For acoustic guitar recording we as a class tried a few different techniques. We first tried a Neumann 187 pair on the fret and placed the other at the sound hole. We discovered this provided a round and full sound from the guitar with equal low end and body with a lot of articulation of the string. We then used one mic (Tube Neumann 147) at the middle of the guitar right above the sound hole hand. This technique capture the overall contour and sound of the guitar but it was not as detailed as the other technique with the Neumann pair.
- Senior, Mike. “Recording Acoustic Guitar”. Sound on Sound Magazine. Published:April 2010. Date ofAccess: October 17, 2017
- ” How to Record Acoustic Guitar with One Microphone” http://www.neumann.com/homestudio/en/how-to-record-acoustic-guitar-with-only-one-mic-part-1
This project was probably the most challenging out of all of them. This was the first project we were able to do with the Neve board and many of the problems we ran into dealt more with set up mistakes we were making or in this case problems that other groups created by mistake. We asked Dillon and Angelika to be our artists for the session. In terms of set up we set the piano up in the middle of the room and used the two Neumann mics on the left and right side of the piano. We then placed an agobo between the piano and the vocal mic to prevent the bleeding into either mix. After fixing the channel mix and changing the output to Stereo Output we were able to get a signal from channels 9 and 10 on the board which is what prolonged us from being able to record. Derisa and I coached Angelika on how where she needed to be in front of the mic and how to really more consistent in her phrasing because that plays a role in how a listener may perceive how good a recording sounds. For the vocal mic we used the Sennheiser 421 with a pop filter based on previous sessions ( My graduate school recordings). Dillon pretty much kept a balanced sound in both his left and right hands , however we had to make to adjustments to the gain on the board because one of the takes was very piano heavy especially with the right hand. The Overall set up of the piano and vocal mic was pretty successful because we got a balanced sound between the voice and piano. Due to time constraints of our musicians and the scheduling of the studio we were not able to try any other mics. This project further drove home the point that we as students really have to pay attention to what we are doing and even if we have issues we have to work through them effiecntly and quickly because the artist’s time and ours are very valuable.
For our electric bass recording we split recording between two days and tried different techniques. On the first night we ran the bass through the interface because an amp was not available. We were able to experiment with different types of amps that were already preloaded into Logic and tried adding effects to get a full and round sound that we were looking for. On the second night of recording we were able to use an amp and we used different mics out in front of the amp. We used the Sennheiser 421 dynamic mic and placed it to the right corner of the bass amp. We discovered that the 421 gave a more light and articulate sound however, it did not capture the low end of the bass tone as well and so we tried the AKG D112. This mic we felt best captured the full body of the bass besides the amps that were in Logic. When also felt that the Sennheiser would better for other styles of music that were not super bass heavy like jazz .
- Houghton, Matt. ” Better Bass: A Guide to Recording, Mixing , and Monitoring the Low End”. Sound on Sound Magazine. Published: April 2007. Date of Access: 2 October 2017. https://www.soundonsound.com/techniques/better-bass
- Audio-Technica. ” 3 Basic Tips for Recording Electric Bass”. Audio-Technica. Published: April 29 2014. Date of Access: 2 October 2017. http://blog.audio-technica.com/3-basic-techniques-recording-electric-bass/