Acoustic guitar. Recommendations: CHI: SD O or SD C or C LOL 12 or C LOL 251. Bass Amp
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1 Acousticguitar BassAmp BassDrum Anacousticguitarcanbesurprisinglyhardtorecord.Thestartingpoint shouldbeasinglemicrophoneaimedatapointsomewherebetweenthe endofthesoundholeandthe12 th fret.youwillalwaysfindasweetspot there,requiringonlyaminimumofeqtogiveasatisfyingrecording.ifthe guitar sradiationpatternisnottoocomplex,youcanuseaspacedpair, usuallyplacedfollowingthe3to1rule:thedistancebetweenthemics shouldbe3timesthedistancebetweeneachmicandthesource.ifthe radiationpatternisverycomplex,acoincidentpairisoftenabetterchoice. Inanycase,adistancebetweentheguitarandthemicofatleastonefoot isrecommended.distantrecordingsofacousticguitarscanbespectacular iftheacousticsoftheroomarepleasant.guitars,andallsource material: findthesweetspot. CHI:SD OorSD CorC LOL 12orC LOL 251 Themicisusuallyplacedata90 angletothecabinet sgrille.theposition itselfisveryimportantandmovingthemicbyafractionofaninchwill changethesoundsometimesdramatically.thedistancefromthecabinet hasabigimpactonthefrequencyresponsewhenusingadirectionalmic: proximityeffectespeciallyisthecabinetisfrontported,canbedramatic. Thecenterofeachspeakerconewillhaveabrighter,morepresentandless warmbalanceandasthemicismovedtowardstheedgeofthecone,the soundwillbecomemoremellowandrounder. CHI:C LOL 47orC LOL 67 Tuningthekickdrumisvitaltogetthedesiredsound.Oncethekickdrumis properlysetup,mikingexperimentscanstart.thetwoschoolsare dry and roomy.fora dry approach,themicwillbepeekinginsidethedrum oritwillbeplacedinside,lookingatthebeater.ifthefrontskindoesn t
2 Cello Choir Clarinet haveahole,themiccanbeplacedveryclosetotheskin.fora roomy approach,placethemichigherandfarther.ameterhighand2meters awayisnotunusual.ahybridapproachcanbeused,bybringingeither channeluptohelptheother(eithermakingthedryabitwideranddeeper, oraddingdefinitiontothedistantmic). CHI:C LOL 47orC LOL 67 Thebestspottoplacethemicisusuallyaboutneckandbodyjointheight, infrontofthecello,lookingstraight.aimingalittlebitupordownwillgive moreorlessbownoise.distancecanbecriticalinlive/reverberantrooms, whereambienttodirectsoundratioandproximityeffectwillplayan importantroleingettingthedesiredimage.placingthemicalittlebitto theside,lookingeitherstraightoratthef holewillgiveamoremellow tonewithlessattackandmorebody. CHI:SD CorC LOL 47 AChoirwillrequireastereopairtoobtainthefullpoweritgivesinreallife. Aspacedpairisusuallypreferredoveracoincidentpair.Distanceistotally uptotheengineerandwillgreatlydependontheacousticsandthedesired amountofambianceheardontherecording.omniscanbehelpfulin gettinganicenaturalsoundbutcardioidsarethefirstchoiceofmost engineerstogetatleastsomebalancecontrolbetweenthereverberation ofthespaceandthedirectsound.whenachoirisrecordedwithother musiciansintheroom,cardioidsorsuper cardioidsmaybebetterchoice omni s. CHI:SD OorSD CorSD H
3 Clarinetcanproducealotofvalvenoiseandtheinstrumentshouldbe properlypreparedforrecording(oilwhereneeded).thesofttonefroma clarinetoftenasksforanequallysoftmicrophoneandtheengineershould becarefulwhenpickingthemic:iftheoverallsoundistoobright,itmight bringupunwantedpartsofthesoundinthehighfrequencies.ifthemic soundstoosoft/dark,theresultingrecordingmightlacklifeanddetail. Clarinetisusuallymikedfromseveralinchestoafewfeetaway,togivea goodsenseoffullnessanddepth. CHI:SD C Classicalorchestra Flute Afullorchestracanberecordedwithaverysimpleandminimaliststereo setupiftheacousticsandtheoverallbalanceoftheorchestraaregood. Walkingaroundtheroomlookingattheorchestrawillhelpfindingthebest positionforacoincidentpair.ifaspacedpairischosen,aconsiderable amountoftimecouldberequiredtoachievetherightstereoimage,depth offield,overallbalanceanddirecttoreverberantsoundratio.spotor Groupmikingofanorchestraisamoremodernandnowcommonwayof workingandwillgivegoodresultsifthevariousmicshavebeenplaced carefully.theyshouldgiveanaturalsoundbutalsoshouldn tinterferewith otherchannelswhenbroughtupinthemix.checkingphasecorrelationis vitalwhendealingwithsomanysourcesandmicrophonesandthesources happentobepartofawhole.sometimes,ambientmicsareaddedtoa closedmicsetuptoaddreverberationanddepth. CHI:SD OorSD CorC LOL 12orC LOL 251 Flutescanhaveaverydelicatesoundandtheirharmoniccontentcaneasily getdisruptedbyacousticorelectronicnoise.alownoisemicrophonewith highoutputandacardioidorhypercardioidpatternshouldbetriedfirst andpickedtogivethepropersound.mellowsoundingmicscanbeusedfor
4 a60 stexturebutusually,arelativelybrightmicwillbepicked.themicwill usuallybeaimedatthebodyoftheflute,abouthalfwaydown.aimingtoo closetothemouthwillgivetoomuch breath althoughitcanbethe desiredeffect. CHI:SD CorSDHC GrandPiano AGrandwillneedanicesoundingroomtodevelopitsfullpotential. Gettingarealisticsoundcanbeachallengeistheroomistoosmallbut usingatouchofextrareverbontherecordingcangivesomedepthand spacetoaseeminglydryrecording.themostcommonwaytomicagrand isbyusingastereopairlookingdownatthesoundboard.acoincident setupwillbemorefocusedandaspacedpairwillsoundmorespacious. Extramicsaresometimesaddedtopickupbodyresonanceandofcourse roommicsarequitecommontoo.whenbalancingthemicsinthemix,it s importanttocheckphasecorrelationandmovingthemicsalittlebitbefore recordingtomakesurethere snomajorphasecancelationstakingplace willsavealotoftimeduringmixing,tryingtosaveanotherwisenice recording. GuitarAmp CHI:SD CorSD O Manygreatguitarsoundshavebeenachievedbyusingmultiplemicsduring recording.atypicalsetupconsistsofaclosemicalmosttouchingthefront grille,adistantmicfromafewinchestoafewmetersaway,andperhaps oneortworoommics,tocaptureroomresonances.theclosemicisusually placedatanangletothecabinet sgrille,themoreyouturnitoffaxisand towardstheedgeofthecabinet,thelessattackyougetandthesoundwill becomemoremellowandrounder.aimingatthecenteroftheconegivesa verymidrangerich,aggressivesoundandmovingtheclosemicbya
5 Hi Hat fractionofaninchwillchangethesounddramatically.thedistantmic shouldbeusedtogiveamorenaturalsoundbutforarealisticimage,a spacedpairofmicswillusuallyhavetobebroughtupinthemix,panned leftandright.theseambientmicswillgivetheuniqueroom sub resonancewhichisneededtomaketherecordingfeelliketherealthing. CHI:C LOL 47orC LOL 67 SpotmikingoftheHHisstraightforward:placethemicrophonewhereit won tbehitbythedrummer,lookingdownatthehh.moveitaroundto obtainagoodbalancebetweengoodatone,lowleakagefromtherestof thekit,andofcourseplayingcomfort.youcanusuallygetinclosewithout proximityeffectbeingaproblem,sincetheenergyisconcentratedinthe highermidrangetoverytopendofthesonicspectrum. CHI:SD CorSD HC Overheadmiking Aspacedstereopairistheclassicsetupforoverheadrecording.Thepair canberelativelyclosetothekit,approx1meterorlessfromthecymbals, orinalargerroom,2or3metersaway.placingthepairfurtherupwillgive amorenaturaltheimageandoverallsound.foramorefocusedand precisebutlessspaciousimage,acoincidentpaircanbeusedandisoften chosenforjazzkits.infact,jazzkitscanberecordedwithoneortwo judiciouslyplacedmicrophones.note:sometimes,thehihatmicbecomes thesecondoverheadinastereosetup.itisimportanttoremainopenand flexiblewhenmikingadrumkitanddotherequiredmicplacementchanges toachievethedesiredsound. CHI:SD CorSD OorC LOL 12orC LOL 67 Saxophones
6 TheSaxfamilycoversasurprisinglywidespectrum.Themicshouldbe chosentoreacttotherangeoftheinstrumentsoaverybrightmicmight notbethebestchoiceforadark,mellowbaritonesax.however,aslightly darkmiccanworkwondersonascreechyalto.themicwillusuallybe relativelyclosetothesourcebutfarenoughsothattheplayer s movementsdon tresultinsuddenchangesofsound,asthemicisstatic.a distanceofacoupleoffeetisagoodstartingpoint,highenoughtobeable to lookdown abitatthebell.themiccanpointstraightatthehornata 90 angleformaximumattackand wind,oritcanlookupforalighter soundordownforamellowerresponse.aswithallotherinstrumentsusing valves,mechanicaltuningandlubricationarevitaltoavoidunwanted noises. CHI:C LOL 67orC LOL 47 SnareDrum Tom Snaredrumscanbemikedwithasinglemicontoporoneontopandone onthebottom,pointedatthesnares.bringingupthebottommicto complimenttheoveralltoneofthetopmiccanhelpachievingarealistic sound.thebottommicisusuallyphasereversedbutitcanbeusedwithout phasereversalisthecombinedsoundissatisfactory.arelativelybrightmic willhelpgettingtheattackofthesnaredrum.thedistancefromthesnare drumwillonceagaininfluencethebassresponseasproximityeffectwill increasesasthemicisplacedclosertothedrum.thiscanaddbodyand impactbutwillalsoincreaselowfrequencyleakagefromtherestofthekit. CHI:SD CorSD HC IndividuallyMikingToms,ifrequired,isachievedwith2directional microphonesplacedtogivethebestcompromisebetweengoodtonal balanceandrejectionfromtherestofthekitorwithasinglemic,either
7 Trombone Trumpet cardioidpointingatthetomsorabidirectionalplacedcloser,betweenthe Toms.Onceagainproximityeffectisnoticeableandcanbeusedtogeta fullbutcleansoundasattenuatinglfresponsewitheqwillalsoreducethe leveloftheleakagefromthekicketc.thefloortomcanbemikedthe sameway.ithasmoredepthandlowerfrequenciesthaneithertom Tom andwillhavemoreresonances. CHI:SD CorC LOL 67orC LOL 47 Tromboneisnothardtorecord,andagoodtoneisusuallyobtainedeasily. Asingledirectionalmicaimedatthebellwilldo.Themicshouldn tbetoo closeastromboneplayerstendtomoveevenduringsteadyrhythmparts duetothenecessaryslidemovementsandthiscouldresultinaudible changesintimbreifthemicistooclosetothesource.acoupleoffeet shouldbeconsideredastrictminimum. CHI:C LOL 67orC LOL 47 TrumpetcangeneratehighSPLandwillusuallyrequireswitchingthepad onwhenusingacondensermic.aimingthemicdirectlyatthebellata shortdistancewillgiveanaggressive,raspyandusuallyharshtoneunless themichasamellowresponsetostartwith.sometrumpetpartsshould indeedbemikedfromadistancetofitproperlyinthemix.mutedtrumpet mikedupclosecangiveaverymidrangerich,retrosoundthatmightbejust whatthesong/mixneeds. CHI:C LOL 67orC LOL 47 ViolaandViolin
8 ViolaandViolinareverysimilarandonlydifferintheirrangeandovertones. Themikingtechniqueisusuallythesame,keepinginmindthatsome playersmovequiteabit,themicshouldnotbetoocloseandshouldrather beplacedonamicstandabovehead,lookingdownattheinstrument, ideallysomewherebetweenthebridgeandthemiddleoftheneck.since theplayerwillmoveit suselesstolookforthesweetspotandonceagain, acertaindistanceshouldbekeptbetweenthemicandtheinstrument. Choosingamicthatworkswellwiththeinstrument sharmoniccontentis veryimportant. CHI:SD CorSD OorC LOL 12 Vocals Thetypicalsetupisachoiceoflargediaphragmmics,comparedinthe controlroomtobeabletopickthebestmatchforthevoiceandthesong. Distancecanbeaninchtoseveralinchesdependingonthedesiredeffect. Padsarerarelyneededbutwhenclosemikingaloudsingerit ssaferto switchthepadon,ifonlytomakesuretheheadampwon tdistorton peaks. CHI:C LOL 12orC LOL 47orC LOL 67orC LOL 251
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