Yamaha AW2816 Manual - Página 10

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1. Aw2816 Overview

vocalists do use dynamic microphones for recording vocals a large diaphragm condenser or tube

microphone is more common.

Acoustic Guitar

For mono recording, a small condenser microphone placed 8-12 inches from the guitar at about

the 12

fret will give a nice bright acoustic guitar sound. For a more open sound use a large

diaphragm condenser or tube microphone placed 8-12 inches directly in front of the guitar.

Moving the microphone towards the bridge will provide lower end while moving the microphone

up the neck will provide a brighter sound. For a stereo recording the most common method is to

use a small diaphragm condenser at the 12

fret as mentioned above and also a large diaphragm

condenser about 12 inches directly in front of the guitar or towards the bridge.

Electric Guitar

There are many different approaches to recording the electric guitar but the most basic is to

simply connect the guitar to an amplifier and use a dynamic microphone on the guitar amp. The

microphone should be fairly close to the grill cloth of the amplifier and a little off-axis from the

cone of the speaker. For a more open sound, place a large diaphragm condenser microphone a

few feet back from the amplifier and mix it with the signal of the dynamic microphone.

Electric Bass Guitar

The most common approach to recording an electric bass guitar is to run it through a DI box and

then into the mixing console. On the AW4416 there is a High Z input. This allows the electric

bass to be connected directly to the mixing console instead of going through the DI box. If

desired it can instead be connected to a bass amplifier and the amplifier would be recorded in the

same manner as described above for recording the electric guitar.

Drum set

There are two basic approaches to recording the drum set. One is to close mike the drum kit.

This involves having microphones close up on each individual drum, a stereo pair of overhead

microphones, and possibly distant room microphones also. This will provide a nice, tight sound

and the individual drum levels will be much more controllable. The drawback is that this

requires many microphones and will take up a large number of tracks on the multi-track recorder.

The second approach is to only use a few microphones. This will produce a more open, roomier

sound. If done correctly this will provide a very natural drum sound with a minimum number of

microphones. This will take a little more practice and more attention to microphone placement

than the close mike approach. A basic setup would be to use a separate microphone on the kick

and the snare drums, and also a stereo pair of overhead microphones. A distant room

microphone can also be used if desired.