The new – and cheaper! – version of the popular Tenori-On is arriving soon at Dolphin Music. This instrument has captured the imagination of musicians and producers all over the world, including artists such as chart-topping Little Boots. Find out more about the new model…
The new Yamaha Tenori-On ‘Orange’ offers the same levels of creative power as the original Tenori-On, but has been made significantly more affordable!
For example, Yamaha have replaced the very cool but expensive magnesium casing of the original with a heavy duty and durable plastic casing .
The original Tenori-On became an instant hit worldwide, and has been used by several influential artists such as Massive Attack, Bjork and chart-topping Little Boots. Now, this newer, more affordable version is set to make this incredible and innovative instrument even more popular!
All the same features and spec as the original apart from:
- No Magnesium alloy body – white plastic frame on this model
- Has orange LEDs instead of white LEDs
- No screen on the back of it – has the interface
- Does not run on batteries – mains only
The Yamaha Tenori-On Orange will be arriving soon at Dolphin…just in time for Christmas! But stock is limited…so pre-order yours now! Visit the Yamaha Tenori-On Orange product page for more info.
A Basic Guide to Acoustic Treatment
Here is an excellent excerpt from Audiotuts which gives you are more than easy to understand introduction to sound treatment
Of course this is an extremely technical subject and this tutorial in no way claims to be the definitive guide to acoustic treatment, but these tips and guidelines should get beginners up and running and generally help to clarify the whole subject of room acoustics.
I’ll run through the basics of choosing the right space, positioning your kit and then look at different types of treatment techniques and materials.
Step 1 – Your Room
Unfortunately most of us don’t have the luxury of designing our own studios from scratch and in some cases permanent customization is even a problem, so often the rooms we work in have pretty obvious faults and more often than not there is work to be done. If you can afford it, you can have the room analyzed, or you can even attempt this yourself but assuming this is too expensive or technical for most, we’ll look at a more basic route.
Every room is unique and everything in the space will effect its sound. Wall angles, flooring, windows, doors and of course its overall shape will all dramatically change the way sound is perceived within the room. The first thing to do in any situation is to identify the problem areas in your room and home in on the issues that need to be addressed. It’s possible that some things can be rectified before any acoustic treatment is even purchased.
If you are restricted to using one particular room, you are pretty much stuck with its basic shape and size but look out for things such as highly reflective surfaces. These will create large amounts of reflection and play havoc with your stereo image and you are also likely to hear your audio several times as it bounces back to you. These issues can make mixing an absolute nightmare.
So if you have any large windows try using some curtains to cover them up. Even blinds would be a better option than large exposed areas of glass. Mirrors and exposed polished work surfaces should also be avoided if possible. This rule of thumb generally extends to floors as well, so try to opt for a hard wearing carpet rather than a laminate or hard wood floor.
If you are fortunate enough to have a choice of rooms (or you are able to modify the one you are in) it’s a good idea not to go for anything too large or too small. I realize these are very general terms but common sense should prevail here. Extremely large rooms often have many inherent problems, such as standing waves, nodes and large amounts of reflection. These problems often require a lot of treatment to rectify. The sheers size of the walls in larger rooms will mean that more acoustic treatment is required.
Very small rooms will arguably present fewer problems from the offset but there will be obstacles none the less. Lower frequencies will often not have space to develop in these more confined spaces and this can lead to mixes that don’t translate well to larger systems. Unfortunately a lot of the problems caused by monitoring in smaller rooms cannot be solved using acoustic treatment, so the only remedy here might be to relocate!
As far as shape goes, there are a huge number of variables here but as a rule symmetrical opposing surfaces are not ideal and rooms with differing angled walls will be much easier to treat.
Step 2 – The Listening Position
Just as important as the room you are in, is the listening position you choose. Smaller rooms may limit your choices here but if you have enough space, you can afford to take a more considered approach and really think about where you place your equipment.
First up the sound coming from your monitors needs space to develop, especially the lower frequencies. Try not to position your workstation in an alcove or too close to any walls. The same goes for your listening position, this should be a good distance away from any walls as well. Some speakers for example will be rear ported and these need to be placed at least ten inches or so away from any hard surface in order for the bass be reproduced correctly. The same goes for any sub woofers that are rear or side ported.
If your room is oblong in shape or has one aspect that is longer than another, it is wise to position your self so that you are in line with the longer part of the space. Again this gives the all important low frequencies a chance to develop and any reflections from the back wall will be more easily managed by using broadband absorption.
Another important thing to think about here is something known as the ’sweet spot’. This is really just the ideal position between your speakers. With your speakers positioned correctly you should be able to draw a triangle between your ears and each speaker. The speakers should be positioned so they face down the lines of this triangle and if they are above you in height they should also be tilted downwards.
If you are positioned correctly in your room and you are in the sweet spot you should get a good stereo image and be able to hear all the frequencies your system is producing. You should now be ready to identify and tackle any acoustic problems the room may be throwing at you.
Step 3 – Absorption
Before I go into how and where to fit your acoustic treatment, let’s look at the different kinds of treatment that can be used and what each one is capable of. If you can get your head around these basics then it should be relatively easy to decide what you need when you experience a certain problem.
The first kind of treatment we’ll look at is absorption. This is possibly the most commonly used acoustic treatment in home studios, in fact it is possible that it is over used. In some studios this will be the only sort of treatment you’ll see and often far too much of it. This can have a really negative effect on your final mixes, so let’s look at the how it works and when to use it.
Absorption is needed where there is a lot of reflection taking place. This will present itself as an echo or ring in your room and will usually effect the mid and high frequencies. These echoes are called early reflections and if untreated can be very fatiguing to the listener over time. It’s also hard to get an accurate high end mix when these are present.
Absorption treatment most commonly comes in the form of tiles, and these can be of various densities and textures. These tiles will actually absorb a proportion of the sound that hits them. This means less reflection and less of the signal coming back to the listener.
If you are pretty new to the area of acoustics, it might be best to acquire some broadband absorption tiles. These tend to be of a higher density and will work well across the largest frequency range possible.
The trick is here to do things a little at a time. As a general guideline you are looking for about 70% coverage using some kind of acoustic treatment. Don’t go crazy here and slap tiles on every surface, you will end up with a totally dead unrealistic space. You are really just trying to eliminate the ring for now and once you reach this point you will have certainly made enough impact to start looking at other areas.
Step 4 – Diffusion
Some reflection of the sound in our workspace is actually a good thing, believe it or not. Hearing some of the mix come back to our ears from various parts of the room can help create a realistic stereo image and a more open natural sound.
The problem is that if you simply leave areas of wall bare to create this reflection you will get a horrible slap back style delay and this is far from desirable. Other hard flat surfaces such as your computer screens and work surface can also create this sort of unwanted reflection.
The answer to this problem is diffusion. This is similar to reflection but instead of all the sound being reflected in one go it is diffused and returned to your ears at many different intervals.
When you see a diffuser you will immediately see how they do this. An average diffuser panel is made up of numerous small segments. These may appear random but are designed using exact mathematics. The Skyline range of diffusers for example uses a primitive root formula, meaning each section is an exact prime number.
This sort of treatment works really well in smaller rooms and can greatly enhance the stereo image and overall sound of a room when applied correctly.
Step 5 – Bass Traps
Fine tuning your space to reproduce low frequencies correctly is an art of its own and can prove to be a challenge. The first step here is to use traditional bass traps to treat all the corners of your room. This will help to prevent the powerful omni-directional low frequency energy from grouping and creating bass heavy spots. If you need to you can also treat the join between the ceiling and walls.
If after this initial treatment you are still experiencing bass heavy areas in your room, it is likely that you have nodes or standing waves occurring. These can be reduced using heavier wall mounted traps. These are similar to broadband absorption panels but are usually made up of several layers and of much denser material. These are pretty expensive to buy but if you are confident enough DIY versions can be effective.
Step 6 – Decoupling and Isolation
When treating your room it is worth looking into isolating your speakers and subs. By using dense platforms under your speakers you can ‘decouple’ them from your work station, desk or floor. This will do a few things, firstly it will prevent anything the speakers are resting on from resonating. This means you will be listening to your mix and not the furniture in your studio. Secondly decoupling will reduce the amount of low frequency transmitted into the walls, floor and ceiling of your studio, cutting down on the sound traveling into adjoining rooms.
Subs can be isolated using dense pads especially built for the job and you can also decouple kit that is effected by vibration. For example turntables can be isolated to prevent errors in playback in loud environments.
Step 7 – Placement and Fitting
When you have got your head around the different flavors of acoustic treatment available to you and you have identified the issues in your particular room, you are about ready to start installing the stuff.
When it comes to actually sticking the panels, traps and diffusers up you have a few choices. For a permanent solution go for glue. For a more semi permanent, re-fixable option try spray adhesive and if you need something that leaves absolutely no marks at all you can get velcro pads or pins to hold the treatment in place. A hint: companies such as Auralex do supply excellent products but a quick scout around your local hardware store may reveal the same thing for a tenth of the price!
If you are not well versed in the science of acoustics and you are unsure about the placement of various treatments, a good analogy to use is that of pool balls being fired from your studio monitors. If the balls hit a hard surface imagine they continue on their path, they then hit subsequent surfaces and continue further.
With this in mind it is likely that the path of the virtual balls will eventually reach your listening position and this is what you are aiming to stop. Try to treat the spots along this route you have traced with broadband absorption panels and listen to the difference this makes. This method should highlight how important it is to treat the rear and front walls and the surfaces directly above and to the sides of the listening position.
This is a very basic guideline on placing your treatment and shouldn’t be taken as gospel. If you are serious about doing this to the letter then you should really take the time to do some further research into audio acoustics.
Diffusion panels can be placed above any hard surfaces such as a workstation or computer monitors, and absorption panels can be alternated with diffusers for a more open sound in the room. This can be adjusted to taste as you go.
Treating the room for bass frequencies should be a separate process really and this is one area you can afford to be pretty heavy handed in. It’s pretty difficult to go over the top here but treating all corners is a pretty safe bet.
DIY acoustic treatment is all about applying common sense and caution. Apply a good mix of treatment types, add more treatment a bit at a time and take time for critical listening sessions throughout the process. If you follow these guidelines you should end up with a superior listening environment and mixes that transfer to the real world satisfactorily.
We understand that the Soundcard market can be a little daunting if you don’t know exactly what you are looking for. With various connection methods such as USB, Firewire, and PCI it is difficult to find the one for you.
This guide should give you an overview of the world of soundcards and hopefully help you someway in choosing the right one for you. Please remember that you can always call us if you ever need help or advice on 0844 815 0888.
The difference you find with soundcards to mixers is that where as a mixer will just take an analogue signal and keep it as analogue. A soundcard converts the analogue to digital. The price of soundcards can sometimes be determined by the quality of the AD converters and mic pre amps. For example the quality of the RME AD converters is better then the ones found on the M Audio soundcard range, although how much better is negotiable.
Will the soundcard on my computer not suffice?
Whenever a customer questions this at Dolphin our response is always to let them try it out first with the onboard soundcard. There is no better way of learning how much of a difference good AD converters can be then to use really bad ones. The onboard soundcard (or internal soundcard) is installed for alert sounds, games and MP3s but when it comes to recording audio and transferring to digital you really do need a better soundcard. Interference from the transformer, hard drive and so on will always inhibit the quality
On board soundcards don’t offer multiple inputs which rules out any larger scale recording of bands or primarily drums. They also suffer from large amounts of latency (glitches in the audio recording) which you will need to overcome via getting a better soundcard. This latency is caused by the onboard drivers not being capable of fast transfer speeds. You really need something with ASIO 2 drivers, which most external soundcards support
How Many Inputs and Outputs do I need?
In today’s market there is a soundcard for everybody. We always ask customers to think into the future. Will there ever be a time that you will want to record more than two inputs simultaneously. This might be drums, a live recording, a band or the fact that they will have many instruments and don’t want to keep plugging and unplugging cables. If the answer is yes then we recommend 8 inputs. Unless you have a specific reason we would recommend that you have all 8 inputs via XLR and mic pre amps. You may not want this if you are using your own Pre Amps or you specifically need jacks.
If your music work will mainly be you and overdubbing other parts later, you can work happily with one or two inputs which is how a large amount of souncards are designed. Many people realise that they only need two inputs and if that is the case there are many options for you. Solutions range from just a small box that you connect to your computer, MIDI keyboards with soundcards built in (for the musician on the move) to guitar FX modeling solutions that you can connect straight to your computer. More and more manufacturers are seeing the need for combining an audio recording solution with their products.
Do I need a special Soundcard to use Pro Tools?
In a nutshell “Yes”. DigiDesign software will only work with Digi Design hardware. They obviously do very expensive HD systems for the medium to large studios, but they also have a more budget range of audio recording solutions. They have the Digi 002 and rack version for someone who wants 8 simultaneous inputs into ProTools. Anyone just wanting 2 inputs they have the ever popular MBOX and new MBOX Pro.
Digi Design has recently bought M Audio, a smaller company that specialises in soundcards. Since doing this they have allowed users to run Pro Tools on M Audio soundcards. To do this you must purchase software called M Powered and have a soundcard that is compatible and you have a Pro Tools system.
Soundcard Connectivity with Computers
The ever popular question about what connection you should go for is asked by customers every day at Dolphin Music. Firewire is probably the most popular type as of today due to its fast data transfer speed, you will find that M Audio firewire interfaces as well as Presonus are very good. USB 2.0 which is actually slightly faster is also popular with the Mbox 2 Micro , Steinberg CI2 and Apogee ONE using it.
Back in the last century when we started all this USB and Firewire were but a twinkle in some technician’s eye. It was all about PCI cards which are going as string today as they have done. PCI (or PCIX – new versions) can offer faster data transfer but are also more processor dependent. Famous PCI soundcards are the likes of the M Audio Delta range and the older MOTU range of soundcards.
It would be rude to talk about connectivity and not mention PCMCIA. This is a method of connecting directly to laptops. Just think PCI for laptops. Due to USB and Firewire it is becoming less popular but some still believe it to be the only true way of getting true recordings onto laptops. This is debatable and we just don’t have the time!
All soundcards will come with software that will allow you to control the routing of audio within your soundcard. You will need this software to interface with your recording software. It basically allows you to interface with your soundcard as if it were a mixing console.
TASCAM culminates 30 years of Portastudio Recording with the DP-008, a portable 8-track recorder for all musicians
TASCAM’s DP-008 is an eight-track multitrack recorder that captures CD-quality audio, two tracks at a time. You can use built-in microphones to grab ideas, plug condenser mics into the XLR inputs or plug a guitar directly in to lay tracks.
There’s even a metronome and chromatic tuner built-in for tight-sounding tracks. The Tascam DP-008 also allows you to digitally bounce tracks to make room for more, and touches like editing and undo make recording stress-free.
Each track on the DP-008 has its own row of knobs for level, pan and effects, just like our classic cassette Portastudios of the past. The effects knob sends to a built-in stereo reverb processor with hall, room, stage and other effects. Each track also has EQ to tailor the sound for your mix. When your song is complete, mix it to a dedicated stereo track while riding levels and flipping pan as much as you want. You can export your mix, or even individual tracks, as a WAV or MP3 file.
TASCAM invented the home recording studio with the original cassette Portastudio. The DP-008 takes the ease-of-use of those classic songwriting tools and adds portability, digital sound quality, effects and mixdown to bring home recording into the 21st century. Simplify your recording workflow with TASCAM DP-008.
For specifications, please visit the Tascam DP-008 product page
The Edirol PCR-M1, the world slimmest MIDI Keyboard…view more
A MIDI keyboard is a piano-style digital keyboard device used for sending MIDI signals or commands to other devices connected to the same interface as the keyboard.
MIDI is an acronym for Musical Instrument Digital Interface (protocol). The basic MIDI keyboard does not produce sound. Instead, MIDI information is sent to an electronic module capable of reproducing an array of digital sounds or samples that resemble traditional analog musical instruments. These samples are also referred to as voices.
An encoding scheme is used to map a MIDI value to a specific instrument sample. Also, other sound parameters such as note volume and attack are included in the MIDI scheme. The keyboard merely acts as a MIDI controller of sound modules and other MIDI devices, including DAW software.
MIDI keyboards are a very common feature of a recording studio, and any DAW setup. Most include a transpose function and the ability to set different octaves. Many MIDI keyboards have pitch bend and modulation wheels. Some also have extra sets of assignable rotary knobs and/or buttons for sending custom MIDI messages to the synthesiser, sampler or DAW software.
Other features that some MIDI keyboards might include are:
- Input for foot switch (usually used as a sustain pedal)
- Input for a foot expression controller
- Semi-weighted or fully weighted keys
- Capability of sending aftertouch
- Direct USB connection for use with computers
In other words if your serious about making music on a computer a MIDI device will make your work better faster!
How do I connect a MIDI keyboard to my computer?
The first thing to do is to make sure that your MIDI keyboard has MIDI ports on the back. It is very rare to find a modern midi keyboard without MIDI ports.
Here are your options:
- USB to USB
- MIDI to MIDI
- MIDI to USB port
- MIDI to soundcard gameport
USB to USB
Every modern MIDI controller keyboard we sell excluding those by Fatar now come with a USB connection for easy use with computers. Some keyboard are even ‘class complient’ which means you don’t even need to install any software. The cable you need for a USB to USB connection is just a standard USB cable which should be included with your keyboard. For USB Cables in stock at Dolphin, CLICK HERE
MIDI to MIDI
Some of the audio interfaces we sell such as the M-Audio Audiophile 2496 or the Tascam US-122 combine Audio & MIDI I/O enabling your to connect your keyboard directly to your sound card. For MIDI Cables in stock at Dolphin, CLICK HERE.
MIDI to USB port
These devices come equipped with a USB connection for your computer, and a 1 In/ 1 Out 16 channel MIDI connection to your MIDI keyboard. However if you had more than one MIDI device to connect such as a second keyboard or a sound module then mutli port options are avalible such as the M-Audio Midisport 2×2.
MIDI to soundcard gameport
If you are using a standard computer sound card rather than a music sound card, then it may have a joystick port.
If you have a joystick port then all you need is a cable that has a 15 pin ‘D’ connector at one end and MIDI connectors on the other.
If you need any further help, please call us on 0844 815 0888 and speak to one of our experts. We’ll be glad to help and direct you to the best gear for your needs.
More about MIDI…
MIDI data is not the same as sound data. What is transmitted over the wire is information on how to play a song, not the physical sound data itself. MIDI can be thought of better as a player-piano roll than a compact disk: just as the piano-roll instructs the player-piano to create the sounds, MIDI data tells a MIDI device which notes to play, patches (instruments) to use, and other information to help the instrument recreate the song. When you listen to a MIDI file, you’re hearing an actual ‘performance’ by the instrument, not a ‘recording’ of a past performance.
MIDI was not designed to be used with personal computers, but since it is a digital interface, they actually work very well together. Combining at least one MIDI instrument with a personal computer and a MIDI interface (a device that allows the computer to “speak” MIDI) allows for many interesting applications.
The the easiest way to get this up and running is to us a USB to MIDI keyboard. This will take care of any MIDI channel assignments and route it effectively in your DAW with ease.The USB device drivers are also native with Windows and Mac, which it will just WORK
The Oxygen 8 v2 is an updated version of the mobile MIDI controller that started the mobile studio revolution. You get a fully functional MIDI keyboard with great action, plus eight MIDI-assignable knobs to control any MIDI parameters you desire in your hardware or software. It’s perfect for composing on the go or performing live bass lines and pads, firing samples, or triggering audio and/or visual effects. New features include full MIDI message support, plus 6 transport controls that can be reassigned to any MIDI parameter. The Oxygen 8 v2 also offers 10 non-volatile memory locations and is compatible with our free Enigma software for computer-based storage, retrieval and management of an unlimited number of patches.
The new E-MU Xboard™ 61 USB/MIDI Controller features 61 premium full-size keys with aftertouch, 16 programmable real-time control knobs, 16 new patch select/program change buttons, Xboard Control editing software, and a full version of E-MU’s Proteus X Version 1.5 Desktop Sound Module with over 3GB of sounds, including a new custom bank of E-MU’s finest performance keyboard sounds. The Xboard Control (Windows/Macintosh) software provides an intuitive desktop interface that lets you effortlessly create custom templates for all of your favorite hardware and software instruments. The Xboard 61 also gives you four Zones per patch (each with its own key and velocity ranges), allows you to set discrete MIDI channels for each knob and offers unrivalled real-time control and performance features, including Snap Shot that lets you send multiple program changes and controller values by pressing a single button, and Latch Mode that enables you to define a section of the keyboard as on/off triggers – perfect for drum loops. The Xboard 61 is perfect for studio and stage and can run on USB, battery, or AC power.
The Keystation 61e is a 61-note USB keyboard with velocity-sensitive, semi-weighted keys that is designed to easily integrate in any computer music environment.
Class compliancy with Mac OS X and Windows XP delivers true plug-and-play setup. The Keystation 61e is also compatible with many music education and music creation software titles, making it ideal for classrooms and studios alike.
More advanced users can control software synths, external sound devices, and more with the assignable slider, and pitch and mod wheels. This sleek, compact keyboard is USB bus-powered and requires no external power supply.
Don’t let the compact size of the Axiom 25 fool you. This advanced 25-key USB mobile MIDI controller features both semi-weighted action and assignable aftertouch, plus eight rubberized trigger pads that put drum programming and performance at your fingertips.
Eight endless rotary encoder knobs let you get your hands on synth parameters, virtual mixer controls and more.
Six transport controls can also assign to control other MIDI parameters. Virtually everything is freely MIDI-assignable—and the backlit LCD screen makes programming easy and intutive.
You get 20 memory locations for on-board storage, plus free Enigma editor/librarian software to manage an unlimited number of setups via computer.
The new KONTROL49 combines intuitive design, great feel, familiar hardware and detailed displays into the most comprehensive controller for all your MIDI needs. Equipped with 40 assignable control elements – including the new Vector Joystick – the KONTROL49 provide new musical dexterity when working with soft-synths, MIDI modules, or any digital audio workstation.
Few controller keyboards can boast the high level of hardware integrity found in the KONTROL49. The 49 keys are not only full-sized; they feature the same great touch and feel proven in Korg’s professional workstation instruments. Eight velocity curves let you tailor the response to your own playing, or to a specific application. Octave shift buttons provide full access to the entire 128 note range.
The AKG K 171 MK II combines the benefits of a closed-back design with the lightweight and comfort of supra-aural headphones.
The AKG K 171 MK II is designed for on stage monitoring and tracking as well as DJ mixing. It is an excellent choice for DJ and broadcast applications where no sound can bleed from the headphones into live microphones.
The closed-back, loud and rugged design gives the K 171 MK II a different low-frequency character and maintains its comfort and flexibility.
- Professional hi-fi stereo studio headphones
- Self-adjusting headband for optimum fit
- Patented Varimotion speakers
- High ambient noise attenuation
- For broadcast and DJ use
- Rugged construction for tough handling
- Leatherette ear pads and additional velvet ear pads
- Single-sided, detachable 3 m cable and additional 5 m coiled cable
- Type: closed-back, dynamic headphones
- Sensitivity: 94 dB/mW, 107 dB/V
- Frequency range: 18 to 26,000 Hz
- Rated impedance: 55 ohms
- Max. input power: 200 mW
- Earpads: leatherette and velvet
- Cable: 3 m single-sided and 5 m coiled cable (99,9% oxygen-free); plug-in cable on headphones (mini-XLR connector)
- Connector: gold plated stereo mini jack
- Adapter: gold plated 1/8″ to 1/4″ screw-on adapter
- Net weight: (without cable) 200 g (7.1 oz.)
PRODIGY’S FRONT OF HOUSE ENGINEER JON BURTON TRIES OUT sE INSTRUMENT REFLEXION FILTERS, NOW THEY’VE BECOME AN ESSENTIAL PART OF THE BANDS TOURING PACKAGE.June 19, 2009
When it comes to loud stages very few can compete with the sheer blistering volume of The Prodigy. With an on stage monitor system of epic proportions sound spillage is a major problem.
In an effort to help clean up the drum sound FOH engineer Jon Burton turned to SE for help. “As we were also recording the most recent shows, I wanted to get as clean a sound from the drum mics as possible” says Burton. As most of the mics are mounted internally it was the overheads that were presenting the greatest problem.
“Sonic kindly leant me some instrument reflectors as part of their loan scheme. We tried them in rehearsals and they seem to work so we bought four. When we did the first shows, some small warm up gigs in tiny clubs, they came into their own.
The spill was dramatically reduced and the sound more focused. They exceeded my expectations”. The reflectors have now been on tour for two months doing major festivals around the world, and have become an essential part of the bands touring package.
Jon Burton has also mixed for Beth Gibbons (Portishead) and Bjork at Live8 in Japan. Katrina & the Waves, Radiohead, Suede, Cocteau Twins and has also done monitors for Stereophonics, Lulu and Blue.
Sound On Sound said this……
“Those recording in less-than-ideal recording environments have been looking for a ‘magic bullet’ quick fix for recording vocals since the term ‘home recording’ came into being, and the SE Reflexion Filter represents a serious step in that direction. It can’t keep all reflected sound out of the mic, as some will end up bouncing into the mic’s frontal axis from the wall behind the singer, but it certainly reduces this by minimising the amount of voice making it out into the room and by attenuating off-axis sounds. This could be particularly useful in a typical studio vocal booth where there is often a glass door directly behind the microphone. If rear-wall reflections are still a problem for you, some thick blankets, duvets or similar behind the singer should bring about the desired degree of improvement, and in combination with the Reflexion Filter should allow anyone to record clean vocals that are free from damaging room coloration. The price of the Reflexion Filter could actually be said to represent extremely good value when you consider that it might well make more difference to the subjective quality of your recordings than blowing an extra grand or two on more sophisticated mics and preamps! “
The SE Electronics IRF Instrument Reflexion Filter. Innovative and useful portable acoustic isolation screen for recording instruments. The SE Electronics IRF is a development from the hugely successful Reflexion Filter. Designed to give a degree of acoustic isolation and rejection of room ambience for drum mic separation, the Instrument RF can also be used for micing guitars, pianos, wind instruments……
The Reflexion Filter ‘portable vocal booth’ is a revolution in recording technology. The Reflexion Filter is a portable device for recording live sources with reduced room ambience. It is an advanced composite wall which is positioned behind any microphone by means of a variable position stand clamp assembly which ships with the product. The main function is to help obtain…