This is the 11th installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting – if you missed Part 2 of his previous blog series on Acoustic Guitars, you can read it here.
This is what a sell out crowd looks like from Steve’s point of view.
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
Continuing our series of Livestream sessions at NAB 2014, we return to Robert C. Bigelow for a new discussion on mid-side microphone 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.
Lavalier microphones are smaller electret or dynamic mics used for public speaking, television, theater and film applications.
Fred Ginsburg is a veteran sound mixer and educator known for his work on television and film. From the Audio-Technica booth at NAB 2014, Ginsburg delivered an informative lecture on the best practices for using lavalier mics. Here is a summary of what we learned.
The annual National Association of Broadcasters (NAB) Show is the largest B2B media company conference.
We showcased our professional audio products and also provided some key learning channels at NAB 2014. Join us now for a review of our “Ask Me Anything” sessions, where the live NAB audience and those following on Twitter asked experts questions about sound engineering. First up, Lenise Bent.
The Backup Plan
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.
Ryan Hewitt, Always In Record. (Photo: Ryan Hewitt/Facebook)
Using a single mic to record a group of vocalists allows the singers to control their blend and balance more naturally than if they were recorded individually. The result can be a richer, more organic sound.
With that in mind, we’ve put together a few tips that will help you record a small vocal group as a single unit.
1. Figure 8 Pickup Pattern with Two Vocalists
Using an AT4047MP multi-pattern condenser microphone set to figure 8 will allow you to record two singers with one mic. Place a singer on each side of the mic. The front and rear half of the mic act as if there were two cardioid elements in one housing back-to-back. The balance of the vocalists can be controlled by adjusting their relative distance from the mic.
The human voice is the most complex, most dynamic instrument you will ever record. Lead vocals are the centerpiece of most tracks, though they may be the most difficult to nail in the recording process.
Below, you’ll find everything you need to know to capture vocals during the recording process.
1. Reduce Ambience and Plosives
Before you can capture the ideal vocal sound, you have to make sure that you don’t capture excessive ambience and plosives.
a. Plosives are bursts of air that can be created when singing or speaking consonants, especially p’s and b’s. Place a pop filter between the singer and mic to prevent the bursts of air from distorting the sound.
This is the second installment in guest blogger Ryan Hewitt’s series on recording. Today he discusses the pros and cons of default settings. If you missed his initial post about being “always in record,” you can read it here.
When you open a plugin these days, you get the “default setting;” all controls set to something “normal,” or unaffected, or something the maker deems a worthy place to start from.
Ryan in the studio. (Photo: Victoria Perova)
Recording voice-overs, podcasts and other types of spoken word has its own unique set of demands. However, it’s still possible to capture professional quality sound without spending a fortune. Below, Audio-Technica has a few helpful bits of advice to get you started.
1. The Microphone
For voice-over and spoken word, the most important link in the signal chain is the microphone. Try an AT2020 USB cardioid condenser microphone. This microphone not only sounds great, but the USB output allows you to bypass an audio interface and plug directly into your computer where the digital signal can be recorded and mixed using your favorite recording software.