Artist
Ricardo Arjona
Ricardo Arjona no tiene que ponerse a pensar cada vez que compone, sino que lo hace para vaciar las ideas de su cerebro. El guatemalteco no cree en la fama, en los convencionalismos y las obligaciones, pero entrega sus canciones con la responsabilidad de hacerlo cada vez mejor.
Arjona nació el 19 de enero de 1964 en Antigua, Guatemala. Le gustaba la música y participó en cuanto festival pudo. Después de matricularse en cursos de arquitectura e ingeniería, se graduó de Ciencias de la Comunicación en la Universidad de San Carlos de Guatemala.
En 1985 Arjona cometió el único error del que confiesa arrepentimiento en la vida; la grabación de su primer álbum, titulado Déjame decir que te amo. El guatemalteco lo calificó como un disco horrible, con letras bobas e insípidas, hasta el punto que compró cuantas copias se encontró en el mercado.
Una vez graduado y con su primer disco bajo el brazo, Arjona ejerció de maestro en una escuela rural del país, donde daba clases durante tres horas y luego pasaba en resto del día jugando al fútbol con sus alumnos. Cuando un representante del Ministerio de Educación fue a investigar la situación y examinó a sus alumnos, se encontró con que tenían un nivel superior a la media.
A pesar del éxito que tuvo como maestro, Arjona dejó la escuela para probar suerte con la música, grabando un segundo álbum titulado Animal Nocturno (1990). El resto de la década de los noventa lo completó con Del otro lado del sol (1991), Animal nocturno (1993), Historias (1994), Si el norte fuera el sur (1996), Sin daños a terceros (1998), y Vivo (1999).
En la siguiente década sus discos fueron Galería Caribe (2001), Santo pecado (2002), Lados B (2003), Solo (2004), además de Adentro (2005).
| Application | What They Use | On A Budget |  |
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|---|---|---|---|---|---|---|---|---|
| Lead Vocals | |
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UR2/KSM9 with KSM9 Dual-Diaphragm Condenser Microphone KSM9 offers switchable cardioid and supercardioid polar patterns and advanced two-stage shock mount suspension. |
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PGX24/SM86 Handheld Wireless System | ||
| Backing Vocals | |
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UR2/BETA87C with Beta 87C Cardioid Microphone UHF-R Wireless Handheld Transmitter with Beta 87C Cardioid Microphone. |
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PGX24/SM86 Handheld Wireless System | ||
| Kick | |
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Beta 91 Kick Drum Microphone A low-profile microphone that requires no external mounting hardware. Lies flat on a pillow or other surface inside a kick drum for superb attack and low-end punch. |
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PG52 Instrument Microphone | ||
| Snare | |
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Beta 56A Instrument Microphone A compact drum microphone engineered for close miking of snare and toms. The supercardioid design provides maximum isolation from other onstage sounds. Supercardioid, Dynamic. |
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SM57 Instrument Microphone | ||
| Toms | |
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Beta 98D/S The Beta 98, designed for toms, snares and percussion instruments, is perfect for sound reinforcement and recording. Its flexible gooseneck lets you position the microphone in practically any configuration. |
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SM57 Instrument Microphone | ||
| Overheads | |
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KSM109 Studio Instrument Microphone (Discontinued) The KSM109 combines an extended frequency response for natural sound reproduction with a smooth high end and a tight, controlled low end. Cardioid, Condenser. |
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PG81 Instrument Microphone | ||
| Guitar Cabinet | |
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Beta 57A Instrument Microphone The Beta 57A is an excellent microphone designed for use with amplified or acoustic instruments. The compact grille design gets the microphone cartridge close to the sound source. Supercardioid, Dynamic. |
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SM57 Instrument Microphone | ||
| Percussion | |
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Beta 98D/S The Beta 98, designed for toms, snares and percussion instruments, is perfect for sound reinforcement and recording. Its flexible gooseneck lets you position the microphone in practically any configuration. |
|
SM57 Instrument Microphone | ||
| Percussion | |
|
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Beta 57A Instrument Microphone The Beta 57A is an excellent microphone designed for use with amplified or acoustic instruments. The compact grille design gets the microphone cartridge close to the sound source. Supercardioid, Dynamic. |
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SM57 Instrument Microphone | ||
| Percussion | |
 |
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Beta 52A Instrument Microphone Optimized for low-frequency bass punch and high-power SPL handling, the Beta 52A's supercardioid design provides maximum isolation from other onstage sounds. Designed specifically for kick drum and other bass instruments. Supercardioid, Dynamic. |
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PG52 Instrument Microphone | ||
| Percussion | |
 |
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SM57 Instrument Microphone Multi-purpose Shure microphone with contoured frequency response for clean sound reproduction of amplified or acoustic instruments. Cardioid, Dynamic. |
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PG57 Instrument Microphone | ||
| Percussion | |
 |
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Beta 58A Vocal Microphone The Beta 58A microphone accentuates the warmth and clarity of lead and backup vocals. Its supercardioid design provides maximum isolation from other onstage sounds. Supercardioid, Dynamic. |
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SM58 Vocal Microphone | ||
| Cello | |
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Beta 98H/C The Beta 98H/C instrument microphone is a versatile solution for brass or percussion instruments. It offers a flexible integrated gooseneck with clip-on clamp for a secure fit and precise positioning. No external mounting hardware is required. |
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SM57 Instrument Microphone | ||
| Saxophone | |
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Beta 98H/C The Beta 98H/C instrument microphone is a versatile solution for brass or percussion instruments. It offers a flexible integrated gooseneck with clip-on clamp for a secure fit and precise positioning. No external mounting hardware is required. |
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SM57 Instrument Microphone | ||