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Studio services include: Tracking, Overdubs, Mixing, and CD Mastering.

Now offering location recording and live sound services in the Philadelphia area.

         Shimamoto Sound is a creative audio environment that seeks to bring the most out of an artist's music. Our staff is committed to working hard to make things right so our clients don't have to worry about the technical aspects of music. We offer top quality analog and digital audio technology for all types of music and have the experience to make the most out of these tools. We pride ourselves on being able to being able to offer our clients good deals because of our many years of experience and strong work ethic. Our projects are always done on time using efficient, time effective methods.         Contact Shimamoto Sound to see what we can do for you today. We're happy to answer all of the questions you may have about the recording process or the music business in general. We strive to help artists of all experience levels get the most out of their careers. Shimamoto Sound offers a variety of solutions for recording artists so that we are able to be a one stop answer for every aspect of a music career. Our experience and expertise in the music business has been proven it can take a music career to the next level.        

The first thing I had to do was check out that funky mechanical capsule switch. Be forewarned: you must mute the microphone before changing this switch. The switch does its job easily enough. What I found was a very tightly focused cardioid position, and a somewhat spotty omnidirectional position. In cardioid mode, this mic feels like a laser. The rejection was almost like a hypercardioid shotgun mic. The rejection is so powerful that off-axis instruments can sound very out-of-focus and muted, much more so than with other cardioid condensers I typically use as drum overheads. Even at a height of ten feet above the drum kit, it was very obvious where each mic was pointed. Extra-special care had to be taken to make sure that no drum was in the "spotlight" of the mic. In the end, I decided the pattern was too severe to be used on drum overheads, and I switched the mic into omni mode. While this turned out to be a drawback in my application, live sound engineers should take note. This mic is an anti-feedback secret weapon. I didn't have the opportunity to test the cardioid-only version of this mic, the KSM 137, but if it has the same pattern, I could see that mic being a great live application mic. I tried the cardioid mode on a few other applications, with similar results. The extreme directionality led to this mic exhibiting that "pinched" sound common to many cardioid condensers. It's great when you need a lot of rejection, but in many cases, it was too annoying to be easily used for recording applications. Omni mode proved to be a much more musical setting for this mic. In omni mode the mic lost its "pinched" sound and opened up. Setting up the KSM 141 as a spaced omni pair over the drums gave us a good overhead mix with decent balance and a good stereo image. The KSM 141 also sounded much better on percussion and acoustic guitar in omni mode. The omni mode was a little uneven around the horizontal axis of the mic, but was generally very usable. My other beef with these mics is that the top end boost, which ought to sound fluffy and airy, came across to me and the other listeners as somewhat harsh and grainy. The effect is more pronounced when the mic is in cardioid mode due to uneven off-axis response. But even in omni mode, there seemed to be an unpleasant edge to this mic that was present on both the drum and acoustic guitar tracks. In the end, we preferred other mics on these applications. The 141 has a generally thin sound, with its bright top end and an underemphasized bass response. I would have preferred a mic with a more balanced response overall. The drum overheads were thin and the toms lacked body, forcing us to rely more heavily on the close mics than I would have preferred.

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