Stage asvs6gb microphone

Forget All About Embarrassing Plosives!Recording vocals? Don't even think about putting up a microphone without a pop filter in front of it. The On-Stage AXVS6-GB pop filter is designed to do one thing: filter the pops, consistently, while letting your vocals come through to the mic like they're supposed to. If you've ever had a vocal take ruined by a huge blast of air on a "P" that seemed so harmless on the lyric sheet, you'll know just how important this detail is! Don't Record Vocals Without It!Okay, so you've written some songs that rock. You got yourself a USB interface, a working knowledge of your chosen DAW, and a microphone. Your cables are all labeled and plugged in. Your vocalist's poised in front of the mic, lyric sheet in hand. As the progress bar scans across the screen, you find yourself pushed back in your chair as a look of horror works its way across your previously confident mug. The "P's" and "T's" that you so cleverly used to rhyme "power" with "tower" are popping everywhere. Vocal track ruined! As you sulk in the corner of your basement studio, head in hands, your cries are heard form miles away. Cries of, "Why? Why didn't anyone remind me about the plosives?" Plosives are Easy to PreventEditing plosives out of vocal takes is a chore. Why not use a pop filter like the On-Stage ASVS-6GB, and prevent htem in the first place. A pop screen is a small detail that makes a world of difference. And no, an old stocking stretched across a coat hanger will not suffice. You need a quality pop filter. One that's easily adjustable, but doesn't slip. You need a pop filter that will...filter the pops, consistently. You need the On-Stage ASVS-6GB. Features:- Prevents blasts of air on plosive sounds from reaching your vocal microphone - Attaches to mic stands or booms up to 7/8" in diameter - Easy Grip Clamp and V-shaped bracket - Includes 6-inch bar and 13-inch steel gooseneck for exact placement in front of your mic

On-Stage ASVS6GB Microphone Pop Filter -new. On-Stage ASVS6GB Microphone Pop Filter -new

On Stage QK2B Microphone Clip Quick Release Product Description The On Stage Quick Release snaps on to your mic stand to instantly connect and disconnect mic holders and boom attachments. Simply screw the 2-piece Quick Release to the top of your mic stand, then attach your microphone holder to the Quick Release. During performance, you can push a button on the quick release to remove the mic and clip from the stand instantly so you can rule the stage! The Quick Release can also be attached between your mic stand and the mic boom for quick tear-down at the end of the gig. It's compatible with all mic stands, booms and mic holders with standard threads. | Standard 5/8" -27 solid ends | Push button release

Introduction: If you are a professional magician When you are at the time of your magic shows Your both hands aren't idle You don't have the 3rd hands to hold the microphone You need a microphone hands free brace right now! Don't be tied down by a microphone stand! Hands Free for Magicians You can hang the mic on your chest Very practical to every professional magician Fully adjustable! Special professional also can be used,Such as teachers,the commander,VJ,Dj... Descriptions: Name: Microphone Neck Hanging Stand Material: Nylon + Metal Color:Black Package includes: 1x Microphone Neck Stand (Not include Microphone)

STUDIO DYNAMIC MICROPHONE Element: Dynamic Polar Pattern: Uni-directional Frequency Response: 60Hz-16kHz Sensitivity: -54dB±3dB(0dB=1V/Pa at 1kHz) Output Impedance: 250Ω±30%(at 1kHz) Net Weight: 655g · cardioid polar pattern → to effectively reduce all the feedback · easy in use magnetic-reed → to avoid the pop noise · locking function → to unable any unexpected pausing while performing · spray painted Zinc-die casting housing

Estimated delivery time: working days (Imported from the UK) - T&C's Apply Please note that all Christmas gift orders need to be placed before the 14th of November to ensure that they are delivered to you in time. This item includes free delivery within South Africa. 1-channel low-noise microphone preamplifier, for mains operation or battery operation. 1 microphone input, XlR, bal. Gain, 11 steps dB lED green/red for operation/peak Phantom power +24V, can be switched on additionally Switchable microphone phase lo cut 100Hz, hi cut 12kHz, 12dB/oct., switchable 1 preamplifier output 1 stereo line input 1 stereo line output level control and panorama control for mixing the microphone signal to the stereo line channel Technical Specification Frequency range: HzInput sensitivity: mV, switchableInput impedance: Mic: 2.2k¿ Stereo line: 10k¿Outputs: line, bal.: 1V/V max. Stereo line: 1V/Vmax. Stereo master: -Filter, low cut: 100Hz/-3dB, 12dB/oct.Filter, high cut: 12kHz/-3dB, 12dB/oct.Filter, subsonic: Gain, mic: dBGain, stereo line: 0dBS/N ratio, mic: > 66dB (unweighted)S/N ratio, line: 80dB (unweighted)THD:

Estimated delivery time: working days (Imported from the UK) - T&C's Apply Please note that all Christmas gift orders need to be placed before the 14th of November to ensure that they are delivered to you in time. This item includes free delivery within South Africa. 2-channel low-noise microphone preamplifier 2 microphone inputs, XlR, bal. Gain, 11 steps dB 2 level controls ±5dB lED green/red for operation/peak Phantom power +12V, can be switched on additionally Microphone phase can be switched for each channel lo cut Hz, continuously adjustable Subsonic filter 15Hz, 18dB/oct. 2 line outputs, XlR bal. 2 line outputs, RCA unbal. PC&Music "The MPA-202 provides a clear signal of low noise without any noticeable colouring. This two-channel unit is suitable for everyone looking for a clear sound and a favourable price." Technical Specification Frequency range: HzInput sensitivity: mV, switchableInput impedance: Mic: 4.4k¿ bal., 2.2k¿ unbal. Stereo line: -Outputs: line, bal.: 1V/Vmax. Stereo line: 1V/Vmax. Stereo master: -Filter, low cut: Hz, 6dB/oct.Filter, high cut: -Filter, subsonic: 15Hz, 18dB/oct.Gain, mic: dBGain, stereo line: -S/N ratio, mic: > 68dB (unweighted) > 87dB (weighted)S/N ratio, line: -THD:

Audio Technica - AE4100 Cardioid Dynamic Microphone Audio-Technica¿s high-performance AE4100 cardioid dynamic vocal microphone delivers aggressive sound that stays up-front in the mix. Optimized for the stage, the microphone features superior anti-shock engineering for minimum handling noise. Its rugged construction is engineered to stand up to the rigors of touring. For ultimate protection against vocal plosives, the mic¿s hardened-steel outer grille is lined with fine steel mesh and a layer of open-cell foam. A foam disk positioned on top of the element assembly provides the final layer of ¿pop¿ protection.

The KMS 104 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. The KMS series has become the internationally acknowledged standard for first-class stage microphones. The high acoustic resolution and smooth frequency response of the microphones ensure that the musician has optimal control of the stage performance at all times. Especially due to their low self-noise and crosstalk behavior which is free of coloration, the KMS microphones are ideal for use with in-ear monitoring systems. The KMS 104 has a condenser microphone capsule with a cardioid directional characteristic which provides the best possible suppression of sounds originating from behind the microphone. In close cooperation with professional musicians, with the aid of extensive practical tests, the KMS 104 plus has been especially optimized for the requirements of female voices in the rock and pop field. The user can thus select the version that is optimally suited to the specific application. Acoustic features The studio condenser capsules used in the microphone versions provide the basis for transmitting all the nuances of the human voice. In comparison with other handheld microphones, which operate mostly with dynamic capsules, the KMS series has a particularly high acoustic transparency, a wide frequency range and a fine resolution of transients. In KMS microphones, carefully adjusted acoustic filters and transformerless impedance converters that can handle very high sound pressure levels prevent the microphones from being overloaded even by strong plosive sounds. In spite of excellent pop protection, sibilants and S sounds are transmitted with their natural accentuation, as is possible only with condenser microphones. Furthermore, the above-mentioned acoustic filters are designed so that the distinctive directional characteristics of the capsules are preserved even in the bass range. The filters thus ensure a very high level of feedback protection for the KMS 104 vocal microphones when they are used with a stage sound system. Electrical features Since vocal microphones are typically addressed at close range, for the bass frequency response of the microphones, electronic compensation is used for the proximity effect in the respective capsules. In addition, the microphone has an invariable, built-in high-pass filter with a cutoff frequency of 120 Hz (-3 dB, measured in a free sound field). The dynamic range of the KMS microphones is 132 dB, and the maximum sound pressure level is 150 dB. The low self-noise level of only 18 dB A permits the microphones to be used at high gain levels without the risk of additional noise. Even at large distances, the microphones thus operate with a high signal-to-noise ratio, facilitating the freedom of movement and creativity that are important to the artist. Due to the transformerless output circuit, the microphone signals can be transmitted even through long cables without loss of sound. Mechanical features Microphones designed for use on stage require a particularly robust construction. The KMS 104 have thick-walled metal housings, which also provide effective protection against handling noise. The microphone headgrilles are made of hardened steel. If required, they can easily be unscrewed to permit cleaning of the interior acoustic filters. Delivery Range The KMS 104 microphones, with a matching stand clamp, are supplied in an attractive padded nylon bag that is sufficiently durable for touring.

The KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. The KMS series has become the internationally acknowledged standard for first-class stage microphones. The high acoustic resolution and smooth frequency response of the microphones ensure that the musician has optimal control of the stage performance at all times. Especially due to their low self-noise and crosstalk behavior which is free of coloration, the KMS microphones are ideal for use with in-ear monitoring systems. The KMS 104 has a condenser microphone capsule with a cardioid directional characteristic which provides the best possible suppression of sounds originating from behind the microphone. In close cooperation with professional musicians, with the aid of extensive practical tests, the KMS 104 plus has been especially optimized for the requirements of female voices in the rock and pop field. The user can thus select the version that is optimally suited to the specific application. Acoustic features The studio condenser capsules used in the microphone versions provide the basis for transmitting all the nuances of the human voice. In comparison with other handheld microphones, which operate mostly with dynamic capsules, the KMS series has a particularly high acoustic transparency, a wide frequency range and a fine resolution of transients. In KMS microphones, carefully adjusted acoustic filters and transformerless impedance converters that can handle very high sound pressure levels prevent the microphones from being overloaded even by strong plosive sounds. In spite of excellent pop protection, sibilants and S sounds are transmitted with their natural accentuation, as is possible only with condenser microphones. Furthermore, the above-mentioned acoustic filters are designed so that the distinctive directional characteristics of the capsules are preserved even in the bass range. The filters thus ensure a very high level of feedback protection for the KMS 104 vocal microphones when they are used with a stage sound system. Electrical features Since vocal microphones are typically addressed at close range, for the bass frequency response of the microphones, electronic compensation is used for the proximity effect in the respective capsules. In addition, the microphone has an invariable, built-in high-pass filter with a cutoff frequency of 120 Hz (-3 dB, measured in a free sound field). The dynamic range of the KMS microphones is 132 dB, and the maximum sound pressure level is 150 dB. The low self-noise level of only 18 dB A permits the microphones to be used at high gain levels without the risk of additional noise. Even at large distances, the microphones thus operate with a high signal-to-noise ratio, facilitating the freedom of movement and creativity that are important to the artist. Due to the transformerless output circuit, the microphone signals can be transmitted even through long cables without loss of sound. Mechanical features Microphones designed for use on stage require a particularly robust construction. The KMS 104 have thick-walled metal housings, which also provide effective protection against handling noise. The microphone headgrilles are made of hardened steel. If required, they can easily be unscrewed to permit cleaning of the interior acoustic filters. Delivery Range The KMS 104 microphones, with a matching stand clamp, are supplied in an attractive padded nylon bag that is sufficiently durable for touring.

Rode - RODM1-S Stage Dynamic Vocal Microphone With rock-solid build quality and a high-power neodymium capsule, the RØDE M1-S switchable live dynamic microphone is designed to provide the very best performance, night after night. Its durability is backed-up by a lifetime warranty, following registration of purchase. The M1's ergonomically designed all-metal body is engineered for maximum comfort when used as a handheld microphone. It feels robust, solid and perfectly balanced without being heavy, and handling noise is almost completely eliminated by the microphone's internal design. Featuring a warm response that is incredibly defined for a dynamic microphone, the M1's smooth character and defined clarity offer incredible performance as a live vocal microphone. A tightly controlled cardioid polar pattern minimises spill and feedback. The addition of an on/off switch adds versatility for artists, engineers and presenters that prefer control while on stage. A flush-mounted lock ensures the microphone cannot be accidentally switched. For additional security the M1-S features an XLR lock that can be used to fix the microphone to the cable. Renowned as one of the industry's best live vocal microphones, the M1 is an equally strong performer on guitar amplifiers as well as kick drum, snare drum, toms and percussion.

Rode S1 Stage Condenser Large Diaphragm Mic - The RØDE S1 live condenser vocal microphone provides the ultimate in performance for artists and engineers that demand studio quality audio while on stage without compromising on mobility, versatility or durability. At the heart of the S1 is a super-cardioid 1/2" true condenser capsule tuned to virtually eliminate feedback in on stage performance. The combination of sophisticated internal shock mounting and a built in high-pass filter dramatically reduces undesirable low frequency background noise and handling noise. Multiple layers of acoustically optimised steel mesh in the microphone head filters breath, wind and plosive noises without affecting the microphone sensitivity or frequency response. The S1 is also an ideal handheld studio vocal microphone for artists that prefer to hold the microphone during recording. The RØDE S1 live condenser vocal microphone is covered by RØDE Microphones' industry leading 10 year warranty. *

A Must-have Mic for Studio and Stage! Pick up a Shure SM57, and you've got a great dynamic microphone for life. Accounts of its heroic toughness lie at the center of countless music-industry legends, most of which are perfectly true. What's also true about the SM57 is that it sounds great on a wide variety of sources. Probably more than 90% of the snare drums and a good chunk of the guitar cabinets and vocal tracks recorded in the last several decades owe their sound to the SM57. Pick one up, and you'll find out why more live sound professionals and seasoned studio engineers swear by the Shure SM57 than any other microphone on the planet Shure SM57 Dynamic Microphone at a Glance: Clear and present sound that's great for a wide range of sources Exceptional versatility onstage and in the studio Built to withstand a lifetime of serious abuse Clear and present sound that's great for a wide range of sources From the biggest live stages, to the top recording studios world wide, to the presidential podium, the Shure SM57 is one of the most widely used microphones the world over. One of the things that defines the Shure SM57 as the quintessential workhorse microphone is its signature frequency response and presence boost. This natural presence boost brings out clarity in vocals, snap in snare drums, and bite in guitar amps. In general, you'll be able to use your SM57 on anything. In fact, it's common practice in many studios and on virtually every live stage to use the SM57 as a default microphone for everything. Exceptional versatility onstage and in the studio The sound of the SM57 isn't the only thing that makes it a fantastic workhorse microphone. Its tight cardioid polar pattern gives you exceptional isolation. In fact, one of the reasons the the Shure SM57 is such a popular snare drum microphone is that you can easily position it so that it rejects the sound of the nearby hi-hat. But the SM57's stellar off-axis noise rejection isn't just great in the studio. Onstage, it's easy to position the SM57 so that it doesn't pick up the sound of the PA, allowing you to get maximum gain before feedback. Built to withstand a lifetime of serious abuse Of course, you can't talk about Shure's SM57 without mentioning its heroic toughness. There are epic videos on YouTube and countless stories of people running SM57s over with trucks, dropping them off of buildings, submerging them in salt water, and burying them in the Earth for months - all without so much as affecting their frequency responses. What that translates into for you is that the typical day-after-day, show-after-show abuse of any studio or stage microphone is simply no match for this mighty mic. The only reason you'll ever have for buying another Shure SM57 is because you want more than one. Shure SM57 Dynamic Microphone Features: The most popular dynamic microphone on the planet Great workhorse microphone live or in the studio

Planet Waves - PWAMSM25 American Stage Mic cable 25' Rely on Planet Waves American Stage microphone cables! Even if you gig every night, American Stage microphone cables will take years of abuse, thanks to heavy-duty Neutrik connectors and state-of-the-art crimped connector technology. With 22-gauge twisted-pair conductors, signal transfer is optimized, and the 98% copper braid shielding virtually eliminates noisy interference. Made in the USA and built to last, you can count on Planet Waves American Stage microphone cables.

On Stage - MY500 Stereo Mic Bar The On Stage MY500 stereo microphone bar is made ideal for multiple microphone applications in both live and studio recording settings! Microphone bar fits most standard stands, booms and microphone clips and features brass 5/8 inch - 27 insert threads. The MY500 bar can hold up to three microphones!