Music Technology Revision

1. Music Technology Revision Microphone types, placements & Scenarios

2. Polar Patterns For any given scenario you must think; What type of microphone to use? What polar pattern? Where are you going to place it?

3. AMBIENT RECORDING • Coincident Pair (XY) • Level different gives stereo effect • Cardoid patterns used • 90° to each other • Few metres from performers • Raised High • Mono Compatible • Spaced Pair • Time differences gives stereo effect • Omni-directional pattern used • Not mono compatible • Near Coincident pair • Level and time differences give stereo effect • Cardoid pattern • Spaced a few inches apart horizontally • Not mono compatible

4. Micophone Placement • Grand Piano • Condenser Microphone • Stereo/coincident pair • One for bass, one for treble • 15-60cm from strings • With lid open Upright Piano Condenser Microphone Stereo/coincident pair Three octaves apart 15-60cm from strings Not pointing directly at hammers – avoid this noise Lid open

5. Micophone Placement • Acoustic Guitar • Close Mic • Condenser Microphone • Cardoid pickup • Point where neck joins body • OR – fretboard and sound hole • OR – Stereo XY pair • 20cm away • Avoid noise from guitar being played Electric Guitar Close Mic Dynamic microphone Cardoid pattern Close to speaker grille few inches away Avoid proximity effect Take amp off the ground

6. Micophone Placement • Bass Guitar • Close Mic • Dynamic microphone • Cardoid pattern • Close to speaker grille few inches away • Avoid proximity effect • Take amp off the ground • OR use DI Box Drumkit Close mic each drum with clip dynamic microphones and 2 condenser overheads Cardoid pattern Close to each skin (15cm) OR – stereo recording using 2 condenser microphones OR – same as above but with dynamic microphone on the snare

7. Micophone Placement • Brass/Saxophone • Close Mic • Condenser Microphone • Cardoid pattern • 30cm – 1.5m • Front of instrument to pick up heard sound Vocals Close Mic Large Diaphraghm - Condenser microphone Cardoid pattern 14 – 45 cm away from mouth A little above/below mouth Use pop shield & sprung cradle

8. Micophone Placement • Orchestral Instrument • Close Mic • Condenser microphone • Cardoid pattern • 30cm – 1.5m • Front of instrument to pick up heard sound Percussion instrument Close Mic Condenser microphone – small diaphragm Cardoid pattern Up to 12 incles from skin/sound Carefull for overload

9. Tips on close micing • Loud instruments such as trumpets and trombones sound best when recorded slightly off-axis from the bell. • Tuned Percussion can be recorded in the same way as the piano with 2 microphones for higher and lower pitches • Brass instruments produce very high levels of sound and dynamic microphones should be used. • Large diaphragm cardoid condenser microphones suit many instruments such as strings – place 1 – 2 feet away • Woodwind suit a smaller microphone diaphragm.

10. Recording Ensembles • Stereo pair to pick up ensemble • 8 – 20 feet away • Musicians placed naturally • Condensers for detail & sensitivity • Omni directional – large diaphragm microphones • Ambience – louder instruments further back • May want to spot mic soloists

11. Solving Problems • DISTORTION/WIDE DYNAMIC RANGE • Use a compressor to control dynamics • Adjust levels when sound-checking • Turn down the gain • Move microphone further from sound source PROXIMITY EFFECT This accents bass frequencies (could happen with vocals if microphone not placed properly) Move away from microphone

12. Solving Problems • NO STEREO FIELD/MONO RECORDING • Mix to stereo master • Place tracks in stereo field using panning POOR BALANCE BETWEEN PARTS Multitrack the recording Use faders to adjust individual track volumes (in exam state which instrument needs turned up or down in the mix)

13. Solving Problems • MUDDY PARTS/DULL SOUNDING • Use EQ to give each track a different frequency • Position microphones correctly • Use appropriate microphones – check frequency response LITTLE DEPTH OF FIELD Use reverb to add depth Use EQ to change position in mix PLOSIVE SOUNDS (popping & blasting) Use pop sheild Move away from microphone

14. Solving Problems • HISS OR NOISE ON THE TRACK • Check cables • Use noise gate effect MIDI TRACK IS OUT OF TIME Quantise the track Re-record with metronome or guide track

15. EXAM STYLE QUESTIONS • Specimen Paper • Question 5b) 3 marks • Listen to this excerpt of a saxophone quartet and describe in detail a stereo • mic’ing technique you would use to achieve a similar recording. Justify your • choice. • ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

16. EXAM STYLE QUESTIONS • Specimen Paper – Answer 5b) • A matched/stereo pair of cardioid • condensers in XY/ORTF. • or • Stereo pair of omni-directional • condensers in AB/spaced pair. • Microphones should be placed at a • metre or more from the source • ensuring good stereo separation and • a good balance of direct sound and • room ambience. 1 mark for microphones/array. 1 mark for placement. 1 mark for justification.

17. Exam Style Questions See Specimen paper Question 3