Microphone pickup skills: vocals
To make a differential (noise canceling) microphone, you can glue two identical omnidirectional microphones together, one on top of the other, separated by wooden blocks. Mix the two microphones at the same level, one of which switches to the opposite polarity. Let the performer sing close to the microphone above.
Two methods of making differential (noise canceling) microphones.
Many years ago, the Grateful Dead band used this method to counteract the noisy amplifiers on the stage. In fact, it is a reason to aim at the upper and lower eight-character aluminum tape microphone. When in use, it is best to use in-ear monitors and foam windshields.
Want to get the effect of the zombies? Try to point the microphone at the singer's throat. Want to comb the sound of the filter? Use two microphones to pick up the singer at different distances and mix them together. Empty valley echo? Sing to a small microphone placed in the piano box, or let the singer sing with a loudspeaker.
Microphone pickup skills: drum
Try the single-microphone technique I invented in the previous article by engineer/producer Tchad Blake – take a large diaphragm heart-shaped condenser microphone and place it above the kick drum, aiming at the snare drum. It captures the sound of a more balanced snare drum, drum, kick drum and cymbal, and adjusts the sound balance by moving/rotating the microphone or raising/lowering the cymbal. Depending on the model of the microphone and the position of the microphone, there will be some off-axis sounding on the cymbal, but in my experience, this is not serious.
A single microphone technique invented by engineer/producer Tchad Blake.
Another single mic mode uses a small omnidirectional condenser microphone. Place it 1 to 4 inches from the edge of the snare drum, the drum center, above the drummer's knee. It captures the sound of snare drums, drums and cymbals. Next, another microphone can be placed in the kick drum. For the punk band, try adding a Shure SM57 as a ceiling to the front of the drummer.
Picking up the drum with a small omnidirectional microphone
Microphone pickup skills: drum
Attach a pair of surface microphones (such as Crown PZM) to the drum with tape, such as PZM on the drum. Another trick: stick the PZM on the drummer's chest. This method captures a large amount of percussion sound as the drummer moves. You can also pick up small microphones on percussion instruments such as sand hammers, bongo drums, and bells.
The toy drum kit used by children is picked up instead of the regular professional drum kit.
Gently tap the cymbal with a sturdy dynamic microphone to amplify the signal. In other words, the microphone is used as a drumstick. The recorded cymbal sound will be more full.
Microphone Pickup Technique: Acoustic Guitar & Mandolin
Place the small diaphragm condenser microphone at the player's right ear toward the bridge. You will hear natural sounds in this position, but be careful of feedback.
Microphone pickup skills: several guitars
Place the small omni-directional condenser microphone in the cabinet and make a 10dB roll-off for the frequency band below 100Hz to eliminate the click. This method can achieve excellent isolation. The same method applies to the mandolin of the ukulele or elliptical case.
What about the mandolin for the F-type case? Stick the felt or foam one foot behind the small omni-directional condenser microphone and place it under the strings between the chord and the bridge. Make some cuts to the high and low frequencies.
Microphone pickup skills: electric guitar
Picking up the sound played by the guitar player can capture the sound of the pick and mix it with the sound of the amplifier. Another method: use a Y-shaped wire to inject the electric guitar into the amplifier and the Leslie speaker. Pick up the sounds of both, and put them on the left and right. You will get a very good phase relationship! You can also try it on the vocals.
To get more HF and LF from your guitar amp, you can align the Shure SM57 directly at the center of the speaker, close to the grid. To reduce low frequency and high frequency, you can hang the microphone from the amplifier and pick up the sound at 90° off-axis. This angle does not produce a near-field effect.
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