Classic Microphone How much could I sell my Nintendo Wii & some games for?
I'd probably sell them like this on Ebay...
- The console with 3 wiimotes, 2 nunchucks, and 2 'classic' remotes
- Rock Band 1, 2, and Track Pack Vol 1 with guitar, drums, microphone
- Guitar HeroWorld Tour and Guitar Hero 3 with 2 guitars, drums, and mic
I'd say around £400
Introduction to Classic and Vintage Broadcast Microphones
Redefining the meaning of the entry level cable, the Classic Series Microphone Cables feature heavy gauged oxygen-free copper conductors and nickel-plated brass connectors for reliable and transparent signal transfer. The signal is then protected by a layer of conductive PVC as well as a dense copper for optimal shielding coverage that protects signal from outside interferences. To finish it off, each plug features a molded collar for outstanding Strain releif ensuring that your cable last. Entry level no longer means means ordinary...all Planet Waves cables are guaranteed! for life.
This accessory is compatible with:
Apple iPhone 4
If you are a journalist, teacher, corporate professional or just someone who needs to do some audio recording, you'll love this gadget. Small and discrete, this mini microphone uses the standard 3.5mm input and operates on just about every Apple iPhone/iPod device. When installed, it looks like a tiny antenna. A plug and play device, it is the simplest solution for recording quality audio with your iPod or iPhone.
One side has a pass-through for a string or lanyard and the other end is the microphone input.
Whether conducting an interview, taking lecture notes, or capturing the sounds of life happening around you, simply attach Mini Microphone to your iPod or iPhone for immediate voice recording capabilities. Features * Plug and Play. * High quality microphone, fine sensibility. * Small and portable. * No need battery. Specifications * Size: Length 36mm, Diameter 13mm * N.W.: 4.5g * G.W.: 31g * Packing: blister D178 x W120 x H25 (mm) Compatible with * Compatible with iPod nano 4G and 120GB iPod classic (with software already on the device). * Compatible with iPod touch 2G, iPhone 3G (need downloaded software such as iTalk Recorder or Easy Recorder etc.) Use Means * Simply attach NT-056 Mini Microphone to the earphone socket on iPod nano 4G or 120GB iPod classic, it'll unlock the voice recording software already installed on the device. * When using it on iPod touch 2G, iPhone or iPhone 3G, you need to download and install recording software such as iTalk Recorder or Easy Recorder etc. on the device first.
The Red 7 employs the same superb mic pre-amp as the Red 1 and Red 8, with a dual-range mic gain pot that allows precise control across the full range of the device. Phantom power and phase reverse are also provided. The Line input is electronically balanced, with continuously variable gain. A high quality output fader offers +6dB gain to infinite attenuation, essential for direct recordings, or for accurate level matching after EQ and dynamics. Added to this mic pre is a full dynamics section, optimised for vocals. With its superb signal path, outstanding ease of use, and an integrated all-in-one design, it is a powerful tool for voice recording in all situations from music studios to post-production. The compressor design is taken straight from the Red 3, and as on that unit, is characterised by low noise and distortion even with heavy processing. Relatively heavy compression can be applied while retaining a transparent natural sound. Ratio, gain make-up, threshold, attack and release are all continuously variable, and a program dependent auto-release mode can be switched in. A swept high-pass filter allows effective treatment of problems such as rumble, bass lift and proximity effect. The de-esser/exciter stage can be switched to provide frequency-selective compression (de-essing) or excitation. The amount and centre frequency of the processor are continuously variable, and as all the unit’s dynamics still use the Focusrite single-VCA technique, unwanted colouration of the sound is kept to an absolute minimum. A clear VU meter shows level after the pre-amp gain control, or displays compressor gain change.
This accessory is compatible with:
Apple iPhone 4
If you are a journalist, teacher, corporate professional or just someone who needs to do some audio recording, you'll love this gadget. Small and discrete, this mini microphone uses the standard 3.5mm input and operates on just about every Apple iPhone/iPod device. When installed, it looks like a tiny antenna. A plug and play device, it is the simplest solution for recording quality audio with your iPod or iPhone.
One side has a pass-through for a string or lanyard and the other end is the microphone input.
Using the same circuit topology as the original ISA microphone pre-amplifier designs, the Red 1 offers four channels of ultra-high quality Focusrite microphone amplification. Used with high quality ribbon, valve and condensor mics, the Red 1 obtains outstanding results with any sound source, but especially voice, piano and string instruments. The Red 8, with a perfectly matched pair of mic amps, offers identical channel controls to the Red 1, and is especially suited to demanding mono or stereo recording work, such as location classical recording with digital recording media. Each channel offers custom-wound Focusrite input transformers, switchable phantom power, phase reverse, an easily-read illuminated VU meter, and a handy scribble disc for denoting channels. Mic gain is switched in 6dB steps over a 66dB range, for accurate, precise channel matching and recall. The many benefits of the unique Focusrite mic amp topology include superb common-mode rejection, a good overload margin and, with its shared gain structure, (20dB from transformer and up to 40dB from the amplifier) a very low noise floor with the signature wide bandwidth (10Hz to 150kHz). It also maintains this level of performance with a very wide range of impedance across the inputs. In practice, this makes it what one reviewer called, “perhaps the most revealing yet forgiving mic pre-amp in history.” The output stages of both the Red 1, with its custom transformer, will easily drive very long cable runs – up to several kilometers – without significant loss of quality, making them ideal for remote recordings.
Using the same circuit topology as the original ISA microphone pre-amplifier designs, the Red 1 offers four channels of ultra-high quality Focusrite microphone amplification. Used with high quality ribbon, valve and condensor mics, the Red 1 obtains outstanding results with any sound source, but especially voice, piano and string instruments.With four mic pre-amps in a single unit, the Red 1 is ideal for those looking for improved audio performance, as a compact ‘way in’ to digital recording systems, or for location multi-mic recordings. Each channel offers custom-wound Focusrite input transformers, switchable phantom power, phase reverse, an easily-read illuminated VU meter, and a handy scribble disc for denoting channels. Mic gain is switched in 6dB steps over a 66dB range, for accurate, precise channel matching and recall. The many benefits of the unique Focusrite mic amp topology include superb common-mode rejection, a good overload margin and, with its shared gain structure, (20dB from transformer and up to 40dB from the amplifier) a very low noise floor with the signature wide bandwidth (10Hz to 150kHz). It also maintains this level of performance with a very wide range of impedance across the inputs. In practice, this makes it what one reviewer called, “perhaps the most revealing yet forgiving mic pre-amp in history.” The output stages of both the Red 1, with its custom transformer, will easily drive very long cable runs – up to several kilometers – without significant loss of quality, making them ideal for remote recordings.
The Nady RSM-1 is a versatile ribbon mic designed to record vocals and numerous instruments with stunning realism. A low-tension 2", 2-micron thick aluminum ribbon delivers smooth, uniform, natural reproduction fast transient response and ultrahigh 165dB SPL capability. Directional figure-8 pattern for both front and rear sides. Rugged machined housing and advanced internal shockmount design for the highest structural integrity and rugged reliability.
The Classic II is Rode's top-of-the-line studio condenser microphone. Classic by name and nature. Featuring a custom spec 1 in. dual diaphragm capsule feeding a vintage twin triode (New old stock) GE JAN-6072 valve and custom Jensen output transformer. The result? Classic warmth and richness on both vocals and acoustic instruments.
The TLM67 is a large-diaphragm condenser microphone in the classic Neumann style, with a unique dual-color design. The stylish pearl-gray of the microphone body combined with the classic Neumann nickel lends the microphone a touch of distinctive individuality.
Industry Standard Variable-D dynamic cardioid microphone is a favorite among broadcasters and sound engineers worldwide. The Variable-D design and heavy-duty, internal P-pop filter reduce proximity effect while the internal element shock mount reduces vibration-induced noise. Bass roll-off switch.
The new MXL V88 studio condenser microphone captures the rich, beautiful harmonics produced by the human voice and fine musical instruments with a quality that is usually found only in classic tube microphones. The MXL V88 gives vocalists added warmth, radio DJ's and Podcasters a fuller, deeper sound. This makes the V88 perfect for studio and broadcast recording alike.
With the groundbreaking AT4080, Audio-Technica achieves the coveted ribbon microphone sound while solving the problems of fragility and low output that have historically plagued ribbon mics. Delivering the warm, smooth sound of a classic ribbon microphone, Audio-Technica's handcrafted AT4080 Ribbon Microphone offers a robust build for long-lasting, reliable performance and higher output for maximum compatibility with microphone preamplifiers.
The 40 Series is a premium line of condenser microphones specially engineered to meet the most critical acoustic requirements of professional recording, live sound and broadcast.
The Model 55SH Series II provides the Shure classic UNlDYNE II design coupled with modern acoustic components to meet today's performance standards. This microphone is excellent for vocal pickup with its characteristic Shure presence peak.
Delivering the warmth and natural sound of a classic ribbon microphone, Audio-Technica's handcrafted AT4081 offers a robust build for long-lasting performance and higher output for maximum compatibility with microphone preamplifiers. With its low-profile stick design, this microphone is a natural for use on a wide range of instruments (horns, strings, drum overheads, orchestras and more) and guitar cabinets in recording studios and live-sound settings.
The new Sputnik large-diaphragm studio tube condenser microphone is based on classic vacuum tube design principles and manufactured in state-of-the-art facilities to exacting standards, this multi-pattern, large diaphragm studio condenser delivers the lush, classic sound that is normally associated with rare and expensive vintage mics.
The combination of updates make the Super 55 the ideal choice when looking for a dramatic - yet affordable - improvement in sound quality with an unmistakable vintage design. Ideal for stage, studio recording, podcasting, and other sound applications where a stand-mounted microphone with a classic look is desired.
The MXL V69 is a classic large diaphragm tube microphone. This special package includes Mogami cables, a shock mount and more! The MXL V69's classic sound quality enhances vocals as well as instrument performances. The extremely low noise level, wide dynamic range and warm sonic characteristics make the V69 a perfect complement to all digital recording devices.
A more compact version of the classic 210/2. The combination of the long-legged 201A/2 mic stand and the 211/1 telescopic boom arm. Like the 210/2, the 210/9 sets the standard for professional microphone boom stands.
A world-wide classic. Folding, long-legged die-cast base for stabilty and ease of transport. Noiseless, non-scratching clutch-style height-adjustment mechanism.
The LA-610 defined the affordable, ultimate vintage tone channel strip. So how can UA improve on tonal perfection in what was already a hit product? Enter the sequel... LA-610 Mk II, a second-generation revamp of the original 2005 LA-610 design. While the preamp and compressor are identical to the original LA-610 that users have come to know and love, user-requested features such as true compressor bypass, larger metering, improved output signal, an auto-sensing power supply have been added bringing the end user an enhanced user experience. The LA-610 Mk II also features the highly popular "black on black" cosmetics of the LA-610 Signature Edition.
The SOLO/610 delivers the classic Putnam 610 console sound to the single channel format in a rugged, highly versatile form factor, at a price every project studio can afford. The all-tube SOLO/610 provides the silky vintage warmth of the original UA 610 console used by artists ranging from Sinatra to Van Halen.
The C414 XL II is the successor of the famous C414 B-TL II. It shows the unique sonic signature of the highly sought after AKG C12 which enables lead vocals and solo instruments to be placed even in a dense mix. The unrivaled up-front sound is also well-known for distant miking applications like classic music recording or drum ambiance miking.
The 710 Twin-Finity is a radically new UA pre-amp design which uniquely combines both the classic retro warmth of UA tube design and the transient bite of solid-state in a 2U, half-rack, all-metal chassis. The 710 was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps.
