RECORDING A LIVE BAND WITH ONE MIC FULL

RECORDING A LIVE BAND WITH ONE MIC FULL

That link has a full exploration on the topic. The first problem you should listen for is the proximity effect. When you choose to employ the method of placing a mic this close to an instrument you trade one set of problems for another. Life is all about choices in this give-and-take world. You use close miking with the right pickup patterns to get your isolation. You want to record each without the other bleeding into the mic. So what happens when you have drums, bass, violin, and tambourine all in the same studio room, even with perfect acoustic treatment? It avoids most standing waves, flutters, echoes, and reverbs in a room without acoustic treatment.ДЄnd most interestingly, even top of the line studios don't build isolation booths for more than vocals. This method manages to avoid having the sound of some idiot screaming 'Freebird!' during your live recording. The reason is that this opens up as many options as possible when it comes to mixing and mastering. It's when you want the cleanest, driest, truest signal possible. The key here is the third bullet point though. An example of using gaff tape inside of an acoustic grand piano for close positioning And any source such as a human voice or acoustic instrument without pickups will require a microphone.

There are times where you'd rather output the signal through an amplifier and capture it again with a microphone though. Even the cheap but good audio interfaces feature an high-impedance instrument input or you can use a D.I. To explain a little further, an electric guitar, bass, or keyboard, for instance can be plugged directly into a mixer. And you want the cleanest signal possible.The signal can't be directly injected into a mixer or audio interface.When Do We Use The Technique?Д«eyond the example concerning movies above, you will want to use this method any time you're in a position where: There are times you'll want to provide yourself with options so you record the entire room or a distanced capture of a drum set or piano.Д«ut for generally all other applications, you'll want to deploy your mic very close to the sound source. Other times you'll want to capture a blending of sounds such as several monks chanting together. Of course there are still times when you do want some of the ambience to be recorded, such as in a church cathedral. An example of close miking an electric guitar amplifier off-center Even in movies if two characters are sitting on a park bench, they'll isolate each voice from the environment and then record the sounds of other people and birds and squirrels and all that separately. That's pretty much saying 'any time we don't want outside sounds getting into the recording.' Which is most of the time. Isolating the signal from other instruments.Isolating the signal from ambient noises.There are two main reasons for using this practice: There's even the danger of a performer bumping into the mic. You might wonder why this is so prominent since you know about unintended consequences such as the proximity effect, capturing vibrations up even the best mic stands, or even electrical interference from specific instruments or amps. The goal and practice are one and the same:Д¬lose miking is the practice of placing the microphone physically near the source of the sound being recorded, typically no more than 12 inches in distance away. You might have one mic only in mono or an M-S orientation, or have two set up in an X-Y or A-B fashion. It might be a ribbon microphone or a lapel mic. It doesn't matter if you're using a dynamic mic or a condenser mic. Let's answer all of the questions above and get to the bottom of this advanced method. There's even accent miking to accentuate specific tonal qualities, such as purposefully the neck of a guitar to pick up the sound of the finger sliding across the strings.ДЄll of these techniques have their place, but they all usually piggy-back off of the extreme clarity and truthfulness of a microphone situated very close to the sound source. There are overheads used to create a stereo image, usually of a drum set or orchestra. There is room miking to capture the distinct reverberation signatures of a specific acoustic environment. There are other microphone placement options, such as ambient miking to capture the sound of nature or a crowd as it responds to a performance. It's so common that people who have zero clue what they're talking about will offer up the solution:Д«ut what does this really mean? Why was the technique developed? What does it offer over other techniques such as distance miking? How do we use it and when should we use it?

Recording a live band with one mic