Audio-Technica AT2020 USB Condenser USB Microphone
- Side-address studio condenser with USB digital output (Windows and Mac compatible)
- Crystal-clear, natural sound for podcasting, home studio recording, field recording, and voiceover use
- Custom-engineered low-mass diaphragm provides extended frequency response and superior transient response
- Cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source
- Low self-noise-perfectly suited for sophisticated digital recording equipment
The Audio-Technica AT2020 USB Microphone offers studio-quality articulation and intelligibility. The AT2020 USB plugs right into your computer’s USB port, and functions seamlessly with your favorite recording software. Equipped with a USB digital output, the AT2020 USB is perfect for home studio recording, field recording, podcasting, and voiceover use. Based on the renowned AT2020 The AT2020 USB is based on the design of Audio-Technica’s critically acclaimed AT2020 cardioid condenser microphone. Like the AT2020, it features a low-mass diaphragm, custom-engineered for extended frequency response and superior transient response. With low self-noise, the AT2020 USB is perfectly suited for sophisticated digital recording equipment. Audio-Technica’s state-of-the-art design and manufacturing techniques ensure that the microphone complies with the company’s renowned consistency and reliability standards. Experience AT2020 USB. Plug it in and transform your sound. Audio-Technica AT2020 USB Features Side-address studio condenser with USB digital output (Windows and Mac compatible) Crystal-clear, natural sound for podcasting, home studio recording, field recording, and voiceover use Custom-engineered low-mass diaphragm provides extended frequency response and superior transient response Cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source Low self-noise – perfectly suited for sophisticated digital recording equipment Includes tripod desk stand, pivoting stand mount, USB cable & storage pouch.The new AT2020 USB offers studio-quality articulation and intelligibility with modern convenience. It plugs right into your computer’s USB port, and functions seamlessly with your favorite recording software. Equipped with a USB digital output, the AT2020 USB is perfect for home studio recording, field recording, podcasting, and voiceover use.
 Studio-quality articulation and intelligibility with modern convenience. Click to enlarge. |
 Great for podcasting, home studio recording, field recording, and voiceover use. |
 View frequency response/polar pattern. Click to enlarge. |
Based on the Renowned AT2020
The AT2020 USB is a side-address studio condenser based on the design of Audio-Technica’s critically acclaimed AT2020 cardioid condenser microphone, which can be found in studios worldwide. Like the AT2020, it features a low-mass diaphragm, custom-engineered for extended frequency response and superior transient response. The Cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source.
Digital-Ready
With low self-noise, the AT2020 USB is perfectly suited for sophisticated digital recording equipment. Audio-Technica’s state-of-the-art design and manufacturing techniques ensure that the microphone complies with the company’s renowned consistency and reliability standards.
This means you’ll get crystal-clear, natural sound for podcasting, home studio recording, field recording, and voiceover use.
AT2020 USB Specs
- Element: Fixed-charge back plate permanently polarized condenser
- Polar Pattern: Cardioid
- Frequency Response: 20 -16,000 Hz
- Bit Depth: 16 bit
- Sample Rate: 44.1 kHz
- Power Requirements: USB power (5V DC)
- Weight (less accessories) 13.2 oz (374 g)
- Dimensions: 6.38″ (162.0 mm) long, 2.05″ (52.0 mm) maximum body diameter
- Output Connector: USB-type connector
Audio-Technica 20 Series–Affordable Pro Audio Microphone Solutions
Audio-Technica’s stringent consistency, reliability and quality standards bring professional performance to this extremely affordable line of home/project studio microphones.
What’s in the Box
AT2020 USB microphone, tripod desk stand, pivoting stand mount, USB cable & storage pouch
List Price: $ 249.00
Price: $ 100.00
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Iraqi Air Force Mikoyan-Gurevich MiG-21, Tamous Air Force Base, Iraq
Image by james_gordon_los_angeles
Iraqi Air Force Mikoyan-Gurevich MiG-21, Tamous Air Base Habaniya, 120 kilometers (75 miles) northeast of Baghdad, Iraq.
The Mikoyan-Gurevich MiG-21 (NATO reporting name Fishbed) is a supersonic jet fighter aircraft, designed by the Mikoyan-Gurevich Design Bureau in the Soviet Union. It was popularly nicknamed "balalaika", from the aircraft’s planform-view resemblance to the Russian stringed musical instrument or ołówek (English: pencil) by Polish pilots due to the shape of its fuselage. Early versions are considered second-generation jet fighters, while later versions are considered to be third-generation jet fighters. Some 50 countries over four continents have flown the MiG-21, and it still serves many nations a half-century after its maiden flight. The fighter made aviation records. At least by name, it is the most-produced supersonic jet aircraft in aviation history and the most-produced combat aircraft since the Korean War, and it had the longest production run of a combat aircraft (1959 to 1985 over all variants).
Development
The MiG-21 jet fighter was a continuation of Soviet jet fighters, starting with the subsonic MiG-15 and MiG-17, and the supersonic MiG-19. A number of experimental Mach 2 Soviet designs were based on nose intakes with either swept-back wings, such as the Sukhoi Su-7, or tailed deltas, of which the MiG-21 would be the most successful.
Development of what would become the MiG-21 began in the early 1950s, when Mikoyan OKB finished a preliminary design study for a prototype designated Ye-1 in 1954. This project was very quickly reworked when it was determined that the planned engine was underpowered; the redesign led to the second prototype, the Ye-2. Both these and other early prototypes featured swept wings—the first prototype with delta wings as found on production variants was the Ye-4. The Ye-4 made its maiden flight on 16 June 1955 and made its first public appearance during the Soviet Aviation Day display at Moscow’s Tushino airfield in July 1956. The MiG-21 was the first successful Soviet aircraft combining fighter and interceptor characteristics in a single aircraft. It was a lightweight fighter, achieving Mach 2 with a relatively low-powered afterburning turbojet, and is thus comparable to the American Lockheed F-104 Starfighter and Northrop F-5 Freedom Fighter and the French Dassault Mirage III. Its basic layout was used for numerous other Soviet designs; delta-winged aircraft included Su-9 interceptor and the fast E-150 prototype from MiG bureau while the mass-produced successful front fighter Su-7 and Mikoyan’s I-75 experimental interceptor combined a similar fuselage shape with swept-back wings. However, the characteristic layout with the shock cone and front air intake did not see widespread use outside the USSR and finally proved to have limited development potential, mainly because of the very small space available for the radar.
Like many aircraft designed as interceptors, the MiG-21 had a short range. This was not helped by a design defect where the center of gravity shifted rearwards once two-thirds of the fuel had been used. This had the effect of making the plane uncontrollable, resulting in an endurance of only 45 minutes in clean condition. The issue of the short endurance and low fuel capacity of the MiG-21F, PF, PFM, S/SM and M/MF variants—though each had a somewhat greater fuel capacity than its predecessor—led to the development of the MT and SMT variants. These had a range increase of 250 km (155 mi) compared to the MiG-21SM, but at the cost of worsening all other performance figures (such as a lower service ceiling and slower time to altitude).
The delta wing, while excellent for a fast-climbing interceptor, meant any form of turning combat led to a rapid loss of speed. However, the light loading of the aircraft could mean that a climb rate of 235 m/s (46,250 ft/min) was possible with a combat-loaded MiG-21bis, not far short of the performance of the later F-16A. Given a skilled pilot and capable missiles, it could give a good account of itself against contemporary fighters. It was replaced by the newer variable-geometry MiG-23 and MiG-27 for ground support duties. However, not until the MiG-29 would the Soviet Union ultimately replace the MiG-21 as a maneuvering dogfighter to counter new American air superiority types.
The MiG-21 was exported widely and continues to be used. The aircraft’s simple controls, engine, weapons, and avionics were typical of Soviet-era military designs. The use of a tail with the delta wing aids stability and control at the extremes of the flight envelope, enhancing safety for lower-skilled pilots; this in turn enhanced its marketability in exports to developing countries with limited training programs and restricted pilot pools. While technologically inferior to the more advanced fighters it often faced, low production and maintenance costs made it a favorite of nations buying Eastern Bloc military hardware. Several Russian, Israeli and Romanian firms have begun to offer upgrade packages to MiG-21 operators, designed to bring the aircraft up to a modern standard, with greatly upgraded avionics and armaments.
Due to the lack of available information, early details of the MiG-21 were often confused with those of the similar Sukhoi fighters also under development. Jane’s All the World’s Aircraft 1960–1961 describes the "Fishbed" as a Sukhoi design, and uses an illustration of the Su-9 ‘Fishpot’.
Design
MiG-21 cockpit
The MiG-21 has a delta wing. The sweep angle on the leading edge is 57° with a TsAGI S-12 airfoil. The angle of incidence is 0° while the dihedral angle is −2°. On the trailing edge there are ailerons with an area of 1.18 m², and flaps with an area of 1.87 m². In front of the ailerons there are small wing fences.
The fuselage is a semi-monocoque with an elliptical profile with a maximum width of 1.24 m (4 ft 1 in). The air flow to the engine is regulated by a cone in the air intake. Up until the MiG-21PF it was three staged. At speeds up to Mach 1.5 it is fully retracted, between speeds of Mach 1.5 and Mach 1.9 it is in the middle position, and with speeds higher than Mach 1.9 it is in the maximum forward position. On the MiG-21PF it adapts to the actual speed, according to the UVD-2M system aboard the aircraft, which monitors the pressure in front and behind the compressor of the engine. On both side of the nose there are gills to supply the engine with more air while on the ground and during takeoff. In the first variant of the MiG-21, the pitot tube is on the bottom of the nose; after the MiG-21P, every version of the −21 has this tube situated on the top of the air intake.
The cabin is pressurized and air conditioned. Prior to the MiG-21PFM the canopy is hinged at the front. When ejecting, the SK-1 ejection seat connects with the canopy making a capsule to enclose the pilot and protect him from the airflow, after which it would separate and the pilot would parachute down. However, the canopy took too long to separate and some pilots were killed after ejecting at low altitudes. On the MiG-21PFM the canopy is hinged on the right side of the cockpit.
On the belly of the plane there are three air brakes, two at the front and one at the back. The front brakes have an area of 0.76 m², and a deflection angle of 35°. The back one has an area of 0.46 m² and a deflection angle of 40°. The usage of the back air brake is blocked if the plane carries an external fuel tank. Behind the air brakes are the bays for the main landing gear. Under the body, just behind the trailing edge of the wing, two JATO rockets can be attached. The front part of the fuselage ends with former #28. Beginning with former #28a is the back part of the fuselage, which is removable for engine maintenance.
The empennage of the MiG-21 consists of a vertical stabilizer, a stabilator and a small fin on the bottom of the tail to improve yaw control. The vertical stabilizer has a sweep angle of 60° and an area of 5.32 m² (on earlier version 3.8 m²) and a rudder. The stabilator has a sweep angle of 57°, an area of 3.94 m² and a span of 2.6 m.
A tricycle type undercarriage with a nose gear. The main landing gear has tires 800 mm in diameter and 600 mm in width (till the MiG-21P; 660×200 mm). The wheels of the main landing gear retract in the fuselage after rotating 87°, the shock absorbers retract in the wing. The nose gear retracts forward in the fuselage under the radar.
Specifications (Mikoyan-Gurevich MiG-21F-13)
General characteristics
Crew: 1
Length: 15.76[51] m (51 ft 8.47 in)
Wingspan: 7.154 m (23 ft 5.66 in)
Height: 4.1 m (13 ft 5.41 in)
Wing area: 23.0 m2 (247.3 ft2)
Empty weight: 4,871 kg (10,738 lb)
Gross weight: 7,100 kg (15,650 lb)
Powerplant: 1 × Tumansky R11F-300, 37.27 kN (8,380 lbf) thrust dry, 56.27 kN (12,650 lbf) with afterburner each
Performance
Maximum speed: 2,125 km/h (1,385 mph)
Maximum speed: Mach 2.05
Range: 1,580 km (981 miles)
Service ceiling: 19,000 m (62,335 ft)
Armament
1x internal 30 mm NR-30 cannon, plus
2x K-13 or K-13A (R-3S) AAM or
2x 500 kg (1,102 lb) of bombs
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Buy the Learn To Play Harmonium DVD at: www.superaudio.in or www.musicandchants.com Follow us on facebook- www.facebook.com and twitter- twitter.com A Harmonium is a free-standing musical keyboard instrument similar to a Read Organ or Pipe Organ. It consists of free reeds and sound is produced by air being blown through reeds resulting in a sound similar to that of an accordion. The air is supplied by hand-operated bellows alternately depressed by the player. The Harmonium represents a harmonious blend of the Western and Indian music. This DVD Learn to Play the Harmonium comprises of basic lessons tailored in a way that you can learn and practice playing the harmonium within the comfort of your home. Contents: 1. History and Artist Profile 2. Introduction 3. Types of Harmonium 4. Structure and Design 5. Tuning 6. Sitting Posture 7. Playing Techniques 8. Fingering Techniques and Basic Lessons 9. Concert Pattern.
Video Rating: 5 / 5
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