1. Microphone types, placements & Scenarios

2. Polar Patterns For any given scenario you must think; What type of microphone to use? What polar pattern? Where are you going to place it?

3. Coincident Pair (XY) Level different gives stereo effect Cardoid patterns used 90° to each other Few metres from performers Raised High Mono Compatible AMBIENT RECORDING Spaced Pair Time differences gives stereo effect Omni-directional pattern used Not mono compatible Near Coincident pair Level and time differences give stereo effect Cardoid pattern Spaced a few inches apart horizontally Not mono compatible

4. Grand Piano Condenser Microphone Stereo/coincident pair One for bass, one for treble 15-60cm from strings With lid open Micophone Placement Upright Piano Condenser Microphone Stereo/coincident pair Three octaves apart 15-60cm from strings Not pointing directly at hammers – avoid this noise Lid open

5. Acoustic Guitar Close Mic Condenser Microphone Cardoid pickup Point where neck joins body OR – fretboard and sound hole OR – Stereo XY pair 20cm away Avoid noise from guitar being played Micophone Placement Electric Guitar Close Mic Dynamic microphone Cardoid pattern Close to speaker grille few inches away Avoid proximity effect Take amp off the ground

6. Bass Guitar Close Mic Dynamic microphone Cardoid pattern Close to speaker grille few inches away Avoid proximity effect Take amp off the ground OR use DI Box Micophone Placement Drumkit Close mic each drum with clip dynamic microphones and 2 condenser overheads Cardoid pattern Close to each skin (15cm) OR – stereo recording using 2 condenser microphones OR – same as above but with dynamic microphone on the snare

7. Brass/Saxophone Close Mic Condenser Microphone Cardoid pattern 30cm – 1.5m Front of instrument to pick up heard sound Micophone Placement Vocals Close Mic Large Diaphraghm - Condenser microphone Cardoid pattern 14 – 45 cm away from mouth A little above/below mouth Use pop shield & sprung cradle

8. Orchestral Instrument Close Mic Condenser microphone Cardoid pattern 30cm – 1.5m Front of instrument to pick up heard sound Micophone Placement Percussion instrument Close Mic Condenser microphone – small diaphragm Cardoid pattern Up to 12 incles from skin/sound Carefull for overload

9. Loud instruments such as trumpets and trombones sound best when recorded slightly off-axis from the bell. Tuned Percussion can be recorded in the same way as the piano with 2 microphones for higher and lower pitches Brass instruments produce very high levels of sound and dynamic microphones should be used. Large diaphragm cardoid condenser microphones suit many instruments such as strings – place 1 – 2 feet away Woodwind suit a smaller microphone diaphragm. Tips on close micing

10. Stereo pair to pick up ensemble 8 – 20 feet away Musicians placed naturally Condensers for detail & sensitivity Omni directional – large diaphragm microphones Ambience – louder instruments further back May want to spot mic soloists Recording Ensembles

11. Solving Problems DISTORTION/WIDE DYNAMIC RANGE Use a compressor to control dynamics Adjust levels when sound-checking Turn down the gain Move microphone further from sound source PROXIMITY EFFECT This accents bass frequencies (could happen with vocals if microphone not placed properly) Move away from microphone

12. Solving Problems NO STEREO FIELD/MONO RECORDING Mix to stereo master Place tracks in stereo field using panning POOR BALANCE BETWEEN PARTS Multitrack the recording Use faders to adjust individual track volumes (in exam state which instrument needs turned up or down in the mix)

13. Solving Problems MUDDY PARTS/DULL SOUNDING Use EQ to give each track a different frequency Position microphones correctly Use appropriate microphones – check frequency response LITTLE DEPTH OF FIELD Use reverb to add depth Use EQ to change position in mix PLOSIVE SOUNDS (popping & blasting) Use pop sheild Move away from microphone

14. Solving Problems HISS OR NOISE ON THE TRACK Check cables Use noise gate effect MIDI TRACK IS OUT OF TIME Quantise the track Re-record with metronome or guide track

15. Specimen Paper Question 5b) 3 marks Listen to this excerpt of a saxophone quartet and describe in detail a stereo mic’ing technique you would use to achieve a similar recording. Justify your choice. ………………………………………………………………………………………………………… ………………………………………………………………………………………………………… ………………………………………………………………………………………………………… …………………………………………………………………………………………………………. EXAM STYLE QUESTIONS

16. Specimen Paper – Answer 5b) A matched/stereo pair of cardioid condensers in XY/ORTF. or Stereo pair of omni-directional condensers in AB/spaced pair. Microphones should be placed at a metre or more from the source ensuring good stereo separation and a good balance of direct sound and room ambience. EXAM STYLE QUESTIONS 1 mark for microphones/array. 1 mark for placement. 1 mark for justification.

17. Exam Style Questions See Specimen paper Question 3