7

It is a Wacom Tablet that is connected to a Kyma System, a freely programmable, modular sound design environment. So he uses it as an XY pad, but because the tablet also registers pressure and the angle (tilt) of the pen, it can control more than two parameters at once. alt text http://s13.postimage.org/5ldn8ulgn/kyma.png See it in action from 6:25:


6

You can make it work with that kit list if your mixer has a power amp. But realistically you should plan for the following at gigs: MacBook and Thinkpad (always prepare for a computer to die - which is very embarrassing if you don't have backup) Software Soundcard (you can get away without it, but a soundcard gives better quality) Amplifier Speakers Audio ...


5

The major difference between "pro" and "consumer" equipment is generally their suitability for their purpose. A home theater setup needs to sound pleasing to the ear without much manual work, only fill up one room with sound, and play from generally a single source. It also (usually) needs to be affordable enough that people will by them. A huge live-sound ...


4

If you're looking specifically to create your own ricochets, you could try glancing coins off brick or stone using a hand held catapult. Obviously you should take the necessary precautions not to ping a coin through someone's window or head. We had some success using a stereo setup where one mic was aimed at the impact point and the second was aimed at the ...


3

First off, to be pedantic, you can "DJ" any way you can figure out how - even something simple like just playing track after track in iTunes. Now, most people (myself included) don't think this is nearly as interesting as cutting or blending tracks and keeping continuous music going, so I'm going to explain the common ways this is done. The basic setup is ...


3

If you are referring to the hardware that retains the jack, in the US it is a 3/8-32 jam nut. Most likely.


3

Built-in laptop speakers are largely useless. A cheap headphone already has a much better chance at reproducing lower frequencies. Its stereo representation is rather different from that of a pair of loudspeakers, so the latter certainly worthwhile getting. Previously high-end vintage headphones and active speakers tend to be sold for prices that are ...


3

As detailed in the online manual In general these days, the power-off switch on digitally controlled pro audio equipment initiates a controlled shut down procedure instead of just killing the power supply, so you need to worry less about “popping” the system. That being said, you should probably still ensure that all amps & powered speakers are tuned ...


2

Please see this question, where this has already been discussed.


2

https://www.lewitt-audio.com/microphones/lct-recording/lct-540-subzero The Lewitt LCT540 has the quietest specs I've seen available in a commercial mic.


2

for AA go with Eneloop (originally Sanyo now Panasonic) and slow charging of 4+ hours. If you'd like to research other low-self-discharge NiMH models, please share your findings.


2

I have mixed on headsets for years. Make sure you are using as close to a flat as you can get with no compression or filters. I also reference my room monitors so you need both. Headsets are great for aliening stereo and over all balance of instruments. Be careful with effects especially verb. You may have a tendency to over effect on headsets. The bottom ...


2

Headphones are not really optional for recording vocals, because you don't want the backing tracks to bleed into the vocal mic (usually). Also, you should look at some kind of acoustic treatment. The best thing to have would be a walk-in closet where you can set up the vocal mic and headphones and put up some treatment to diffuse and absorb sound to reduce ...


2

It depends on the digital mixer. Many digital mixers run on firmware rather than software and such firmware is much simpler than a modern operating system, so sudden loss of power is not a concern due to there not being any critical state data that could get lost. The board will start up clean from a fixed state every boot regardless of what you do. There ...


1

Send white noise from your ipod and computer as having a constant signal will allow your ears to more swiftly notice if there's even a momentary drop-out. Route it through your main output chain (I don't know your set-up, you may have to try this with multiple routes if you aren't sure which chain the drop-out is in). Then go through your system ...


1

I made a great set of absorbent panels out of plywood and then covered them in old carpet. If you are really determined drive around and look for someone doing house work and see if they are ripping up an old carpet you may even be able to get some for free. You can either put the carpet flat on the wood (staples or small screws work well to hold it on. Or ...


1

In my studio, I use 2'x4'x4" slabs of mineral wool wrapped in acoustically transparent fabric (can blow through it). I've spent a little more on ready made covers, but the last half dozen I made I bought fabric and glue at the fabric store - less expensive but more work involved (have to wrap them up like xmas presents). I use these traps in the corners as ...


1

You need to use a fabric which is known as Hogs Hair. This material will absorb the droplets of water as they hit and will disperse them, protecting them mic from both the liquid and also the sound of the liquid. Assuming you are using a Rycote or Rode blimp, you can cover the top of the blip with hogs hair to protect the microphone and blimp. This is a ...


1

Protecting microphones from rain is quite a challenge, and I haven't found the perfect solution either yet: it is not only about protecting the microphone itself from damage, but also getting rid of the sound of the rain drop impacts straight on the mic and its windshield/foam. The best results I have achieved so far when recording rain was by putting the ...


1

Certainly, the very first thing you will want to get is a decent audio interface. Note that an audio interface includes a DAC for each output and an ADC for each input. A DAC is used for output and wouldn't help with your capture (it goes from digital to analog, you need the other way around for capture.) A mac isn't necessary at all. They tend to be ...


1

One thing to mention are Digital Mixing consoles, like Presonus. They are a mixer + preamp + sound card. So it allows you too easily record multiple instruments right into usb. The great thing about digital mixing descs is the easy usability, inbuilt fx and more important they do not color your sound. Which is important imho because cheap analogue gear ...


1

when they say flat frequency response with headphones they mean relatively flat not completely. like if you compare the frequency response graphs of a pair of sennheiser hd600's to like a generic sony pair you'll see that the sennheisers are much much more even than the sony's. other things are just as important though. some headphones have a poorly ...


1

The problem with headphone mastering isn't frequency response so much as phase issues; when you're listening on monitor speakers you have some signal coming from both speakers into both ears, and you can more directly hear the issues of phase cancellation and so on. When mastering on headphones, phase cancellation issues do not become apparent until you ...


1

Before you focus on gear, make sure that the acoustic treatment of your VO booth (and your control room) is exactly how you want it. Racks can be filled, plugins can be downloaded, yadda yadda — but if you have acoustic anomalies or noise leakage in your recording or listening rooms then you will not be able to get the best out of your gear. Knowing that ...


1

Personally, I don't like M-Audio very much, so my first choice would be to buy a Lynx Aurora as audio interface instead. Can be made to work with both Nuendo and Pro Tools! I do a lot of both voice-over and ADR, and I try to keep it simple. I have a PC with Lynx-interfaces, a simple but reliable and good sounding pre-amp (Lynx-interfaces are pretty much ...


1

http://designingsound.org/2010/02/charles-deenen-special-car-recording-guide/


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