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The VoiceCube one-shoot
BEST SELLING Portable vocal booth for your mic

Handcrafted and molding to perfection!
Your microphone needs to be in a sound proof booth, but you dont have to be!
The VoiceCube one-shoot (TM) is a Microphone Shield that eliminates unwanted noise, reflections, and flutters inside around the mic, ensuring a top quality voice and recording output. Its perfect for voice-overs, sporting events, hot vocal tracks, home recordings, and other sound uses. The VoiceCube one-shoot (TM) is recommended by music producers, singers, song writers, voice talents, musicians, movie sound men, and audio engineers alike.

  • The VoiceCube one-shoot ia a anti-reflection panel is designed to improve the performance of any microphone when used in an acoustically compromised environment. When room reflections exist in the recording environment they can adversely affect the quality of your recording. Unwanted effects such as frequency colorations, “muddy” vocals, and time delay anomalies can occur in non-acoustically treated environments. The anti- reflection panel works to reduce or eliminate these effects in non-acoustically treated environments at a fraction of the cost of acoustically treating a room, and can provide additional isolation when needed in acoustically treated environments as well.

  • To better understand how sound works in a room we first need to understand what makes a room sound “live” or “dead”. A room is called a “live” room when it has a bright sound, one that accentuates the audible frequency ranges of the voice or instruments. A bright sounding room can also have a reverberation or “echo” as well. This brightness and reverberation is caused by reflections from hard surfaces in the room such as glass windows, wood paneling, wall board, and tile or other hard flooring materials. Since most rooms have walls, floors and ceilings that are parallel surfaces to each other, these reflections bounce around the room between hard surfaces accentuating different frequencies and creating natural reverberation. These reflections can arrive at the microphone at different time intervals which will affect the intelligibility of the spoken word and can also change the sound of instruments. A “dead” room of course is the opposite of a “live” room; it is a room with more sound absorption than reflection.

  • Rooms with lots of soft surfaces such as deep shag carpet, soft furniture, soft wall materials or theatrical drapery, even lots of clothes in a well packed closet will absorb sound at different frequencies and in extreme cases can sound very unnatural. In these kinds of rooms there seems to be a lack of high frequencies, but actually mid and low frequencies can also be absorbed depending upon the size of the room and the extent of the soft or absorptive materials. An additional effect of extreme sound absorption is the lack of perception of boundaries due to our ears natural tendency to perceive slight differences in time arrival as evidence of a wall or room boundary. Ideally the goal is to have a good balance of absorption, reflection, and non-parallel surfaces in your room to make the best recordings, which is often not possible to achieve without drastic changes in room construction. This is why an Anti-Reflection Panel is such a good tool; it will help significantly reduce the effects of an acoustically unbalanced room by isolating the microphone from the effects of room reflection and absorption problems.

  • Microphones are designed with specific pick-up patterns, but they all fall into essentially two types, directional and omni-directional. Directional microphones have a defined pattern field, some are cardioid shaped rejecting sound from behind , some are “figure 8” shaped rejecting sound from the sides to benefit the front and rear pick-up pattern and there are others that are variations of these shapes, while omni- directional microphones as the name implies are designed to pick-up sounds from all directions at the same time. Directional microphones are useful in that they can naturally reject sounds from the rear or the sides which can be useful for live sound applications and for specific recording situations, while omni-directional microphones usually have a more open and true sound in both instrument and live recordings, but also are very sensitive to other sounds (such as other instruments) that may make them more difficult to use in some situations. The choice of what kind and type of microphone to use is based on both artistic and specific applications and will not be discussed here, but we will show that the ARP device can be used for either type of microphone in many different applications.

  • Musical instruments are subject to the same room acoustic anomalies as the voice, but often due to proximity of sound sources such as drum kits or in sheer volume as with a guitar amplifier there can be more extreme acoustical reflections at play; along with extreme levels of sound leakage, especially with multiple microphones in a live recording. order your today ! if you order more then (#4) i'll drop the price?

  • Praised by music producers, singer, song writers, voice talents, musicians, movie sound-men and audio engineers alike.
  • The VoiceCube one-shoot

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