#Rode Nt2a

[proaudiobrands]

Rode Nt2a 

The RODE NT2-A is a professional large capsule (1") condenser studio microphone with variable pick-up pattern, variable highpass filter and variable pad.

Rode Nt2a

[sazforoosh]

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[kturos-blog1]

Working on a few new projects with this guy! ✨

[ugobestmusicals]

Rode NT2A available Get premium quality at affordable prices on every musical gadgets at UGOBEST MUSICALS. +234907 572 8152 https://www.instagram.com/p/Cht86ZvMFtX/?igshid=NGJjMDIxMWI=

[mfmusicaudio]

ميكروفون رود NT2A  الاصدار الاخيرRode NT2A NEW Generation Vocal Multi-Pattern Dual Condenser MicrophoneCombining a true condenser capsule, three selectable polar patterns, and ultralow-noise circuitry, the Rode NT2-A large-diaphragm studio microphone offers a clear and smooth sonic signature along with versatile pickup responses, making it ideal for all sorts of voice and instrument sources at home or in the studio. Plus, its bundle of accessories—shockmount, pop filter, XLR cable, and dust cover—help the NT2-A serve vocalists, rappers, and voice-over artists especially well. With low noise being a top priority of the NT2-A, its 1" gold-sputtered capsule is internally shock-mounted to further isolate it from handling and vibration noise. Enhancing its professional character are the onboard pad (-5 or -10 dB) and high-pass filter (40 or 80 Hz) settings, which help avoid distortion and bass builup. Since it can run on 24 or 48 VDC phantom power, the NT2-A can be used with a variety of professional and entry-level XLR mic preamps. لطلب شراء المنتج و الشحن اتصل بنا على الارقام التالية☎01006237502 ☎01227545903☎01127214405 ☎01095518233 ✅ضمان ضد عيوب الصناعه لو حابب تعرف أكتر عن المنتجات أو تشوف أكتر تقدر تزور موقعنا الرسمي 👇https://mfmusicaudio.com/ومن خلاله تقدر تعمل أوردر يوصلك لحد باب البيت في أسرع وقت أو تشرفنا بفرع الشركة : 217 شارع احمد زكي - المعادي ميدان فايدة كامل امام سنتر الهدي والنور تقدر تدخل علي صفحاتنا الرسمية علي فيسبوك وتعرف أكتر عن المنتجات من خلال الروابط👇https://www.facebook.com/mfmusicalinstrumentsegypt/https://www.facebook.com/mfaudiostoreطرق الدفع لدينا:متوفر دفع بالفيزا كارد و الماستر كارد مع ميزة انك تقدر تقسط اي منتج مع البنك الاهلي المصري بدون فوائد لمدة 6 شهورو خدمة QR و المحفظة الذكية و ��ودافون و اورانج كاش هدفنا: الثقة - التميز - الأبداع - العمل علي راحة العميل

[leon-k-musc3603]

Composing Task 2 – Choose Your Adventure

Option 2

Artistic Vision

A sonic representation of my mental experience during Sydney’s second lock-down, and a digital tribute to long sessions with my acoustic guitar that became my artistic escape and meditative practice from the simultaneous monotony of blurred days and brewing anxiety over the uncertainty of the time period.

Want to take advantage of recordings made during that time period and build my pieces around them, making it into two separate pieces.

Current idea is to have one piece that’s more conventional and ambient, taking a lo-fi phone recording of a chord progression and overdub various layers stemming from new more polished recordings. Airy, lush, melancholic, repetitive – as to represent days becoming more of the same and blurring into one another mentally, feeling a bit formless with no clear path ahead….

The other will be more experimental and take notes from electro-acoustic music – drastic digital manipulations of recordings from my acoustic guitar that’s more ‘prepared’ and exploring more sonic possibilities from the acoustic side. Include field recordings of walks in the park, as to represent more of an ‘outer/external’ experience, where long walks alone were also another way that I coped with lockdown.

So, to start I began work on piece 1, which I’ll title…

Blank Stare at a Ceiling Above

The groundwork for this composition was a voice memo on my phone of a three-chord progression recorded around the time lock-down started. I actually started doing a bit of work on it, but it was left unfinished, and I thought this assessment was the perfect opportunity to flesh out these ideas and finish where I had left off; contributing to my own artistic practice. It was a bit difficult to figure what tuning I had my guitar in when I initially recorded it, but even eventually got around to it and began recording over loops of it.

I recorded acoustic guitar takes on a Rode NT2a microphone, placed few centimetres away pointing towards the end of the fretboard near the sound hole. With guitar takes, I usually like recording multiple versions of the same thing in order to be able to play around with stereo and creating nice doubling effects. So, in the end I stuck with two long takes of the progression played with a pick, and another played by strumming with my thumb, creating timbral variation in its sound that’s less attack-y and more boomy to occupy more low-end.

I also decided not to record on a click, in order to create a looser and more genuine feel to it, having to play along by closely listening to my previous takes rather than a click.

It was during these takes that I also came up with other section that could be introduced for a change-up at the end. Sounding slightly more hopeful, it could represent a form of relief from the musical repetition prior that alludes to a form of relief from one’s repetitious thoughts.

Thinking about this concept, another way I thought I could emphasise the repetition and unease of being stuck in one’s thoughts, is through the introduction of melodic motifs that roughly stay the same. One thing I did was I ended up recording a three-note, half-bar arpeggio, which I didn’t end up looping but rather played for the whole duration of the recordings thus far, in order to add incidental variation. This was a layer that I first began to edit digitally, as I felt like it needed some heavy effects to make it possess a ‘crumbling’/’decaying’ type of sound. To achieve this, I added a strong vibrato effect via. Ableton Chorus, a Vinyl Distortion and high compression in order to flatten the envelope of the sound. A reference point for me here was Bibio’s ‘Puffer’ and most of his early work in general – lots of lovely lo-fi guitar tones to be found there.

Another motif I decided to develop was trying to bring in another tone from the guitar, being harmonics. The twinkly bell-like sound of harmonics on a guitar has always had my ears gravitate towards them, and here I wanted to create a melody using them. After being a bit frustrated playing along with it with no luck, I decided to try tuning the guitar different in order to generate different pitches from the harmonics, which eventually I found to be satisfying and landed on a 4-bar melody to my likening. With the sound and melody, this felt like the layer to occupy a lot of space and be ‘airy’ with its drawn-out sustained notes at the end of phrases. Here I experimented with around with reverb and compression in order to try and enhance and perhaps exaggerate this quality that I was feeling from it. One interesting unique effect I found was applying an extreme compressor after a long reverb, which ended up making a more condensed yet pillowy sort of sound, almost like smoke which I thought was perfect in encapsulating ‘mind fog’. The only issue was the compressor was really increasing the presence of slight noise in the recording, which I fixed by applying a small gate and a bit more reverb which will carry the sound from the initial transients striking.

Feeling like it was too sparse, to lean in into the more ambient direction I wanted to take this track I created a synthesiser using a sample from these guitar recordings. I managed to get a nice smooth ethereal pad sound by reversing and cropping a small section of a guitar note and playing with the envelope and fade sliders in order to generate a nice continuous flowing sound. A band-pass filter really helped to create this ‘closed-in’ type of sound that I feel compliments well with the radio crackling effect of the short guitar loop constantly going in the background. Adding a vibrato effect on top of this to help to make the sound ‘breath’ a little, creating a wavering sort of effect.

Like my guitar takes here, I opted for a more improvisational approach to writing this section, where I recorded into MIDI using my keyboard and tried to get immersed into the soundscape. I found that I really loved doing a consistent minim rhythm in the lower register while sometimes jumping up high, continuing with the repetition in a rhythmic sense (fitting on-top with the 2-beat repeat and the constant quaver strumming). I stuck with this motif while being really loose with the melody, signifying a sense of movement within one’s mind that still remains unpredictable and changing despite fitting into this ‘grid’ of everyday life stuck inside.

It was at this point that I felt like I had the general composition and sound layers laid out. It would maintain that chord progression with slight variation (holding onto the last chord for a few bars sometimes to maintain some interest) for about the first 2 and half minutes or so as the layers unfold and have the aforementioned ‘relief’ B-section coming towards the end and fading out, for a bitter-sweet effect.

Here I decided to clean up the main acoustic guitar recordings, mainly by adding some EQ and compression to beefen up their presence and little and to not have the pick-strumming as prevalent as it was. Adding a bit of ping-pong delay to the panned double-taked guitar parts I found to be a nice little touch to blend them in a bit better in the stereo image.

The transition from the main A to the ending B section felt a bit abrupt, so I felt like I needed an additional part to come in. Sticking to the guitar, I recorded a little melody which I harmonised on-top of in a second track, panning them hard left and right. To lead into the section, I applied a reverse reverb effect which I achieved using a long reverb with auto-pan on a reversed version of both audio tracks. This final track is then reversed for the effect to work, which works well to have the sound ‘creep up’ as a little surprise and spark further interest as the new section comes in and fades out. To enhance the slightly optimistic mood of this section, I added some Grain Delay with a full octave pitch up, to generate that twinkly/sparkling texture.

Blank Stare at the Waters of Binary River

For this one, I wanted to drift away from traditional composition and create more of an electro-acoustic / noise / loop-based piece, composing through listening to the samples I collect. Inspired by acoustic guitar jams and long walks by myself during lock-down, I wanted to meld the two together by taking field recordings of both and doing drastic manipulations of both.

First began with recordings of my guitar using my Tascam portable recorder being openly strummed and hit with an open tuning in a variety of different ways, including pick, finger-plucked, thumb-strummed using brushes and in different areas of the guitar too.

After doing this, I took a stroll at a local park with recorder and walked around. I was particularly attentive to the bird sounds, as well as walking on the grass, sometimes moving around leaves to get some sounds. An interesting issue that arose was the presence of interference noise, which upon hearing initially frustrated me but actually presented itself as an interesting opportunity to rethink my vision a little. Finding particular angles to produce more noise than others and with altering pitches, I became more and more engaged with these sounds as I walked through the park. I thought about how this could represent the phenomena of not being able to escape the huge outreach that technology has on us today, where even in attempting to free one’s mind in the environment around (as I was during lockdown) the temptation to glance at your phone and think about extraneous things was always present. I decided to take this concept and have it become more of a focal point of the piece.

So, after getting my source material, it became a lengthy process of listening through all the raw material and finding little sections and chunks of sounds that I found to be interesting. By using the loop function on the arrangement view, here I was able to also find some potential loops that could serve as foundations of sections.

First loop that I gravitated towards was one from using my brush drum sticks on the guitar, where cutting abruptly to the post-attack sound of the guitar with the brush trailing off made for a nice loose rhythm to build upon. Since the trail was substantially quieter than the initial attack, I flattened the dynamic range by using a heavy compressor, with some EQ to try and soften some of the harsher frequencies brought about by the brush.

From that same recording, there was a snippet where I hit the body of the guitar with the brush in a rhythm while it still rang out with the open chord, creating a resonate tone. Pitching this up and messing with the warp tool made for a cool metallic pitched sound, creating a shorter rhythmic loop that sits well with the first selection.

The next few loops I gathered came from the feedback recordings I got from the park, where I found that by transposing them down a lot you could make the harsh frequencies of the interference have a more definitive pitch and timbre, making it more of a musical feature while still maintaining its status as a ‘noise’ layer in its brittleness. Pitching these to the rough key of the guitar tuning, it makes for a nice subtle background layer that makes the piece ‘breathe’ and not feel too empty. Decided to intersperse a few along the timeline, but one consistent sample is one where I accidently hit the mic but pitched down and looped actually made for a nice additional rhythmic layer. This required quite a bit of cleaning with EQ however, as the rumble becomes for even more emphasised in a lower pitch, but working with that and adding additional effects such as a Frequency Shifter worked in masking the unwanted elements to the sample, making it sit nicer in the mix.

Other notable samples that I picked up from the recordings included:

· Bird calls – varying the use of this sample by speeding down the recording made for an interesting effect; separating the origin of sound and association while maintaining it a little in the listener’s mind by introducing it as-is initially.

· Rustling of leaves and footsteps – to create a greater sense of environment

· Thumb strokes of open chord and individual strings – using the blunt attack of these samples I was able to make nice pad sounds similar to ‘Blank Stare at a Ceiling Above’, making for a slight call-back. Here was where I was also able to make the main ‘bass’ synth using the low E string note, and with the acoustic having a slightly ‘wavering’ tone pitched down it created this unique authentic vibrato effect which I quite like.

· Manual stereo swirl – one recording involved myself moving the Tascam around the sound-hole which created a disorienting feel as it affected the stereo image. This worked well as a little sample to incorporate here and there

· Twinkling guitar plucks – during the guitar recordings, I played around with strumming the strings at the head of the guitar and on the fretboard behind the capo. These created more quieter, resonant tones with less body, which I thought could make more a good element to occupy the higher end register.

Now that I had the bulk of samples that I wanted to work with, it was now a matter of arrangement.

Not wanting to start with the initial rhythmic samples I found, I thought it would be nice to have a more disjointed/disconnected intro. For this, I reversed a clean recording of the acoustic being strumming with a pick, creating a nice classic sharp attack at the end. I also ended up doubling this with a similar sample with the ‘twinkling’ guitars being strumming down in reverse, with delay in order to create a little separate subtle trail for the abrupt end of the initial sound.

The trail introduces the environmental sounds – including the bird call with leaves rustling. Here I start playing around with transposition and pitch manipulations, including ones that don’t involve warp in order to create effects of repeating the loop but with varied speed as well as pitch.

Found it quite nice to be more involved with creating unique sounds with splicing, transposing and working with the arrangement view rather than instinctually seeking out plug-ins and effects to find something cool. A little limitation I put on myself at times to try work more in that traditional ‘electro-acoustic’ / ‘musique concrete’ style.

Since the manipulated environmental sounds introduce the glitch element, playing the reverse guitar sample again, I decided to deconstruct and mess with the sample towards the end, also cutting in and out some of the environmental sounds to emphasise the ‘disconnected’ feel of the intro.

To lead into the first initial sample pick, I took the full-length sample and decided to play it up until the end of the loop I had chosen as a way to introduce it, then continuing to loop my selection, establishing the main section of the piece.

From this point, it became a sort of free-form process of placing in samples in an improvisational style and leaving it in sections it seemed to fit nicely. A main element that became more a mid-ground element where slowed-down guitar hits, that I liked having weave in and out in the left and right channels. Pitching each accordingly to a slow brooding melody that sits on top of the repetitive loops, with the ‘beats’ warp feature creating a nice glitch effect.

I developed a recurring 4-bar bass motif as well, where it mainly stays in the low bass root but for the last bar it does a little descending run. To try and double this motif in another section, I created another synth using a guitar sample – where this will function as a mid-high melodic layer with its own motif, but possessing the similar descent as the bass layer. This melodic layer will ‘seep’ eventually into the mix.

I also created a ‘distorted’ reverb return track that the melodic layer gradually gets feed into, using Ableton Reverb, a Frequency Shifter with a Max/MXP LFO altering the frequency of the ring modulator

To create another variation – I wanted to subtly shift the rhythm of the main sample by making it sort of stammer/stutter into the next. Achieved this through gradually shifting the start time of the sample with each repetition until it landed on the rhythm that I felt suited.

To create yet another layer onto the piece for variation, I decided to utilise granulator on a sample where I slowly strum each string of the open chord on the guitar. What this made for was an interesting workflow where I felt by messing with the parameters I could almost ‘play’ the instrument like I would by finger-picking, but in a warped digital sort of manner. Really liking this general workflow and idea, I recorded some improvisational material, assigning different parameters of the granulator such as ‘grain’ and ‘spray’ to the knobs on my MPD controller and just playing. Ended up with a roughly 4-minute-long recording, from which I began to listen to figure out how to incorporate into the mix.

Really liking the sporadic and unpredictable nature of the granulator, I left it mainly untouched and placed a 2-minute long excerpt and have it ‘seep in’ through a long volume fade-in. What I also loved about just placing it on-top of the already existing material, is that there was a section in the recording where I decide to hit another note on the keys, so it changes the key. Created an accidental yet cool variation, that initially didn’t sit well with the other elements, but to accommodate for this, I pitch-shifted the other loops for that period in order to create an unusual shift. Slowly turning on a heavily modulated low-passed ‘Echo’ effect also made for a cool sound, creating an ‘absorbing’/’enveloping’ sound as the ‘environment’ around dissipates (through a fade-out). Through this accidental change in focal point (to the granulator), I developed an outro that I was satisfied with – the end embracing the calm entropy and randomness after trying to make sense of the noise and clutter of the main section of the piece.

Having the main structure of the piece sorted, I felt like the biggest issue to tackle was creating variation amidst the repetitive loops.

Some additions included:

· Another ‘warped’ return track for the main loop to be fed into gradually, using delay, noise vocoder and a third-party vibrato effect.

· Altering the role after a while of the ‘rhythm interference feedback’ loop into one of pure background noise, it becomes looser and more random.

· Increasing and automating the drive of the overdrive on the bass layer towards the end, to create subtle distortion swirls.

------------------------------

Blank Stare

Part 1: At a Ceiling

https://drive.google.com/file/d/1TYSsM5Wjqmy70ILGlnCwh5dLEvBh6RvD/view?usp=sharing

Part 2: At the Waters of Binary River

https://drive.google.com/file/d/1dasQOlGdsvwiI-XyTqNqC7wJ-V_HJzpS/view?usp=sharing

[sohchwanprojectblog]

Entry 15 - Song Production

Once we had all the instruments recorded and balanced, we had Leon to come over to record vocals.  To pick the right microphone for him, we decided to test the SM7B, Aston Origin and Rode NT2A. We went for the SM7B as it suited his vocals a lot more compared to the other two condenser mics. The vocal recording process required a bit of time as we did multiple takes and auditioned the parts which sounded the best and then spliced them together for a perfect performance. After recording the main melody, we added harmonies and unison lines on top of his melody to further enhance the track.  Once the vocals were recorded, we started editing the vocals with Melodyne. This is to fix any notes that were off pitch and time, we did minimal editing to it as we wanted to retain the performance without it sounding over polished. 

[grahamstoney]

Time For Some Drama

New Post has been published on https://grahamstoney.com/music/time-for-some-drama

Time For Some Drama

Today’s big addition to Didn’t Feel Safe is some dramatic sound effects to recreate a typical argument between my parents and the sounds of muffled yelling in their bedroom. I also recorded and comped the final vocals in a studio at Sydney Conservatorium of Music.

Acting Without Acting

About 7 years ago, I spent a year studying the Meisner acting technique at The Actors Pulse in Redfern. I discovered this technique after a friend recommended it to me and was drawn to it because it was all about responding authentically in the moment and not overthinking. I thought this would help me get out of my head and connect better with my emotions, which is key to success as an actor or musician.

Sanford Meisner said that:

“Acting is behaving truthfully under imaginary circumstances.”

The key to the technique is a training exercise called repetition where actors rapidly repeat spontaneous observations that bounce off each other until something changes. It’s liberating, fun, and I thought it would be perfect for creating the dramatic scene I wanted to layer into the bridge of Didn’t Feel Safe.

I wrote a few lines I remembered my parents saying during actual arguments as the basis for the script, borrowed a Zoom recorder from The Conservatorium, got together with my fellow musician friend Margot Thomas who is studying at The Actors Pulse herself now, and recorded us doing did some repetition.

While “rep” is great for generating dialogue spontaneously, the result doesn’t flow like a normal conversation. It took a lot of editing to find a sequence of dialogue that made sense. Thankfully, my parents’ nonsensical arguments were driven by intense anger and filled with childish insults, so it didn’t have to make much sense.

My parents would often fight openly and viciously in front of their children, but the weird thing was they were much better behaved in front of strangers. It’s not like they couldn’t control themselves; they just didn’t. I found their arguments terrifying and they made no attempt to acknowledge or mitigate the impact on me. They either didn’t care, were oblivious, or were just too caught up in their own childish narcissistic rage. There was a lot of yelling going on, but no real communication; just hurtful verbal barbs intended to wound their opponent. It was terrifying to be around when I was just a defenceless young boy, and this is what I wanted to portray in the dramatic scene of this song.

Mum and Dad would often slam doors in the house when they were angry, so I grabbed a door slam sound effect from freesound.org to punctuate between the part of the argument I could hear clearly and the muffled yelling of their late-night bedroom arguments behind a closed door. I could never work out what they were saying late at night, but it still disturbed me tremendously and kept me from sleeping. For this section I used an extreme low pass filter to reduce everything to muffled voices and layered all of this over the descending minor cycle of 5ths in the Bridge.

Final Take Vocals

I also recorded the final vocals using a Rode NT2A condenser microphone in studio 1024 at Sydney Conservatorium of Music.

I wanted the verse section to be centred to represent my feeling of loneliness stuck in the middle of things while growing up. For the choruses, I wanted it double tracked and wide panned with an additional quadruple tracking by singing it an octave down, to give a thick texture and a 1980’s “wall of sound” feel. Phil Spector would be proud.

I also wanted the vocals of the chorus to blend over the end of the verses, and the first chorus repetition to blend over the second, so the track required multiple vocal takes. In all I did six complete takes, plus another six of just the chorus down an octave, which I then comped using fast swipe comping to extract the final vocal audio tracks.

In the process, I discovered that despite my MIDI melody guide track, I was singing a few notes differently in some takes which sounded bad when double-tracking the takes. I fixed this by comping the rogue notes out using other takes.

Having the anthemic chorus in the high part of my vocal range not only gave a lift to the chorus, but it also meant I could sing it an octave down for doubling to thicken the vocal texture. Yet another application of Layer Cake OrchestrationTM and the principle of spectromorphology. I couldn’t do this with the verses because they were already in the low part of my vocal register, but this didn’t matter since it provided greater contrast with the chorus and emphasised the loneliness in my voice mirroring my experience in the narrative verses.

I wasn’t happy with my vocal tone in the verses though, which felt quite exposed given that it was only single tracked, so I created another comp to double track it at a lower volume to improve the tone of my voice.

The complete list of comps is:

CompPartPanningDescriptionA VersesCentreVersesB Chorus 1 LeftLeftFirst chorusesC Chorus 1 RightRightFirst choruses doubleD Chorus 2 LeftLeftSecond chorusesE Chorus 2 RightRightSecond choruses doubleF Bass Chorus 1CentreFirst choruses down an octaveG Bass Chorus 2CentreSecond choruses down an octaveH Verses 2CentreVerses double

With the comps created, I exported them to new audio tracks to add effects plugins. It was only after exporting the comps to new tracks that I could play the doubled tracks against each other and noticed the different notes. Fixing this required some back-and-forth between the fast swipe comp editor and the exported comp tracks.

I did the comping in the studio just in case I needed to re-record a part, but in the end I had enough material in the takes folder to get by without doing so.

I edited the vocals and added plugins and sends to do all the usual vocal processing suspects described in Warren Huart’s Mixing Modern Pop Vocals video:

Breath removal

De-Esser

EQ

Compression

Reverb

I get nervous when recording, and this causes my vocal tone to wobble. I’m also using it as an excuse for sometimes singing flat. A little emotion is fine, but this was too much, so I dropped the Pitch Correction plugin on all the vocal tracks. While the anthemic chorus melody is C major pentatonic, the verse melody is only A minor diatonic, so I set the pitch corrector to C major. I’m not too proud to say it: I pitch correct my vocals.

Where I’m Up To

Here is the Logic project so far:

Look at the track count grow. Jacob Collier, eat your heart out.

And here’s how it sounds with the latest addition:

[rsstudio]

Studio setup

Rooms:

Main studio control room with vocal booth

Live room big enough to record full bands and ensembles.

Mics:

Neumann KMS105

Neumann TLM102

Rode NT2a

sE Electronics sE1a (matching pair)

Shure SM58 (x2)

Shure Beta 58 (x2)

Shure SM57

Vintage Shure unidyne model 55

Beyerdynamic TG-X60

Guitars:

Fender telecaster (made in USA)

1982 Aria Pro Series 2 Carnival w/ custom midi pickup

Yamaha SA503 Troy Van Leeuwen Signature

Gibson EB13 bass

Burns London Bison Bass

Vintage Vox Bassmaster

Various Spanish and steel stringed acoustics

Ukulele

Amps:

Ashdown Custom 22-Head (Ltd. edition no. 28)

Ashdown ABM 810 cab

Marshall Valvestate 80V

Park G25R

Park G10R

Roland Cube 60

Carlsbro Stingray Super

Synths:

Access Virus TI2

Casiotone 610

Teisco 1107

Korg Polysix

Novation Ultranova 

Yamaha P60 (full size weighted keys)

Pedals:

Vintage Ibanez Tube Screamer

Vintage Fulltone Ultimate Octave

Vintage Aria ADL-1 Analog Delay

Violetta delay

Dwarfcraft Devices Hair Of The Dog Fuzz

Electro-Harmonix Super Ego Synth Engine

Electro-Harmonix Voice Box

MXR M196 A/B Box Switcher

MXR Bass DI+

Boss TU-3 Chromatic Tuner

Roland GR-09 Guitar Synthesizer

Zoom 505 multi effects 

Computer:

Mac Pro (Intel Xeon 12-Core 2.7Ghz CPU, 128GB Ram, 512GB solid state SSD) running Mac OS X Mojave (10.14.6)

Apple Thunderbolt 27″ display

Apple magic trackpad 2

Apple magic keyboard 2 

We’re also set up for easy plug & play into the monitor and sound card if you want to bring a laptop that has thunderbolt out.

Sound card:

Focusrite Thunderbolt 8PreX

Monitors: 

Adam A7X (x2)

Genelec 8030 (x2)

Other: 

Fostex Multitracker Model 280 Portastudio tape recorder

Stanton STR8-150 turntable

Native Instruments maschine mk3

Nektar Impact LX49+ midi/usb keyboard

Beyerdynamic DT1770 Pro headphones

Sennheiser HD201 headphones

*Please note not all equipment may be available at all times so if you need something specific, please check with us in advance.

Bookings

Studio available for hire with experienced engineer or on its own.

Contact: rsstudiolondon@gmail.com

[senchayan]

Special deal allert!! Starting from tomorrow, 1200 hours. Rode Nt1a @ 17750/- Rode NT2a @ 26750/- (Including all taxes with 2years warranty and after registration 8 years will be added) For more information, call /dm 6290216347 Limited stock hurry up. https://www.instagram.com/p/B4zoCgYgQbP/?igshid=s41u4bc3ia7i

[tankfalco-blog]

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My 4 years old daughter testing my new Rode nt2a....#singer #homestudio #rode 💞🎙🎶💖 (à Le Tampon)

[proaudiobrands]

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Pro Audio are basically for an audio enthusiasts and for the music aficionados. Many of the members are an audio enthusiast. Most of the members and the customers are encouraged for the store visit and the demo. For the demo products we keep the prior appointment as there is a possibility that the demo products can be let out for the review. We provide the best online prices to the customers. We also provide the latest offers and the promotions and make them posted on the social networking sites.

There are many professional audio brands that we provided such as:

Rode NT1-A which is a vocal cardioid condenser microphone and this having a legacy of creating a good quality reputation, and this model is very versatile condenser studio microphone which is easily available at the lowest price. This product not only records an amazing vocals but it is also equally capable for the multiple other duties. It has a nickel-plated body and this studio microphone is the truly a treat for the eyes. It delivers the low noise performance and it is as low as the 5dBA which makes it one of the quietest studio mic as of today’s date. The quality surface of this ensures that there is absolute minimum of the clutter noise. Apart from these qualities, it is also light weight, and approximately it is four pounds as compared to others.

Rode Nt2a is the apt and one of the perfect choice to fit in a new studio which having a variety of uses or if you really want to upgrade the current studio microphone, then this one it is the perfect match too and the price tag of it also gives that impression. It is not that much expensive and it has all the features and the advantages which is required to perform at a high level and the best quality is that it has metal switches which is quite solid and you require a gentle nudge to flip them.

Kali Audio LP-6 is basically designed to allow you to hear each and every detail which is happening in your mix. This is start with the response of an exceptionally accurate frequency. Whatever which is present on the mix is exactly what you will going to hear in these monitors. Nothing is boosted or nothing is suppressed to cover the flaws or which try to sound more pleasing. With the help of LP-6, you can mix with more with full confidence, and you can also be assured about the mix which will translate as one of the best as possible to whatever the systems the audience is using.

Audient Id4 provides the audio performance which is of a large format console in a portable desktop package which enable you to record the vocals and the guitar simultaneously. It provides one of the renowned class-leading converter technology, Audient console mic pre, dual headphone outputs, JFET D.I, console style monitor control, and the Scroll Control technology, it is professional but also affordable solution.

Uad Sound Card is the Thunderbolt audio interfaces which has analog recording hardware, and the UAD audio plug-ins.

[pauldouglasmusician]

Rode NT2A Acoustic Guitar - Affordable condenser mic recording demo

This video is a demo of using the Rode NT2A condenser mic to record acoustic guitar. This is a reasonably priced mic, within reach of a lot of hobbyist home recording musicians.

[bhargavasmusic]

#rodemicrophones #rode #nt2a Ready Stock available at Daryaganj Branch and Lajpat Nagar Branch For trade querries you can Whats App @9311955447 #bhargavasmusiclajpatnagarbranch #bhargavasmusicdaryaganjbranch Lajpat Nagar Branch : 011- 41724174 / 011 - 41724178 Daryaganj Branch : 011- 43513848 / 011- 43525455 (at Bhargavas Music Lajpat Nagar) https://www.instagram.com/p/Bpq4_AvhPq1/?utm_source=ig_tumblr_share&igshid=1elk50dv9cmcv

[tomtoneefx]

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