Guides and Tutorials

Basic Instrument Miking Techniques

A lot of people when they come to A Sharp Recording Studio ask us about our recording techniques and how we get the sound we do. We love drums and are well known for the sound we can achieve but also get outstanding results on all audio sources. Don’t get me wrong, there’s a lot technical things to think about in order to get that “sound” you an hear in your head, and having an acoustically treated room, great converters and an SSL desk and a couple of Neve 1073’s and other great mic-pres goes a long way.

When recording multiple sources with multiple microphones you’re sure to have phasing issues and frequency cancellation and before we start to record we test phasing by going through the desk and selecting the phase flips to check signal sources.

Anyway we thought that we would publish this little resource about how we mic-up some of the regular instruments we record at A Sharp and the microphones we use.

Enjoy the read…

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Types and differences between the various EQ’s

We get a lot of people in the studio that ask questions about what are the differences between the various EQ’s that we have and how does one differ from another. We thought that we would quickly explain here the different types of EQ that we use here at A Sharp Recording Studios; EQ’s that are not in the computer, actual outboard that we use on a day to day basis at the studio.

The simplest types of EQ are those that are passive, with no active circuits that boost frequencies, but rather have components that subtract from the frequency audio source. The EQP-1A is one of the earliest types of EQ, being originally designed by Western Electric in the 1930’s, and were initially designed to allow music to pass through telephone systems. The wide EQ curves associated with an EQP-1A explain this as one can boost low frequencies and high frequencies and filter out noise. Whilst not perfect for all audio sources this wide EQ curves have been described as “very musical”. Eugene Shenk of Pulse Technologies re-discovered the EQ in the 1950’s and added a vacuum tube make-up gain amplifier. EQP-1A’s tend to be simplistic in design and have no headroom problems and little distortion, as they are passive, subtracting from the source. In terms of operation the EQP-1A’s are useful on most sources such as kick, bass and we use them to warm up a voice in the DAW. The EQP-1A allows you to boost the low frequencies and attenuating the lower mid frequencies at the same time, just above the low frequency part you have boosted.

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