To assist musicians as they express themselves on their chosen platform, is very purpose driven. Tip of the hat to your willingness to serve those you relate so well with. You will do exceptionally well, enjoy your journey as you without doubt will uplift others! wade-bergner.com. Namaste, Wade
Freedom For Musicians is well into changing the world of “Notes”.
Seems to be an affair of the heart where you are pouring in everything you have. And the results are coming through load and crystal clear.
Amazing how proud you should be the emotions behind which are like music to my ears.
Susan Patricia Connor Lewis
Director / email@example.com
What an amazing site!
I love the energy of it! I am not a musician myself, but I do love music. Your site is easy to navigate and it’s easy to find everything I was looking for. The best thing is I have found some new music that I really love – the artists are amazing and I’ll be keeping a close on the updates! I look forward to checking through more of some of your amazing music. Thankyou!
Karen and Jacky
Thanks for providing a fabulous platform
As a musician myself I really love what I’m seeing here. I don’t perform professionally any more but did so for many years with my partner. These days we still write, record and play and are in the process of creating an archive website for our back catalog to live on. We were slogging away way before Facebook, Youtube and all the other social platforms existed.
It is with great pride that we present to you, FFM Records’ catalogue of our very own recording artists. As FFM grows, so does our record label and our first artists come from four different continents and musical genres.
Dita Nurdian is an Indonesian writer of electronica and dance music. Her passion for this genre is evident in her prolific output. At FFM Records, we have released 4 of Dita’s latest tracks and you can download them here, Beatport and stream on Spotify.
Slawomir Rataj is a guitarist and composer from Poland. Recently released under the FFM Records label, Slawomir’s debut album ‘Measure of Abstract’ is an instrumental album that combines electronica with Slawomir’s phenomenal guitar playing.
You can download the album here, at itunes and stream on Spotify.
Andy Anies is a Songwriter with thirty years of songwriting experience who has made it in the Gospel Music arena with 5 Albums. He has written songs for various artists as a ghostwriter. Andy is a versatile Stage Performer who makes it live on Stand-up Comedy, as he plays on the Solo Guitar over his mouth-organ.
Born in 1993, Debdeep Misra the grandson of legendary vocalist Pandit Bishnu Sebak Misra of Benaras gharana(piyari gharana) loved music enough to start listening, appreciating and learning at a very tender age of four under the guidance of his mother smt. Banani Misra-one of the desciples of Pt. A.kanan and Vidushi Girija Devi and his father who is disciple of pt. Mani lal Nag.
My Surreal Music welcomes you in a fusion of classic and electronic sounds. Are you ready to get entranced in a fantasy atmosphere, experiencing darkness, love and desire? Sometimes in life we experience a partial eclipse or a total eclipse of the heart. I hope the eclipse can be also a rebirth for people who are searching and desire to find themselves.
The Zoom H1 Digital Field Recorder’s built-in X/Y microphone provides two matched unidirectional microphones set at a 90 degree angle relative to one another, optimum for most stereo recording applications. For X/Y or other types of recording, you can connect a pair of external microphones or line level signal to the H1’s Mic/Line Input mini phone jack.
The Ins and Outs
The H1 Mic/Line Input is a stereo ⅛” mini phone jack that can accept two mic- and/or line-level signals. Condenser microphones requiring Plug-In Power (2.5 volts) can be connected to this jack. The H1 Line/Headphones Output is a stereo ⅛” phone jack with a dedicated volume control. Headphones can be connected here for private monitoring. There’s also a built-in speaker on the back panel for fast monophonic monitoring of the recorded signal without the need to make any connections. The H1’s USB port provides a digital output of the stereo mix and allows data to be sent to and from your computer. From there, it can be imported into editing software such as the supplied WaveLab LE. It also allows the H1 to be used as a 2-in/2-out audio interface and USB microphone, as well as a microSD card reader.
Auto Level and Low Cut Filter
Overload and distortion are prevented with the H1’s Auto Level function that sets input gain automatically (input level can be set manually, too). The H1 also provides a built-in low cut filter for the elimination of pops, wind noise, blowing, and other kinds of low frequency rumble.
WAV and MP3 Support
The Zoom H1 records audio in both WAV and MP3 formats. The WAV files recorded by the H1 can be either 16- or 24-bit, with sampling rates of 44.1, 48, or 96 kHz, and are automatically time-stamped, making them Broadcast Wave Format (BWF) compliant – ideal for journalists and other professional media.
Battery Life and Recording
The H1 Digital Field Recorder requires just a single AA battery – offering up to 10 hours of operation, even during continuous recording. You can also power the H1 from any standard wall socket using the optional AD-17 AC adapter. The H1 records directly to microSD and microSDHC cards, up to 32 gigabytes.
High Quality Video Audio
The compact, lightweight H1 is perfect for use on a video or DSLR camera. The remarkable depth and clarity of sound achieved by the stereo X/Y mic design brings additional realism and depth to HD video. By combining the H1 with a DSLR video camera, you can create a professional video system with high-quality sound.
Included Accessory Pack
Additionally, the Zoom H1 comes with a useful bunch of accessories that allows you to get the most out of the Zoom H1 recorder. Included is a windscreen that minimises wind noise in demanding weather conditions, helping to retain the audio quality from the H1. The adjustable desktop tripod stabilises your recorder when on the move, or at home, and minimises handle noise to ensure clean recordings. The soft case ensures protection for your H1 during transport and storage. The accessory pack also includes an AC adapter, USB cable, and mic stand clip adapter, allowing you to charge the recorder, and seamlessly transfer files onto a computer or storage device.
What’s Included In Accessory Pack
Mic stand clip adapter
Adjustable desktop tripod
“The Zoom H1 Handy Recorder is unquestionably a bargain” – PC Advisor
“For such a small unit it really can do some impressive recording and will definitely get the job done. Whether you are recording an interview or live music the H1 would be a great tool.” – Videomaker Magazine
Built-in 90° X/Y stereo mic
Stereo ⅛” Mic/Line Input mini phone jack with Plug-in power (2.5V)
Stereo ⅛” Phones/Line Output jack with dedicated volume control
Built-in reference speaker for fast monitoring
Backlit LCD display
Records directly to microSD and microSDHC cards up to 32 GB
Supports up to 24-bit/96 kHz audio in BWF-compliant WAV or a variety of MP3 formats
Auto Level for automatic control of input level
Low-cut filter for elimination of wind noise and rumble
Up to 99 marks per recording
USB port for data transfer to computer and use as an audio interface and USB microphone
SD card reader function
Mounts directly to tripod, or to mic stand or DSLR with optional adapter
Runs on only 1 standard AA alkaline or NiMH rechargeable battery
Up to 10 hours of operation with a single AA alkaline battery
Deena Ade is an alternative artist, who has been described as raw and powerful in her vocal and lyrical delivery. Reminiscent of the Eryka Badu and late Amy Winehouse to name a few.
Melo Produced THABEATSMITH is the official single from her debut project ‘The Cries Of My Subconscious’
She explores a world of an Alpha female, who’s one desire is to capture the attention and love of another. Miss SLUTWALK herself proves once again to go against the grain in this song. Entwining her sultry vocals with her words of seduction.
Born Medina Agboluaje, the first of four children, music has been a substantial goal of Medina since the age of eight. As a child Medina performed around London for a local charity, which eventually led to performing for the late Papa Madiba in this state visit to London. Over twelve years later Medina can be found performing weekly in London’s hottest underground spots.
Having found much comfort in the training received by mentors such Beats by Sarz and other industry power players, Deena is now ready to face the music industry with the intensity she believes it is lacking. Using a name to define her sound and style can be quite daunting, but under the fabric of her stage performances lies a blueprint of influences. For example Amy Winehouse, Asa, Beyonce, Wizkid, Fela Kuti.
Deena Ade is currently releasing a song a month for a year which will be followed up by an LP project, set to be released in November titled “THE FEMINIST”. As her talents and fan base continues to grow, she emphasises on people not to over look as her, as she is the future of the African Music Industry. As she says ” It doesn’t matter what people say, as long as they like my music’.
At the beginning of 2016, I had an idea that I wanted to do something digitally/online that would help fellow musicians and be something that I could give back to the industry. My legacy if you like.
Now, I had no idea what it would be or how to do it so I set about learning the tech, digital marketing and website building. This was quite daunting for this fifty-something dinosaur but I quickly discovered that this modern sorcery was actually pretty easy. (Big thanks to DBL and SFM )
Hence, Freedom for Musicians was born. To be honest, the early manifestation of FFM was quite embarrassing in hindsight with no real identity and clumsy tech. However, I persevered and we now have a thriving online music magazine, independent record label and growing community of nearly 5000 musicians worldwide. FFM has Ambassadors representing Uganda, Kenya, Ghana, Canada, India, Azerbaijan, Czech Republic, Italy, USA, UK, Jersey CI and Indonesia. My initial concept has come a long way in a very short amount of time and I am immensely proud of our achievements so far,
Our focus now is to serve our members through publishing their music, videos and blogs. We advertise their products and services and release their music digitally in all stores world wide.
Please take a few moments to check out Freedom for Musicians as it now exists:
Spirit communication through musical inspiration. A short film featuring Tim Foster aboard the infamous Floyd Tillman tour bus. A musician attracted the ghosts of famous country music personalities. A psychic translated the comments. A paranormal investigator recorded the actual spirit voices. “Fun and entertaining” “She loves you” “Can you see me?” “more please”
Thank you for making this journey with me into the minds of musicians I have worked with. My first recording project was in 1987 at Began Sound in Ft. Worth, TX. The release on cassette tape featured Jackie Moore (guitar, vocals), Glenn Shelton (guitar), James Mayfield (drums), Drew Thomas (harmonica) and myself (bass), “Back to the Brazos” and “It’s So Peaceful” remain with me on quarter inch reel to this day.
We produced a series of RiverConcerts and performance venues to raise awareness of the impending dam project on the Paluxy River with the tour lasting four years. The second was in 1998 at Cedar Valley Community College studio, “Ode to a Fisherman” (poem by David Lilly), “Take Me Back To Texas”, “South of the Four Sixes” and “Old Time Cowhand” (poems by TL Thompson) was a class project where Bryan Clark was tasked in the role of producer and not allowed to play the drum tracks himself.
The day of the session, Bryan searched the corridor at the school and came back with a drummer to fill in. His name is not known for credit here. Hank Black (guitar, harmonica) on these tracks with myself (guitar, bass, vocals and songwriting)…Bryan got an “A” on the project. In the summer of 2001 with funds earned from a major construction project, I decided to fulfill a long standing promise to again record Jackie Moore (songwriter, acoustic guitar, vocals).
We had been performing off and on throughout the decade. We selected the Diamond D studio on the Brazos River in Granbury and did several sessions on one inch analog tape. With Dan Hodan (lead guitar, mandolin) and a couple of failed drummers and engineering challenges, we abandoned the project when Jackie first introduced “Poet of the Prairie”. We needed a better studio so I found The Kitchen Recording Studios Dallas, TX to record three songs.
We came out with eight. The studio percussionist was Jeff Hennon and JP handled the ProTools. Very excited about these results, we scheduled another RiverConcert with Rusty Wier and Tres Hombres to headline the show in October. We were on KNON radio and Songwriter Showcase on DCTV with Lisa Byrn. Then came the infamous 9/11 event.
I was begged to cancel the RiverConcert and called Rusty to ask if he was afraid to do it. You would not believe what he said. The RiverConcert production was a huge success. The attendance; however, was not. As producer, I retained this project and in 2003 reentered the studio and replaced Jackie’s vocals with my own version of “Poet of the Prairie”, “I’ve Crossed the Brazos” and “Goodbye to a River” (not included).
I added Tracy Fletcher (tambourine, background vocal) to “Poet” with the assistance of Mark Dove during the 2008 sessions in Azle, TX where “On My Way” and “Fisherman’s Paradise” (written by Jackie Moore not included in the 2001 sessions) were recorded with Mark Dove (piano, harmonica) and myself (vocals, acoustic guitar and bass). During my many travels developing a solo career, I have written about and performed in various unique places.
There remains songs which need recording. In Stephenville, TX, I met Clif Hunter whose poem “Does Anyone Really Care to Know?” captured a standing ovation at the Irish pub at Branson Landing. It also captured the spirits on the Floyd Tillman tour bus near Galveston where “they” gave me the nickname “Clearwater” hence the title to this album and email address. The DVD movie production by Paranormal Investigations of Texas (paratexas.com) titled “Haunted Tillman Bus” and the original Jackie Moore and The Roadrunners CD are available on request. Thank you again for listening…see y’all while ago.
Conceived and conducted by Vincent Rees, the Red Planet Orchestra combine classical composition with a contemporary structure of electronic ambient music.
With sound artist Pete Smith, the Red Planet Orchestra has accumulated a growing body of work both rich in invention and subtlety. A sound palette of future memories and past dreams. Each release has created a landscape of intense serenity.
Their debut album, Aurora Symphony, was warmly received and now a firm favourite among fans – All albums feature original artwork conceived by Belgium artist Nicolas Crombez.
The Red Planet Orchestra continue to compose music for emerging film soundtracks such as the brilliant ‘Gorka’
Aurora Symphony – 2013
Secrets of Eternity – 2013
We Breathe Together-2014
States of Space -2014
The Angry Silence -2014
Time of Dark Consequences – 2016
Contamination – 2016
In December 2013, my dance music producer friend Andrew was riding the New York City subway when a homeless teenage guy stepped into his train car and started singing R&B. The soulful Christmas mashup so moved Andrew that at the next stop, he followed the singer off the train and offered to record him a demo for free. The kid bit, and the two became fast friends.
I thought this was one of the cooler things I’d ever heard, so I asked if I could buy them coffee and hear more about it. In our interview, Andrew and Julian discuss their chance meeting, unlikely similarities, and musical futures.
Julian Brannon (the teenage guy): Well, my goal is to be the best, so let’s just get that out there. There’s no one in the industry that looks like me or sounds like me right now, and I think they need me.
Andrew Toews (the producer): You are unflappable!
Me: Wow, quite an intro! Could we back up for a sec? How did you guys meet?
AT: Sure. It was just before Christmas last year. I was on the train, and Julian got on and introduced himself and started singing sort of a holiday medley, in an R&B, soul style. I think it was: “We Wish You a Merry Christmas,” “Winter Wonderland,” and…
JB: And “All I Want for Christmas is You” by Mariah Carey.
AT: You can tell when someone has something to pitch you on the train and you’re like, “Dude. Seriously. Don’t.” But I liked this guy, I liked his energy. There was this spark. I actually thought, “I want to hang out with this guy!” He was making my day a better day.
JB: You know, I relate to that. I know I’m there making money, practicing, getting over stage fright. But at the end of the day, I want to make people feel better. I want them to call their mother after I sing Boyz II Men “A Song for Mama.” I know I can do that for people.
AT: So I thought about it for a second and chased him off the train. I thought he might think I was a sexual predator, or otherwise a weirdo; there was definitely fear of rejection in the air. But this was a case where my talents were uniquely suited to you — you’re not a guy with a trap kit who I liked listening to but wouldn’t know what do with in the studio. You’re a singer. So I gave him my email address. I didn’t think he’d bite.
JB: Well, most people don’t respond to me! Guess it goes both ways. I thought, “I don’t know what kind of experience this guy has, but it’s practice.”
AT: It was practice for me, too. Better than spending the afternoon drinking beers, if you ask me.
JB: It was my very first time being in a studio. By the way, your studio was small! I was thinking, “This is not Cadillac Records!” But hey, this is where I’m at. I just knew I should sing into the mic. Andrew told me to just try some a cappella covers, so I did some Mario, some Adele, Guy Sebastian, and The Fray. I put it all on the Internet and it’s gotten me a couple gigs. It’s made me money! It’s badass.
AT: I didn’t want to overcommit to a bunch of studio work; didn’t want to have to tune things later. We’re selling his voice, after all, so we just went for it straight up. We kept the imperfections.
JB: I wanted to keep the personality in it as well. I put some new runs in the songs, which were great, I thought.
AT: I liked when I asked you who you listen to and the first person you said was Adele. She’s one of the only people on the radio now who doesn’t have Auto-Tune on her voice.
JB: Yeah, her and Beyonce: who won seven Grammys and who won six? Know what I’m saying? At the end of the day, raw talent will always win out over good looks.
Me: Can you rewind a bit, Julian, and tell me your backstory?
JB: Sure. I’m from Houston. I used to weigh 300 pounds. I came to New York to sing. I’m a good singer and I can easily act, but I didn’t want to do Broadway. I wanted to be a real artist, go solo. My friends would do talent shows, and I’d say, “Okay, that’s cool — you do you, but I’ma do me.” Don’t get me wrong — musical theater moves people, too. But every note is perfect; there’s no life, no meat. That’s why I like R&B, soul… That music knows how to make people feel things.
I also wanted to get a better education, be with like-minded people, live at a fast pace, not have a car… And when I came here, I sure got all of that! But I also experienced what I would call… a graceful fall.
Long story short, I enrolled in Pace University in 2012, and the classes were easy enough — except algebra; I’ve never been a math whiz — and I was able to network a lot there. But I had to leave prematurely when I couldn’t get enough loans. I even dressed up in a suit one day and canvassed Wall Street to ask people for loans — nothing!
So I needed something, and I got this crazy pyramid scheme direct marketing job right away. I became the number one sales rep in no time. I was on fire, I had no choice. I have many talents besides singing — I’m good at sales, drawing, art. If I tapped into any art, I could master it, but music is what I care about.
Am I talking too fast? No? Okay.
So when I got kicked out of the dorm, I got into a cab and went to a hostel. I told FEMA my house got blown away in a storm so they’d pay me! Then I moved into an apartment in Harlem, where I was suddenly partying with adults, people age 25 to 45, and some of them were very wealthy. Then my company wanted me to open their new office in Texas, so I moved back there to do that. But there was some shadiness, some managerial shadiness, and suddenly my paychecks were much smaller.
So I moved back to New York again to get away from all that, but I was super broke. I stayed with friends for a few months, but wound up in a shelter. It’s a shelter right in the middle of NYC, though! And it keeps me not feeling homeless. It’s not an apartment; it’s a shared room and bathroom. And I’m choosy about who I associate with there — it is a shelter, mind you. If I get signed or put into a financial place where I can afford it, sure, I’ll move out. But other than that, it’s fine; it works.
Anyway, I found I could make more money singing on the train than working at Bill’s Burger. $50 an hour! Your minimum wage for a day is what I can make in an hour! So I was doing that a lot toward the end of last year, and I got a lot of attention from people on the train — producers, etc. I was auditioning for showcases and all that. I’m actually going to an audition right after this, and I’m doing Amateur Night At the Apollo this coming week.
I surround myself with people who are going to help me get where I need to get. It’s all about progressing. We know it will take hard work to live a privileged life, and we can be an inspiration to each other.
But here’s the thing: when you hit rock bottom — when no one’s answering your calls, when no one will let you sleep on their couch — you realize what you still have to offer. When I was singing on the train, I was thinking, “This is all I have.” But that was a good thing. That’s when I realized that’s what I really have to give in this life.
Plus, when I get rejected, it’s a positive thing, because when I get big, that’s one more person who’s going to be like, “Damn! I missed that one.”
Me: Does your family worry about you?
JB: Family? My mother, yes, it stresses her out. She’s stressed out to the max.
AT: I can imagine!
JB: But I tell her that I’m a survivor, and that I survive with dignity. It’s a struggle. But I try to do it with dignity — ask don’t steal.
AT: Reminds me of conversations I had with my mom when I was around your age — 18 or 20. I moved to L.A. with no plan. I got kicked out of a warehouse squat; was sleeping on roofs… My mom was living overseas and I called her and said, “Okay, I’m sleeping on rooftops, but I have a job, I have a car. Sure, I’m spending a lot of time in McDonald’s bathrooms scrubbing my armpits, but I’m not a scumbag and I’m not on drugs. I could do something different, but this is what I’m doing right now. I’m keeping it together.”
JB: One time my mom got a call from the police because someone found my wallet. She thought I had been killed, murdered, stabbed… But I was just at work. At the end of the day, my mother is my best friend, she supports me.
I’ve never been in love, or anything like that. I’ve been alone all my life. Not that I haven’t been close to people or they haven’t showed me love, but not intimately.
Me: Wow. Drew, would you record another singer like this?
AT: Yeah. Not right now because I’m super busy and I don’t have a studio outside my house anymore, but in theory sure. Then, if I had the time and the opportunity showed itself.
I tend to be a fearful guy. I always make myself do stuff, but it never comes easy. So this was good practice presenting to people. You don’t have to be the best in the world. I don’t want to say, “If I’m not going to be Beyonce, I’ll just quit.” That’s not the attitude I want to have.
JB: You learn certain things in life. I believe in the law of averages. No matter what you try to do, it will happen — it’s just a matter of time. If you shop yourself to 1,000 people, one of them will like you. Life is a numbers game. I’m just waiting for the date. I’m trying to set up a foundation to build upon. I want to go a record label and say, “This is what I got; what can you do for me?”
AT: It’s a big world, and it does take a certain brashness. Fear of failure is rampant, so to see someone who’s willing to rock a crowd is really good. I became a producer in part because I can be a part of that balls-out performance experience while still having a measure of control.
JB: I want to open up my own studio one day. Then I want to be a pastor in my later years. I can relate to a lot of people, I can elevate them.
AT: You grew up singing in church, right?
JB: A little bit. But my mother didn’t take me to church that much.
[I zoned out for a minute here and stopped taking notes.]
JB: Yeah, drinking. The struggle is so real; we all have to cope. But I try not to drink too much. I mean, I smoke weed. But at the end of the day, I do what I do because it’s artistically helpful.
AT: Oh man — you burn? We could have burned!
JB: We could have burned?? If we could have burned, we would have been burnin’!
AT: We need to do a follow-up session.
I asked Andrew and Julian what they’ve been doing since our interview last winter. Here’s what they said:
Andrew: “Drew has been keeping the disco fires burning at his new home studio in Bed-Stuy. He stays DJing dance parties, producing original material for a handful of artists, cranking out edits and remixes, and building a small sound design and production business. He’s also offering private music production lessons, with an emphasis on Ableton Live techniques and workflow.” Get at him via fakemoneynyc.com or drewjoy.com.
Julian: “I’ve been working in music. Planning to work with a close friend to produce our first project for my EP. Also starting a wedding singing group to support the financial aspect of producing an EP and a potential album come this time next year. I’m still living in Hell’s Kitchen saving up to move. I am currently working as a barista at FIKA in Chelsea. Great filler job while I focus on my real dream.”
I wrote the song ‘Let Love Abound’ thinking about the mental illness and substance abuse that my family has suffered from for a very long time and the beautiful people I work with. In this song I am talking about stigmas that run very deep in America.
The stigmatization of those that suffer with substance abuse, the stigmatization of those that suffer with mental illness, and the stigmatization of those assumed to be prejudiced .
Our band was based in Virginia Beach for awhile. I ran into Bluegrass players that were very open and not the judgmental or prejudiced people that many assume. I pray that we stop stigmatizing those with mental illness, substance abuse, and open our minds to people as they are as opposed to who we think they are. I pray that we, ‘Let Love Abound’…..
The Focusrite Scarlett 2i2 Studio (2nd Gen) features everything you need to turn your computer into a digital recording solution, improving on its original design to deliver maximum audio quality and performance. The Scarlett 2i2 Studio (2nd Gen) features the 2 in / 2 out Scarlett 2i2 (2nd Gen) USB Audio Interface plus a CM25 large diaphragm condenser microphone, complete with a pair of HP60 closed-back headphones. This bundle provides you with everything you need to get studio-grade recordings straight out of the box, for everything from vocals to acoustic instruments.
Focusrite Scarlett 2i2 MKII
The Focusrite Scarlett 2i2 (2nd Gen) features everything you need to turn your computer into a digital recording solution, improving on its original design to deliver maximum audio quality and performance. The interface features a 2 in / 2 out configuration, featuring both XLR and line/instrument inputs for recording microphones and instruments. There is also a 48V phantom power switch that allows you to connect and power condenser microphones, perfect for recording studio-quality vocals. You can also connect your headphones directly to the interface for monitoring purposes, allowing you to hear the audio signal as you record. The compact design and size of the Scarlett 2i2 makes it highly portable, allowing you to take your interface with you wherever you go. This is ideal for digital musicians who like to collaborate with other artists who may not have the same equipment at hand.
The MKII has been improved tenfold with a range of new features and functions that improve performance and audio quality. One of the most prominent upgrades is the new super-low latency performance. The super-low roundtrip latency improves performance and efficiency by minimising the delay between the original signal and the processed signal on your computer. This is paramount when recording vocals or instruments as it gives you the ability to record signals as close to real-time as possible. The sample rate of the Scarlett 2i2 (2nd Gen) has also been increased, now running up to 24-bit/192kHz for maximum audio quality and studio-grade recordings.
CM25 Condenser Microphone
The CM25 large diaphragm condenser microphone is designed to record everything from vocals to acoustic instruments, delivering stellar audio quality. The microphone features a cardioid pickup pattern, making it perfect for a range of applications from recording studio-grade vocal takes to string sections or guitar amplifiers. The microphone improves on its original design with a wider frequency range and improved performance. The microphones also comes complete with a 3 metre XLR cable and a stand clip for attaching the microphone to a stand.
HP60 Closed-Back Headphones
The Scarlett Studio HP60 headphones are reference-grade headphones designed to deliver incredible detail, allowing you to monitor and mix songs with maximum accuracy. The extended frequency response and large drivers allow you to hear every nuance of the sound as it is intended, perfect for monitoring mixes and listening to reference tracks while you mix and master. The closed-back design offers maximum comfort whilst ensuring minimum spill from the headphones themselves, resulting in a precise and clear performance, perfect for referencing mixes as you work.
New Software Bundle
The Scarlett 2i2 Studio (2nd Gen) also features a brand new software bundle, providing you with everything you need to record, edit and mix your recordings. The new software bundle includes: Red 2 & 3 Plug-in Suite, Softube Time and Tone Pack, Ableton Live Lit music making software, Novation Bass Station VST with AU Plugin-Synthesiser, 2GB of Loopmasters sounds and samples plus Pro tools First (First Focusrite Creative Pack). This software bundle provides you with everything you need you get started out of the box. The addition of the Pro Tools First (First Focusrite Creative Pack) adds to its functionality, providing you with the Pro Tools First software and 12 free plug-ins.
What’s In The Box
Scarlett 2i2 (2nd Gen) Audio Interface
HP60 (2nd Gen) Studio Headphones
CM25 (2nd Gen) Condenser Microphone
3m XLR CAble
Bundle code for your free software
Get everything you need in one box, and start recording straight away.
Two natural-sounding Scarlett mic preamps with plenty of even gain
Large diaphragm CM25 condenser microphone and 3m / 10′ Microphone cable
Two newly-designed instrument inputs, designed for seriously hot pick-ups
One headphones output with gain control
Studio quality HP60 closed-back headphones
Class-leading conversion and sample rates up to 192kHz / 24 bit
Super-low latency for using your plug-ins in real time without the need for DSP
Compact and tough enough to take anywhere
Powered by USB so you don’t need to carry a power cable
Includes Pro Tools | First Focusrite Creative Pack and Ableton Live Lite
All the additional software and loops you need to start recording