Warm Audio WA-47jr Bedienungsanleitung Seite 9

TIPS AND INSTRUCTIONS
If, for example, you find you are recording the WA-47jr across multiple cables or over 200+ ft. of audio
snake; investing in a quality external phantom power supply to keep closer to the microphone's side can
be a worthy addition to your engineering toolkit. To protect the WA-47jr, always connect all microphone
cables before engaging phantom power; and for best results, give the WA-47jr about two minutes after
engaging phantom power to fully optimize, in order to get the highest quality sound. Always disengage
phantom power and allow the microphone to discharge for several moments before disconnecting the
microphone from its XLR cable and preamp.
When recording vocals, it's a good idea to use the nicest pop filter you can afford. This not only
protects the microphone; it protects the recorded tracks by keeping plosives (a clipping that occurs
from sudden air pressure on the capsule) to a minimum. Pop filters can also be creatively used in other
situations where sudden air pressure changes can occur, which include large loudspeaker movement,
the sound hole of a kick drum, or the gap between the two brass pieces of a hi-hat cymbal. As a gen-
eral rule, a higher quality pop filter will have less audible impact on the sounds passing through them;
while less expensive, improvised, or foam windscreen type filters can sometimes have a muffling effect
on high frequencies.
Microphone placement is as much an art as it is a science, and takes a great deal of patience,
attentive listening, and trial and error. The more music you record the greater instinct you will
have for knowing which microphones to first try for given situations, and how to place them.
One thing to keep in mind is that what a microphone hears will often be radically different from
what a casual observer hears when standing several feet back from where a microphone is. It's
good practice to get down and put one's ear close to a speaker cabinet or right in front of a bass
drum's resonator head, and hear what that microphone is hearing from its position. Get a sense
for how different your source sounds close up, farther back, and from different angles. Begin to
move a microphone around very slowly and listen for the changes in sound that you get. Notice
how a small change in mic position can make an under-snare microphone go from bad to good.
Notice how moving a guitar cabinet mic further to the side of the center cone, or further off
axis will affect the sound.
8