Vintage Shure
Vintage Shure
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 Vintage Working Shure PE 585 Microphone Mic Unisphere A Dynamic High Impedance  US $39.99
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 SHURE MIC MODEL 420 HARP MIC HARMONICA VINTAGE US $45.00
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 OLD PICK AKG Neumann Sennheiser Shure Beyerdynamic Wireless Mic Microphone Ad US $5.50
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 VINTAGE SHURE 55S ELVIS HARP MICROPHONE W BOX CABLE PLUGS EXTRAS WORKS EX COND US $260.00
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 Vintage Shure M67 4 Channel Professional Microphone Mixer M 67 US $24.99
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 Shure Promotional Card For 1953 Wireless Microphone 2 q8 US $16.50
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 Shure Promotional Card For 1953 Wireless Microphone q8 US $16.50
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 AMERICAN MICROPHONE DR332 VINTAGE 1950 RIBBON MAGNETIC PRISTINE US $249.00
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 Vintage Shure 540 Omnidirectional Sonodyne II microphone US $85.00
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 Vintage Unidyne Model 55AS Dynamic Microphone Desk Top US $64.00
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 Vintage Shure SM7 Original Model Great Condition No Reserve US $229.06
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 Vintage SHURE Model 315 Bi Directional Gradient Ribbon Microphone with Cable US $158.50
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 Shure Harp Mic Unidyne A high impedance PE 585 w cable case US $30.00
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 Vintage SHURE 585SA Unisphere A Mic Microphone US $29.95
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 Lot of 3 Vintage Shure Unidyne SM57 microphones Tested one works 2 dont US $11.50
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 Vintage Shure PE 54 Series 2 Unidyne III Microphone No Reserve US $51.00
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 SHURE PE 585 Dynamic Microphone Vintage PE585 US $13.00
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 Vintage Shure Brothers Spher O Dyne 533SA microphone US $19.50
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 Vintage Shure Brothers Unisphere Model 585 PE Microphone w Cable Tested Works US $12.99
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 Vintage Shure CM element 99E86 April 1964 low freq mic at 300 ohms US $20.00
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 Vintage Shure Unidyne III 545SD Microphone with A25 Clip US $42.00
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 Mojo Hand Microphone harmonica harp US $295.00
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 5 ATLAS SHOCK MOUNT MICROPHONE STANDS DS 2 WITH SHURE CLAMPS US $18.49
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 Vintage 1966 Shure 520SLB Green Harp Mic Bullet 99C86 FG Controlled Magnetic 1 US $54.00
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 PAIR OF SHURE BETA 58 MICROPHONES US $182.60
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 SHURE MX418SE C MICROFLEX MICROPHONE NEW IN BOX US $69.99
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 VINTAGE SHURE 315 GRADVINT RIBBON MICROPHONE WITH BASE US $138.76
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 VINTAGE 1970S SHURE PE588 UNISPHERE B MICROPHONE US $4.95
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 SHURE DJ HEADPHONES SRH 750 ONLY NEW US $75.00
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 EV ELECTRO VOICE 668 VINTAGE STUDIO MICROPHONE free shipping US $425.00
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 1 Vintage SHURE 99C86 MIC Microphone CONTROLLED Magnetic Low Imp element N R US $19.95
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 1 VINTAGE SHURE PROLOGUE MODEL 14H LC MICROPHONE HI Z DYNAMIC NEVER USED US $14.95
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 Vintage Shure 55 Fatboy elvis style microphone US $350.00
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 VINTAGE SHURE SM18B CN DESKTOP DYNAMIC MICROPHONE WITH CASE NEW OLD STOCK US $25.00
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 Vintage Shure microphone element Controlled Mag Transducer harp mic medium impe US $14.95
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 GATES M 5202 TRANSCRIPTION TURNTABLE with DUAL GRAY TONEARMS 602 EQ GE CART 16 US $305.00
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 BEHRINGER Tube Ultragain T1953 Vintage Series US $150.00
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 VINTAGE SHURE BROTHERS MAGNETIC MICROPHONE MODEL 440SL HAM RADIO ITEM WORKS US $97.00
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 Vintage Realistic Shure replacement stylus R5X will fit R47 models in package US $5.50
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 VINTAGE SHURE SM57 SM 57 MICROPHONE PROJECT NEEDS WORK NO RESERVE USA US $15.50
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 Vintage Shure Brothers CA80B Microphone New Condition Controlled Reluctance US $29.95
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 Avid Digidesign Eleven 11 Rack with Pro Tools 10 FREE SHIPPING US $689.99
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 VINTAGE SHURE VOCAL MASTER HEAD 6 CHANNELS MODEL VA 300 C USED PROFESSIONALLY US $255.00 |
 Vintage SHURE 545SD Unidyne III Dynamic Microphone US $20.50
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 Vintage SHURE 545SD Unidyne III Dynamic Microphone with Original Box US $11.50
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 Shure 99A86 Controlled Magnetic High Impedance Mic Cartridge Harmonica Harp US $49.99
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 Classic Shure 55S Elvis Microphone US $125.88
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 Outstanding Shure 330 Studio Ribbon Microphone US $305.00
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 Legendary Shure SM5B Studio Microphone US $197.50
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 Vintage Shure Brothers Model 76B Lapel 1940s Microphone Webster Crystal Mic US $.99
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 SHURE BROTHERS WOLLENSAK B 162 4 VINTAGE RIBBON MICROPHONE MIC US $20.50
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 Vintage Shure Prologue 12H microphone US $4.01
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 Vintage SHURE Bros UNISPHERE A Model 585SB Low Impedance MICROPHONE with CASE US $9.99
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 Shure Microphone Super 55 Deluxe Vintage Chrome Elvis Style Vocal Speech Mic US $234.95
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 Shure 1970 professional audio catalog plus bonus US $9.99
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 SHURE BROTHERS INC VOCAL MASTER MODEL VA300 C CONTROL CONSOLE VINTAGE WORKING US $125.00
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 SHURE UNIDYNE III Model 545S MIC US $65.00
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 Shure Pro Microphone MIxer Model M267 Crack on Left Side Powers Up NO RESERVE US $29.99
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 Vintage SHURE Professional MdlM67 Stereo Mic Mixer US $54.99
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 Vintage 1950s Shure Ceramic Microphone In Box Model 275S US $49.99
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 SHURE MODEL 55S UNIDYNE DYNAMIC MICROPHONE US $49.99
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 VINTAGE MOTOROLA TU587 FLOATING ARM MICROPHONE W SHURE 55S ELVIS MICROPHONE US $285.00
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 Vintage DuKane Unidyne Dynamic Microphone 7A65 Shure 55s Elvis Mic NICE WORKS US $124.99
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 6 1 2 Chrome microphone base for your vintage Shure 55 mic US $33.00
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![Shure sm58sk mike used ]](http://www.bakmytunes.com/images/e/140755719825_0.jpg) Shure sm58sk mike used ] US $36.00
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 Vintage original 70s Unidyne III 3 Shure SM57 dynamic microphone classic mic NR US $112.50
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 VINTAGE SHURE 710S CRYSTAL MICROPHONE f HARP TUBE AUDIO AMPLIFIER US $9.99
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 VINTAGE SHURE PROFESSIONAL MICROPHONE MIXER MODEL M67 SHURE BROTHERS US $34.99
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 Vintage Shure Model CA80A Microphone Harp Harmonica Mic Works great US $10.00
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 Vintage Shure 585 Unisphere A Microphone US $50.00
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Independent Artist Website - Sound Decisions About Studio Recording
Now that you have had a general introduction to recording, specifically for tracking a live show, this Independent Artist Website will give you an overview of studio recording, from the usual rent-a-pro approach to setting up your own project studio.
First things first: You have to decide who is going to be the producer, even before deciding on the engineer. None of the later decisions about tracking instruments, recording vocals, doing overdubs, processing signals, or getting a final mix will mean Bo Diddley, to coin a phrase, if your bands three or five or eight members are arguing all the time about who sounds the loudest and what so-and-so’s girlfriend is doing in the vocal booth. Someone has to run the show.
This is even true for a solo act in independent artist, since in a studio leadership vacuum most seasoned (or semi-seasoned, or even just salty) engineers will step right up and make the decisions for you. If the band does not present a united front behind its leader, the whole process will be at risk. So, before anything else, decide
• Who will be the producer?
• What arrangements of what songs will be recorded?
• How much debate and democracy will be involved in the process,
• When the various deadlines are going to be set, and
• Why things are going to be run them way they are.
Now is the time for clarity, group cohesion, and common goals. Larger-than-life egos and delusional daydreams have to be left at the door (better yet, down the street) so that a workable, affordable, efficient, and effective plan can be developed — and pursued to a successful conclusion. Everybody needs to get on the same page (or play the same tune, or whatever metaphor you prefer). Now you are as ready as you are going to be, so what is next?
Well, as usual, it is about money, mostly, and time, too. What is the working budget? Can you afford (and do you want to afford) to go into a project-level studio at $30 an hour with engineer included? A pro studio at $50-100 an hour with engineer maybe included? To make these calculations, you need to have your songs down pat, know how you are going to record them (rhythm section together or dubbed) and how long all of it will take. If you are doing a three-song played that is one thing; if you are doing your debut CD with 11 tracks that is a whole other thing. For simplicity is sake, and to keep consistent examples from here forward, let’s go with your demo for now.
The whole decision process can take a U-turn if one of the band members, or a good (really good) friend, has a decent project studio set up — meaning pro and semi-pro equipment, a decent recording room, good microphones (and cables!), and so on. So, this is the second big decision, after choosing the producer, but it is not one that the newly christened producer should make alone. Once again, unanimity is vital.
Wherever you do the sonic deeds, if you are recording your drummer and bassist (and maybe a guitar or keyboard too) as a unit, which imparts an organic feel to the tunes, then you will need baffles, sound deflectors, etc., to minimize bleed. You will have to have headphones for everyone, good mics that are properly placed, quality cabling to minimize hum and pops, and so forth. If this is all starting to sound awfully complicated, opt for the best mid-level project studio in town, the one with good equipment and a decent studio, if not state-of-the-art. We were doing your demo, remember? Not your platinum-worthy debut.
Most likely, the studio will have a computer-based recording system, with a Mac or PC running one of the major Digital Audio Workstation (DAW) software applications — Apple’s Logic, Cubase, Digital Performer (Mac only), Sonar (PC only), or some other. You probably don’t want to do your demo with entry-level programs like Apple Garage band or Cakewalk’s Home Studio unless you have to; they are competent in the tracking arena, but fall way short in terms of plug-ins and quality of effects (like reverb) that are essential to the project.
If you do not see a number of different kinds of microphones, you will at least want to see the trusty Shure SM-57s and 58s for miking guitar amps (and using as drum overheads) and at least one good condenser mic for vocals. There should be a decent outboard mixer available, if not always used with the DAW, a sufficient number of cans (headphones) for everyone, Monster or other quality cables, perhaps a piece or two of vintage rack gear, and pro-level monitors (for Pete sake, no living room Stereo Speakers). If the producer is not a gearhead or audio pro, well, he or she will need to study up on the subject, or find a good (low-paid) consultant.
If you have your plan together; if your parts are practiced and tight; if your excitement level stays high despite the ups and downs of getting your demo project together — well, you are in about the best shape you can be, considering the importance of what you are doing. You will need the help of a good, flexible, communicative engineer, so do not make a hasty decision about where to do your demo recording. Talk to different people, get referrals, interview studio owners, ask tough questions, and keep your priorities straight. If you get too off into the equipment and the process, well, maybe you should be in the recording music business, and that is okay, too. But never lose sight of what is really important, and the reason you got into all this in the first place: the music.
It is about the music, folks. If you need reminding, put a big sign on the refrigerator.
About the Author
Greg Joes – We provide marketing and promotional services to clients seeking exposure in the music business. We provide Independent Artist and labels with the means to service their records to industry insiders and potential new fans.