The first two models (JM27 and JM47) of a new generation of Joemeek products, affectionately called “Meekrophones” are beginning to ship. Offered at just $129 and $299 (list), they mark a real value for recording enthusiasts.

Offered in both satin silver and “Joemeek Green”, The JM27, is a medium sized diaphragm, true capacitor cardioid mic. With a frequency response of 30Hz to 20KHz, and capable of handling levels up to 130db, it is capable of a wide range of uses – from acoustic instruments to drums. The JM27 ships with a microphone clip, foam wind screen, and manual.

Available in satin silver only, the JM47 boasts a large 1” diaphragm, cardioid pattern with FET impedence converter and transformer output. The transformer is double shielded for better RF rejection. By using a center electrode capsule design the JM47 exhibits extremely smooth extended frequency response (20Hz to 20KHz) while rejecting low frequency “boominess”. Sensitivity is rated at –36dBV and signal to noise ratio at 75dB. Switches for a –10dB pad and high pass filter round out the feature set. With a US retail price of $399, including a heavy-duty mount and foam wind screen, it's an excellent value low budget recording. Both the “Meekrophones” use gold sputtered micro-fine Mylar membranes (much more robust than traditional gold foil), and are contained within high quality, machined brass bodies. Audio quality is further enhanced by using dynamic feedback at the capacitor element, an original Joemeek design. Elastic shock mounts are available for both models for a small additional charge.

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The Compressor is one of the most vital pieces of equipment in any studio or PA rig, yet it is one of the hardest to understand. Here Joemeek designer Allan Bradford dispels the mystery.

The Compressor's job is to make quiet sounds louder and loud sounds quieter, or in other words to reduce the dynamic range of programme material. It's a bit like manually riding the volume control, except a compressor does it automatically, responding far quicker and more accurately than you ever could by hand.

Compressors have many uses in practice, applied either to individual parts, or to the whole mix:

1. Making Things Stand Out
Because compressors make loud sounds quieter, you can boost the volume of the quiet bits without the loud bits getting any louder. That means you can raise the average level of an instrument or vocal in the mix, which has the effect of lifting it and bringing it forwards. This can actually improve vocals, bringing them out in front of a mix, making them sound denser, more even, and more confident!

2. Cranking Up The Volume
Raising the average volume of whole mixes means they can be heard in noisy environments, such as vehicles and factories. Boosting the average level is what makes radio stations sound LOUD! The same technique is used on TV commercials too, which is why they always kick in annoyingly louder than the movie you are trying to watch!

3. Protection
When an occasional loud peak sticks its head above a maximum permitted level, the compressor quickly clobbers it ¯ this is known as limiting and a compressor designed solely for this purpose is known as a Limiter. Limiters are primarily used to protect recorders and monitor systems from overload, radio transmitters from overmodulation, etc. Normally you should not be able to hear a limiter operating but if it is driven hard constantly, it can render a mix somewhat flat and lifeless.

4. Accommodation
The dynamic range of the human ear is phenomenal, extending from the threshold of hearing (eg: a pin dropping onto soft carpet) to threshold of pain (eg: standing next to a jet aircraft) - some 120dBA in all. By contrast, vinyl, cassette tape and radio broadcasts all have a dynamic range of about half that. Since the advent of the CD, the dynamic range of the medium is far less of an issue and compressors are used more to give a certain "feel" to a production. AM and FM radio however, is still very much compressed to fit its restricted dynamic range.

5. Modification
A compressor can change the dynamics, or "envelope" of the track and it is here that Joemeek Compressors excel. For example, with extreme settings it is possible to make a drum hit appear to go backwards!

Next time we'll look at what the controls do on a typical compressor.

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“Christmas on the Mountain”, Scott Rouse ¯ Producer picked up a Grammy nomination for Bluegrass Album Of The Year in January of this year.

The first Christmas release on Universal South, a joint venture between industry pros Tony Brown, Tim DuBois and Universal Records,the album was conceived as a giant jam session, gathering together bluegrass greats for inspired takes on holiday sounds.

Featuring an all-star lineup including Doc Watson, The Del McCoury Band, Ronnie McCoury, The Groovegrass Boyz, Mac Wiseman, and The Osborne Brothers, takes a new approach to “seasonal” music.

Known as an innovative and inspiring producer, Scott's discography reads like a “Who's Who” in the music industry. Alan Jackson, Travis Tritt, Charlie Daniels, Marshall Tucker Band, Bootsy Collins, The Beach Boys, House of Pain ¯ the list goes on and on.

Scott used a pair of Studio Projects C4's through Joemeek VC1Q's when recording Doc Watson's acoustic guitar and Ronnie McCoury's mandolin. For Mac Wiseman's vocal, the C3 got the nod as the microphone of choice. Scott once again routed it through the Joemeek VC1Q, with an older Joemeek C5 EQ to add tube warmth at the end of the chain.

Asked for a comment on the mics, Scott had this to say. “If you want a bluegrass guitar or mandolin to sound like it's going to jump right out of your speakers and kick you in the nuts, check out a pair of C4's!” And he should know, he's produced some of the best (and most famous) bluegrass musicians in the world!

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There are several key factors that fuel an ongoing debate regarding the evaluation of condenser microphones:

1. Microphones of increasing quality and sophistication are now within the financial grasp of a wider populace.

2. Microphones and mic companies are more plentiful than ever

3. All of our computers are connected together online, facilitating a constant global discussion of various models, technique, the men who use them and the women who loved them before they started buying all this gear, etc.

So why all the debate? First of all, let us list the things in which we can all agree upon regarding these devices:

-Microphones change acoustical energy into electrical energy
-There is no such thing as an ideal microphone.

The first point is simple and easy to understand. It is a basic definition of what a microphone does. The second point provides a basis for a great deal of discussion pertaining to microphones, although it is generally not phrased in such a way. There are also many other factors thrown in regarding brand preference, marketing, hearsay, magazine and online reviews, testimonials by big time recording engineers, etc. Let us ignore all that. Furthermore, we shall put aside microphone designs for more specific applications and environments.

Now then, even the most expensive, well designed, solidly built microphone in the known universe falls way short of being an ideal transducer. Most mics intended for pro audio use attempt a fairly linear bandwidth across audio frequencies, low noise, high sensitivity and high sound pressure handling capabilities. There are any number of mics from many different manufacturers which achieve all of this very well. Still, one may note that there are highly cherished models of microphone which may fall short in one or more of these areas, yet still be preferred over a mic with better specifications. So, what is the “inferior” mic doing which makes it the go-to selection? The answer: “It tells a better lie”.

To be continued…

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