Warm Audio WA-8000 Bedienungsanleitung Seite 8

TIPS AND INSTRUCTIONS
MICROPHONE PLACEMENT
Microphone placement is more than just a technical function – it's an art in itself. Entire
books and courses have been written on the subject, and every use case is different –
different vocalists, different instruments, different sound sources, different acoustic spaces,
different conditions, and of course, different types of music all call for different techniques.
Mic placement for a powerhouse rock singer doing a paint-peeling lead vocal may be
different from what works for a quiet female narration or a classical guitar recording.
UP CLOSE AND PERSONAL
Generally speaking, the closer you place the mic to the source the more direct signal you'll
hear. That means less room noise, and fewer reflections from walls and other hard surfaces
(commonly referred to as ambience). While ambience can be useful in some cases (a
great sounding room can add a lot to a drum kit, for example), it's usually a good idea to
get your mic close to the source to achieve as direct a sound as possible, as these days it's
far easier to add ambience at the mix stage than it is to remove it. THAT BEING SAID, do
what is best for the track and the mix, and don't worry about what some person writing a
manual says about the tune you're working on. Make it sound good for you.
When miking a vocalist, you can start by positioning the singer about 8-14 inches from the
mic. If needed, a pop filter or windscreen can help reduce plosives (sometimes referred
to as "p pops") by minimizing the gusts of air that cause the mic to react to them. You
might also consider a good quality vocal shield if your room isn't well-treated, as they can
minimize the effect that reflections from walls and other surrounding surfaces have on the
final take.
The same logic holds true when miking instruments: try to get as close to the source as
possible to reduce or eliminate ambient and reflected sound. This thought process explains
why common studio practice separates multiple sources being recorded in the same room
by using gobos or plexiglass partitions.
Of course, these are all generalizations. Every recording engineer and producer has their
own favorite techniques, and there are countless resources out there for the curious. Don't
be afraid to learn the rules, and then mercilessly break them.
WHAT DOES IT REALLY SOUND LIKE?
Every veteran recording engineer knows the phrase, "garbage in, garbage out." Getting
the best-sounding take at the recording stage is infinitely preferable to trying to fix it later
on with EQ, reverb, or lots of grueling edits. Whether it's a vocalist, acoustic guitar, piano
or any other instrument, your goal should be to try and get your recording to sound as
close as possible to what you're hearing in person, and what you hope will fit in perfectly
in the final mix.
It's important to note that a microphone will generally not "hear" the same way your
ears do. After all, your ears are hearing in stereo, and are hearing not just the source but
the reflections and ambience of the room. As mentioned earlier, while this is sometimes
desirable, generally it's best to capture as little of the room as possible.
To get a better sense of what the mic hears, try getting closer to your source and sticking a
finger in the ear facing away from the source (so that you'll be hearing in mono, just like the
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