Chapter 11: Supplemental Audio
The clips below showcase the sound of the intraMic at low volumes. The other two microphones are used at low volumes with the tenor to show how they handle low volumes in relation to the intraMic.
The clips below showcase the sound intraMic, both dry and with a little bit of reverb.
The clips below are made with two other microphones, the Shure Beta 57A and the AMT Q7. These examples are meant to show the difference in sound between various conventional microphones and the intraMic.
The clips below highlight the intraMic’s consistency of volume across the full range of the horn. The other two microphones are used as examples of how other microphones react in the same situations. In recording these examples, the notes were all played at the same acoustic volume to allow for the truest representations of how these different microphones react to different registers of the horn.
The clips below show the various tonal options of the intraMic using the two switches on the preAmp. All four possible configurations are shown on three different saxophones.
The clips below showcase the sound of the intraMic in a live setting. Examples are provided for the other two microphones to compare.
The clips below showcase the isolation of the intraMic, with examples of the other two microphones to compare. In recording these examples, we made an effort to create as loud an environment as possible to mimic a real on-stage situation. Notice the significant difference in the volume of the track bleeding into the inraMic versus the other two microphones.
The clips below are mean to show how the intraMic can sound with effects as opposed to conventional microphones. The first set of examples is with a simple harmony setting. Note how clean, nimble, and punchy the harmony sounds with the intraMic.
The next set of examples is meant to show how the intraMic handles extreme amounts of gain and distortion. When recording these examples, we did the best to create feedback. The gain on the distortion pedal is turned all the way up during recording, as are the speakers. Note also how the tonal quality of each microphone produces different results in the distorted sound. PLEASE BE AWARE, THE BETA 57 AND AMT CLIPS CONTAIN FEEDBACK! LISTEN AT LOW VOLUME!!!