Playback - Spring 2008 - (Page 16)

COMMERCIAL 5 Tips to Help You Market Microphones BY Phil Garfinkel • audix corPoration In the ever-changing world of professional audio, one factor has remained constant—it all starts with the microphone. It doesn’t matter if you are using the latest cutting-edge processors, mixers, preamps, A/D converters or loudspeakers; without good microphones, you will not get the most out of your system. Here are five thoughts about microphones: 1. Microphones are where it all begins. They are the primary and most important link in the audio chain. The microphone is the device that takes the sound and turns it into electricity. There are several types of microphones—dynamics, condensers, ribbons, etc.—and they all work slightly differently and are designed for various applications. There are many companies out there making microphones; some are innovators, some are imitators. 2. Microphones are impartial. A microphone doesn’t care if it’s “hearing” the beautiful voice of Katie Melua or the highly annoying sound of a fork scraping a stainless steel mixing bowl. It’s all the same to a microphone, so make sure you choose the right mic for your application. Which leads me to… It is imperative for you to qualify your customer and find out their intended application. – Phil Garfinkel 3. Choose the right mic for the right job. Even though all microphones do “the same thing,” some microphones are better suited for live performance and some for studio applications. Of course, some mics work equally well in both venues. Also, remember that some microphones are better at certain applications; a mic that’s designed for, say, kick drum, might not be the best choice for recording a choir. In any case, it is imperative for you to qualify your customer and find out their intended application. For example, don’t offer a cheap dynamic handheld “live mic” to a customer who wants an accurate (“expensive”) studio condenser. 4. Get the best mic you can afford. Too many times, in my live sound career (I’ve been mixing 28 years) I’ve heard things like “I need 40 channels with 8 auxes per channel (even though they only use 12 channels and 2 auxes), a Sonic Euthanizer™ with unobtainium faders, multi-spectral EQ, pan-directional line array, and, oh yeah, whatever mic(s) you have.” Sadly, all that nice gear (whether the engineer knows how to use it or not) will only give the maximum result if the microphones are up to that same level. Make sure that the microphone will be well matched, in terms of impedance, frequency response, pick-up pattern, etc. 5. Know your specs. There are other measures of performance besides how the mic sounds. Here are some: sound pressure handling (how much input a mic can take before distorting), off-axis rejection (how much unwanted sound can leak into a microphone), gain before feedback (how loud a stage mic can get in monitors before feeding back) and durability. Spend some time learning about the many microphone choices out there and you will be more than just a salesman—you will be a partner in your customers’ creative journeys. Phil Garfinkel is the Pro Audio Sales and Artist Relations Director for Audix Corporation in Wilsonville, Ore. 16 PLAYback

Table of Contents Feed for the Digital Edition of Playback - Spring 2008

Playback - Spring 2008 Contents From the President NAMM Events Music in the News Bringing Recreational Music Making to Iraq Commercial Retail Reps in the Field New Domestic Members International Washington Watch NAMM Foundation Music Notes Resources Viewpoint

Playback - Spring 2008

For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.