Record Your Audio With a Digital Recorder

The stereo digital recorder is the most highly modern personal audio recorder, which one can easily use in a host of conditions. It now sports a 4GB card, stereo recorder is perfect for the musicians and artists who would like to experience precise audio reproduction of their rehearsals and live music. For the songwriters, during their moments of inspirations, this personal audio recording equipment ensures that you can instantly record that novel idea. For soundmen, broadcasters, podcasters and journalists the digital recorder allows you to test audio for the world to hear at once, wherever you are, every time.

Digital recorder main features include:

24-bit 96kHz PCM linear high-resolution and low sound recording

Lately developed (IARC) Isolated Adaptive Recording Circuit

High sensitivity, high grade stereo in built condenser microphone

Records to SDHC or SD memory card

Hand held and compact body for simple portable use

Wide viewing ability on big Organic Light-Emitting Diode (OLED) display

Preview in built speaker

Included wireless remote control

Quick and uninterruptible file transfer by USB 2.0 link to PC

Included easy pyro Audio Creator LE wave editing software

Experience clear-cut audio reproduction as well as clearness by a wider vibrant range while using the sample rates and higher bit rates, which digital recorder provides. Digital recorder supports about 24 bit 96 kHz PCM linear recording that has extra audio digital resolution than an ordinary audio CD. IARC is a recently developed and dedicated circuit analog that is optimized to record along the digital onboard recorder A/D converter. The electrolytic capacitors offer reliable, stable power with a self-sufficient power source used for analog circuitry in addition to an added power source used for digital board circuit, thereby eliminating the DC interference among the components in the digital recorder.

The IARC also greatly contributes to low noise high quality MP3 recording by digital recorder. Little enough to adjust in the shirt pocket, it include a novel tactile feel, which is simple to grip. Plus, it also constitutes a user friendly display of graphic for ultra simple operation. The great 1.5 OLED display gives wide viewing ability, peak indicators, at-a-glance level meters, and additional recording information on the screen.

With the included wireless remote controller, transport functions such as recording start/playback start, fast forward, rewind, volume control, and input level control can be accessed from a distance away. This allows the digital recorder to be placed in exactly the right position for recording, and allows for quick and easy touch-less operation.

Problem Voices – Tips to Turn Bad Vocal Sound Into Rich Resonance

Thin, hooty, weak, lifeless, nasal and edgy problem voices all have one thing in common- the “resonance cave” of the voice is not completely open.

These vocal sounds are not nearly as listenable as the rich, clear, bell-like, multi-textured musical sounds of a voice when the throat is open. Sometimes a person is so used to speaking or singing with a small, pinched voice, they don’t even know it’s possible to change it. But with vocal training to open the throat, you will be amazed at how great you can sound.

The “resonance cave” of the voice involves a forked channel. The channel goes from the larynx in the throat upwards where it forks into the mouth and the nasal and sinus passages. The nose is actually huge inside. The top of the nasal membrane goes all the way up to the eyes.

Resonance is created and modified by the state of this channel. Here’s how it works:

* The vocal cords vibrate the larynx.

* Sound waves coming off the larynx go through the channel to bounce against other tissue surfaces and cavities in the throat, mouth, nose and some sources say even down the trachea.

* These alternative resonation zones add their own character to the sound waves.

* If the channel is open, more vibrations can reach more surfaces, and the resulting sound gathers and comes out the mouth much richer than when the channel is constricted anywhere.

Another very important point is that different pitches need to vibrate through different resonation zones. If your throat is tight anywhere, that will keep vibration from freely traveling and you will experience limited range, thin voice – and vocal strain – if you try to hit inaccessible notes.

Here are some tips to open your throat and gain resonance you never thought possible:

  1. First of all.. record yourself speaking or singing something so you have a baseline from which to assess your progress.
  2. If you have what is commonly known as a “nasal voice”, the nose is actually constricted – like when you have a cold. Paradoxically, to get away from the nasal sound, you need to sing through an open nose – not just your mouth! Try singing or speaking with a flared nose to see the difference.
  3. Another thing that can help open the nasal portion of the throat channel is to use your eyes! Try counting to five, LOUD, with your eyes small and zombie-like. Then count again with your eyes wide moving like you’re communicating to a baby or a puppy. Notice the difference?
  4. To open the throat channel where it forks into the mouth, articulate your words in the front of your mouth… NOT AT THE JAW! This will invariably sound thin and lifeless. You may not realize you’re speaking from the jaw so try this: Put your knuckle in your mouth and try to speak. Then take your knuckle out but try to speak like it’s still in there.
  5. Sometimes it helps to rock the jaw slightly sideways to keep from locking it on a note or passage.
  6. Try speaking or singing while imagining that a ping pong ball is on the back of your tongue.
  7. To open the channel at the top of the throat and back of the mouth: Don’t hold your head forward! This frequently leads to a hollow, hooty voice. Try doing wall work: Stand against a wall (head and heel against the wall, flexible spine, chin level and floating) and speak or sing. Notice and/or hear a difference?
  8. When using a mike, pull your mouth back from the mic like you’re playing tug of war. Don’t go too far, just a little stretch. Your head should go back and to the side a bit, and keep your chin flexibly level. Important: Your neck should never lock to your shoulders.
  9. And one last point… sometimes the throat tightens to try to defend the vocal cords from too much breath pressure. That’s why I emphasize the three cornerstones of Power, Path & Performance vocal training – studying breath technique along with open throat and performance communication. Put them all together and you have…. GREAT VOICE!