Shure SM57 & Shure SM58 Microphone Rebate

October 01 – December 31, 2010

Shure SM57 and SM58 microphone rebate: Shure microphones renowned for delivering a signature sound even under extreme conditions, Shure SM Microphones have earned the respect of musicians and sound engineers worldwide.

Take advantage of Shure’s mail-in rebate, and save $10 on these necessary tools of the trade.

OFFER VALID 10/1/10 – 12/31/10, US & CANADA ONLY

Qualifying products include:

• SM57 Instrument Microphone (SM57-LC)
• SM58 Vocal Microphone (SM58-CN, SM58-LC, SM58S)

OFFER LIMITED TO SIX (6) QUALIFYING PRODUCTS PER CUSTOMER.

Please send any questions to lbicknell@jss.net

Download
Rebate Form

The Audiophile Professional!

Mojave MA-101fet

Microphone Review

Brevis…

www.mojaveaudio.com

Price: $600 each microphone;

Like: Records any instrument;

Dislike: No hypercardioid version.

A Perfect Home Studio Mic

For Instrument Recording

by Dr. Frederick J. Bashour

David Royer, noted microphone designer and creator of the made-in-USA, high-end Royer ribbon microphone line, has created a line of home-studio priced microphones with professional-grade specifications — Mojave Audio. And from the Mojave line, the new MA-101fet is one of the most remarkable instrument microphones I have used in the past forty-five years!

In all those years, my mic cabinet has included numerous high-end, small-diaphragm microphone — and many of the large diaphragm microphones as well. These new Mojave mics, however, defy the “small diaphragm vs. large diaphragm” microphone character paradigms. (Check out my sidebar on small diaphragm mic evolution at the end of this review.)

Features

When I first unpacked my pair of Mojave MA-101fet microphones (retail priced at $600 each), I was immediately surprised by their “beefiness.” These are not exactly little “pencil” mics like Schoeps CMCs or Neumann KMs; they are closer in size to the Sony ECM-33Ps, from 1974, but weigh substantially more. Their exact dimensions are difficult to quantify, since the capsule end is considerably narrower than the cable connector end, but suffice it to say that they are 6.75-inches long, 1.12 inches wide at the wide end, and weigh half a pound each.

The size is primarily due to the fact that Mojave has fitted a high-quality Jensen output transformer; it’s heavier and simply takes up more space than the little “peanut” transformers in other small diaphragm mics. The internal circuitry of this microphone is first class in all respects. All components were chosen for their sonic attributes, and the fact that this solid-state microphone sports an output transformer (it could just as easily been designed with a transformerless line driver), reflects the truism that all classic microphones have output transformers.

According to Mojave, the MA-101fet is a small (I call it medium) diaphragm, solid-state condenser microphone with interchangeable cardioid and omnidirectional capsules. It combines the features of two of Mojave Audio’s popular models — the cardioid and omnidirectional capsules from the vacuum tube MA-100 — with the electronics from their large diaphragm MA-201fet.

When I soloed the violins, my mouth dropped open! The two Mojaves sounded like a high-resolution stereo mic — not at all like a pair of typical “pencil” mics put together into an X-Y arrangement. The imaging was rock-solid and, most importantly, the sound of the violin was extremely smooth and true.

The MA-101fet also features an internally switchable -15 dB pad (you have to open up the mic — an easy, if slightly inconvenient, operation — to access it), increasing its sound pressure level capability to 135 dB SPL. This makes the MA-101fet suitable for almost any source — from capturing the subtle nuances of acoustic instruments to the loudest of electric guitars and drums.

The mic features hand-selected, 3-micron cardioid and omni capsules, a high-quality Jensen audio transformer and military-grade FET and custom-designed, low-noise resistors. Each MA-101fet microphone — which is assembled in China with these special components — is tested and evaluated back at Mojave headquarters, and then packaged in its cute little metal suitcase.

The audition

For a high-resolution, classical project at my home recording studio, I needed to spot mic a classical violinist in a violin/piano recording. I used the Mojaves as an “X-Y coincident” pair of cardioids.

Since I needed a stereo bar for this arrangement, I used one of my own, as Mojave supplied the mics as two self-contained packages with only a single mic stand attachment for each mic. For mounting the mics for this session, I used a stereo bar that came with my pair of M-Audio Pulsar IIs, and it worked perfectly with the Mojaves. (M-Audio had even included a little threaded extension adapter, which enabled me to mount one mic over the other. Contrary to many published snapshots purporting to demonstrate X-Y mic placement, in which the two mics are simply placed “capsule to capsule, but at an angle,” that is not true X-Y! Rather, the capsules need to be mounted one above and one below each other, and then angled, just as they would be if they were mounted in a dedicated stereo mic, such as a Neumann SM-23, SM-69, or AKG C-24.

My setup for the 24-bit/192 kHz multitrack recording included the Merging Technology Pyramix recording/editing software via Mac Pro computer, and Crane Song Flamingo mixer/preamps. The Mojaves were placed near the violin and a pair of Telefunken M-260s were placed near the piano. I also set up two spaced pair of 3-micron Stephen Paul-modified Neumann M-249s to pick up the overall room sound of the two instruments.

When I soloed the violins, my mouth dropped open! The two Mojaves sounded like a high-resolution stereo mic — not at all like a pair of typical “pencil” mics put together into an X-Y arrangement. The imaging was rock-solid and, most importantly, the sound of the violin was extremely smooth and true.

When the violinist stopped playing, I could hear the Mojaves picking up the piano. Even though they were positioned away from the piano, I was astonished at how equally smooth they sounded. The ‘101fets’ off-axis response was definitely smooth and the low frequencies did not sound anything like I would have expected from, say, a cardioid Schoeps; the Mojaves were solid and very present. **Never had I experienced such well-balanced, high-resolution sound from a factory-made, small diaphragm microphone! If I had known in advance how good they were, I might very well have used the two Mojave mics as the sole pickups for this violin/piano recording.

Later, I tried the Mojaves with their omnidirectional capsules and, again, they sounded wonderful. Their pickup of the good-sounding room was very faithful and warm in nature. I moved them in appropriately, and got a great bloom around the instruments in the string quartet I was recording.

I subsequently tried them on piano, choir, and organ, and each time came away with the feeling that these relatively low-priced mics can easily substitute for many of my custom-modified vintage microphones. They seem not to have any of the “solid-state sound” that I find objectionable in other, considerably more expensive, small diaphragm European microphones.

I subsequently tried them on piano, choir, and organ, and each time came away with the feeling that these relatively low-priced mics can easily substitute for many of my custom-modified vintage microphones. They seem not to have any of the “solid-state sound” that I find objectionable in other, considerably more expensive, small diaphragm European microphones.

David Royer did it right with this microphone. Take noise floor, for instance. The specs (14 dB self-noise) are good, but not outstanding. But microphone designers know that one can trade off a few decibels of S/N — one way or the other — by the way one voices the tensioning of the diaphragm. Adding more tension to a diaphragm usually lowers its sensitivity and results in more self noise. Reducing the tension raises the sensitivity and lowers self noise a bit. (self noise also is created by the electronics.)

Mr. Royer said that diaphragm tensioning involves a number of factors to achieve optimum microphone performance: “There is a fussy game going on that involves manipulating the tension and spacing between the diaphragm and backplate, as well as the stiffness of the air pocket trapped behind the diaphragm,” he explained. All that fuss, of course, is why the Mojave MA-101fet sounds so good.

The verdict

So, how should I summarize my findings? This is one of the best “small-diaphragm” solid-state condenser mics I have ever used. For the price, the mic is an incredible performer. No, the stereo pair does not have the “reach” of my 1-micron Stephen Paul-modified Neumann KM-54s, or even of my Royer SF-24 active stereo ribbon mic, but one of those microphones cost much more than a pair of Mojave MA-101fets.

The Mojave’s forte is to pick up sound faithfully — both on and off axis — with no undue emphasis or lacking in any part of the frequency spectrum except, perhaps, a bit of a broad peak around 5 kHz. And the low frequencies are definitely there, much better than any small diaphragm directional mic I’ve ever used. David Royer’s use of that huge Jensen transformer, which lets all the low frequencies picked up by the high-resolution, small diaphragms come through, is definitely a winning combination!

My only negatives are the lack of a stereo bar with a pair purchase and no hypercardioid capsule option. Maybe Mojave will add the latter feature in the near future, hint-hint. In a nutshell, the Mojave MA-101fet is so good that I see it as a completely viable, lower-cost alternative to the often-used, high-end German microphones — for any type of music.

Although there are numerous, cheaper-priced instrument microphones sourced from China these days, David Royer’s high-quality, thoughtful design with high-grade parts makes the Mojave line a cut above the others. Hence, they cost a bit more money. But in my world of European-pedigree, multi-thousand dollar microphones, $600 for a mic this good is a bargain. I also recommend the microphone for an Everything Audio Network Stellar Sound Award.

For more information contact JSS Audio at (615) 534-1190 Or head over to the JSS Website.

Dr. Fred is an avid audiophile and has been a classical recording engineer for the past 35 years, working on hundreds of recordings released on more than a dozen labels, including Musical Heritage Society and Dorian. His studio, Dufay Digital Music, is located in Massachusetts. He holds a Yale Ph.D. in Music Theory and is also an avid keyboardist, currently performing as a weekend jazz pianist, as well as a church organist and choir director. He can be reached via the Everything Audio Network, everything.audio@verizon.net

Yamaha Has An App for That

iPad StageMix and AuviTran Network ASIO Streamer Support for M7CL Digital Console

StageMix is an application for the Apple iPad that allows remote control of M7CL mix functions via a simple, intuitive graphic interface from anywhere within wireless range. The application enables the engineer to set up monitor mixes from a performer‘s position on stage directly controlling mix parameters via the iPad. To run StageMix on an iPad, a wireless connection from the iPad to a WIFI access point and an Ethernet connection from the WIFI access point to M7CLv3 is required.

Initial M7CLv3 controllable parameters scheduled to be implemented in StageMix are Sends on Faders, Input Channel Faders, Input Channel On⁄Off, Input Channel Parametric EQs, Input Channel Cue, Mix Master Faders, Mix Bus On⁄Off, Mix Bus Parametric EQs, Mix Bus Cue, Last Cue⁄Mix Cue Mode, and Clear All Cues. Graphic EQs will be available in a subsequent version. Display only parameters implemented are Input Channel Names, Input Channel Meters, Mix⁄Matrix Bus Names, Mix Bus Meters, EQ Input Meter, and EQ Output Meter.

“With the introduction of the Apple iPad and its wide use in audio production, we felt it was necessary to provide our customers with the StageMix app for those customers who wish to control their M7CL consoles remotely,” states mixer product manager Kevin Kimmel.

The second new software product announcement is the AuviTran Network ASIO Streamer. ASIO™ (Audio Stream Input⁄Output) is a computer soundcard driver protocol for digital audio developed by Steinberg Media Technologies GmbH. It provides a low–latency, high fidelity interface between software applications and computer soundcards or ASIO devices. ASIO allows software to access the multi–channel capabilities of a wide range of powerful audio devices.

The AuviTran Network ASIO Streamer brings two renowned digital audio standards together–EtherSound and ASIO. The ability to directly connect an EtherSound network to high–performance ASIO–based recording and playback software makes it easy to add high–quality digital live recording and playback to EtherSound–capable sound systems. A single CAT5e Ethernet cable connected between the M7CL–48ES and a Windows–based computer running Steinberg Nuendo 5 or similar DAW software allows simultaneous recording of up to 48 channels when using three SB168–ES digital stage boxes connected to the M7CL–48ES. M7CL–48ES and EtherSound module firmware must be updated to the latest versions and appropriate driver software installed on the computer.

“AuviTran’s Network ASIO Streamer support for the M7CL–48ES will make it easy for engineers to set up high–quality multi–track live recording,” says Kimmel.

StageMix will be available this fall free of charge and downloadable through the Apple iTunes Store. AuviTran Network ASIO Streamer will be available this fall free of charge and downloadable via Yamaha Commercial Audio Systems website.

EQ Edit Screen                                 Sends on Faders Screen

Jason Spence at Rock & Load University

Spence will be providing a ‘play-by-play’ clinic while setting up and sound checking the artists and band for the Rock & Load Show concert.

The concert will be held September 18, 7:30 PM at Soundcheck in Nashville, TN.

The Rock & Load University – Rock & Load Show

Music’s History will meet with Music’s Future for a hands-on, interactive, in-depth day of sessions, panels, clinics and a closing show by the greats. The intent of the event is to provide an opportunity for new musicians, writers and singers to meet face to face with some of the best in the business, and to allow the celebrity performers a way to give back to the next generation.

To learn more and register for Rock & Load University: http://www.rockandloadmusic.com/index.php?option=com_content&view=section&layout=blog&id=4&Itemid=10

Jason Spence, owner of JSS will be featured as a guest panelist for Mix magazine’s Mix Nashville.

Mix magazine announced that their flagship professional audio production event, Mix Nashville, will be held September 13-14 at the newly reopened Soundcheck Nashville. This signature gathering offers two full days of panels on the business and applications of studio and live production and features top engineers, producers and music industry professionals from the Nashville community.

Spence will be participating in panels listed below.

Monday September 13, 2:30 p.m.:

LIVE: SOUND SYSTEM MEETS VENUE—SELECTING THE RIGHT PLAYBACK PACKAGE

Tuesday September 14, 2:30 p.m.:

LIVE: WHAT’S NEXT? TECHNOLOGIES THAT WILL DRIVE THE NEXT FIVE YEARS IN SOUND REINFORCEMENT

If you’re in the music industry or want to be in the music industry, you do not want to miss this amazing event. Register Now! http://mixonline.com/ms/nashville/

Arlene Spence had no idea when growing up with horses that one day music would play such a large role in her life. Over 20 years ago she fell in love with a musician and has never looked back. When that man decided to launch JSS it was an obvious step for her to use their experience as partners in life to become partners in business. She has 20+ years experience in customer service and worked in retail management and accounting before she stayed home to raise their boys. She happily continues to stay home with their boys while taking on the responsibilities of the Finance Department of JSS as well as everything else that goes along with being married to a successful business owner.

“Customer Service is about giving people more than they expect. That is our goal here at JSS”

Questions or comments please contact me at Larry Bicknell or (615)534-1190 ext. 3

Future Sonic Atrio in use at Norah Jones Concert

If any of you were fortunate enough to catch the Norah Jones concert at the Ryman Auditorium this past weekend in Nashville, TN you know it was a great sounding and looking show. JSS owner Jason Spence caught up with friend and JSS client Steve Baird, Lighting Designer and operator for Norah Jones after the show.

“Steve approached me last year about getting a pair of custom ear monitors but was having a tough time justifying spending between $700 or over $1000 on them,” says Spence.

Steve monitors the shows he lights using an in ear monitor system like those used by the artists and band members on stage. Doing so allows him to follow cues from musical directors and stay in perfect sync with the music. Steve’s resume speaks for itself, designing and touring with artists such as YES and Julio Iglesias to the Canadian Country Music Awards. With that experience he knows how important it is to be able to accurately hear and monitor the music. Whether executing cues in faced paced shows like that of Dream Theater or enforcing subtle moods during Norah’s concert, Steve does so listening to his custom Future Sonic Atrio with Softwear Sleeves.

I proposed the Future Sonic Atrio to Steve. This would allow him to use an amazing sounding universal fit ear monitor to listen to the show. And at a fraction of the cost of customs in-ear-monitors but still allow him to customize them if he really liked them. After trying the Atrio, Steve ordered a pair and a  pair of Custom fit Softwear Sleeves that allow the Atrio to fit and sound like custom ear monitors. Custom sleeves are molded and the Atrio just snap into them. Brilliant and affordable. Even after customizing the Atrio, your investment will be well under $400.”

Steve has this to say about his Future Sonic Atrio, “Thanks again for the headphones..These things Rock.” Steve also points out they are great for more than just the stage. “I had a baby crying all the way home from Atlanta, and couldn’t not hear a thing with my ears in. LOL….”

Steve Baird - Lighting Designer for Norah Jones pictured with his Future Sonic Atrio

Steve Baird – Lighting Designer for Norah Jones pictured with his Future Sonic Atrio and custom fit Softwear Sleeves

You can order your Future Sonic Atrio online by clicking here. Or for more information on Future Sonic Atrio and or Softwear Sleeves contact:

Larry Bicknell
Senior Account Manager
(615) 534-1190 Ext. 3
Email Larry
www.JSS.net

It’s a beautiful day in the world of audio for worship ministries. Aaaahh, there’s nothing like the smell of sanctuary pews, the sound of church bells and the rumble of congregational chatters.  But wait there’s more, at least for the sound guy that is. I must not forget that along with the before mentioned my senses also take notice the sites of good ol’ rack clutter, the sounds of buzzes and hums, and the all American spaghetti – mounds of wires piled on the floor. Don’t forget it’s a little louder over there and we can’t here you as well on this side. Aaah audio bliss. Or is it?  To most audio professionals the latter is definitely unacceptable and to volunteers and ‘part time’ sound guys they know something just isn’t right.

But how do we fix it? You may wonder of a solution to these typical system issues that plague worship environments and studios. If I am asked the question ‘how’, the answer is J Sound Services and our sound System Optimization Analysis or SOA. Haven’t heard of it? That’ the first problem that we definitely and quite easily have a solution for. For the small investment of only $99; audio professionals from JSS will perform a complete diagnostic check of your system. Even if you have the ‘know-how’ needed to find and fix the issues, you may not have the time. In any case JSS can help. What JSS has created with the SOA is a comprehensive check list of  your sound system. A complete physical exam similar to what ones health care physician would perform on the body.

I recall visiting a local church with JSS to perform a SOA. Here I witnessed a church who had a pretty decent set up. A Nexo system that included PS10′s and PS15‘s. If I may revisit a past post, I will mention again that Nexo systems utilize proprietary technology in their processing that if used correctly will sound like wonderful heaven to ones ears. You can be assured that the message will be delivered, and with unprecedented clarity and articulation.

Initially I asked what could be the problem. I was a bit confused until I took a look at the actual rack of gear that was stationed on a makeshift rolling cart in the amp room.  At one glance I could see a major problem. The processors had been bypassed! By letting the Nexo processor sit and collect dust they were unknowingly missing the miracle of crystal clear sound that they already invested in and possessed.

I am confident in saying, because we see it time and time again that this case is very similar to what goes on in many places where audio systems are installed such as Houses of Worship and studios alike. As I think back on all the cases like this one that I’ve seen, it is very satisfying to perform the SOAs at JSS and bring life back into audio systems neglected or unintentionally compromised.

Contact Jontae Hall at JSS for more information about Nexo or to schedule an SOA.

(615) 534-1190 Ext. 8

Email Jontae

The analysis is a complete system check. Beginning with the power source to ensuring an end result of quality sound and everything in between, including wireless equipment. Some of the checks include meter system power, test speaker system and components, and check all cabling. If you have a digital mixer, we will verify that its firmware is up to date. After we have thoroughly analyzed your system we will provide a system report and consultation. This will provide you with the information that you need to get the ultimate sounding system.

This program is just another example of JSS’s commitment to the “We Do It Better” promise that we make to all of our clients and ourselves. No other company will come to you and perform hours of system analysis for only $99.00. We do this for such a small amount because we want all of our clients to get the most out of their investment. JSS was started for the soul purpose of helping and consulting individuals. To ensure that their clients receive what they need for each individual circumstance. Hopefully this analysis will be just a stepping-stone in our relationship with all of our new and existing clients. We want and will be the number one source for your audio, video, and lighting needs.

To schedule your service and maintenance appointment you can send an e-mail to sales@jss.net or you can call (615)534-1190.