Mic sound pickup skills

1. Voice pickup:

The simplest Voice pickup method is to use a mic to record a person's voice, and change the MIC to a heart shape or to a super-heart shape to direct the speaker's mouth directly to the microphone. The distance between the microphone and the mouth is roughly divided into the following categories:

1. The most common method of recording: The Mouth leaves the mic about 20 cm, and the singer should not shake around or around when singing. In this way, it is good for some singers who have little experience in recording. This ensures that the sound quality of a song is consistent.

2. recording human voice with a friendly voice: The above-mentioned method of sound pickup is, to some extent, somewhat cool, because the distance from the mic is not within the scope of the MIC's proximity effect.

Close-up effect: the closer the sound source is to the mic, the more low-frequency parts the mic receives. The closer the mic gets to sing, the more full the low-frequency sound you hear, however, if you are too close to the mic, the MIC will produce too many low-frequency harmonic resonance, resulting in low-frequency deformation and distortion.

However, without the distortion of the sound transition, we can effectively use this "near-speaking effect" to make the pick-up sound more plump and have a certain sense of intimacy.

If you want a sound, do everything you can to get a sound closer to it in the early recording. Otherwise, it will add unnecessary trouble to your post-processing. In addition, the sound produced in the later stage is different from that recorded in the earlier stage. It is difficult for you to achieve the sound effect recorded in the earlier stage.

No matter how you record human voice, you must add anti-DDoS cover to the mic. The significance of anti-DDoS cover is not only to prevent human voice from hitting the microphone, but also to protect your microphone against moisture, it is equally important.

3. Pick up the voice of the singer: recording the voice of the singer, there is no need for intimacy, the most important thing is to make the voice of the speaker smooth, clean, and try to reduce the breathing sound. Then, the distance between the mouth and mic is 40 ~ 50 cm is not enough, as long as your mic has enough capacity to pick up and your recording environment is good enough.

4. Pick up people with more details: to do this, you must first be in a very good pickup environment. Otherwise, the details are not recorded, but the noise will increase a lot. In an excellent sound pickup environment with a space of not less than 15 square meters, two or more microphones can be placed for a person to pick up different details of the voice, my usual practice is to use a mic to direct the mouth of a person, and use another MIC to direct the throat or the following parts of a person. The possible drawback of this method is phase offset, this requires constant exploration in the practice process to obtain the best mic placement. When you get a successful mic placement, you will hear completely different voices.

2. Audio pickup or chorus pickup:

Most of them refer to the collection of companion songs. In this case, what should be the culprit? When an individual sends a voice at the same time, it is necessary to adjust the MIC to an omnidirectional direction to enable recording and clearing the voice of no one. Of course, it would be better if you have three separate microphones for three people. However, if you do this, there is a high possibility of phase offset unless your recording studio has a silent split process. However, if you separate the three people, there will be no interaction between the singers, which is not conducive to recording the sound with a high degree of tacit understanding. Therefore, I suggest that you use a mic to pick up the voice of each speaker whenever possible.

When picking up a companion song, the distance between the singer and mic is not the same as that of the three, but the proportion of the volume after the three voices are balanced. So what you want to do is to make judgments based on your ears in the control room, and give instructions to the companion singer in the recording room using the intercom mic, adjust the distance between no one of them and MIC to achieve a balanced and all-in-one singing sound.

Iii. Simple and commonly used music pickup:

1. Guitar: the mic is aligned with the resonance hole of guitar. The distance is about 20 cm.

2. violin: the direction of the mic from the side to the piano box and the strings. The distance is 30 ~ 40 cm.

3. flute or bamboo flute: MIC is aligned with the instrument, about 2 meters away.

4. Erhu: the mic is aligned with the cavity, and the distance is about 50 cm.

Of course, the above is just some of the simplest methods for collecting music. If you want to get a full single-instrument sound, in most cases, use four or more microphones to pick up the same instrument.

Microphone sound pickup technique recording triangle piano/vertical piano

Grand piano: place two heart-shaped microphones at about 8 to 16 inch (20 to 40 cm) above the string. One is aimed at the tweeter area and the other is aimed at the bass area. Place the two microphones at about 6 inch (15 cm) behind the pedal. As another option, you can also pick up the bass region from the back end of the triangle piano, so that you can get a full bass sound.

Vertical piano: The same method is used to pick up a vertical piano. If the front cover is off, the microphone can be directed from the top to the instrument. In addition to the front cover, you can get more air sounds.

Recording flute: the sound of the flute comes from its mouth and the first opening. The sound of thousands of HZ emits light primarily along the sight of the flute player.

Method 1: Use two heart-shaped microphones to align the microphone 1 from a distance of 7 feet (2 meters) and approximately 8 feet (2.5 meters) from the ground to the mouth of the performer, place microphone 2 at a 90-degree angle to the right of the player.

Method 2: use only one microphone. The method of placement is the same as that of microphone 1, but it must be placed a little farther.

Recording clarinet: Use a heart-shaped microphone and align it with the bottom button. If you want to minimize the noise of keys, you can place the microphone slightly to the side of the instrument. The sound in the inaudible and neutral areas (between 800Hz and 3 k Hz) is only sent from the key area. With the increase in pitch (high school audio and high school audio), more sounds will be sent from the bell mouth. The frequency (more than Hz) produced by vigorous playing will only sound from the bell mouth and be directed to the ground all the time. Therefore, reflective floors will make the sound brighter and more brilliant.

Recording of the sub-audio saxophone/high-pitched Saxophone

Align a heart-shaped microphone roughly to the key area in the middle of the instrument. Because the sound of the saxophone comes from its bell mouth and from all opened buttons, the radiation direction changes frequently. Most of the low frequencies are produced through the bell mouth, because almost all the buttons are closed at this time. Most of the high frequencies come from close to the blow interface. We recommend that you place the microphone about 20 to 40 inch (0.5 to 1 meter) away from the instrument, this allows you to capture the entire Sound Spectrum without over-emphasizing certain frequencies.

Recording trumpet/long number

Use a heart-shaped microphone to align it slightly away from the center to the edge of the bell mouth. The sound you pick up depends on the distance from the microphone to the instrument. When we listen to the trumpet at a close distance from 2 to 12 inch (5 to 30 cm), we recommend playing on one side of the microphone. Some playing techniques will generate eddy currents on the microphone. The use of wind shield will be able to reduce the noise caused by this. You must turn on the pre-attenuation switch on the microphone, because both the trumpet and the length can generate an extremely high pressure level of up to 130 decibels.

Recording acoustic guitar/violin

Acoustic Guitar: A heart shape is placed near the sound hole to pick up the guitar. A large diaphragm microphone is placed near the sound bridge or under the back of the piano body. Adjust the level ratio of the two microphones to find the desired sound.

Violin, violin: Be sure to use a high quality heart-shaped capacitive microphone. Align it with the resonance plate at a right angle, from about 6 to 8 feet (1.8 to 2.5 m) the height of the F hole. The method for playing a violin is the same as that for playing a violin, but it is a little farther away.

Record violin/cello

Bass: align a heart-shaped microphone at a distance of about 16 inch (40 cm) to one f-hole. If the violin you recorded is playing together with other instruments, you can use a super-heart-shaped microphone to pick up the sound within a shorter distance, to avoid interference from other instruments.

Cello: first, place a heart-shaped microphone in the same way as that used to pick up the violin, and then place a microphone farther away. Adjust the level of the close-range microphone so that it is about 20 decibels lower than the level of the remote microphone.

Recording electric guitar/electric shell

Electric guitar: uses a heart-shaped microphone to align it with the speaker's diaphragm from approximately 3 to 6 inch (8 to 15 cm) slightly off the center. Turn on the pre-attenuation switch on the microphone. Consider using a room microphone.

Electrobeam: the microphone is placed in the same way as the one used to pick up the electric guitar. At the same time, you can also use the line output above the di box or beisi amplifier to add the direct signal to beisi rail. If you use unbalanced connections (TS connectors and cables), you must ensure that the cable length does not exceed 7 feet (2 meters ). To avoid communication interference.

Recording drums

It requires a wealth of knowledge and experience to listen to the drums. It is a difficult task to get the desired results. As the smallest microphone setup, we recommend placing two heart-shaped capacitive microphones like akg C414B-XLS on top of the drummer's head 32 to 48 Inch (80 to 120 cm. If your budget permits, you can only use this microphone on top of your head to pick up the speaker and use the balancer to cut off the frequency below 1 kilohertz, the following method is used for the remaining drum components:

Hanging and floor-mounted drum: place the microphone very close to the edge of the top circle.

Military drum: place the microphone on the top 1.2 to 2 inch (3 to 5 cm. You can also consider using another microphone to align the bottom with the Military drum, but it must be reversed.

Step on: Use a microphone with an ultra-heart-shaped Small diaphragm and keep it away from the Military drum.

Drum: Be sure to turn on the pre-attenuation switch on the microphone (sound pressure level may be as high as 160 decibels ). Remove the front drum and place the microphone in the drum cavity. Farther away from the back of the microphone, the more full the sound. Avoid placing the microphone in front of the hammer and hitting the drum face. This will only pick up low-frequency dry beats.

Recording and singing

We recommend that you place a heart-shaped microphone 6 to 12 inch (15 to 30 cm) from the artist to pick up a popular, very friendly singing voice) and open the low frequency attenuation filter. The sponge-like wind shield can effectively suppress brute-force sound (such as "P" or "T "). The most appropriate way to suppress noise is to use a separate anti-ghost screen.

Recording Chorus/chorus

Method 1: if there are enough available tracks, we recommend recording their respective sounds separately. The microphone is placed in the same way as the recording method.

Method 2: When multiple single-speaker speakers are simultaneously picked up, ultra-heart-shaped microphones should be used to prevent mutual interference, especially when the distance between microphones is close.

Method 3: When a single microphone is used to pick up multiple singers, the orientation of the microphone should be set to circle (full direction) or heart-shaped, and arranged the Singers into an open semi-circular circle around the microphone. If you are collecting a chorus, you should use a single microphone for each sound part. You can also consider using an additional stereo microphone.

In an ideal acoustic environment, a single stereo microphone or one-to-one microphone is enough to enable you to record sound.