alors, j'ai un peu regardé un topo général et voilà ce qu'ils disent question enregistrement :
Mr Soundcraft a écrit :
VOCALS
• Use a cardioid condenser mic positioned 9 inches (225mm) from the singer.
• A pop shield will reduce explosive ‘p’ and ‘t’ sounds.
• If sibilance is a problem, change to a dynamic mic or move the singer back from the mic.
Recommended effects/processor settings :
EQ: Not normally required. But, if necessary, use the HPF (High Pass Filter) to reduce rumble.
Compressor: Attack as fast as possible; Release around 0.5S, ratio between 4:1 and 8:1.
Reverb: Try a decay time of around 3 seconds and a pre- delay of 50mS.
DRUMS
• Place mics 2 inches (50mm) from the heads of snare and kick drum.
• For the kick drum, place the mic inside - pointing directly at where the beater strikes the drumhead.
• To fully mic a kit, use separate mics on all toms and hats.
• Use condenser mics 5ft (1.5m) overhead, spaced around 5ft (1.5m) apart, to pick up the entire drum sound, cymbals and “ambience”.
Recommended effects/processor settings :
EQ: Boost at: 80Hz to add weight to kick drums, 6kHz to add sizzle to cymbals or edge to a snare. Cut at 250-300Hz to reduce boxiness on a kick drum or low toms.
Gate: Fast attack setting to allow percussive transients to pass through. Precise settings will depend on microphone type and placement.
Reverb: Keep kick drum ‘dry’. Try a percussion plate setting with a 2.5S decay time on other drums.
ELECTRIC GUITAR
• Some players prefer the sound of a valve amplifier, so be prepared to mic up the speaker cabinet using a cardioid dynamic mic.
• Experiment with mic positioning to achieve the desired sound.
• If preferred, the guitar can be DI’d via a recording preamp which incorporates an amp simulator.
Recommended effects/processor settings :
EQ: Boost at: 120Hz to add ‘thump’ to rock guitars, 2- 3kHz to add bite, 5-7 kHz to add zing to clean rhythm sound. Cut at: 200-300Hz to reduce boxiness, 4kHz and above to reduce buzziness.
Compressor: Attack between 10 and 50mS; Release, around 0.3S, Ratio, between 4:1 and 12:1. Because of the noise generated by a typical electric guitar, use in conjunction with a gate or expander is advised.
Reverb: Plate or room, 1.5 to 4S; 30 to 60mS pre-delay.
ACOUSTIC GUITAR
• Use the best mic that you can, preferably a condenser type.
• For a natural tone, position the mic between 12-18ins from the guitar, aiming at where the neck joins the body.
• If recording in stereo, point a second mic towards the
centre of the neck, about 12-18ins from the instrument.
• Acoustic guitars sound best in slightly live rooms, if necessary place a piece of acoustically reflective board beneath the player.
Recommended effects/processor settings :
EQ: Boost: between 5kHz and 10kHz to add sparkle. Cut between: 1kHz and 3kHz to reduce harshness, 100 and 200Hz to reduce boom. In busy pop mixes you can cut the low end to produce a more cutting rhythm sound.
Compressor: Attack 20 mS; Release, around 0.5S, Ratio, between 4:1 and 12:1.
Reverb: Bright setting such as Plate to add vitality. Decay time of between 2 to 3S.
BASS GUITAR
• Most engineers DI the bass via an active DI box and a compressor. This provides a clearer sound.
• Use the compressor to keep signal peaks under control.
• Check the player’s technique; the harder the instrument is played, the brighter the tone.
• Consider the use of a budget graphic EQ.
Recommended effects/processor settings :
EQ: Boost: at 80-100Hz to add more weight and punch, between 2 and 4kHz to add edge. Cut: below 50Hz to reduce unwanted rumble, between 180 and 250Hz to reduce boxiness.
Compressor: Attack around 50mS; Release, around 0.4S, Ratio, between 4:1 and 12:1.
KEYBOARDS
• Most electronic keyboards can be plugged directly into the line inputs of the mixing console.
• Bear in mind that the majority of contemporary synthesizers etc, have stereo outputs and will require two mixer channels.
• Most synthesizer sounds can be used without compression, though they do benefit from effects such as reverb or chorus.
• Overdriven keyboard sound may be created by feeding the signal via guitar recording preamp.
