In "old times" you worked with what you had available, to solve a problem or create something. Difference? Everything was analog, as compute power didnt exist that could handle processing live audio. Back then, you had your vacuum tubes, transformers to power them, more transformers to accommodate their natural working impedance, resistors to scale things and caps to block DC. From that you had to mix 'n match to get a "sound" people liked.
Pro's of the old times was stability through simplicity, given a design was done right. Some things in audio created before I was born ('57) are still operational. I'd like to see that old Digitech guitar modeling pedal, 25 years old now, last another 50. I'd like to see anyone want such a piece, 50 years from now. As they would want something like a '65 Fender Princeton...
Con's of the old times was you had to be smart, to get something good sound wise out of the limited components available.
Pro's of the new times are far more myriad of component choices, far more easy access to knowledge, including circuit simulation and standard test / measurement. Old times you had to sit there reading a meter pointer, write down the interpolated value, change the frequency, write down the next value. New times you push "start" on the computer screen after connecting everything up, out comes your graph.
Cons of the new times? I cant think of any, except perhaps that one can be an amp designer via EDA, without ever having picked up a soldering iron. Widely available knowledge -> circuit design -> simulation -> schematic -> autoroute -> etch board -> component stuffed -> test; chassis design, panel lettering, internal cabling done same way - everything delivered to your doorstep and you just connect all the cables, tighten down the screws and voila! As long as one can manage the project through to realization. Software, being of course another layer into it.
An interesting contest - like the $100 amp challenge - would be the most EDA'd guitar amp, where the winner is the one who can not only make the best sounding one, but also have its construction be the most, if not 100%, outsourced. In one commit - no revisions, no mistakes. Imagination to product, like a giant multi-level computer "game" to see who wins.
I for one wouldnt have the energy to participate, but I bet a lot of younger folks would. Quite an accomplishment for the resume' too, something I no longer have to worry about.
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I love analog, but I also love digital, I want them both in my collection.
The computer system keep evolving.
I think sound system, both analog and digital, shall also evolve. No one wanted to kill the analog or otherwise.
I hate any people who try to change the standard for the worse. Insulting best quality, so the lower quality become the norm just because they cheaper.
I respect best ones, even though they're out of reach. I buy them if possible.
I almost 50 by the way. But, I still play DOTA and Age of Empires II.
Nobody knows what you want or need.
I have few dozens of those small electret microphones because they were in every portable cassette deck i took apart. They are in every headphones with mic in the cable. They are few cents in catalogs if you do not need calibration. Even with calibration file umic is cheap.
But if you want to mic your speaker and you want to diy your mic, i am sure it can be done. Just depends on your skill level.
Can we set an electret microphone to a specific frequency?
So each instrument will have their own mic set to their own frequency.
Also, each singer will have their own mic set to their own frequency.
Does such frequency differences from instrument to instrument, from singer to singer, exist?
So each instrument will have their own mic set to their own frequency.
Also, each singer will have their own mic set to their own frequency.
Does such frequency differences from instrument to instrument, from singer to singer, exist?
If you want to DIY a microphone, I think the closest you would get to a "good one" would be a mic kit.. that would be more of a BIY (Build it yourself) Or you buy the diaphragm element, machine the housing and mounts/grill and design/build your own preamp electronics board. A pre-designed and manufactured kit would be the less time consuming and if you're careful you can end up with a good studio mic.
There are few machinists willing to work on a one off project, but if you have access to a lathe and a milling machine, and are able to work to very tight tolerances you might be able to pull it off.
There are few machinists willing to work on a one off project, but if you have access to a lathe and a milling machine, and are able to work to very tight tolerances you might be able to pull it off.
My guess is that an old timer would win it. One that did manage to keep up with the times and has all the modern EDA tools at his fingertips but also had extensive experience with tubes. One needs to know what frequency response, distortion profile, overload characteristics, etc. to SHOOT FOR. A youngster brought up on EDA who has only heard music streamed over the internet all his life will probably end up shooting for the wrong targets. He’ll probably hit them, but the sound won’t be right.
Unless taking an old tube Fender “apart” on the bench and analyzing it to death and analyzing its output with FFT is considered legal for the challenge. That’s a gray area, even in industry. Some companies forbid analyzing another’s IP (with their own internal tools) and others encourage it.
Frequency of the fundamental tone of the singers changes depending what they are singing. They never sing one note. So you can not capture only one frequency.
More importantly, each fundamental tone, and this is true for singers and every instrument, has many upper harmonics, which often go very high, for some instruments beyond our hearing. These upper harmonics are what gives characteristic voice to each singer and instrument. All instruments sound different because of these upper harmonics. Even if they play the same note. Get familiar with fourier transform.
So resolute answer to your question "if you can set each mic to specific frequency, and if such frequency exist, from instrument to instrument, from singer to singer" is NO!
You have lack of knowledge of basic principles of sound. Please study first, then build whatever it is you are going to build. Good luck, i am out.
One thing I would point out is if your grandad's amp was 10 watt tube amp it wouldn't be that big, but if he had a 100W amp head and two 4x12" cabinets you can easily beat that with newer technology, and most people are not playing venues (stadiums) where you need that high a sound level for a guitar. Reasonable players will play through a smaller amplifier and mic it through the PA. And most new PA equipment now is Class-D for effeciency and weight . New mixers and recording, all pretty much digital. So the era of behemoth guitar amps is pretty much done, and the reduction in size, weight and power efficiency of all the other supporting equipment for music industry like PA, Mixers, Recording consoles comes through modern digital technology. Whether you want a small tube based amp, or a digital simulation of one, is a matter of preference and just one small cog in the wheel, a very minor part of the whole production.
A DSP based Boss Katana 50W or Fender Blues Junior tube amp (15W) are about the same size, both can sound pretty comparable. Want a smaller solution ? A hybrid Orange Micro Terror head or a Positive Grid Spark Amplifier (DSP).. but use a good guitar speaker cab or plug direct to mixer. For ultimate tiny amp there's the Hotone Nano Legacy Series. I had a friend use one for a live outdoor show, and surprisingly good with a mic'd cabinet!
Assuming you mean an electric guitar amp, I agree with other comments above that you need a 10 or 12 inch guitar speaker, like the classic vintage guitar amps have, to get a good sound. Not that a Pignose for example sounds bad, but is not the same.
So that alone rules out a really small lightweight combo amp.
Also, tube amps with little or no global negative feedback interact in a very specific way with these speakers. A class D power amplifier does not do that, no matter what modelling goes on in the preamp.
So that alone rules out a really small lightweight combo amp.
Also, tube amps with little or no global negative feedback interact in a very specific way with these speakers. A class D power amplifier does not do that, no matter what modelling goes on in the preamp.
The preamp is analog and they use a Class D amp after it, some do have a digital reverb.
I did make a small Champ sort-of using a 12V laptop brick and a high voltage module to step up the voltage to 360V. Lighter than using an iron transformer for the power. Will be putting a bucket brigade delay in it filling some of the available holes. Nice thing about it is no hum in a SE amp.
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In today equipment, what are the smallest ones equivalent or higher than those used by the Beatles in their early days concerts.
How does it sounds? Very clean, genuine, pure sound?The preamp is analog and they use a Class D amp after it, some do have a digital reverb.
I did make a small Champ sort-of using a 12V laptop brick and a high voltage module to step up the voltage to 360V. Lighter than using an iron transformer for the power. Will be putting a bucket brigade delay in it filling some of the available holes. Nice thing about it is no hum in a SE amp.
Does it changed the sound of acoustic guitar or it just make acoustic guitar sounds louder?
I need a mic, amp and speaker for acoustic guitar that only makes the sound louder as it is.
As does everyone else who plays acoustic in a giging context. Using a mic, there's a ceiling over how much louder you can make it, before feedback sets in. Even using a far-field-cancelling mic setup (two mics at the same position, one out of phase) still you'll only be able to make it louder by only so much before feedback.
That's why they have the sound-hole magnetic pickups, but then your acoustic sounds more like an electric guitar. All sorts of ways to apply piezo elements about and within the bridge, but then it sounds like a piezo pickup. Players are willing to compromise on sound, because it's so much easier within the stress of a performance to just "plug it in" and it works.
I've been attending an open mic and deliberately brought my acoustics without any pickups to make the fellow running it mic my guitar. Mostly because with the pickup'd instruments, he'd put it through a little fender amp behind me and make it really loud. I just couldnt play like that, but I can hearing the guitar acoustically more or less as I normally do holding it - with the sound coming out the two PA speakers that I'm sitting just behind the 90 degree plane of...
The above photo is an example of a far field cancelling mic setup. The singer vocalizes into just one of the two mics. Sound from well beyond the singer's position arrives at the two mics in phase; one of them is wired out of phase so that sound cancels. In theory at least; obviously a re-arrangement would be needed for acoustic guitar.
I made it as a practice amp and I bent the laws of physics somewhat. Well not quite bent them, the speaker would sound better with a larger cabinet. It has the Fender Black Face EQ which drops out some midrange causing the amp to sound more full than it normally would. The amp does sound better when I plug it into a different cabinet. Does it sound clean? Well maybe Fender clean, which is not exactly clean but many electric players do not realize that. I would not use it for an acoustic guitar, it would work well for an electric playing along side an acoustic though. If you are wanting to amplify an acoustic I would get an amp especially designed for acoustic. Somehow I missed the fact you are looking for an acoustic amp and you want to play in front of people. How loud you want to get in front of people and how big the space would be is something to consider also.
On microphone kits. Not sure if I would haul one around live though.
https://microphone-parts.com/collec...tIgtMDdb2VTZTe7jpZTghhCUM3ldqJli1fzfyOo0qjFVG
More likely a piezo pickup if more in the cards, These guys are highly regarded in the acoustic reproduction end of things.
https://www.fishman.com/portfolio/loudbox-mini-amplifier/
Every instrument or vocalist has a RANGE of frequencies that they cover. Many instruments can produce more than one frequency at a time say a piano, organ or a guitar. There are musical instruments and vocalists that can cover a wide range of frequencies throughout the audible range. A quick Google search for "vocal ranges" will list approximate frequency ranges from a Bass singer (E2) to a Soprano (A5). These span almost 4 octaves. Some music synthesizers can go above and below the entire audio range. The vocal and instrumental frequency ranges overlap and cannot usually be separated.
Microphones will cover a pretty large chunk of the audible spectrum, and some can even exceed it. Audio filtering can be used to restrict the frequency range or remove a specific range of frequencies.
The apparent range of live sound equipment depends greatly on the room acoustics, speaker placement, performer and microphone placement and required SPL. There is no "one size fits all" scenario, though some setups are far worse than others. As mentioned, having the performer(s) standing out in front of some loud guitar amps is worse case especially if live mics are involved. If the feedback situation is marginally stable often a "notch" (removal of a small range of frequencies) in the PA system's response can kill the feedback without making too much of a mess out of the mix.
Comparing to a Vox AC30 or earlier AC15? They played those and also then Fender Twins.. so not sure what you mean smallest one equivalent or higher ..watts?
AC15 is pretty small, they have an AC4 which is smaller but lesser watts. Vox has DSP based amps, but they are about the same size as the tube amps. Tiny cabinets and speakers, generally sound tiny.. Notice the Fender Tonemaster DSP amp, they are sized like the tube amps, even look like them..but weigh quite a bit less than a tube Fender Twin.
But something to put in context, you can buy an all in one preamp/amp that is the size of an effects pedal, Hotone ,Tech21, Orange, Milkman, Quilter etc...and that's fine. But if you were showing up to a paying gig, there is a certain amount of credibility to having a decent sized speaker cabinet or combo amp. You will hear yourself playing better on the stage, it will mic up easily and not have too much problems with interference of other musicians instruments. An AC30 is getting pretty loud even for a smaller club, an AC15 is going to cover most situations. An AC4 would probably struggle in a small venue, unless it was mic'd..but you wouldn't hear the amp too well over the drummer and bass..good for at home playing though!
There are so many choices and the range of products and new tech for guitar amps is huge. Same thing for amp-less DSP options and Class D amplifiers.
You can mix and match technologies to "build" whatever you want. Cheers