1. Sound research production arts Katie Milne

2. RADIO MICROPHONE SENNHEISER EW100 They are much easier to move about on stage, less restricted. less wires on stage too, so its less messier. They are mainly used in live events or on stage in an. auditorium Now with infrared sync function, the SKM100-835 G3 can tune to a G3 receiver with a simple push of the receiver’s sync button. Compatible with EW100 G3 receivers and every vocal style, this hand-held transmitter/microphone combination provides wireless freedom to whoever uses it. You can get these for around £490.00

3. AKG SE300B condenser mic. This microphone is very sensitive and can pick up from more of a distance than standard sm58’s and 57 microphones. Requires 48 volts to work. Switchable low-cut filter 10dB attenuation pad Low handling noise High resistance to RF interference Works with all CK-Series capsules found at approximately £150 new.

4. Shure SM58 microphone Shure sm58 microphones are mainly used for vocals as its made from a cardioid pattern. Frequency response tailored for vocals, with brightened midrange and bass rolloff Uniform cardioid pickup pattern isolates the main sound source and minimizes background noise Pneumatic shock-mount system cuts down handling noise Effective, built-in spherical wind and pop filter Supplied with break-resistant stand adapter which rotates 180 degrees Legendary Shure quality, ruggedness and reliability Cardioid (unidirectional) dynamic Frequency response: 50 to 15,000 Hz £87.00

5. Shure SM57 microphone Mainly used for instruments cos it can deal with very high SPL (sound pressure levels). Contoured frequency response for clean, instrumental reproduction and rich vocal pickup Professional-quality reproduction for drum, percussion, and instrument amplifier miking Uniform cardioid pickup pattern isolates the main sound source while reducing background noise Pneumatic shock-mount system cuts down handling noise Extremely durable under the heaviest use Frequency response: 40 to 15,000 H

6. S direct sampson DI- box Allows you to pad signals which means takes 20 decibels out. And it also takes an unbalanced signal and turns it into a balanced signal. Switchable input level handles instrument and speaker levels 48 Volt phantom power or 9 volt operation with auto battery shut off Switchable ground lift 1/4" link output

7. QSC K12 speakers The sub and base bins (top and bottom speakers) are both connected together and then to the desk by the XLR. 75° Nominal coverage angle Maximum SPL 131 dB peak 1000-watt continuous Class D power modules in all models On-board mixer with two combo XLR and ¼” inputs, and stereo RCA inputs, (three audio input sources); two direct channel outputs and single summed balanced output

8. Yamaha LS9-32 Digital Mixer Yamaha SB168-ES ETHERSOUND Yamaha LS9-16 mixing console Yamaha LS9-32 mixing console Yamaha DANTE-MY16-AUD Yamaha MY16ES64 The Yamaha LS9 sound desk is a digital sound mixer desk. You can programme and save everything you’ve set so you can go to a performance and just get up what you’ve saved instead of programming everything while the performance is on.