- Bassist: Skyler Diacheysn
- Ibanez TR 80 with round wound strings
- Microphones: Shenniser 421 and AKG D112
Arron and I recorded electric bass and we experimented with three different techniques. First we tried recording the bass directly through the Presonus interface. In the recording we used a Modern Stack sound for the bass and the Channel EQ to bring out the lows and cancel out the higher frequencies. Then we used a bass amp that is built in Logic. We used a classic amp, Modern 6’ cabinet and a Dynamic 20 microphone.
The second technique we tried a Sennhesier 421 microphone with the Ampeg amp placed 3 inches away from it. This technique produced a raunchy rock and roll sound. There was some hissing sounds in the recording due to the studio so we tried canceling most of it out with the EQ but we were not 100% successful in that endevor.
Using the same amp we tried recording with the AKG D112 microphone. This technique provided a clean cut, round sound. There was less hissing in this recording.
Overall my favorite out of the three techniques was the recording directly into the interface. Mainly because we minipulated the sound enough to our taste.
We recorded the acoustic guitar in class. The microphones that were used in this experiment were the Neuman 147 and a pair the Neumann 187’s. I found that the pair of 187 provided the best sound because it was able to capture the full range of the instrument. We placed one by the sound hole and the other by the fret board. The other configuration using the Neumann 147 by the sound hole. It picked up more of the lows but was not my favorite.
The Mic used on this recording is a TLM49.
The mic used on this recording is also a TLM49.
How to Record Better Vocals: The Beginner’s Guide
This duet was performed by Dillon Acey on piano and Angelika Robison on vocals.
We used a Sennheiser MD42 with a pop filter for the vocals and two Neuman TLM103’s to mic the piano
How To Record Piano
How to Record Better Vocals: The Beginner’s Guide
Chris Smith Acoustic Guitar Recording
I like the full and balanced sound of the 184 positioned at the sound hole.
I don’t like how bright the guitar sounds in this mix. It’s much too abrasive and lacks body.
The 4 Rules Of Acoustic Guitar Recording
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
I recorded a Fender acoustic guitar with steel strings.
I chose the Neumann KM184, as I’ve heard this mic on acoustic guitars in the past and liked it.
For the first take, I put the mic between the sound hole and the 12th fret. This sounded very boomy, but picked up a lot of tone.
For the second take, I moved the mic to right over the 12th fret. This eliminated a lot of the boomy low end, but lost some of the overall tone of the guitar.
For the third take, I decided to try something that I saw on a video by Neumann on acoustic mic techniques. This was to put a mic between the bridge and sound hole to get a lot of tone and articulation.
All of the tracks have slight EQ and compression. In the first track, I left a lot of the low end in the track that was boomy that I would usually EQ out, to show how that mic naturally picked up the guitar.
For my vocal recording project, I recorded Brianna Maclean’s original Face to Face. This song is performed with female vocals and electric guitar.
The first take was with the Shure KSM 313 Ribbon mic. I reached for this first because I wanted to have a smooth and buff vocal tone. Ribbon mic’s have a natural high end roll off, so I thought this would work well for her voice.
This mic was a little too dull, and lacked articulation.
The next mic I tried was the Neumann M147 Tube mic with the pop filter. This mic reacted to her voice a lot better, because she doesn’t sing with very harsh syllables.
The next problem I ran into was bleed from her electric guitar strumming. I was running it directly into the interface, so there was no amp to worry about, but the strings can be heard in the recording.
To solve this, we did a take without her playing while singing, and this eliminated the nuances.
All of the tracks have light EQ and compression to help capture the performance.
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 my duet project, I recorded Carson Hall playing and original song, Columbias. He played an Alverez acoustic guitar with steel strings.
For the first take, we set up two microphones:
- Neumann KM184 on the acoustic guitar, positioned near the 15th fret
- Neumann M147 Tube with a pop filter for the vocals
The acoustic wasn’t getting as much articulation or body as we’d like, and the track as a whole was very ‘narrow’ and direct, so we decided to add another mic and pan the guitar mics hard left and right.
The mic we added for the second take was a Neumann TLM49, positioned at the body.
We also moved the two previous mics slightly back and away from each other to avoid uneven bleed between all the mics.
Both recordings have a little bit of compression and EQ on every channel. I found that I had to scoop a lot of lows (up to 80 Hz) out of the vocal channel, as there was a rumble of noise resonating down there. Aside from the noise, the vocals were a little boomy, but adding the low cut filter helped produce a clearer sound.