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TIPS AND INSTRUCTIONS
SIGNAL INTEGRITY
When recording vocals, it's a good idea to use the niest 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 general 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.
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