Blue Cactus Gebruikershandleiding - Pagina 5

Blader online of download pdf Gebruikershandleiding voor {categorie_naam} Blue Cactus. Blue Cactus 9 pagina's. Blue microphones cactus microphones: supplementary guide
Ook voor Blue Cactus: Gebruikershandleiding (6 pagina's)

Pagina afdrukken

Recording Applications

Vocals

Here's a little-known secret—vocalists love singing into unique and

impressive mics. And in addition to its classic styling, the Cactus

was developed especially to enhance the projection, air, and mid-

range detail in a voice, while diminishing the proximity-induced

lows which can cloud a mix or produce compression artifacts. Put

it in front of any singer and you are guaranteed to get a 110%

inspired performance that sits perfectly in the mix with little or no

additional equalization. The Cactus is also outstanding for narra-

tion and voice-over work.

For a "big" vocal sound with maximum presence, get the vocalist

within one to three inches of the capsule. There is no need to

worry about overloading the microphone, but be sure to use

The Pop, universal pop filter (sold separately), to protect

the diaphragm at close distances. Tilt the Cactus up (toward the

forehead) for more projection and head tone, straight on at

the mouth for maximum brightness and intelligibility, or down

toward the chest for more robust lows and smoother highs.

Conventional vocal recording is almost always done using a cardi-

oid pickup pattern. But the variable pattern control on the Power

Stream power supply allows you to experiment with the timbre

changes which occur in subcardioid (left of center on the pattern

switch, towards omnidirectional) and supercardioid (right of cen-

ter, towards figure of eight) settings. Whenever possible, set up

the power supply in the control room, and spend a few moments

exploring these tonal shifts while "tuning" the pickup patterns.

The figure of eight pattern is useful for recording two singers on

one mic, or for a "hotter" solo vocal with increased proximity

effect (i.e. a typical radio announcer voice). The omnidirectional

pattern on the Cactus can also be put to unique effect, whether

recording a roomy, distant vocal track, capturing an unusual room

ambience in combination with a close vocal mic, or on large

group vocals.

Acoustic Guitar

For a balanced sound with plenty of sparkling high end, position

the Cactus facing the guitar neck, right where the neck joins the

body (usually around the 12th-14th frets). For starters, use the

cardioid pattern, keep the capsule as close as possible, and angle

it toward the sound hole to capture a blend of low end and pick

sound. If you need more lows, move the capsule closer to the

sound hole, or adjust the pickup pattern one click at a time toward

the figure of eight position. For more high end detail, move the

Cactus farther from the guitar, either at the same neck position,

or above the instrument up by the guitarist's head. An omnidirec-

tional pattern setting allows very close placement to the sound

hole without boomy lows, and distant placement to three feet or

more can produce interesting results throughout the available

range of pickup patterns.

Electric guitar

The Cactus B7 capsule is useful for any clean amp sound, rang-

ing from bright rhythm chords to warm jazzy tones. Angle the

capsule toward the center of the speaker to capture more highs,

or turn it toward the edge of the cone for a fuller sound with more

low end. The tube circuitry and natural high end response of the

Cactus is also excellent for overdriven and distorted amp tones.

To add a little room sound and/or soften the extreme high end,

move the mic towards the outer edge of the cone, or back it away

from the amp a foot or more.

For even more control over definition and room tone on electric

guitar tracks, it is common practice to use an ambient room mic

in addition to a close mic on the amp. The omnidirectional or

figure of eight paterns on the Cactus are highly recommended for

distant room miking applications on any amplified instruments,

including bass, organ, and blues harmonica.

Piano

Pop and jazz piano recording is usually accomplished with a

pair of microphones places inside a grand piano, either close to

the hammers for a defined, percussive sound, or roughly in the