TACET Das Mikrofon/Microphone & Music Sampler SACD Start Price USD 29.99 Current Price USD 29.99 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Friday, October 24, 2008 End Time Saturday, December 13, 2008 Location US See more about 'TACET Das Mikrofon/Microphone & Music Sampler SACD' Description Disc Land - the internet source for the best value in Hi Fi, High End audio true LPS, SACDs, XRCDs & CDs!HOME|ABOUT US|SALES POLICY|SHIPPING FEE|CONTACT US Brand New Factory Sealed TACET SACDDas Mikrofon/Microphone & Music Sampler Product Details This is the first compendium of tracks from different TACET productions. For once, the main feature of this SACD is not a musician, a composer or a musical theme. Instead, the star of the piece is: The condenser microphone. Condenser microphones good enough for studio use have been in existence since 1927. Although they virtually superseded the other types of microphone (carbon, dynamic, and ribbon microphones, for example) They are still being developed today. This collection of recordings is intended to give an overall impression of their uses. Almost all the pieces are from existing TACET productions. Only two recordings--tracks 1 and 8--were made specially for this collection. As well as giving you a historic cross section, we would also like to provide you with an acoustic "insight" into the TACET label's production methods. TACET's philosophy that there is no recording technique or method which is absolutely perfect forever. Rather, it should be the job of a good recording team to use the best technical equipment available at any given time to experiment in the interests of the music, and to endeavor to provide the technical support in order to portray clearly the ideas of the composer and of the performing musicians. In the case of an orchestral work by W.A. Mozart, for example there would be little sense in emphasizing the brass section with a large number of microphones: as a result the mixture of sounds which is an essential part of Mozart's instrumentation would be lost. So the scope available to the sound engineer is clearly limited by the music itself. Nevertheless, many roads lead to Rome. So it was not by chance that in almost TACET production to date a different main pair was used: rather this was simply a result of untiring experimentation. And finally one must not forget that "the sound makes the music", but the musicians make the sound. Really audiophile sounds are only found where excellent musicians get the best out of excellent instruments and themselves. And the result is music! If you are not content to just listen to the excerpts on this album, you must simply listen to TACET's entire program. The Microphones: Neumann CMV3--Known because of its shape as the "Neumann Bottle", it was designed in 1927 and was the first ever microphone suitable for studio use. Inside the "bottle" is a tube, and onto this bottle one can fit different capsules (omni-directional, cardiod or figure-eight). The Neumann CMV3 is quite versatile and able to compete well in this digital age. Neumann M49--One advantage of the main pair used for this recording (the M49, designed in 1949 by Neumann, also on the cover) is that their direction is fully adjustable, so that the sound engineer can, for example, in a room with a lot of echo, choose a characteristic which is part-way between an omni-directional and a cardio id microphone, and thus reduce the excess resonance. Buel & Kjaer 4003--The Buel & Kjaer Company originally built microphones and other equipment for electro-acoustic measurement. It was only when their measuring microphones came to be used by sound engineers that they decided to develop microphones specially for studio use. For this reason the B&K mikes have high degree specifications. For example, the 4003's used here can tolerate a sound level of up to 154 decibels. But of course this was not the reason why they were used here: rather, it was their neutral sound. The Dummy Head--The idea of a dummy head is almost as old as electrical sound transmission itself. It was born in about 1886 in the Bell Laboratories. Presumably in the early days of this development people thought that a microphone should be similar to an ear. The first model of a dummy head was also built in Bell Laboratories (Philips, Da Boer and Vermeulen), in 1938, but the first system suitable for professional use was not created until 1969 by Kuere, Plenge and Wilkins. Since then it has been produced in a number of variations. Its reputation of being only for people who like headphones is unjust. This production was an attempt to use it as one of a number of other studio microphones. Nuemann U47--Developed in 1947, a functioning U47 is a rarity as the replacement tubes are no longer available for it. It was the first switchable pattern condenser microphone. Here you can hear a production with two such microphones at once, set to omni-directional. The warm sound devoid of excessive bass or treble meant that it was essential to use these microphones. The U47, pictured on the front and back covers, bears the name "Telefunken". However, it is from Neumann. Telefunken merely retailed the microphone under their name. Sennheiser MKE212R--Boundary layer microphones consist of one even surface into which a diaphragm is built. Normally they are laid down on the floor. While inside the room there is a constant addition and subtraction of acoustic sound levels caused by large number of echo's and, depending on frequency and microphone position, a boundary layer microphone is always at maximum sound level. This geometric parameter means amongst other things that the emphasis on the top of the sound in the main direction, typical of omni-directional microphones, does not arise. Many modern microphones are based on this principle. Schoeps KFM 6 U--This is the first production recorded with a sphere microphone to appear on CD. The sphere microphone looks like a ball. The two diaphragms are situated exactly on a level with the spherical surface. This combines the advantages of dummy heads and boundary layer microphones. Schoeps CMC 5 MK2--The shape of these microphones is known in Germany as "beaters". The Schoeps mikes used here are an example of many of their type. The (exchangeable) capsules with an omni-directional pattern give an even frequency response in the main direction--in other words towards the source of the sound--unlike most of their counterparts, which accentuate the top of the sound forward. Neumann TLM 50--After numerous years of falling to credit that many sound engineers remain staunchly faithful to "their" old tube microphones, in recent years more and more manufacturers have brought out new versions of the old models. In this case the Neumann company worked on the M 50 (which on the outside looks like the M49, except that the diaphragm sits on a small sphere), replaced the tube with a transistor amplifier, gave it a thinner diaphragm and provided the microphone with a modern housing. The result was the TLM 50, a highly modern studio microphone. "TLM" means "transformerless microphone". Clara--Clara, a variation on the dummy head, developed by the German scientist J. Hinrich Peters from Goettingen. For this recording tis curved plexi-glass form was fitted with two Bruel & Kjaer 4007 microphones. Track Listing 1. String Quartet No. 12. Egyptian March3. Sonata in D minor4. Short Solemn Mass Gloria5. Short Solemn Mass Crucifixus6. Partita in D Major7. Toccata No. 3 in A8. Sonata in C Major9. String Quartet in G minor10. Hiess mich nicht reden11. The Art of the Fugue12. Klavier Trio No. 213. Blue Moon Shipping Fee We ship through USPS to the following destinations. DestinationItem numberClassic Record Single LPOther Single LPDouble LPsLP box setCD Continental US1st$5.00$5.00$5.00Please see item description$4.00 Additional$2.00$2.00$2.00$1.00 Canada1st$10.00$8.00$10.00$5.00 Additional$7.00$5.00$7.00$2.00 International1st$15.00$14.00$18.00$7.00 Additional$12.00$11.00$15.00$4.00 * Please note that the fees listed above are all in US dollars (USD), include handling and processing fees, and are not negotiable. 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