PAR E-Reviewsletter featuring the Sennheiser MK 8 LDC Microphone plus Today’s Blog: “The Care And Feeding of Songwriters: Why ‘Art for Art’s Sake’ Could Have An Unfortunate Future”
Sennheiser MK 8 Multipattern Large Diaphragm Condenser (LDC) Microphone By Strother Bullins The studio realm of pro audio product marketing tends to nurture “champagne wishes and caviar dreams.” Microphone-wise, the multi-pattern large diaphragm condenser (LDC) is often a focus in aspirational studio glamour shots— mostly because it’s a key, useful tool and partly because it’s generally one of the priciest items in a pro’s kit. Recognizing both the needs and desires of both savvy self-financed recordists and budget-minded pros, Sennheiser’s MK Series has recently expanded to two models, offering the taste, vibe and features of high-end LDCs at very reasonable prices.
Having previously reviewed the excellent MK 4—a Sennheiser cardioid LDC made at the company's HQ in Germany for $299 street—I jumped at the opportunity to try its multi-pattern sibling, the MK 8 ($699 street) that is also made in Germany. It's a super useful workhorse for many potential users and applications. And, like the MK 4, the MK 8 isn't a budget mic; it's just a bargain. More »
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Today's Blog
The Care And Feeding of Songwriters: Why “Art for Art’s Sake” Could Have An Unfortunate Future By Strother Bullins In a recent Decibel Geek podcast, superstar pop songwriter Desmond Child (whose songs are on well over 300 million albums sold) shared some stats that echo sentiments bouncing around our industry as of late: Sustainable income as a professional songwriter is disturbingly endangered.
“Jon, Richie and I get six million streams on Pandora every quarter, as an average, of 'Livin’ On A Prayer,’ just the one song,” offers Child of his co-creation with Bon Jovi. “So just imagine all the other streams we’re getting. Yeah, but we got a big check for $110 [for the song last quarter] to split amongst the three of us and our publishers. Yeah. The streaming thing is a beat and we have to switch that...the record companies get 96 percent of the money and we get 4 percent because they got in there and made deals and bought into these companies. Frankly, we got dicked—all the songwriters. We’ve got to turn that around.” More »