AP+Unit+4

Cables:

XLR An XLR cable that allows sound to travel long distances because of it's low impedance, primarily used for microphones

1/4 in Primarily used for high impedance instruments such as guitar and keyboards, 1/4 in cables can send lots of information quickly

1/8 in One side of this cable (the one with both red and white connectors) is an RCA cable, while the other is a 1/8 in

Much like a 1/4 in, except it is smaller and generally used for smaller audio devices

RCA RCA cables are primarily used for hooking up audio components to standard stereo

Impedance Converter Takes a high impedance cable and converts it to low impedance

Speakon 1/4 to speakon cable

Speakon cables have similar functions to 1/4 in cables, but they are more durable and can lock in

Any device that generates voltage has an output impedance: there will be resistance of some sort

Anything that receives voltage has a degree of impedance

the amount of water pressure in a tube is measured in volts. The current is measured in amps.

A low impedance microphone should always be connected to an input with the same or higher impedance

Mic means low impedance, Line means high impedance

XLR Cable- plugs into mic, low impedance

Patch Cord- quarter inch, usually high impedence

Balanced cable has extra ring

Colored cables- RCA cables

sm58 mic- very durable mic

Two types of mic- dynamic and condenser

Tascam HD-P2

The HD-P2 records in stereo from 44.1kHz to 192kHz, at 16- or 24-bit, to affordable Compact Flash media.

On the input side, the unit has a pair of XLR mic inputs with phantom power and analog peak limiting to curb distortion during unpredictable live events. The input level control allows the user to change the level without taking their eyes off the action. The HD-P2 also features unbalanced RCA ins and outs as well as S/PDIF digital I/O. Monitoring is available through a headphone out - again, with its own ergonomic level control - using a built-in speaker. A built-in microphone is also provided for interviews and educational use.

The Retake button allows the user to delete the last recording and set up to re-record with a single button press. As audio is recorded, the file headers are continually re-saved to protect your recording against accidental data loss. Files can be named from the front panel interface or using a PS/2 keyboard, which can also be used to control transport and setup features.


 * Phantom power for condensor mics
 * Analog input and output
 * SPDIF (digital) input and output
 * 24bit recording
 * Decent usability


 * Records to convenient CompactFlash media at resolutions up to 24-bit and sample rates to 192kHz


 * Transfer data fast to any Mac or PC via built-in FireWire connection


 * Built-in Synchronization via full-featured timecode input


 * Large angled LCD and intuitive user interface


 * Onboard XLR mic inputs with phantom power, unbalanced RCA ins and outs plus S/PDIF digital I/O


 * Stereo recording to Compact Flash media


 * 44.1kHz to 192kHz sample rates at 16- or 24-bit resolution


 * Time-stamped Broadcast WAVE file format is easily imported into DAW software and spotted into projects with sample accuracy


 * Retake button allows user to re-do last recording with a single button press


 * Audio files continually re-saved to safeguard against data loss


 * Comprehensive system and transport control from the front panel or a PS/2 keyboard


 * XLR mic inputs with phantom power and analog peak limiter


 * Unbalanced stereo RCA I/O


 * S/PDIF digital I/O


 * Headphone output


 * Built-in mono microphone and speaker for desktop interview applications


 * Analog level controls for easy operation without the need to look at the unit


 * FireWire interface for fast data transfer to a computer


 * SMPTE/LTC timecode input on locking XLR balanced jack


 * Timestamps Broadcast WAVE recordings from SMPTE input


 * Chase locks to incoming SMPTE timecode


 * Video clock input resolves to house clock


 * Tri-level sync support for HDTV applications


 * Includes Frame Lock, Lock and Release and flexible Freewheel settings for unpredictable timecode sources


 * Pull-up and Pull-down sample rates included for video format compatibility


 * Familiar tape machine-style layout and function


 * Angled screen for table-top or shoulder strap use


 * Large, uncluttered LCD display


 * Shortcut keys and LED indicators for frequently-accessed functions


 * Recessed Compact Flash slot


 * Runs on (8) readily available AA batteries or DC power adapter


 * Approximately 5.5 hours of operating time on battery power

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AKG Hanging Mic

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AKG XLS Bi-Directional

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AT-4033

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Beta-58-A

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Electrovoice

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SM-57



AT-4033



Beta 58-A



AKG Bi-Directional



AKG Hanging Mic



Electrovoice



SM-57

Conclusion: The Beta 58-A seemed to record at a higher volume than the rest of the mics, which resulted in some loss of sound quality. The SM-57 sounded as though it was picking up lower frequencies than the other mics. The other recordings sounded very similar to each other, though some were tinnier than others (such as the Electrovoice).

Recording acoustic guitar: Condenser mic, 5 inches away from the 12th fret. http://homerecording.about.com/od/recordingtutorials/a/acoustic_gtr.htm

Place mics 6-12 inches away from guitar, one at 12th fret and one at bridge http://www.humbuckermusic.com/acguitrectec.html

Place one condenser mic 5 inches away from 12th fret, and another ambient mic farther behind

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This is the sound recorded with one mic five inches away from the 12th fret and another mic 5 inches away from the bridge

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This is the sound recorded with one mic five inches away from the 12th fret

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This is the sound recorded with one mic five inches away from the 12th fret

media type="file" key="MexiRapmp3.mp3" MexiRap