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)
The AT5040 condenser mic marks a turning point in condenser design. Its four-diaphragm element provides unparalleled depth, realism and purity of sound. It’s this remarkably high-fidelity performance that’s causing many engineers like Lenise Bent to make the switch to the AT5040.
Our accomplished touring FOH and studio engineer friend, Steve Lagudi, is also an occasional A-T guest blogger. He’s tackled several topics, including miking cymbals and channel delay. At this year’s NAMM Show, Steve took some time to talk with us about some of his favorite A-T mics.
The Artist Elite® AE2500 dual-element microphone features cardioid condenser and dynamic capsules together in one housing. Traditionally, this mic is used for recording a balanced kick drum, but Steve uses it for miking the guitar as well.
“It just gives you everything that you want out of the guitar – everything from a tight low-end all the way to the top… hearing all the strings on the instrument. … This is definitely my go-to mic for guitars.”
This is the fourth installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting – if you missed Part 1 of his post on selecting and placing mics, you can read it here.
Steve’s view during a live show. Photo: Steve Lagudi/Instagram
The National Association of Broadcasters (NAB) Show is the world’s largest electronic media show and is a chance for our team to travel to Las Vegas to speak directly to the broadcast audio community.
In this edition of “Where It’s A-T,” we’ll take a look at what we saw, what we did and what we learned at NAB 2014.
The snare drum is the focal point of any drum set. You really have to nail the snare sound, though it may be the trickiest drum to record. In four quick tips, we’ll show you the basics for capturing a quality snare sound. You can take it from there to find the sound that’s right for you.
This is the third installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting – if you missed his previous post on controlling volume on stage, you can read it here.
Getting back on track here, once we have determined our music style and what we are looking to capture, we can now make a decision on microphones and their placement. Typically most people use a single dynamic mic for this application and that is ok. I personally like the two mic combination of both a dynamic & condenser on my guitars. I find it results in a fuller sound that really captures the detail and presence one would expect with a great guitar sound, however, you can still achieve similar results using only one microphone…so if you only have dynamic mics, don’t worry, use what you got.
Hand percussion can provide just the accent you need to fill out and drive your song. It provides spice and momentum.
In many of the greatest rock songs, a good piece of hand percussion provides the perfect addition (look no further than “Sympathy for the Devil” by the Rolling Stones to see what we’re talking about). Here are four basic tips for recording hand percussion properly, so it sits just right in your mix, regardless of the effect you’re looking for.
1. Position Head-On
We’ll start with a shaker and an ATM450 cardioid condenser microphone. Placing the mic directly in front of the shaker will emphasize the accents and capture a full and defined sound. The closer the shaker is to the mic, the louder the accents will be relative to the rest of the sound.