- Shure SM58
- AKG C1000s
- Rode NT2-a
The recorder that we used is called a 'Olympus Multi-track Linear PCM Recorder LS-100'.
We plugged the XLR cable in the recorder, we plugged the male into the female of the recorder and plugged the female into the male of the microphone in the stand. Then we put the microphone near the sound hole nearer to the thread of the guitar to create a mono sound, then we strummed some chords on the guitar. To begin we clicked the record button on the recorder once making it flash red then we had to make sure we didn't have to change the gain, so by clicking the button it comes up with the gain levels and they should be just over half way, then we clicked the button again to begin recording.
We plugged the XLR cable in the recorder, we plugged the male into the female of the recorder and plugged the female into the male of the microphone in the stand. Then we put the microphone near the sound hole nearer to the thread of the guitar to create a mono sound, then we strummed some chords on the guitar. To begin we clicked the record button on the recorder once making it flash red then we had to make sure we didn't have to change the gain, so by clicking the button it comes up with the gain levels and they should be just over half way, then we clicked the button again to begin recording.
Classroom:
We used a dynamic SM58 microphone which was about 6 inches away from the sound hole, we also kept the gain at 7 as there was no background noise, we used the one microphone to create a mono sound, and then used two microphones one being at the neck of the guitar to create a stereo sound. we also used the Rode NT2- a, again with the microphone about 6 inches away from the guitar. The final microphone used was the condenser called C1000s positioning the microphone near to the guitar.
Performance Hall:
We did the same as the classroom by using a dynamic SM58 microphone which was about 6 inches away from the sound hole, we also kept the gain at 7 as there was no background noise, we used the one microphone to create a mono sound, and then used two microphones one being at the neck of the guitar to create a stereo sound. we also used the Rode NT2- a, again with the microphone about 6 inches away from the guitar. The final microphone used was the condenser called C1000s positioning the microphone near to the guitar.
Outside:
Again we did the same process but for the outside recording there was a bit of background noise from the surroundings but only a little amount.
Cardiod:
To begin with we have a cardiod polar pattern which is where the microphone has the most sensitivity at the front and the least at the back, it therefore isolates from unwanted amblent sound and is much more resistant to feedback than the omnidirectional microphones. Overall the Cardiod microphone is more suitable for loud stages.
Polar Patterns:
The polar patterns of the microphones are very sensitive to the sound relative to the angle or direction from where the sound is traveling, or even how the microphone hears the sound from different directions, the most common poloar patterns used are, Omnidirectional, Cardiod and Hypercardiod.
The polar patterns of the microphones are very sensitive to the sound relative to the angle or direction from where the sound is traveling, or even how the microphone hears the sound from different directions, the most common poloar patterns used are, Omnidirectional, Cardiod and Hypercardiod.
Omnidirectional:
This microphone has an equal output as sensitivity at all angles, meaning that the sound is picked up from all angles and that it can be in any direction which is helpful in some ways, however the Omnidirectional Microphone cannot be aimed away from undesired sources as it can interfere with other sounds or speakers.
This microphone has an equal output as sensitivity at all angles, meaning that the sound is picked up from all angles and that it can be in any direction which is helpful in some ways, however the Omnidirectional Microphone cannot be aimed away from undesired sources as it can interfere with other sounds or speakers.
Hypercardiod:
The sensitivity is in the front of the microphone similar to the cardiod the difference is that the Hypercardiod are considered as more directional because they have less sensitivity at their sides and only slightly more behind. these sort of microphones are mainly used in situations where there is a lot isolation needed between sounds and sources.
The sensitivity is in the front of the microphone similar to the cardiod the difference is that the Hypercardiod are considered as more directional because they have less sensitivity at their sides and only slightly more behind. these sort of microphones are mainly used in situations where there is a lot isolation needed between sounds and sources.
recording-in-different-locations
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