Emergence Audio update Infinite Collection Emergence Audio's free Infinite Collection has just been treated to a significant update that introduces yet more content and a wider selection of presets. 

Bakermat: “I love keeping imperfections in a track — it’s nice for people to hear that the music is made by another human”To most electronic music fans, Dutch producer Lodewijk Fluttert AKA Bakermat needs no introduction. His 2012 EP, Vandaag, sky-rocketed to the top of the charts across Europe and eventually went Platinum, consisting of an integrated sample of the I Have a Dream speech by Martin Luther King Jr. As for his 2020 single, Bainia, it currently holds a staggering half a billion streams on Spotify.

READ MORE: “You don’t always need to mix a song — hear me out…”: Grace Davies on DIY production, breaking studio rules, and trusting your ears

Combining his love of gospel, jazz, house and pop, Fluttert often collaborates with adept instrumentalists to bring an organic touch to electronic music and elevate his DJ sets. In 2014 he introduced the Bakermat live band, which included saxophonists and guitarists, and toured across Europe in partnership with Live Nation. He then went on to launch the Bakermat’s Circus in 2015, a live event which took Bakermat and artists from the likes of Robin Schulz to Don Diablo all over the world.
In this Studio Files interview, MusicTech sits down with this DJ juggernaut to discuss everything from his latest studio set up in the Holland countryside, to the plugins that were essential to the making of his new album, Grace Note.
Image: Press
Congratulations on the releaseGrace Note! It celebrates the two genres close to your heart, house and gospel – how do you feel like the two genres compliment each other as a producer?
Both are about achieving euphoria through music. It’s a lot of major chords, pianos, strings, choirs and it’s all about build ups. So there’s lots to play with as a producer to try to achieve this feeling. I guess house music is almost the electronic equivalent of gospel in a way.
How did going viral with the song Baiana make you shift your approach to releases? Did you find yourself wanting to follow the same formula?
Definitely not. I think the good thing about ‘going viral’ is that you can never really control it or prepare for it. It just happens to stuff. All you can do is make the best music you possibly can and if you’re lucky someone will pick it up and put it in a video that will speak to more people. If that doesn’t happen, it’s not a disaster because you still made music to the best of your ability, and you can be proud of that.
Tell us a bit about your studio.
I’ve just moved my studio from the centre of Amsterdam to the countryside. I noticed that I was getting distracted quickly in an urban environment with a lot of noise and people walking in and out. When I work on music, I need to be able to focus completely on that and get into ‘my zone’. Now that I have a studio in the middle of a field I can really get there and my productivity is way higher. I use it mainly to come up with new ideas, sounds, loops and projects that can spark something in a later stage when I start writing and producing full songs.
Serum 2. Image: Press
What’s your latest gear or plugin purchase?
I’m all about virtual gear, so I barely have any outboard equipment. My latest buy is KClip because I discovered the advantages of clipping before limiting. Right now, I’m also really into Omnisphere, a synthesizer that I’ve owned for ages but never really did a deep dive into. The possibilities are endless with this thing. You can basically do anything with it, so I’m currently obsessed.
What’s the best free plugin you own?
I just upgraded Serum to Serum 2 for free and I’m very happy with it. The new presets are amazing and the possibilities are also pretty huge just like Omnisphere. I think this synth really comes close to Omnisphere with this new upgrade. I also like the stock plugins that you get for free when you buy Ableton. I use them for like 90% of the jobs.
What’s been the biggest investment in your career/studio?
My MacBook for sure. As it is the main hub now that drives everything, it’s worth going for the absolute best and latest one. I also don’t like working with external drives so I ordered the Pro with an 8TB internal hard drive. Not worrying about space and power is a luxury when making music and it won’t hold you back from using very awesome but extensive libraries like the spitfire ones. It’s worth every penny, and I think modern producers should never hold back on buying the most advanced and spacious computers to do their thing.
I also have a fiberglass internet connection in my studio, even though it’s in a field. It’s a big investment but internet speed is a really big thing that you should never have to worry about when you’re in the zone.
Image: Press
Sampling tracks has become a big part of your work – is there a process in choosing which songs you’d like to emulate? Where do you source many of these tracks?
I have massive Spotify playlists that I play on shuffle. They are filled with old catalogues from legendary labels. It’s a mix of all world music, old soul and funk, gospel recordings and acapellas. I’m always searching for new samples. It’s like an automatic thing for me. Also YouTube is a great source of unreleased stuff — and Discogs.
You’ve said that your music isn’t something built by machines. As a producer how have you struck the balance of the record coming from an organic, human-made place, but still using the technology needed to produce an album?
Making music on a computer doesn’t mean it has to sound like it was made on a computer. I love keeping imperfections in or even adding them on purpose. In the end music is communication from human to human. So it’s nice for someone to hear that the music is made by another human, and humans are imperfect, not like computers.
Image: Press
How do you see your sound and studio evolving in the next two years?
I would love to work more out of the box (my laptop) and record more instruments with microphones; just to get that natural sound and imperfection in there a bit more. I always work hard to make my laptop-made stuff sound human but it could save me a lot of work if I just recorded a human, [laughs].
I’d love to sample more from vinyl, also. I feel like there’s a massive collection of unused samples still in the vinyl world. You just gotta find some, order them on Discogs and sample them from the player into your laptop. With everyone using Splice right now and sounding the same, this could be a huge winner.
Do you have a dream piece of gear?
I’d like to one day have an entire orchestra play parts that I can use it in my music. Obviously it’s a very big investment because a lot of people are needed to achieve something like that. Also a big choir would be really cool to work with, and a studio and engineers that know how to deal with recording such a thing. Apart from that, I have everything that makes me happy in my studio right now.

What’s a music production myth you think needs debunking?
Just in general that there are certain ‘ways’ and ‘rules’ in making music. If I see a video with the title “This is not how to use a compressor” I’m like: ‘Who are you to decide?’. I can use the compressor however I like if it creates an outcome that I like the sound of. There are no rules in music.
Who gave you the biggest lesson in your career? Can you tell us about how it impacted you?
My mother. I always show her my new music and her biggest lesson is that your music should always be surprising and remain interesting throughout. So don’t just repeat verse, chorus, verse, chorus but try to build in a bridge, prechorus or do something surprising to keep the listener entertained and interested. I love this because it just challenges you to not make a lazy record.
Read more Studio Files interviews on MusicTech
The post Bakermat: “I love keeping imperfections in a track — it’s nice for people to hear that the music is made by another human” appeared first on MusicTech.

DamyFX releases HellsBass, a FREE bass amp simulator for Windows
Developer DamyFX has released HellsBass, a free rock/metal-inspired bass amp simulator for Windows. If you aren’t familiar with DamyFX’s work, the developer offers a handful of free VST3 plugins, including analog-inspired effects and a classic polysynth emulation. However, most of DamyFX’s work focuses on guitar-based products, such as amp simulations and profiles for platforms like [...]
View post: DamyFX releases HellsBass, a FREE bass amp simulator for Windows

Why Are Concert Tickets So Expensive? A look at the numbersWhy are concert tickets so expensive? This analysis breaks down what’s behind rising prices - from rising expenses to high demand, ticket fees and even streaming.
The post Why Are Concert Tickets So Expensive? A look at the numbers appeared first on Hypebot.

When is the right to Time to Hire a Music PR Team?Think you're ready to take your music career to the next level? Learn seven signs that reveal whether it's time to hire a PR team to amplify your reach.
The post When is the right to Time to Hire a Music PR Team? appeared first on Hypebot.

Sonora Cinematic’s debut Audiomodern Soundbox packs Sonora Cinematic, the developer behind sample libraries and instruments such as Panorama Guitars, Emma Legato, Poiesis Cello and more, have announced the launch of Post-Rock Guitars Vol 1 and Vol 2.

Softube Tape Echoes is $29 at Plugin Boutique until June 15th
Softube offers its Tape Echoes delay plugin for just $29 at Plugin Boutique until June 15th. It’s a tempting offer if you’re chasing that gritty, lo-fi tape delay vibe. Tape Echoes isn’t a direct emulation of any one delay machine. Instead, it’s a “best-of” compilation, blending the Roland Space Echo’s three-head topology, the Echoplex’s delay [...]
View post: Softube Tape Echoes is $29 at Plugin Boutique until June 15th

Get Synchro Arts RePitch Elements for FREE with Free Trial Subscription
Synchro Arts offers the RePitch Elements streamlined pitch correction plugin for free when you start a trial of their subscription plan. RePitch Elements usually costs $69, so this is a solid opportunity if you need a new tool for vocal tuning (and if none of the free autotune plugins fit your workflow). All you need [...]
View post: Get Synchro Arts RePitch Elements for FREE with Free Trial Subscription

How to record vocals on your phone and mix them to perfectionIt’s now common practice for music-makers to capture their creative sparks and ideas with their smartphones. Many voice notes and quick recordings become the guidepost for fully realised records later on — even Skrillex is using an iPhone to capture final vocal takes in his productions.
Your phone may be the only microphone you’ll ever need for your next song, but you might find that the recording itself is full of noise, plosives, and generally feels unfit for a final track. Thankfully, there are a few production techniques you can use to clean up your smartphone recordings and make them sound professional. Let’s get into it.
READ MORE: Clive From Accounts: “Give me a phone and I’ll happily make you tunes all day”
The recording process
I’m recording a single vocal performance straight into my Apple iPhone 13 Pro and mixing it into a track.
I’m using BandLab so I can type the lyrics into the project file, but you can use any recording app on your phone, like Voice Memos on an iPhone. If you decide to record into the Voice Memos app, make sure that the Audio Quality is set to Lossless. You can find this option on your iPhone under Settings > Apps > Voice Memos > Audio Quality.
I’ll be recording in a place that doesn’t cause too many reflections, so I can have more control over the mix. Singing close to my phone’s built-in microphone leads to a cleaner, more focused recording. However, it also generates harsh plosives — the louder moments in my performance are nearly clipping, for example. It’s important to find an ideal distance between your mouth and the phone, which will take some trial and error.
Now that your phone is a handheld microphone, try singing without too much movement so that the microphone doesn’t pick up additional noise.

Exporting, importing
After recording a take I’m happy with, I export the audio file out of BandLab and import it into a new session in Ableton Live 12 — you can use your DAW of choice.
Since I had recorded my performance in free tempo, I’ll switch off the Warp and Snap to Grid functions. If you already have a tempo-locked track you want to pair your vocal with, feel free to keep these features on in your DAW.
Editing and cleaning
Ideally, a vocal recording will be clean so you can manipulate it to fit your song. However, recording with your smartphone, not in a studio, might mean your vocal take will need some cleaning up. Your first goal is to eliminate any hiss, rumbling sounds, excessive sibilance, and mouth clicks from the recording.
Insert a parametric EQ plugin and cut all frequencies below 100Hz — this will quickly address any issues in the sub range. Next, cut and remove silent sections of the recording and insert fades for a seamless edit.
You can also insert large fade-ins to control the volume of the breaths and cut the sibilant and plosive moments into separate clips to reduce their gain.
Next, insert a gate plugin on your chain — I’m using FabFilter Pro-G. After selecting the Smooth Vocal MTK preset, I tweak the threshold, attack, and release parameters.
Aim to minimise environmental sounds while preserving the integrity of your performance. iZotope’s RX Voice De-noise plugin is particularly useful for me. The Dialogue and Surgical settings work best for my recording, but I turn down the reduction amount to establish a gentle denoising balance.
Another iZotope plugin that comes in handy is the RX Mouth De-click. With it, I can clean up most of the undesirable mouth sounds automatically.

Tuning
In my recording, there are a couple of moments where I sounded slightly flat or sharp, so I’ll use the Antares Autotune Pro effect in Auto Mode. I select E minor as the key and turn the Retune Speed down to 50 for subtle tuning. You might want to try a similar pitch correction process if any parts of your performance sound a little off.

Shaping the dynamics and tone
To even out the volume fluctuations in the performance, try applying a double compression strategy.
The first compressor has a fast attack and release setting to keep transients under control. The second compressor is much gentler in comparison, with a built-in de-esser and EQ panel — you can use this to shape the tone.
After adding harmonic excitement with a saturation plugin, Soundtoys Decapitator, insert another EQ to reduce the volume of low and low-mid frequencies.

Adding reverb and delay
Time to create an ethereal space for your vocals to resonate in. By keeping each reverb and delay plugin in separate return channels, you can make low-cut and high-shelf EQ adjustments as needed.
The first time-based effect I’m using is the free reverb plugin, Valhalla Supermassive. Start with the SeaBeams preset but tweak the mix, feedback, and EQ parameters to your liking.

Next up is Soundtoys EchoBoy. Keeping it in default mode, tweak the low-cut, high cut, feedback, and echo time knobs. You should be aiming to add dimension without drawing attention away from the vocal.
To infuse my vocal mix with immediate and short reflections, I choose the Vocal Gloss preset in FabFilter Pro-R.

The last plugin in the chain is Ableton Live’s Hybrid Reverb — you can replicate this step with similar reverbs.
Set the Algorithm to Shimmer and set the Pitch to +12 semitones to hear your vocals reverberate an octave higher than their original pitch. Under Convolution IR, select Textures and Chains, and add some grit with the Vintage mode in Subtle.
By this point, you should barely be able to tell that this vocal performance was recorded with a phone.

 
Learn more music production tips in our MusicTech tutorials. 
The post How to record vocals on your phone and mix them to perfection appeared first on MusicTech.

Best free software and apps for music-making: Top free DAWs, plugins, instruments and moreMaking music for free has never been easier. All you need is a computer – or even just your phone – to start cutting tracks using nothing but freeware. Here, we compile our roundups of the best freeware music-making software, apps, instruments and plug-ins that every producer, musician, beatmaker and DJ needs.

READ MORE: The best sample packs, updated every month

Your first step should be to bookmark our regularly updated list of the best freeware of the month. There, you’ll find a selection of tools, instruments, plug-ins, loops and samples which won’t cost you a cent.
What are the best free DAWs?
A digital audio workstation – or DAW – is your primary software for making music. It’s the hub where you record and arrange tracks, add effects, mix, and even master your music. Most professional studios and producers use software whose names you might be familiar with: Pro Tools, Logic Pro, Ableton Live, Cubase, for instance. Some of these have ‘Lite’ or ‘Intro’ versions that give you a taste of the DAW with limited features — these are superb for familiarising yourself with music production, but you can find fully-fledged DAWs, free of charge, elsewhere.
Thankfully, there are many free DAWs to choose from. Check out our full list of the best freeware DAWs, including those you can score a free trial of, to see which works for the music you want to make. Here’s a preview:

Tracktion Waveform Free
Apple GarageBand
Pro Tools First
Studio One Prime
Cakewalk Sonar
Cakewalk Next

What are the best free music-making phone apps?
There are plenty. From standalone synths to drum machines to robust DAWs, you can find all manner of music-making and production apps for your iPhone or Android device. Here’s our list of the top freeware music apps to get started.
Where can I get the best free samples?
We’ve compiled a list of the best websites that offer free samples this year. For a library that we can stand behind, MusicTech has partnered BandLab Sounds to offer over a dozen royalty-free sample packs at no cost. These range from synths to FX to beats, and the samples come as uncompressed WAVs and are downloadable via web or mobile.
I don’t own a guitar, synth or drums. Is there free software or virtual instruments?
Of course. While actually playing those instruments with your computer mouse and keyboard can be finicky, it’s a viable and popular alternative to spending thousands on a full recording setup. There are hundreds of freeware virtual instruments out there – here’s what we consider the best:

Best freeware software synthesizers
Best free orchestral plug-ins
Best freeware drum machines
Best freeware rock instruments

And, while not technically instruments themselves, there are scores of free plug-ins that augment and enhance your existing instruments:

Best freeware plug-ins for guitarists
Best free software tools for live performance
Best free software tools for DJs

What are the best free effect and utility plug-ins?
Not all plug-ins make beautiful noise. You’ll need utility tools to EQ and mix your tracks, while effects can come in the form of reverb, delay, distortion and so on. Here are our picks of the best freeware plug-ins every aspiring producer needs:

Best freeware reverb plug-ins
Best free mastering tools
Best free utilities plug-ins
Best freeware creative effects
Best freeware mix effects
Best free experimental plug-ins
Best free plug-ins for pop production
Best free plug-ins for dance music production
Best free vocal plug-ins
Best freeware mobile apps 

The post Best free software and apps for music-making: Top free DAWs, plugins, instruments and more appeared first on MusicTech.

Moby at Cercle Odyssey: The closest I ever came to floating through spaceAs I walked the floors of a pop-up music venue within the LA Convention Center, pristine images of magenta-hued nebulas were projected on all four walls and the ceiling. The legendary recording artist, Moby, and his six-piece band were performing atmospheric electronic music on a stage in the center of the space. And the sound was being emitted evenly from every angle by L-Acoustics’ state-of-the-art L-Series speakers.

READ MORE: In 3 hours, Hans Zimmer Live reminds you why AI won’t replace real musicians

The word “immersive” gets thrown around a lot these days. However, after attending live music events constantly for the past 18 years, Cercle Odyssey was my first live music experience that actually fit that description.
This masterful and legitimate execution was to be expected from Cercle. Over the past decade, the innovative event brand has brought artists to perform among the most iconic and historic places in the world. From a modular synthesizer show in front of the Pyramids of Giza, to an elegant piano concert under the Northern Lights in Finland, and a bangin’ tech house track in the middle of Plaza de España in Sevilla, Spain.
Cercle Odyssey is the touring version of this concept. By building temporary spaces in different cities (so far, Mexico City, Los Angeles, and Paris), Cercle can now invite 5,000 people to be enveloped by beautiful visuals and music.
Image: Press
To best mirror the epic locations of their traditional events, Cercle called upon esteemed director Neels Castillon to capture footage throughout the globe to project at the show. But Cercle’s founder, Derek Barbolla, is clear that the visuals are there to support the sound, and has used L-Acoustics systems since the beginning of Cercle.
“[Cercle Odyssey] is a combination of visuals, lights, and sound, but the most important thing is the sound,” Barbolla told a select few journalists before giving us a tour of the venue.
For Cercle to succeed as a touring concept, the visuals had to go from 3D to 2D. But the expansive nature of its events lives on in the sound presentation. A traditional Cercle event uses standard stereo, but Cercle Odyssey expands to 360 audio.
“How do you recreate an experience of something that’s as beautiful as doing a set in front of the Pyramids in Egypt?” When L-Acoustics’ CEO, Laurent Vassié, poses the question, he remarks on the visuals being projected on all the walls and the ceiling. He also mentions that Cercle is filling the room with curated scents to capture as many senses as possible. But the true 360 aspect of Cercle Odyssey is the audio.
Image: Press
L-Acoustics was fully equipped to create a 360 audio landscape because of its prominent L-ISA (L-Acoustics Immersive Sound Art) system. It’s been used in many different environments, including Janet Jackson’s residency at Resorts World in Las Vegas and Max Cooper’s Immersive Audio Spatial Performance at Polygon Live Festival in London.
“The goal is to bring the idea of spatial audio, or immersive audio, or hyper-real audio to the live event at all scales,” says Scott Sugden, director of product management, solutions, at L-Acoustics.
Moby performed with a band, so Cercle’s engineer took full advantage of the agency provided to him through the spatial mixing software. More than once during the evening, different sonic elements would take sharp turns throughout the system. These moves drew my focus to different areas of the venue, which, due to its completely immersive nature, revealed imagery that I may have missed otherwise.

When it comes to the specific design of the L-ISA system at Cercle Odyssey, it is technically 16.1. All 16 channels are line arrays, the universally adopted speaker configuration that L-Acoustics invented in 1992. In total, 72 speakers are outputting 500,000 watts. There are 12 channels of immersive surround hanging around the perimeter, four main line arrays above the stage facing into the crowd, and a subwoofer unit suspended in the center point above the stage.
To prepare for this unique configuration, Moby’s team visited L-Acoustics’ studio in Los Angeles, where they have the facilities to virtually model exactly how the space will sound in advance. The sessions were vital to the success of the show because, in truth, immersive systems present choices that have never existed in live sound. Seasoned artists like Moby and his team have to completely reimagine what they’ve been doing for decades.
“You see artists’ eyes light up when they see this for the first time — ‘Holy cow, I never thought I could do this,’” Sugden says.
Image: Press
“There’s been a lot of evolutions of technology in the last 30 years. Most of them, the audience would never be aware of. Digital networks of audio. It makes it easier for us working at the show. I don’t think the audience knows the difference,” Sugden says. “I know the audience experienced a difference when the line array came out because it sounded better. Immersive audio, what L-ISA is doing, absolutely, the audience goes, ‘Something is different. Something is better.’”
I certainly knew something was better during Moby’s performance. No matter where I stood within the temporary venue, the audio was clear and even. While in reality, there is no sound in space — if the cosmos did produce natural music like deserts and jungles (two other environments projected during Moby’s set), it wouldn’t come from a singular point. It would surround me just as it did at Cercle Odyssey.
The post Moby at Cercle Odyssey: The closest I ever came to floating through space appeared first on MusicTech.

Top 30 startups announced for VivaTech 2025 Innovation of the Year AwardThe Innovation of the Year Award celebrates the boldest and most visionary startups exhibiting at VivaTech 2025. Open to all exhibiting companies, the award honors those pushing boundaries and redefining industries. Startups were scored on Innovation & Creativity, Market Disruption, and Scalability. From hundreds of applicants, 30 made the short list. The top five will […]

Guitar Center Adds Powerhouse Duo to Ignite a New Era in Music EducationGiovanni “John” Bianchette, Guitar Center Vice President of Music EducationGuitar Center has announced the the addition of two "high-impact leaders to its Lessons team: celebrated educator Giovanni 'John' Bianchette as Vice President of Music Education, and GRAMMY® Award-winning rock guitarist Dave Kushner as Senior Director of Music Education Experience.""With this powerhouse duo at the helm, Guitar Center is charting an electrifying course toward 50,000 active students – redefining how music is taught, experienced, and shared across its nationwide store network," they say in a statement.“This is a game-changer and showcases our commitment to the future of music education,” said Mike Schultheis, EVP and Chief Stores Officer at Guitar Center. “John is a strategic powerhouse in education, and Dave is a literal rock legend. Together, they bring unmatched energy, creativity, and credibility to our Lessons Program that will inspire a whole new generation of lifelong musicians.”"John Bianchette is a respected educator and brings public and private sector experience from leadership roles at Mathnasium, including Vice President of Education and Training," they add. "He has led instructional strategy, driven talent development, and shaped innovative, student-centered learning models. Focused on impact, Bianchette builds high-performing teams, broadens access, and redefines quality instruction. As Vice President of Music Education, he’ll oversee the expansion, innovation, and quality of Guitar Center’s music education offerings – building a scalable, inclusive experience that keeps students progressing, engaged and excited."“I couldn’t be more thrilled to join a brand that lives and breathes music,” said Bianchette. “Guitar Center gives us the platform to reach tens of thousands of aspiring musicians, and we’re just getting started. It’s time to put music education back where it belongs – at the center of culture, creativity and community.”"Dave Kushner is best known as a founding member of rock supergroup Velvet Revolver and brings decades of stage, studio and education experience to his new role as Senior Director of Music Education Experience at Guitar Center," they add. :Kushner has composed music for film and television, collaborated with icons like Elton John and Stevie Wonder, and developed popular online guitar courses. In his new role, Kushner will bring the magic of performance to every lesson – energizing curriculum and content for students online and in-store."“From the stage to the classroom, music has the power to change lives,” said Kushner. “As a musician who grew up in Hollywood, Guitar Center has been a part of my DNA for decades. With this new role, I plan to marry the ‘glory’ of the past culture with an educational experience rooted in the present and drive it all into the future.”“The future of music education starts now,” said Schultheis. “And it’s louder, bolder, and more inspiring than ever!”The post Guitar Center Adds Powerhouse Duo to Ignite a New Era in Music Education first appeared on Music Connection Magazine.

Stablecoin payment volume reaches $94B, driven by B2B TransfersBusiness-to-business transactions and card-linked stablecoin payments have grown, while Tether’s USDt has established dominance.

You Can Make Your Own Ribbon Mic With A Gum WrapperThere are lots of different types of microphone, with the ribbon microphone being one of the rarer ones. Commercial versions are often prized for their tone and frequency response. You can make your own too, as [Something Physical] demonstrates using a packet of chewing gum.
Yes, the ribbon in this microphone was literally gained from Airwaves Extreme gum. It’s got nothing to do with freshness or the special mintiness quotient of the material, though; just that it’s a conductive foil and it makes the YouTube video more interesting to watch.
The gum wrapper is first soaked in hot water and then acetone, such that the paper backing can be removed. The foil is then corrugated with a tube press with some baking paper used for protection during this delicate process. The “motor” of the ribbon microphone is then produced out of plexiglass, copper tape, and a pair of powerful magnets. The ribbon is then stretched between the magnets and clamped in place, acting as the part of the microphone that will actually vibrate in response to sound. As it vibrates in the magnetic field, a current is generated in response to the sound. From there, it’s just a matter of hooking up a custom-wound transformer to the wires leading to the “motor” and it’s ready to test. It works off the bat, but there is some noise. Adding shielding over the transformer and a proper enclosure helps to make the microphone more fit for purpose.
If you’ve ever wanted to experiment with microphone construction, it’s hard to go past the joy of building a simple ribbon mic. You can experiment at will with different sizes and materials, too; you needn’t just limit yourself to different brands of gum!
We’ve featured some other great mic builds over the years, too. Video after the break.