A guitar amp with a speaker output? The reason why these devices often sound tinny is because the piezo sensor presents its signal through a series capacitance which is small, typically 15nF or less. I recently purchased a custom setup from them. Thank you for the swift reply Tim! We manufacture The Cortado, a Balanced Output Piezo contact mic, and soon, a phantom power module to accompany it. The other contact mic I own is a Trance Audio Inducer, which appears has been discontinued incorrect — see update below but here is a link to the Their preamp runs on two 9volt batteries which I like less than phantom power but I prefer Trance Audios actual contact mic capsule. As far as I can tell, the Barcus Berry is a standard single-coil mag pickup very similar to the Dean and Gold Tone mag pickups. I did the test, but only through the audio Mbox 2 mini, sound like, but had a terrible problem with background noise. Thought I was losing the plot, then I found your site.
The resonant body and buzzer sounds are also important. The eolian harps are at at some distance from the performance stage. Both come as kits or ready to use, both are cheap. Sincerely, Brad Smith With either the Trance Audio or Barcus Berry system you could generate bass that would make a sound system shake the foundations of a building! I do occasional film and commercial work. The sound quality is amazing, definitely the best contacts I have ever used. Tim G Well… a contact mic is an audio signal, and there are plenty of options for transmission of audio wirelessly — you should talk to a production sound recordist or prod sound rental company and get advice, as they use wireless for recording actors all the time and will know what sort of range etc is possible… If you use eg a Barcus Berry Planar Wave you will also need phantom power for the preamp, which is near the contact mic so would need to factor that in too Hi Tim.
If you are about to embark on some low-cost sonic exploration yourself, then you might want to take some of these pointers with you. My current interest is in finding the right strings that will provide a good pitch as well volume. The contact mics I use are matched to the preamps, and I imagine its more than just impedance. I have readers who have chosen the Gold Tone specifically for this reason, though. So I waited until I could find the right size nut.
I've read the following articles among others : The main point of the first article is that the quality of a contact mic's sound is highly depending on the preamp it's connected to, and specifically that it be appropriately impedance matched. And Tim, thank you for all your help and quick replies. Bluestar are just resellers, find the company who make them, the tech specs should state the impedance. Also try freezing the hydrophone in a cup of water then recording the thawing process, and of course flush it down the loo holding the lead firmly! If anyone can help please email: How would you characterize performance specifications for contact mics? But its when the reverse is true that things get exciting. That is made to drive a speaker impedance….
Now all of this has me thinking thanks to your enlightenment. I have read that the Barcus Berry contact mic and preamp are the creme of the crop for this sort of thing, but I don't want to invest in an expensive contact mic and then bottleneck it with a cheap field recorder. The second wax colored one is a bit softer and mic can be pressed closer to the surface. Is there a difference in tone between the two elements? Moreover, your site content holds quite a similarity with my blog. As we will see, there are several different types of removable pickup, which suit different performance needs.
Worked like a charm but now I wonder if you have any tips on removing the blu-tack from the mic when done? They are handy for small scale water noise, bubbles and odd high-end sizzles. You'll need blutack or double sided tape. Thanks Tim for for all the sounds and advice. When I got the banjo, the pickup was uninstalled, in a baggie in the storage compartment. Desmond Have been struggling for years with the issue of how to get your beautiful sounding acoustic instrument to sound less than disappointing through an amplifier, and how to control feedback. As with clip-on mics, placement is key for optimal tone and feedback is occasionally an issue. Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag.
The second article, however, suggests that a Hi-Z input would be sufficient. Start low and work up, just to be on the safe side. I am wondering if I can wind some thin wire around my para chord which at least provides different notes and I can tension the four strings the same and thus have the transducer pick up more volume? Contact microphones The pickups are the best of both worlds between mics and pickups. The lamellophones, at least the ones from Zimbabwe, are tuned to produce overtones caused by changes in width and thickness along the length of each tine. Heres the analogy: when someone plays violin, you could happily define the sound created as consisting of four parts: 1. Hello Tim and Happy New Year! A sponsored post written by you 4. Being seen messing around at the tracks might attract the wrong type of attention, but the result may be worth it.
Needs a bit of time to warm it up in fingers, yet after some time is very flexible and can be pressed hard. I think they have also a better high end in my opinion. It suddenly sounds like its coming from a transistor radio from 1973. At the top end of the market are mics geared towards classical music recording. Worth a try, since I'm not a fan of transparent heads anyway.
My lecturer has recommended i use resisters between the transducer and the output lead. Thanks I have a uni project for in a couple of weeks, I have decided to make tubular bells which have Piezo transducers inside the tubes. Do you want a permanent pickup solution or something that is removable? Provide details and share your research! It seemed like everywhere I played I discovered a new way for the sound guy to destroy the sound of my guitar. When wired to a normal 50 kilohm line input this forms a 200Hz high-pass filter, which eliminates the bass. Through research I have found that these devices are small and have a low limit of around 400hz up to around 8000khz. Even with such a small prop you can get wide range of sounds, attaching it in different places. Clip-on microphones Attachable microphones can offer excellent tonal fidelity and are relatively easy to install and remove.
I have one electric mbira built in Zim. I was surprised at how loud they all were. This is because it is made to be installed inside an acoustic guitar. For these players a removable pickup is often the best or most convenient solution. So I considered reinstalling it at the time. Since I love recording using contact mics, I have a few of them.