Miking Techniques:
Vocals-
- A ‘dry’ vocal sound can be achieved in a large room by placing baffles or boards around the singer in order to reduce the sound of the room recorded. This means that any desired effects of reverb etc. can be applied later on during the mixing process.
- Metal music stands can be covered with cloth in order to reduce sound reflection.
- Large Diaphragm Condenser microphone- captures the loudest to the softest of sounds, has a large surface area to capture lower frequencies, large dynamic range means that closer and louder singing will make it difficult to distort them.
- Dynamic microphones are great for capturing ‘urgency’ in a louder singer’s voice.
- Ribbon microphones are great for ‘harsh’ and ‘bright’ sounding voices.
- Pop Shield- depending on the filter can greaten or lessen the loss of higher frequencies.
- A ‘dry’ vocal sound can be achieved in a large room by placing baffles or boards around the singer in order to reduce the sound of the room recorded. This means that any desired effects of reverb etc. can be applied later on during the mixing process.
- Metal music stands can be covered with cloth in order to reduce sound reflection.
- Large Diaphragm Condenser microphone- captures the loudest to the softest of sounds, has a large surface area to capture lower frequencies, large dynamic range means that closer and louder singing will make it difficult to distort them.
- Dynamic microphones are great for capturing ‘urgency’ in a louder singer’s voice.
- Ribbon microphones are great for ‘harsh’ and ‘bright’ sounding voices.
- Pop Shield- depending on the filter can greaten or lessen the loss of higher frequencies.
Acoustic Guitar-
- Two bi-directional condenser microphones placed at a 90 degree angle- this helps to give a wide clear signal whilst the bi-directionality captures the ambience of the room as well as the guitar.
- A large-diaphragm cardioid condenser microphone facing the area between the top of fretboard and the soundhole- this is good for double tracking as the cardioid polar pattern picks up signals from only the front of the microphone.
- A pair of microphones- one facing the top three strings, the other facing the bottom three strings and angled inwards to reduce the gap in the sounds.
- Using a set of room microphones helps to pick up ambience.
- Two bi-directional condenser microphones placed at a 90 degree angle- this helps to give a wide clear signal whilst the bi-directionality captures the ambience of the room as well as the guitar.
- A large-diaphragm cardioid condenser microphone facing the area between the top of fretboard and the soundhole- this is good for double tracking as the cardioid polar pattern picks up signals from only the front of the microphone.
- A pair of microphones- one facing the top three strings, the other facing the bottom three strings and angled inwards to reduce the gap in the sounds.
- Using a set of room microphones helps to pick up ambience.
Drums-
- Miking the kick drum from inside can add isolation, weight and definition to your recording
- Miking the kick drum from outside can add more bleed of sound from the rest of the kit, but lessens the attack of the pedal. You can mic both the front and back of the drum to give a unique sound combination of both.
- Using over-heads gives a fuller, stereo image of the Drum Kit overall, the further apart they are, the wider the sound image.
- Ensuring that the microphone is three fingers away from the drum skin prevents unwanted harmonics from the head and hoop of the drum.
- Aiming the microphone towards the centre of the drum helps to capture the sound of the stick as it impacts the drum.
- Bringing the microphones lower to the Toms gives a more defined sound.
- Don’t position a microphone near where the air escapes the Hi-hat when it is being played.
- Setting up a second microphone below a Snare will help to capture the ‘sizzle’ quality of the wires.
- Setting up room microphones can help to capture the overall ambience.
Cajon-
- Miking the kick drum from inside can add isolation, weight and definition to your recording
- Miking the kick drum from outside can add more bleed of sound from the rest of the kit, but lessens the attack of the pedal. You can mic both the front and back of the drum to give a unique sound combination of both.
- Using over-heads gives a fuller, stereo image of the Drum Kit overall, the further apart they are, the wider the sound image.
- Ensuring that the microphone is three fingers away from the drum skin prevents unwanted harmonics from the head and hoop of the drum.
- Aiming the microphone towards the centre of the drum helps to capture the sound of the stick as it impacts the drum.
- Bringing the microphones lower to the Toms gives a more defined sound.
- Don’t position a microphone near where the air escapes the Hi-hat when it is being played.
- Setting up a second microphone below a Snare will help to capture the ‘sizzle’ quality of the wires.
- Setting up room microphones can help to capture the overall ambience.
- Placing it closer to a wall or corner can help add power to the lower end.
- Placing it onto a harder floor rather than a carpet also helps to create a more lively sound.
- Using one single room microphone helps to give a more natural sound to the recording.
- Placing a kick drum microphone close to the sound hole helps to capture the low end of the sound.
- Placing a small-diaphragm microphone at the front helps to capture the attack.
- Miking both the front and the back helps to pick up more of the instrument’s wide frequency range.
No comments:
Post a Comment