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When it comes to producing musical presentation, may be for video or films, there are lots of components that help it. These components that are used for recording and producing music are called musical gear. This includes equipment related to sound, recording, studio, DJ and also audio effects.

Music gear vary in their qualities which basically depend on factors like the place from where they were bought, the price, whether new or used ones, etc. But high tech music gear are more in demand as they are considered to be the professional gear that possess highly technical, qualitative and modern features.

Switching over to the types and features of the high tech music gear, it should be mentioned at first that these equipment would cost more than the normal ones. They are widely used by the recording studios. But sometimes, they are even used for recording in home studio especially by the professional musicians who create their own studio to save money.

Let us now look at different kinds of high tech music gear. The first ones are the different kinds of sound equipment. And the high tech components in this category are the hi-fidelity speakers and the wireless microphones. Wireless microphones are the latest versions of microphones and they provide best quality sound reproduction. In fact, they are used for sound recording and broadcasting in the television shows, radio broadcasting and stage shows too. These microphones are portable, and can be connected to camera, recorder, or speaker without the cable.

Next come high fidelity speakers. Though the technology is quite old, the latest changes have made them unique among speakers. They have the capability to produce high quality, distortion free, crystal clear sound with wide and accurate frequency level.

Among high tech music gear, next come the recording equipment. The high tech components falling into this category are the digital multi track machines and the sequencer or the modern recording software. Both the devices are used for recording but they have a difference. The sequencer can record both digital audio and MIDI data to blend them in a software-mixing console and also can edit every aspect of the production. On the other hand, though the multi track machines perform the same task and even record audio directly to separate tracks, they cannot edit them.

Then there is MIDI which means musical instrument digital interface. It is a kind of a computer data that the keyboard and the computers send back and forth. This system records the notes as data into the computer that are played in the keyboard and vice versa. This has become a very useful instrument in a software studio.

The next high tech gear is the mixer, which usually comes under the category of DJ equipment. Mixers are those devices that blend the different tracks to produce music with effects. Remixes are one of the examples. Basically the process includes leveling, equalizing, and effecting all the various sources from many tracks down to stereo mix.

Recording drums can be a challenge both to the mics and record. So, we need to have a good idea about the techniques that can help us to get a better result. While recording one thing should be kept in mind: if the drums are good, then everything else would be perfectly all right. That means everything else can be fixed later and the take will be perfect.

Various microphone techniques actually affect how much bass, midrange, and treble that we hear in the monitored sound of a musical instrument. There are various points that one should keep in mind while deciding the microphone techniques. The mic choice and placement affect how distant the instruments sound in recording and how much background noise is picked up. But there are no hard and fast rules about where the mics should be placed. If the placement of the mic sounds good to the user then that should be the correct position to use them.

There are various techniques of microphones that can be used in various environments to record drums. Let us learn those in details. Like in the home studio environment the most common and the most successful way to get a perfect sound is to use the triangle miking style. This style involves three mics, hence called triangle. The first mic is placed on the kick drum, and the other one on the either side of the kit. This method will allow catching us a bit of the drum kit.

Before using the microphone technique we need to know what kind of sound output we prefer, such as whether it is big and boomy or round and subdued or tight or punchy? Then the technique will be different while capturing the sound.

If we want big and boomy sound the mic should be placed around two inches in the front head of the drum or away from the head pointed at the center of the drum. For getting a round and muffled sound the drum should be stuffed with a large piece of foam. If the position of the mic is placed in such a way where the halfback is striking out the tight and punchy sound will be recorded.

But this kind of method has one drawback. Some kind of weird lower mid unpleasantness will come, but that could be rectified during the post production stage. In any case the microphone should not be placed in any other direction inside the drum because sound bouncing all around the waves will end up canceling themselves out, thus resulting in loss of volume and tone.

But the microphone techniques will change when the type of drum changes. The above technique could only be used for kick drum only. Setting the microphone for snare drum will definitely be different. In order to record this kind of drum we need two microphones. But just placing the microphone on the front of the drum is not enough. So, planning is needed to decide where the mike should be placed. It would be a good idea to place the bottom mic exactly to the opposite of the top mic. Before the recording starts just turn over the mike on and off and then a decision has to be made about which setting is delivering the perfect sound.

Prior to Scots rocker Bob Findlay centralising his music and fanbase to ReverbNation he was hovering around the 250-300 mark. Over the last several weeks he has been hovering around the 150-200 mark, at one point reaching position 144 in the rock charts.

Not being an avid follower of his rankings Findlay seems somewhat underwhelmed by these figures. He told me recently “The only reason that I centralised to ReverbNation was to save time going from site to site.” Findlay was quick to add, “ReverbNation also give you the best statistical breakdown as to who’s listening to what, how much of the somg their listening to, how many letters they open and where they’re listening from….It makes it much easier to target the listeners, for want of a better word.”

Findlays’ personal website also appears to have benefited from his centralisation. Over the las few weeks there has been something of an onslaught of people joining his mailing list, which has just surpassed the 20, 000 mark.

Just prior to recommencing part-time work as a State Registered Nurse, Findlay handed over total control of the site to his colleague, Dave Taylor. “Dave’s done the majority of the site from the start, anyway. I just wanted to approve anything that goes on there. Lately it’s just not an option, so I’ve left it with Dave and he’s doing a great job.

The majority of correspondence from Findlays’ site are actually carried out by Taylor, who makes a point of mentioning this to avoid misleading people. Findlay said of this, “If and when I have the time, I sit and respond to as many emails as I can. It’s a real buzz.” Findlay is more than aware of the importance of maintaining regular contact with fans who have supported him. “It’s probably as important, if not more important, than the actual music itself in lots of cases.”, Findlay said.

When asked what he thought the future may hold for him music-wise, he rather quirkily said, “You’d have to ask a psychic person that one.”

Paradoxically, since having marginally more time on his hands since centralising, he has not set foot in the studio in over a week. “There’s just nothing there.”, said Findlay, tapping his head. “I’ve actually got two songs from “Rough Edges” that I have a few ideas for, so I imagine I’ll be working on them pretty soon.”

The test of time often proves that you are dealing with a qualified, if not exceptional company. The Martin Guitar Co. was started in New York way back in 1833 by C.F. Martin Sr. Being a native of Germany, based on some obscure information, the move to New York is somewhat comical in nature. Mr. Martin was a guitar maker, or luthier. His woodworking prowess caused much pressure from the Cabinet Makers Guild and The Violin Makers Guild to join their Unions(yes, they had unions that long ago). Within several years he fled to America to open The Martin Guitar Company in New York. However two years later the factory was moved to Nazareth, Pa. and has remained there and expanded as necessary ever since then.

The first thing that hits you as you enter the factory is a quote from Eric Clapton "If I could choose what to come back as, it would be a Martin OM-45". Words like this brought to mind how much people love their Martin guitars. I specifically mean love them for the beauty, materials and love put into the building of each Martin Guitar. Simply put, because of the exquisite workmanship of Martin guitars and their unmatched tone and playability, they are the gold standard for aspiring acoustic guitarists. To have a Martin guitar, or even a custom Martin is one of the few rites in their lifetime with this amount of significance.

Martin openly puffs up their chest when it comes to their place in American music and all of the noted(no pun intended) musicians who have used and swear by their instruments. As the Martin Company celebrates their 175th year of business one gets the feeling that the tremendous heritage created will continue in greatness.

Some of the artists who use Martin guitars have CD and album covers displayed on one of the walls. Representing such artists as Elvis Presley, Jimmie Rogers, Paul Simon, Bob Dylan, Johnny Cash, Hank Williams and Stephen Stills. Don't forget Andy Griffith played a D-18 model! So many icons have played Martin guitars there are not enough wall space to honor fall of them.

During the factory tour, the various steps that include more than 3oo very precise procedures and a few weeks of time become very evident. This is no jerry rig factory. It has a blend of the most modern hi-tech equipment with a big helping of old world craftsmanship. For some this part of the tour may be tedious, for people who like to know, this is an interesting and remarkable story of cutting, machining and assembling a guitar masterpiece.

The museum is what most folks come for. From some of the 19th century instruments that look awkward and bulky to the transition to modern styled guitars, the museum guides have the type of enthusiasm for Martin guitars that is infectious. The guide can also tell you in great detail very enthusiastically about every one of the 170 plus guitars on display.

Before I forget, it is very important to note that not only can you admire these beautiful guitars, but you are encouraged to pick one up and start to pluck a few notes. And, you are not limited to their least expensive models. Want to play an Eric Clapton custom guitar, them pick it up and go to town. they don't mind. In fact if you listen closely, their are plenty of people strumming their favorite tunes in the players room.

Want a tour of The Martin guitar Museum? Hours include Monday - Friday 8 am to 5 pm and The Factory Tours are from 11 am to 2:30 pm. Call 610-759-2837 to make a date.

Note: If you dig The Three Stooges, the Stoogeum is in Philly. It is fantastic and worth every bit if not more than the cost of the tour, which is free.

If you love guitars like the folks at Guitar players Center, than this is the type of relaxed, fun and informative trip to take. With the amount of experience and love put into the manufacturing process, it would be hard not wanting a Martin guitar after the tour.

Enjoy.

Categories of music gear encompass under them a wide range of musical instruments and equipment. There are a lot of categories and sub categories of music gear. They can be classified based upon the usage or based upon the mechanisms.

The two main categories that they can be classified into are acoustic and electronic. The gears that do not need any external electrical help are called acoustic music gears. Any acoustic instrument is a part of this category. The gears that are electricity supported are called electrical music gears.

Acoustic music gear
This category of music gear includes mostly the instruments and equipment in their original versions. Acoustic music gear do not need any external electrical help. Very good instances of this category of music gear are acoustic guitar, acoustic drums, violin, flute or any other acoustic instrument.

But the most interesting factor about acoustic music gear is that some of them can be used as electronic gear. You can take acoustic guitar for instance. If you add a pick up with the acoustic guitar, then it can be played electrically. Then the sound of this guitar can be deviated into the amplifiers. That means the sound will be heard from the amplifier.

But do not think that by adding a pick up you can use the acoustic guitar just like an electric guitar. That is not possible. Pick-ups just pave the way to the amplification of the sound. It cannot change the tone or the effect. Do not mix up acoustic guitar with the electric guitar. Though both of them are guitars and their playing style is the same, that does not mean that they are the same. They are widely different in many aspects.

Electronic music gear
This is one of the most important categories of music gear. Electronic music gear is totally different from the acoustic ones. This category of gear cannot be used without electricity. Electric guitar, synthesizer, and octopad fall in this category. Apart from them there are other kinds of electronic gear also. There are microphones, amplifiers, processors and pedals.

Though some of the acoustic instruments can be played electrically, no electrical instrument can be played acoustically. Electric connection is necessary for all of them.

The most important accessories of any musical instrument are amplifiers and microphones. The amplifier and microphone are almost the same. They enhance the sound of the instrument and vocal. The microphone collects the sound and carries it to the audience. But the amplifier just spreads the sound. They cannot collect them. To collect, you need a microphone.

While talking about electronic music gear, one cannot forget to mention the processor. The processor is a tiny gadget that consists of a whole lot of brilliant effects and tones. If you connect your guitar with this gadget, then you will be able to use all these tones and effects. There are some good quality processors available these days that provide you some more facilities like mixing two of the existing tones and making a new tone of your own.

Prior to Scots rocker Bob Findlay centralising his music and fanbase to ReverbNation he was hovering around the 250-300 mark. Over the last several weeks he has been hovering around the 150-200 mark, at one point reaching position 144 in the rock charts.

Not being an avid follower of his rankings Findlay seems somewhat underwhelmed by these figures. He told me recently “The only reason that I centralised to ReverbNation was to save time going from site to site.” Findlay was quick to add, “ReverbNation also give you the best statistical breakdown as to who’s listening to what, how much of the somg their listening to, how many letters they open and where they’re listening from….It makes it much easier to target the listeners, for want of a better word.”

Findlays’ personal website also appears to have benefited from his centralisation. Over the las few weeks there has been something of an onslaught of people joining his mailing list, which has just surpassed the 20, 000 mark.

Just prior to recommencing part-time work as a State Registered Nurse, Findlay handed over total control of the site to his colleague, Dave Taylor. “Dave’s done the majority of the site from the start, anyway. I just wanted to approve anything that goes on there. Lately it’s just not an option, so I’ve left it with Dave and he’s doing a great job.

The majority of correspondence from Findlays’ site are actually carried out by Taylor, who makes a point of mentioning this to avoid misleading people. Findlay said of this, “If and when I have the time, I sit and respond to as many emails as I can. It’s a real buzz.” Findlay is more than aware of the importance of maintaining regular contact with fans who have supported him. “It’s probably as important, if not more important, than the actual music itself in lots of cases.”, Findlay said.

When asked what he thought the future may hold for him music-wise, he rather quirkily said, “You’d have to ask a psychic person that one.”

Paradoxically, since having marginally more time on his hands since centralising, he has not set foot in the studio in over a week. “There’s just nothing there.”, said Findlay, tapping his head. “I’ve actually got two songs from “Rough Edges” that I have a few ideas for, so I imagine I’ll be working on them pretty soon.”

Apparatus and method for controlling music play - EP1631049 (A1)

Disclosed are an apparatus and a method for controlling music play in a mobile communication terminal. The apparatus includes a motion recognition sensor unit (50) for detecting a motion of the mobile communication terminal and outputting detection signals, a sound source chip for outputting sound (80), and a controller for receiving the detection signals from the motion recognition sensor unit, calculating motion values of the mobile communication terminal, and controlling the sound source chip to output sounds dependent on the calculated motion values (10). The apparatus includes a user interface (40) required for the music play, a display unit (30) for displaying music to be played, a motion recognition sensor unit for detecting a motion of the mobile terminal (50), a sound file storage unit (20) including an area for storing at least one music information, a controller (10) for controlling corresponding music to be played according a motion of the mobile terminal, and a speaker (74) for outputting sounds of the played music.

Apparatus for controlling music reproduction - EP1811496 (A2)

In order to reproduce music suitable for a situation where a user listens to the music while performing repetitive exercise, if a walking tempo value sensed by a walking tempo sensing portion 3 falls outside a certain range defined on the basis of a music tempo value of a music data file currently being reproduced by a music data reproduction portion 6, a music tempo 
specifying portion 4 specifies a music tempo value agreeing with the walking tempo value. A reproduction control portion 5 selects a music data file having a music tempo value corresponding to the music tempo specified by the music tempo specifying portion 4 from 
among a plurality of music data files stored along with data on music tempo of the respective music data files n a data storage portion 2, and causes the music data reproduction portion 6 to start the reproduction of the selected music data file.

Automatic player musical instruments - EP1840870 (A2)

While an automatic player piano is reenacting a music tune, the automatic player piano sometimes misses a tone or tones in a repetition due to a high-speed key movement; a controller (91) searches a music data file for a series of key events expressing the repetition, and makes the key movements uniform without changing the lapse of time from the last key event before the repetition and the lapse of time to the first key event after the repetition so that the automatic player piano is less liable to miss a tone.