Wednesday, August 10, 2011
Tuesday, July 19, 2011
Thursday, June 30, 2011
The Lauten Audio Oceanus large diaphragm tube condensor microphone is one of the most versatile and unique sounding microphones on the market. In this performance, the Oceanus captures the female jazz vocals in a smooth and musical manner, while also adding subtle tube warmth. The physical design and circuit topology of the Oceanus provides incredible clarity and a superb ability to capture even the most minute details of any performance, completely free of any harsh artifacts. Contact the professional engineers and sales associates at Sound Pure with any further questions regarding this fantastic, versatile microphone from Lauten Audio. Special thanks to Adia Ledbetter for her performance.
Wednesday, June 22, 2011
Friday, June 17, 2011
Tuesday, June 07, 2011
Friday, June 03, 2011
Single Torch small diaphragm vacuum tube condenser microphone
We’re excited to announce that we are now shipping a single version of our Torch small diaphragm vacuum tube condenser microphone. The ST-221s Torch includes our 15.25mm diaphragm cardioid and omni capsules, hard mount clip, shock mount, power supply and Gotham Audio tube microphone cable. The package lists for $999.00 with an estimated street price of $799.00
Our Torch microphones have received rave reviews around the world from end-users and industry journalists including making the “Best of Class” list for Upper Class Microphones in the German Professional Audio Musik and Equipment magazine.
Wednesday, May 25, 2011
Ambient micing can really help give an instrument or vocal space in a mix. Depending on how you prefer the particular part to sit in the mix, will give you an idea of which mic to choose, how to position it and how much to blend into the close mic, if you are using one.
Ambient micing can aide in placing an instrument in the 3 dimensional space of a mix, front to back. Usually when something is far away it is muffled, more dynamic, and less distinguishable, the closer it gets to you, the more detail it has, the ear will naturally begin to compress and the dynamics become less by perception. Using this line of thought, you can apply it to your ambient mics. If you want the part to seem far off, then place the mic far away, even down a long corridor with little to no compression. If you want the part to be just set back from the immediate front of the mix, try the mic backed off a little, use a little more compression, and pan it just opposite the direct mic, this approach can give nice balance and space.
Ribbon mics can be a nice choice for loud sources, such as, drums, electric guitar, etc... But for other sources a multi-pattern tube or condenser mic is a great choice. Try an Oceanus or Clarion in omni-directional, this will help you pick up the whole room and usually provide a nice balanced ambience that you can blend in to taste.
Now there are really no rules and a lot of fun and experimentation can be had. Once you get a feel for your room and how the placement of the mic or mics in the room can really change depending on the distance to walls, corners, and floors, try adding compression, EQ, or filtering, to get something that really works well for you.
Thursday, May 19, 2011
Friday, April 29, 2011
Dr Charles Chen PhD provides a brief overview on capsule simulation and what we are doing here at Lauten Audio.
Condenser microphones consist mainly of two parts: capsule and preamp. For the preamp, there
is sophisticated commercial software, like PSpice, LTSpice, etc, which can be employed to study a preamp circuit before actually building it. The simulation results are quite close to the behavior of the actual circuits, because we know the mathematical formulas for all the components in the circuits: resistors, inductors, capacitors, diodes, transistors, etc. These formulas are the basis of all those circuit-simulation software’s.
Microphone designers have long hoped to have similar software to help them design condenser microphone capsules. But before we can have this highly demanded software, we need to know all the mathematical formulas describing the capsules. Physicists and mathematicians in acoustics started their research on developing mathematical formulas of condenser capsules half century ago. The first research article appeared in the Journal of Acoustical Society of America (JASA) in 1954. But the structure of the condenser capsules under study was very much simplified to allow a mathematical treatment. Since then, numerous papers published in JASA and more engineering-oriented JAES (Journal of the Audio Engineering Society). But all those mathematical models still contain too many simplifications about the structure of the capsules. For example, those models only study pressure condenser capsules, not pressure-gradient capsules and double-diaphragm capsules. Even for pressure capsules, they cannot describe the effect of the distribution of the holes on the back plate, and the thickness of the back chamber. So the power of those models in design-assistance is quite limited.
Here at Lauten Audio, we have developed and are still improving our own mathematical formulas and software which can simulate all kinds of condenser capsules. We can simulate how the thickness and tension of the diaphragm, the thickness of the air-film between the diaphragm and back-plate, the hole size and distribution on the back-plate, and the thickness of the back-chamber, the capsule shape, etc, effect the frequency responses and the polar patterns of the capsules. The simulated results provide us an excellent guide in developing our capsules.
In case you were wondering…
Thursday, March 24, 2011
Tuesday, February 22, 2011
Lauten Audio Clarion FC-357 receives high-praises from Pro Audio Review in their second installment of the Large Diaphram Condenser microphone session trials!