Applied Microphone to release first ever Dual Receiver Wireless system that includes both a custom instrument microphone with their famed clip-on transmitters AND a hand held microphone. Use both microphones at once into the same receiver. Separate outputs for different EQ settings for each microphone.
The “5C” systems are available now with the microphone specific for each instrument. The 5C systems include the Wi5IIC clip-on wireless system creating a belt pack free operating environment. Now, it’s possible to add a hand held wireless to the same setup without having to carry a second receiver.
If you do not need a hand held, you can add another clip-on transmitter allowing two AMT microphones / transmitter combinations to work with the same receiver!
Look for more information on www.appliedmicrophone.com soon!
Thanks to Tom Puwalski for creating a couple audio files to show just how true sounding the AMT WS really is. Like the complete line of AMT microphone, the WS double clarinet microphone really does capture the instrument’s true sonic qualities.
This is with the shure 300 ribbon mic. My normal studio mic into AEA ribbon pre into apoggee ensemble into logic.
The Same recording using my new Applied Microphone Technologies Clairnet microphone. This is exactly the same performance take as the one that I was using a Shure 300 ribbon microphone for, I just output the AMT performance. I new this mic was going to be a winner for live performance but I think It sounds great for recording. I don’t hear and key “Thumping” or “clicks’. I’m playing on a New Grenidilla Backun Protege clarinet. It’s easier when you have a great Mic on a great clarinet.
“If music be the food of love, play on.” During my 20-year tenure with the U.S. Army Field Band, much of it as Principal Clarinetist, I was able to perform in some of the most diverse (okay bizarre) setting imaginable. From concert halls to cow palaces across the US and around the world, music is something that connects us all. People want to be engaged by the music they are listening to and actively participate in the experience.
As with performing, teaching is an important aspect if my passion for music. I have written instructional books (such as The Clarinetist’s Guide to Klezmer”) as well as conducted master classes and workshops on a clarinet performance because I believe music should be as fun for others to perform as it is for me. Whether they are from the Beijing Conservatory, the Armed Forces School of Music in Virginia, or anywhere else imaginable, my students and I have a blast learning to “play” in the moment and to be open to hearing what music has to teach us.
Recently I have had the pleasure to work with Backun Musical Services, Antigua Winds, and Legere Reeds in the design and testing of clarinet products that make playing easier and more fun.
Speaking of having fun, I am always forging new creative collaborations and playing with a variety of talented musicians; most recently I have been performing all around the world my klezmer band “The Atonement.” I have also had the pleasure of performing on numerous recordings with the U.S. Army Field Band, Lox & Vodka and have arranged and recorded music for documentaries on Jewish life including, “And Half A Day On Sunday” and “The Old Days.”
Thanks for visiting. Please let me know how I can share my joy of music with you today. Email me: email@example.com
The AMT S26I is Applied Microphone Technology’s microphone 2nd generation tail piece mounting system for acoustic bass. Designed, manufactured by hand, and distributed by AMT in the USA. The system is intended to quickly clamp onto the tail piece of a bass allowing the player to move the microphone from instrument to instrument quick and easily. Designed small for the travel, the mounting system still allows the head of the microphone to be placed in a variety of depending on the players choice.
The Tail Piece systems incorporate the same proven sonic quality that AMT Bass systems have been known for. The S26i setup is intended for the player that travels using rental basses, needs a fully adjustable gooseneck system, and is looking for something compact yet maintains the highest sonic quality of sound possible.
AMT Acoustic Bass systems are the # 1 choice for top professionals that look for the most natural sound reproduction possible from a clip on microphone. The microphones include AMT’s D.C.T. (Disconnect Cable Technology) feature which allows the cable to be removed and or replaced easily if ever needed.
The systems are an electret-condenser microphone that has been designed specifically for acoustic bass. All of the parameters that are problematic for the double bass have been addressed. In order to get the most gain before feedback it uses a very tight pattern to give a high rejection to surrounding noise, at the same time reproducing accurately the subtleties of the bass.
As placement is especially important with an instrument that has a fine finish and varying dimensions, this microphone’s attachment mechanism is designed to secure the mic to the tailpiece tightly taking only seconds to attach.
Manufactured with lightweight aluminum to keep the mass low yet extremely strong, this microphone will remain durable through many years of use. The flex arm, unlike any other microphone system on the market, is easy to position yet retains it’s placement throughout the most active of performances.
This S26i system utilizes a complex circuit that is tailored for the needs of an acoustic bass player playing in live sound applications with instruments such as drums and acoustic pianos. The system requires 1 XLR mic level output. The pre-amp for the microphone is rugged anodized aviation aluminum, which houses the electronics that can be placed on the floor.
Kenneth Whalum – http://kennethwhalum.net/
A remarkable bandleader, composer, arranger, and tenor saxophonist, New York City-based jazz musician Kenneth Whalum has set a new direction in music that can be described as creatively engaging, intense, and artistically real, to push the conventional boundaries of contemporary emerging artists. Whalum fuses together straight-ahead jazz, pop, soul, gospel, R&B, blues, and country—creating Picasso-like colors and brimming textures, of even richer musical hues.
His music creates a soundscape of lyrical cities—towering sounds of romance and love, ornate acoustic funky rhythms, bridging emotion and melody, song and dance, wonder and faith. And it is within that eternal city, in the depths of our hearts, where we dream, we cry, and we laugh, but altogether never forget the transforming sensibility of music. Whalum’s sax playing makes us feel our vital aliveness. Catch Whalum in a performance, and at once, he will pull down his dark shades, grab his tenor sax, and transform the room into a sacred space, our believing ground of warmth and beauty, tragedy and hope; we follow him as he plunges into our private moments–sweat brimming from his forehead–he gets inside the music.
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