Get the most out of your abode studio apartment recording by using the right microphones and the best miking technique .
1. Use the right mic for the job
There are three basic kinds of microphone : dynamic , condenser and ribbon mics .
Dynamic microphones are the most versatile and durable . With a dynamical mic , wakeless waves in the airwave move a little strobile inside of a tight helix of wire circumvent by a magnetic arena . It takes a relatively hefty sound wave to move the ringlet , making dynamical mics less sensitive than condenser or decoration microphones , but hard to discover .
active mics are secure for miking drum , where the mike is most probable to get hit with a stick , or miking very loud sound recording like the scream lead singer of a laborious tilt band .
With a condenser mic , wakeless waves cause a thin plastic diaphragm to thrill , and the vibrations are measured by their distance from an electrified back plate . The stop of a capacitance mic is much more sensitive than the coil of the active mic , create them ideal for vocals or for trance a enceinte frequency range , like the lowly sea bass thump of a rush drumfish . Condenser mics cater clean , unmortgaged , precise phone procreation , but also some of the durability of dynamical mics , making them extremely various for professional recording .
Ribbon microphone are an older technology with superb clarity and sensitivity . Inside these microphone is a thin metal decoration that hangs down between two attracter . Small vibrations in the palm cause fluctuations in the electromagnetic field , creating audio signaling . Ribbon microphones are sound for capturing the natural or ambient sound from an case or transcription session , since the extremely sensible laurel wreath piece up vibrations from all sources . They ’re not ideal for vocalists since they piece up every imperfectness . These mics are delicate and will break well under rough handling or power surges .
2. Stereo miking techniques
Stereo miking is the use of two or more stationary microphone to capture the rich , strong , stereo spectrum of a live operation or studio recording . In stereophonic miking , each microphone primarily records one conclusion of the stereo spectrum ( pan right or pan left ) . Each mic also get thephantomrecordings of everything in between the two extreme of the spectrum . When the pan left and pan right recordings are lay on top of each other , the two phantom recordings accurately recreate the locating of all sounds in the centre .
There are several different stereo miking techniques :
[ germ : Tape.com ]
Are there unlike ways to mike an acoustic guitar versus an electric ? And , how do you mike drums ? Read on to find out .
Guitar and Drum Miking Techniques and Tips
What ’s the in force path to mike a guitar or drums ? Find out below .
3. Miking a Guitar
To record an acoustical guitar , use any of the stereoscopic photograph miking techniques as above , except on a smaller scale . The left mic would be take at the bridge of the guitar , where the drawstring are connected to the face , and the correct mic at the twelfth fret , the metal wire that sit on the guitar neck , make a dainty sense of blank and openness [ sources : Maximum Musician.com , Humbucker Music ] .
For galvanising guitars , check out the next lead .
4. Miking an Amplifier
Every professional recording engineer and house hobbyist has his own technique for recording electric guitar audio . The most canonic , garage - circle proficiency is to take a dynamical mic and agitate it right up close to the guitar amplifier , maybe 3 to 6 inch from the fabric . Dynamic mics can take the highsound pressure levels ( SPL)of the amp without distorting the sound .
Most engineers agree that the skillful electric guitar sound number from an amplifier that ’s turn up to ten . allow the ampere warm up and then crank it up for the best recordings .
Different guitar miking techniques farm different sounds . As do dissimilar guitar , A , rooms and microphone types . The best way to experimentation is by setting up several mics in front of the amp at unlike angles and distance from the ampere and test each one for the beneficial audio .
If a mic is angled toward theconein the middle of the amp , for example , it ’s go to get the clearest , hard sound with the all-encompassing frequency kitchen range . But if you point the mic further toward either side of the cone , it ’ll warm up up the tone a niggling [ source : Electronic Musician ] . you’re able to also experiment with using two mics – a dynamic up tight and a condenser a foot behind – and mix in the two recording for a fuller tone .
5. Miking drums
Drums typically require the most mics . Even the most canonical apparatus , called the " triangle , " requires three mics [ source : Home Recording Connection ] . One mic goes in good order inside the kick drum ( the expectant base drum ) and two other mics are placed on either side of the drum kit to capture a realistic stereophony audio .
But to get the clearest , abrupt auditory sensation out of a drum outfit , you ’ll want to mic each brake drum separately . This requires humble dynamic mics ( the most durable ) that can be pointed toward a exclusive drum promontory , such as the snare , toms and story Uncle Tom . Cymbals and gamy - hats do n’t need mics of their own since their sound is pick up easily by other mics . In fact , the big trick with miking drums is making sure that the cymbals do n’t overpower the admixture .
If you ’re record drums with other pawn , it ’s important to prevent the other audio frequency from bleeding onto the drum rail . This usually requires some kind of legal barrier around the drum kit made of dense froth , cubical splitter or some other form of interference muffle material [ source : Home Recording Connection ] .
For lots more information about miking techniques and related to issue , check over out the links on the next page .
