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“If you’re run by fear sometimes, you just don’t do your best work. I don’t want to be 50 years old and turn back and say, “That would have been great if I’d done that.” It had to be done now.”- Martin Page

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Most difficult instrument to record?






Videos

Recording Guitar

These instructional videos explore choices and techniques for miking and recording guitars. Make sure the audio playback system you use provides you the best audio quality possible to receive the full benefit of the tutorials.
 
Comparing three mics, one at a time: a Shure SM57LC dynamic <a href=cardioid, a Sennheiser MD 421 dynamic cardioid, and a Royer R101 dynamic ribbon mic with a figure-8 pattern, we're searching for the best sound to be had from an electric guitar through a Fender amp, exploring capture distances and mic a..." width="200" height="120" border="0" />
Comparing the sound of each of three mics aimed at an amp from various distances and angles.
By Michael Schulze and Lorenz Rychner
Using just one mic, an MXL 2001 large-diaphragm condenser, we're searching for the best sound to be had from an acoustic guitar, exploring capture distances, mic angles and positions.
One mic, from several angles and distances, looking for the best sound.
By Michael Schulze and Lorenz Rychner
Begins with the use of a single mic on the bass cabinet, exploring miking distance, mic location, and proximity effect. Tonal characteristics are demonstrated for the following mics: Sennheiser MD421, Shure Beta 52A, Shure SM57LC.
Comparing the sound of each of three mics aimed at a cab from various distances and angles.
By Michael Schulze and Lorenz Rychner
We explore what other mics sound like when used in the same spot that we liked in our previous video (at the 12th fret, at a distance of about a foot and angled about 45 degrees): Lewitt Authentica LCT 640 (large-diaphragm multi-pattern condenser), BLUE Reaktor (large-diaphragm multi-pattern cond...
Six different mics, each at the 12th fret, all sounding different.
By Michael Schulze and Lorenz Rychner
These three mics are used on the bass cabinet: Audix D6, Electro-Voice RE20, Electro-Voice RE320. Demonstration of the effect of Electro-Voice's Variable-D that negates proximity effect.
Comparing the sound of each of three different mics aimed at a cab, with demo of EV mics with Variable-D.
By Michael Schulze and Lorenz Rychner
Setting up five mics aimed at a Fender amp: a Shure SM57LC dynamic <a href=cardioid, two Sennheiser MD 421 dynamic cardioids (one in front, and at the rear), a Royer R101 dynamic ribbon mic with a figure-8 pattern, a Marshall MXL2001 cardioid condenser. Explains phase relationship and time alignment." width="200" height="120" border="0" />
Comparing the sound of each of five mics aimed at an amp from various distances and angles. Explains phase relationship and time-alignment.
By Michael Schulze and Lorenz Rychner
Looking for the best sound with two mics, a pair of MXL 2001 large-diaphragm condensers, not for stereo but for a balanced blend in mono, to capture both strums and fingerpicking. Explains 3-to-1 rule, and references proximity effect.
Two mics, roughly equidistant, for mono blend, 3-to-1 rule.
By Michael Schulze and Lorenz Rychner
Demonstrates the use of active and passive DI (Direct-Input) boxes, dbx DB12 and Radial ProDI, and explains time-alignment of tracks to regain tonal quality when signals are mixed together.
DI boxes (active and passive), time-shifting tracks for time-alignment of blended tracks.
By Michael Schulze and Lorenz Rychner
Comparing different combinations of blends from among the five mics set up in different locations, time-aligned as shown in Part 3. Contains convincing demo of polarity-inverted rear mic, and panning suggestions.
Combining mics for different blends from several mics, time-aligned. Demo of polarity-inverted rear mic, and panning suggestions.
By Michael Schulze and Lorenz Rychner
Again looking for the best sound with two mics, a pair of MXL 2001 large-diaphragm condensers, not for stereo but for a balanced blend in mono, with a closer and a more distant mic. Explains phase relationship and time-alignment. Introduces DI (Direct-Input) signal (dbx DB12).
Two mics, near and far, for mono blend. Phase, time-alignment, DI signal.Two mics, near and far, for mono blend. Phase, time-alignment, DI signal.
By Michael Schulze and Lorenz Rychner

Garritan Abby Road Studios - CFX Concert Grand Virtual Piano



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