Warm Audio WA-47jr Manual Del Usuario página 7

TIPS AND INSTRUCTIONS
USES IN FIGURE-OF-EIGHT MODE
Figure of eight pattern recording is often used with pairs of the same microphone for advanced
recording techniques such as the Blumlein Pair array; but has several more common practical
applications as well, some of which only require a single microphone. One figure-of-eight application is
to record a 'duet' or group vocal with a single microphone. Two or even four vocalists can stand on either
side of the microphone, each getting the full attention of one side of the mic capsule. A variant of the duet
application is when someone plays an instrument, such as acoustic guitar, into one side of the
microphone while a partner sings into the other side.
USES IN OMNIDIRECTIONAL MODE
Omnidirectional pattern is most often associated with room mic recording, be it a room mic on a
drum kit or an ambience mic placed farther out from a guitar or bass cabinet, or other instrument.
Omnidirectional stereo recording is also sometimes associated with 'live' recording techniques and
classical recording. Additionally, an omnidirectional mic can be one ingredient, along with a figure-of-eight
microphone, in creating a Mid/Side stereo recording array. It is also worth noting that most
condenser microphone capsules are, by nature, designed to be omnidirectional devices. For this reason,
omnidirectional patterns tends to yield the most linear frequency response and suffer the least from
proximity effect.
MICROPHONE PLACEMENT & SPACING
When it comes to distancing a microphone from its sound source, one may think of this process,
among other things, as choosing a desired ratio of original sound source to reflections and acoustic
space. The closer to the source, the less space and ambience will be captured. In some cases, this
is fully desirable; and ambience will be added in later via the magic of digital delay and reverb. In
other cases, natural acoustics are critical. A great illustration of this is the recording of a gunshot or
cannon fire: at very close range, the sound is surprisingly thin; however, at a distance, the sound
becomes more full and explosive. This is a great reference to keep in mind; because to some degree,
this phenomenon holds true with anything where natural acoustics is an important part of the sound,
most notably with percussion. Beware that all processes do have boundaries and microphones do have
a maximum SPL level they can be subjected to without distortion. Both microphones and preamps have
a signal to noise ratio that tends to get poor in cases where more gain is required to make up for a
distant signal. It's generally good advice to place a microphone about 12 inches from a source, and to
fine-tune it from there until you have exactly what you are looking for.
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