{"items": [{"author": "Taviy", "source_link": "https://www.facebook.com/jefftk/posts/242623549108286?comment_id=242692635768044", "anchor": "fb-242692635768044", "service": "fb", "text": "\"...the sound person will kill you.\" Well put! Nice overview.", "timestamp": "1314461749"}, {"author": "Mac", "source_link": "https://www.facebook.com/jefftk/posts/242623549108286?comment_id=242797205757587", "anchor": "fb-242797205757587", "service": "fb", "text": "Love your seminars!", "timestamp": "1314477402"}, {"author": "Dan", "source_link": "https://www.facebook.com/jefftk/posts/242623549108286?comment_id=242861055751202", "anchor": "fb-242861055751202", "service": "fb", "text": "Typo: \"cardioid\" is spelled like that.  Overall a nice simple overview. One thing worth mentioning. There are lots of ways to build a microphone. The kind of mics that you see most often at dances and such are \"dynamic\" mics, which do not need phantom power, are rugged, and inexpensive. They are also susceptible to \"proximity effect\" which boosts the bass (low frequencies) of the signal, making it boomy. The PA operator can try and compensate for this at the mixer, but it is best to move the sound source at least one inch from the mic head. This is usually an issue with vocal sources (like singers or dance callers).", "timestamp": "1314488163"}, {"author": "Terry", "source_link": "https://plus.google.com/110796240920571504300", "anchor": "gp-1314888441087", "service": "gp", "text": "Jeff - in the real world, musicians will grab booms and yank them to the right spot.  Often they just don't have both hands free to properly loosen the boom, but many musicians also don't understand the concept of loosening, adjusting, then tightening, to avoid wearing down the mechanism.\n<br>\n<br>\nI agree that boom mikes are the way to go, unless the musician (preferably) has a clip-on mike for their fiddle or other instrument.", "timestamp": 1314888441}]}