The Reamp HP is equipped with an isolation transformer and a ground lift switch to eliminate hum and buzz and help produce a clean recording, along with a level control for fine-tuning the output signal. Connect a smartphone or tablet to the Reamp HP and create new sounds by combining a sound creation app with your favorite pedals and amps. The Reamp HP features both 1/4" and 3.5mm inputs, so you aren't limited to just Reamping tracks from your audio interface. You can even assign stereo tracks to the Reamp HP and sum them down using the dedicated mono switch on the device. Simply assign the track you want to Reamp to the right channel of your headphone output and you're ready to feed guitar, bass, or even vocal tracks through your amplifier to record and experiment with new tones and settings. The Reamp HP is designed to accept the signal from the headphone output jack on your interface, making it incredibly easy to connect on the fly without having to repatch cables or dig around behind your studio desk or equipment rack. This simple product is an extremely useful and remarkably cost-effective accessory.The Reamp HP takes the signal from a headphone output jack on an audio interface or a mobile device and converts it to feed mono guitar amps and effects pedals for Reamping. I found it particularly useful mounted on a heavy, short table stand to place a mic inside a kick drum, for example. The K&M 21431 mini boom arm makes a perfect drop-arm, but it's also useful for many applications where a short boom arm fits the bill. The total weight is a modest 0.3kg, and the result is a simple short boom that can be attached easily to any mic stand, with the length and angle of the arm being controlled by a single clamp knob. A steel U-bracket extending around the clamp is drilled and tapped to fit onto a 3/8-inch threaded mic stand. The boom passes through a standard rotating clamp arrangement with a large plastic wing-nut knob to set the angle and clamp the arm in place. The standard European 3/8-inch thread is cut at one end, and the USA's 5/8-inch at the other, and both are equipped with locking rings. This is a 29cm, fixed-length, steel microphone boom arm, with mounting threads at both ends. I'm indebted, then, to a long-term SOS forum member, for bringing an excellent gadget, the K&M 21431 mini boom arm, to my attention. Some of the more expensive studio mic stands are supplied with suitable drop arms, but most are not. The usual arrangement is to raise the boom arm safely above head height and employ a 'drop arm' to position the mic at the appropriate height from the end of the boom. Finally, suspending a valve mic upside down means that air heated by the mic body rises away from the capsule, instead of rushing across it and potentially causing turbulence noise!īut while it's possible to mount a mic directly on the boom arm of a tall stand, it can be difficult to angle and position it correctly, and the height of the boom arm can become a hazard for anyone moving around in the studio. Mounting the mic from above also helps to keep it away from the line of plosive blasts that emanate from the mouth, and encourages the performer to stand up tall, opening the lungs and throat for a better performance. Secondly, it allows space below the mic for a music stand, table, instrument, or whatever else might be appropriate to the performance. First, the base of the stand is placed well away from the performer, so it won't be kicked or grabbed. The 'traditional' way to mount a vocal mic is to suspend it from a tall 'overhead' mic stand, and there are several advantages to this approach.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |