4 Using the Microphone
•In rooms with good acoustics, a pair of PERCEPTION 820
TUBEs will often do the trick. |
| T | A | S | |
- Set each | microphone to | B | |||
cardioid ( | ). |
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-Use an optional H 50 stereo bar to mount the two mi- crophones on a stand.
•Place the stereo pair about
10 feet (3 m) in front of the choir, about 8 feet (2.4 m) above the ground.
-Aim the stereo pair at the
center of the choir. - Turn the
phone 60 degrees to the left and the
Backing vocals/technique 1:
Refer to section 4.4.1 Lead Vocals above.
•If you have enough tracks avail- able, we recommend overdub- bing each voice separately.
Backing vocals/technique 2:
•If you use a separate micro- phone for each of several vo- calists simultaneously, set each microphone to hypercardioid (a
position between 
and 
) to prevent crosstalk, particularly if you place the microphones close to one another.
Backing vocals/technique 3:
•Refer to fig. 8. If you use a sin- gle microphone for the entire
group, select | the cardioid | |
( | ) or omni ( | ) pattern and |
place the vocalists in a semicir- cle in front of the microphone.
• Place the microphone about 1 foot (30 cm) in | a | |
front of the instrument, slightly off the bell | ||
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axis. |
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• Switch the preattenuation pad in. |
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• To reduce blowing noise, a PF 80 pop screen |
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(available as an optional accessory) between |
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the microphone and | b | |
instrument. | ||
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Fig. 7: Using a stereo pair to record a choir.
Fig. 8: Backing vocalists sharing a single microphone.
4.4.3 Trumpet, Trombone
Fig. 9: Trumpet (a), trombone (b).
PERCEPTION 820 TUBE | 11 |
