Recording - May 2016 - 14
mic up into the instrument, as you would
for a kick drum with an opening in the
front head. Given the way lows propagate, the room will come into play, and
you'll likely have to try a little experimentation to find the sweet spot.
On the top (the skin, or in the case of
the Cajon, the front), you might choose
either a pencil condenser or a standard
dynamic mic, like you'd use for snare or
toms. And, as with drums, depending on
the degree of ambience you want to
capture, and the possibility of leakage,
you could position this mic anywhere
from a couple of inches to a foot or two.
See picture 3 on page 16.
For the boom, a second mic can be
used-a good choice here might be any
of the classic kick drum mics-and placement may also vary, depending on how
the instrument is held. If the bottom is
near the floor, the low-end mic could be
placed to pick up the bass energy reflecting off the floor (I've never tried it, but I'm
guessing a PZM might work well here,
too). If you can get at the opening at the
bottom (or the port at the back of the
cajon), you can even stick the low-end
E/F : English Horn and French Horn
With all due respect to the letter "E",
the one I really want to focus on here is
the French horn. French horn is a member of the brass family, of course, but
the playing technique, and sound propagation, is different from the other bell
brass instruments. While most other
brass instruments are usually pointed
straight ahead, the French horn, with its
crazily curvy tube, is held so the bell
points backwards (and the player may
even keep a hand in the bell to regulate
pitch and tone!). This means that, in normal listening, what the audience hears is
(mostly) reflected sound, so the environment around (behind) the instrument is
critical to achieving an appropriate
tonality and sense of ambience when
recording.
On stage, within the orchestra, the
horns' normal placement would properly
utilize the rear of the stage, and standard stereo miking in front of the orchestra/ensemble will do fine. In the studio,
you wouldn't want to position French
Horns in the dead end of the recording
room-at least not if you're looking to
capture the traditional roomy, distant
quality that defines the musical vibe of
the instrument. You'll want to find a spot
for the horns themselves that provides
good acoustic support-several feet in
front of a reflective rear wall would be
ideal.
Use full-range condenser mics several
feet in front of the instrument or section,
positioned to capture the best balance
between clarity and distance/depth-
you could even try out different mic patterns, to see which gives the best results
in a particular space.
G : Glockenspiel
The glockenspiel will serve to introduce the world of bright, metallic, belllike percussion instruments, which
include finger cymbals, crotales (a.k.a.
"antique cymbals"), Tibetan bells, sleigh
bells, and other janglers, including
Tambourine (at least the jangly bits).
These bright, highly percussive instruments can all be a bear to mike cleanly.
They tend to produce very strong transients, which can often trip up budget
condenser mics, producing a bit of distortion that hinders clarity. In fact, some
of them are occasionally employed as
torture tests for condenser mics-along
Table of Contents for the Digital Edition of Recording - May 2016
Contents
Recording - May 2016 - Cover1
Recording - May 2016 - Cover2
Recording - May 2016 - 1
Recording - May 2016 - 2
Recording - May 2016 - 3
Recording - May 2016 - 4
Recording - May 2016 - 5
Recording - May 2016 - Contents
Recording - May 2016 - 7
Recording - May 2016 - 8
Recording - May 2016 - 9
Recording - May 2016 - 10
Recording - May 2016 - 11
Recording - May 2016 - 12
Recording - May 2016 - 13
Recording - May 2016 - 14
Recording - May 2016 - 15
Recording - May 2016 - 16
Recording - May 2016 - 17
Recording - May 2016 - 18
Recording - May 2016 - 19
Recording - May 2016 - 20
Recording - May 2016 - 21
Recording - May 2016 - 22
Recording - May 2016 - 23
Recording - May 2016 - 24
Recording - May 2016 - 25
Recording - May 2016 - 26
Recording - May 2016 - 27
Recording - May 2016 - 28
Recording - May 2016 - 29
Recording - May 2016 - 30
Recording - May 2016 - 31
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Recording - May 2016 - 33
Recording - May 2016 - 34
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Recording - May 2016 - Cover3
Recording - May 2016 - Cover4
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