Tuning techniques for recording instrument sounds

Recording a grand piano/upright piano grand piano: Place two heart-shaped large diaphragm microphones approximately 8 to 16 inches (20 to 40 cm) above the strings. One is aligned to the treble area and the other is aligned to the bass area. Position the two microphones approximately 6 inches (15 cm) behind the pedals. As an alternative, you can also pick up the bass area from the back end of the grand piano so you can get a fuller bass sound. Upright piano: The method of picking up the opposite piano is the same as the method of picking up the grand piano. If the front cover is closed, you can align the microphone from above with the instrument inside. Remove the front cover to get a more airy sound.
Recording the flute: The sound of the flute comes from its mouthpiece and the first opening. The sound up to 3 kHz is mainly radiated along the line of sight of the flute player. Method 1: Using two heart-shaped microphones, align the microphone 1 from the 7 feet (2 meters) away and about 8 feet (2.5 meters) from the ground to the player's mouth, placing the microphone 2 and the player The right side is approximately at an angle of 90 degrees. Mode 2: Only one microphone is used, placed in the same way as the microphone 1, but placed a little further.
Record the clarinet: Use a heart-shaped microphone and align it with the bottom button. If you want to minimize the noise of the buttons, you can place the microphone a little on one side of the instrument. The sounds in the low midrange and midrange (between 800 Hz and 3 kHz) are only emitted from the button area. As the pitch rises (high and midrange and high range), more sound will be emitted from the flare. The frequency produced by vigorously playing (above 5 kHz) will only sound from the bell mouth and always hit the ground. Therefore, a reflective floor will make the sound brighter and more brilliant.
Record a tenor saxophone/treble saxophone: Align a heart-shaped microphone roughly with the area of ​​the button in the middle of the instrument. Because the saxophone's sound comes from its bell mouth and all the buttons that are turned on, the direction of the radiation often changes. Most of the low frequencies are generated through their bells because almost all of the buttons are off at this time. Most of the high frequencies come from near the mouthpiece. We recommend placing the microphone approximately 20 to 40 inches (0.5 to 1 meter) away from the instrument so that it can pick up its entire sound spectrum without over-emphasizing certain special frequencies.
Record the trumpet/long sign: Use a heart-shaped microphone so that it aligns with the edge of the bell from a slight deviation from the center. The sound you pick up depends on the distance between the microphone and the instrument. When picking up the trumpet from a close range of 2 to 12 inches (5 to 30 cm), we recommend playing against one side of the microphone. Some blowing techniques create eddy currents on the microphone. The use of a windshield will reduce the noise generated. The pre-attenuation switch on the microphone must be turned on, because both the trumpet and the trombone can produce very high sound pressure levels of up to 130 decibels.
Recording an Acoustic Guitar/Violin/Viola Acoustic Guitar: A good way to pick up a guitar is to place a heart-shaped near the sound hole, a large diaphragm microphone, and a small diaphragm placed near the bridge or behind the body. microphone. Find the desired sound by adjusting the level ratio of the two microphones. Violin, Viola: Be sure to use a high quality heart-shaped condenser microphone. Align it with the soundboard at a right angle, aligning the f-hole from a height of approximately 6 to 8 feet (1.8 to 2.5 meters). The method of picking up the viola is the same as the method of picking up the violin, but it is a little farther away.
Recording a double bass/cello double bass: Align a heart-shaped microphone at one of the f-holes from a distance of approximately 16 inches (40 cm). If the double bass you recorded is ensembled with other instruments, use a supercardioid microphone to pick up the sound within a shorter distance to avoid interference from other instruments. Cello: First place a heart-shaped microphone in the same way as the sound of a double bass, and then place a microphone at a greater distance. Adjust the level of the close-range microphone to be about 20 decibels lower than the level of the remote microphone.
Recording an electric guitar/electric bass electric guitar: Use a heart-shaped microphone to align the diaphragm of the speaker from a distance of approximately 3 to 6 inches (8 to 15 cm) from the center. Turn on the pre-attenuation switch on the microphone. Also consider using a room microphone. Electric bass: The microphone is placed in the same way as it is used to pick up an electric guitar. You can also add a direct signal to the bass track using the line output on the DI box or bass amplifier. If you use an unbalanced connection (TS connectors and cables), you must ensure that the cable is no longer than 7 feet (2 meters) long. To avoid audible interference.
Recording a drum kit: It takes a lot of knowledge and experience to pick up the drum kit. It is a tough job to get the desired results. As the smallest way to set the microphone, we recommend placing two heart-shaped condenser microphones like the AKGC414B-XLS 32 to 48 inches (80 to 120 cm) above the drummer's head. If your budget allows, you can use the pair of microphones above the head to pick up the slings, use the equalizer to cut the frequency below 1 kHz, and use the following for the remaining drum components. Sound mode: Hanging and floor-standing through-drum: Place the microphone very close to the edge of the top circle. Snare drum: Place the microphone at a position 1.2 to 2 inches (3 to 5 cm) above the top. You can also consider using another microphone to align the snare drum from the bottom, but be sure to reverse its polarity. Hi-hat: Use a microphone with a super-cardioid small diaphragm and keep it away from the snare drum. Drum: Be sure to turn on the pre-attenuation switch on the microphone (sound pressure level may be as high as 160 decibels). Remove the front drumhead and place the microphone into the drum cavity. The farther the microphone is placed from the back, the more full the sound. To avoid placing the microphone directly against the hammer on the drumhead, it will only pick up a dry, low-pitched slap.
Recording Leading: To pick up a popular, very intimate lead vocal, we recommend placing a heart-shaped microphone 6 to 12 inches (15 to 30 cm) from the singer and turning on the low-frequency attenuation filter. . The spongy windshield is effective in suppressing popping sounds (such as "p" or "t"). The most appropriate method of noise suppression is to use a separate tamper screen.
Recording vocal/chorus: Method 1: If there are a sufficient number of available tracks, then we recommend recording the respective sounds separately, and the microphones are placed in the same way as when recording the lead vocals. Mode 2: When simultaneously picking up multiple singers using separate microphones, a supercardioid microphone should be used to prevent mutual interference, especially if the distance between the microphones is relatively close. Method 3: When using a single microphone to pick up multiple singers, the directionality of the microphone should be set to circular (omnidirectional) or heart-shaped, and the singers should be arranged into an open semi-circle. Surrounded by the microphone. If you are picking up a chorus, you should use a separate microphone for each part. You can also consider using an extra stereo microphone. In an ideal acoustic environment, a single stereo microphone or a pair of mono microphones is enough to allow you to record very good sound.

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