This is the tenth installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting – if you missed Part 1 of this blog on Acoustic Guitars, you can read it here.
*This post is a continuation of Part 1…
Life on the road.
The Audio-Technica Blog
Have you ever witnessed a mic drop? It’s a victorious moment, one of personal definition and momentous achievement.
Did you just school the haters in their own schoolyard? Drop the mic! Did you just bust the fattest freestyle flow anyone has seen or heard since the’80s in Harlem? You better drop the mic!
Basically a “mic drop” (whether or not someone literally drops a microphone) is a declaration and celebration of achievement. If you’ve ever “dropped the mic,” we’d like to hear about it. Share your amazing audio victories with us. Did you win an award for something music related? Did you get a standing ovation you weren’t expecting? Whatever the nature of your victory, A-T wants to know about it.
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.
To continue our series of Ask Me Anything sessions from NAB 2014, here are the highlights from our sit-down with Robert C. Bigelow.
This is the fourth installment in guest blogger Ryan Hewitt’s series on recording. Today he discusses the value of backup plans. If you missed his last post on staying to get the job done, you can read it here.
Have you ever meticulously planned out your recording setup only to use absolutely none of the equipment you thought you’d want to use? Yeah, me too.
This is the sixth installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting, and the fourth part of the discussion on selecting and placing mics on stage – if you missed Part 3 of his post on selecting and placing mics, you can read it here.
My mic technique works for the heavily distorted guitars, but what about clean parts? This too gives a really nice result, so it will work. It’s hard to put into words how something sounds – and as you sit here and read this you cannot really hear an example of it – so the best way for me to describe it is like this…it sounds just as it does coming out of the amp if you were standing in front of the cabinet. It gives a solid recreation of what you’re hearing with no coloration.
Steve at home in the studio. (Photo: Steve Lagudi/Instagram)
There are a wide variety of Latin percussion instruments with different tonal qualities. Incorporating the right ones on the right tracks will provide tasteful accents that make your song really pop. Audio-Technica is here to help you with mic selection and placement for the most common Latin percussion instruments.
Try a pair of AT4050 multi-pattern condensers set to cardioid on the congas. Position the mics about 9″ above the outside edge of each conga. This position maximizes isolation for the widest possible stereo image.
This is the fifth installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting, and the third part of the discussion on selecting and placing mics on stage – if you missed Part 2 of his post on selecting and placing mics, you can read it here.
Steve’s ‘view from the office.’ (Photo: Steve Lagudi/Instagram)