From the orchestra to intimate jazz clubs, the saxophone family of woodwind instruments can be found in a variety of musical setting. Saxes come in many sizes, each producing a distinct sound. Naturally, these will each require unique techniques for recording. As part of our basic recording techniques video series, we’ve laid out everything you need to know to record the most common saxophones.
With all the sound emanating from one spot, miking brass instruments may seem pretty simple and straightforward, but brass instruments are capable of both tremendous range and tremendous dynamics.
As part of our basic recording techniques video series, here are some tips to capture the full picture of any brass instrument.
The modern 5-string banjo may be thought of as quintessentially American, but the origins of the banjo can be traced back centuries through Europe to Africa.
As part of our basic recording techniques video series, here are some tips to put the right mic in the right spot for your banjo.
With over 7,000 parts the piano is quite possibly the most mechanically and sonically complex acoustic instrument. With seemingly endless ways to mic a piano for recording, the project might seem overwhelming. As part of our basic recording techniques video series, we review three techniques to capture the perfect piano sound.
The tonewheel organ cemented its place in history as one of the earliest electric instruments. The organ, along with the rotary speaker cabinet, has found its way into nearly every musical genre, from relaxed jazz to stereo thumping rock and roll.
A truly versatile instrument, the organ can adapt to any style and we have some tips to help you capture the organ’s unique tone and spirit.
A-T’s entry into the studio microphones marketplace ushered in what we like to call our “golden era,” which took place from 1988-1998.
The microphones of the “golden era” helped to harvest some of our most important endorsements from major record producers and engineers.
This is the fifth installment in guest blogger Frank Klepacki’s series on music production. Today Frank discusses adding analog aspects to digital recording. If you missed Frank’s previous post on the role of the music producer, you can read it here.
For a great while now, people have been making music digitally. Whether they transitioned over from analog, or started digitally from the get-go, it’s a reality, a convenience and, moving forward, will be the norm of how music production is introduced to future generations.
While today’s up-and-comers making albums in their bedrooms and garages may never know what it means to cut tape or use a large format console, there are some ideas worth sharing to help and encourage their decision-making when recording in the future.
Award-winning producers, engineers and musicians everywhere have come to rely on Audio-Technica’s 40 Series studio microphones for their superior, dependable performance. They turn to these mics again and again for a sonic consistency that’s hard to find elsewhere.
Each of these microphones is individually tested and inspected for 100 percent quality assurance. If it doesn’t pass, we don’t sell it, simple as that. We’d like to talk about a couple of our 40 Series mics in detail to give you an inside look.
Robert Bigelow’s Tips on Mid-Side Mic Recording
While hardly a new technique, many engineers shun mid-side because they don’t know how to properly execute this technique. Luckily for us, veteran sound mixer/editor Robert Bigelow does, and he was on hand to show attendees how it’s done.
Mid-side microphone recording is used primarily for capturing ambient sounds and live music. It permits a wide array of stereo field sizes, much wider than with a single stereo microphone. Mid-side lets the engineer make the stereo field as wide or as narrow as desired. Here’s how it works.
This is the ninth installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting – if you missed his latest post – Part 2 of his series on Dynamics and Effects – you can read it here.
I know…you are probably thinking, acoustic guitars in metal and hard rock?! Yep, it does happen. There are two usual approaches when dealing with acoustics. Some have a built-in pickup, which can sound good, but oftentimes doesn’t, so using a good DI box and bypassing (setting flat) any of the tone controls can give you something better to work with. The second approach: using mics on it. Once again, it can be either a dynamic, condenser, or a combination of both mics and even a combination of the mics and the DI.
On the road again.