part B

Today I went to Yellow Shark Recording Studio in Cheltenham on the Promenade to tour around the studio. I had an amazing opportunity to record a track using the equipment in the studio, which I thoroughly enjoyed. I mostly enjoyed the experience of recording my vocals to Believe by Cher instrumental and felt very satisfied with my performance of recording my track. When entered back into the Control Room to listen back to the recording the sound quality. I felt that the studio had a very chilled and relaxed atmosphere with a stylish and colour scheme. Yellow Shark compared to Studio 340 is very different in terms of quality of equipment. At Yellow Shark Recording Studio they have a Control Room, Recording Room, many instruments and microphones such as Neumann U87 AI. All engineers have a wealth of experience and have worked with some of the most famous musicians, producers and companies in the music industry. I fully recommend visiting the studio because it gives people the chance to experience what it is like to be in a recording studio.