EXTENSION CHORDS

EXTENSION CHORDS

Pipe Up or Mike Out

Michael Brooks

by

One of the things many musicians and performing artists blow is their selection of microphones. Choosing the mike for you is something akin to purchasing toothpaste ... not only do you want the right flavor, but it must also work well with your style and fight the cavities in your music. And the selection of the right mike should be given the consideration you would give another instrument in your music.

A good piece of pecuniary propaganda floating around music stores nowadays is a booklet from Shure called "The Music-Makers Manual of Microphone Mastery." If it isn't around in your area, you can probably get one by writing Shure Brothers Inc., 222 Hartrey Ave., Evanston, Illinois 60204. This booklet, understandably, tends to resolve most microphone problems with Shure solutions* but there are some basics in it which should help you on your way to finding the right kind of mike. For example, if you are a singer in a loud rock band, you will need a close-up mike which you hold less than six inches from your mouth. This is about the only way you'll ever be heard. Put, as the booklet explains, "Because

the vocalist is so close to the microphone, the mike is highly vulnerable to breath "pop," the undesirable percussive noise created when the mike hears a strong "p" or "t" sound. And, with high sound pressure levels, "clipping" or overload distortion may occur when the amplifier pre-amp is forced to cope with abnormally high input levels. When the mike is hand-held, bothersome mechanical noises may also be picked up by the microphone." But quite luckily, as the booklet explains, there are mikes to resolve this problem, as well as accessory equipment.

Delving further into the wonderful world of wacky sounds, the Altec people wanted me to tell you all about their new studio monitor speaker system, called most appropriately, the Altec 9849A. According to the Altec homebase (1515 S. Manchester, Anaheim, Ca. 92803), the new unit is primarily designed for all applications where extended frequency response, low distortion, and wide dynamic range are a requisite.

With a 12" bass, capable of producing extended low frequency response with very low distortion at high power levels, this unit features a dividing network with an RC circuit in parallel with the low-frequency load to stabilize the input impedance of the network at 8 ohms. And frequencies about 1500 Hz are handled by a compression driver mounted on a sectoral high-frequency horn. The enclosure finish is in light gray epoxy spatter-textured paint and includes a black, demountable grill assembly. The enclosure is 24" X 20^" X 15&" and is made from 3A" material (not designated in notice!). The enclosures feature no demountable panels and are heavily braced internally.

New Anyil cases are available for Arp synthesizers. Whether you own an Arp

2600, Odyssey, Explorer, Pro Soloist, or String Ensemble (new addition to the Arp family), Anvil can supply you with a sturdy, riveted, angle iron edged, piano-hinged carrying case complete with ARP and Anvil logos stencilled on the sides. For info on colors, prices and availability, contact Anvil Case Co., 923 Myrtle St., Monrovia, Ca.

Now about that new addition to the ARP family, the new String Ensemble. Herbie Hancock, whose latest LP Thrust features ARP's Odyssey, Soloist, 2600, and the String Ensemble, says that he has never heard chords played to sound more like real strings on any other instrument. That is, he likes it and is willing to endorse it. So if you're looking for a relatively cheap string section, you might want to give ARP a try at 320 Needham St., Newton, Mass. 02164.