Note: these are guidelines, not rules. Use your ears, and try different things.
Vocals
- Mics to use: U87, 414, 357
- On U87 and 414, use roll-off for low frequencies.
- Mic placement - Approx. 8 inches out from the singer's mouth and four inches above the singer's mouth.
- Try not to use the spongy wind screens, use the spit guard instead.
- Avoid placing the mic 1/2 way between the floor and ceiling.
- Use the music stand with carpet on it or throw a sweatshirt (or equivalent) over the music stand.
- Compressor - Use a fairly fast attack, 4:1, for a release time start with 0.5 seconds. For a smoother vocal release use 1-2 seconds.
- EQ - Add 1 KHz - 3 KHz for a brassy type sound (cutting). For a quieter more intimate (ballads) type sound use 200 Hz and add 8-10 KHz. Try to record brighter that you usually do, you can EQ the brightness out later.
- Remember that the primary frequencies from vocals are between 200 - 800 Hz.
- It is a good idea to ride the gain when recording solo vocals. You will want to record the vocals as hot as you can.
- Group Vocals - Try a spaced pair of 414s on omni. For compression use a fast attack, 6:1.
- EQ - boost 10 KHz for clarity. Lay down the leads before you do background vocals.
Piano
- Range of piano: Hz - 27 Hz - 4100 Hz with overtones to 20kHz.
- Dynamic range of 50dB
- When close micing be aware that certain areas resonate in specific frequency ranges and are dead in other frequency ranges.
- Remember when micing that the piano is designed to be heard from the right hand side.
- Rock piano is heavily compressed.
-Mics to Use - Use KM 140s as spaced pair placed just outside the lid. You can try putting the U87 on the end of the piano and mix this in. This is the best method for almost all situations.
- Interior micing. Use the 414s or the KM140s. Used for recording piano when there will be a lot of leakage - like a live sound situation.
- listen for sweet spots. - Find 2 spots at least a foot apart.
- Use spaced pair on cardiod.
-Check the stereo image - Check phasing.
-PZMs - Place 2 PZMs on the right side of the lid at least 1 foot apart.
- No reflections, very bright.
Compression - fast attack (<2ms), 5:1, release (<1 sec.).
-Make sure to do any EQ-ing before compression.
Drums
- Basic Jazz Kit
- spaced pair of overheads (81's or 414's on omni) with D112 or PZM on kick.
KICK- - Kick almost drum machine style- On compressor use a short attack (2 ms or <) with 8:1. On gate use short hold/decay.
- Kick for punchier sound - On compressor lengthen attack to 5-10 ms.
- Kick heavy metal - On compressor use high ratio, fast attack, fast release (<30 ms) = reverse envelope type sound, on gate use longer hold/decay.
- sample kick EQ - boost 70-100 Hz, dip 400-600 Hz, boost 1-2 Khz, for disco boost 4 khz, for hard rock dip 200-300 hz.
SNARE- experiment with rings and tape on drum head. Your most frequent ringing frequency is 200 Hz. Use rolloff at the console.
- "Riding Snare" sound - On Compressor - use a short attack (under 2 ms), high ratio, and long release (1 sec or >).
- "Bouncing Snare" sound - On compressor use long attack (5-15 ms), low ratio, and short release (<0.2 seconds).
Hi-HAT- Use pads and roll offs.
TOMS- Spread pans as far as possible, dip low-mids to get rid of cardboard type sound, with console's roll-off.
CYMBALS- Try X-Y pairs overheads on cardiod above the drummer's head 7-8 feet above the floor. Use console roll off.
Acoustic Bass
- Mics to use : U87, or 414 will be the best. You can try a 421 or D112 if you think you want to use a Dynamic mic.
-Try stereo 414s in omni, check for phase problems.
-Pickups - The Fishman p/u is the best - but watch out, it can have a real trebly sound and you can get a lot of finger noise. I donÕt recommend that you use the p/u by itself, you could mix the p/u channel in with a miked channel if youÕve got channels to spare.
-Compression: Try the Urei with 3-5 milliseconds on the attack (its longest setting), release of 0.5 seconds, and a ratio of 4:1.
-Reverb: use a short plate reverb to get an older jazz bass sound. 0.5 - 2 seconds of delay.
Electric Bass
- Mics to use: 421, 57, or D112 on amp. DonÕt use the 414s or U87. Or try a DI or a combo of DI and a Dynamic mic.
- Compression: Try the Yamaha - Attack of 4-8ms, release of 0.5 to 1 second, ratio of 4:1. Or a similar setting on the dbx unit.
Sample EFX- - Flange: for a funk bass sound. Mix in the flange and shelf dip the EQ on the console at 150Hz and below. OR Send the flange signal to a short reverb and blend in only the reverb on the console.
Electric Guitar
- Remember that guitar pickups ring at 2-4 kHz.
- Have the guitarist turn the volume and tone knobs all the way up on their guitar (if they are willing) and make adjustments for tone quality and volume at the board.
- If the amp is super noisy, consider using a gate. Set the gate for a fast attack and put the threshold just above the noise floor.
- Mics to use: SM 57, 421, SM 81. Try micing close with one mic then set another matching mic up to 3 feet back. Or try just micing 3 feet back. Or try just the close mic. Another solution is to use a close mic, then set up a PZM for a room mic.
- Compression: Use a high threshold, attack of < 8 ms, a ratio of < 5:1, and an average length release.