Fig. 4A
Top View
or a single
mic here
*
2
Front View
or a single
mic here
*
2
1
1
Fig. 4B
2
1
Front Panel Removed
Front View
Mics positioned
8-11” away from strings
Side View
User Manual
SOLO
4
your other hand, rotate the retaining nut until the microphone is securely attached
to the shockmount.
Microphone Cables
The microphone cable can have a profound effect on
the sound of any microphone. Even the finest mi-
crophones will sound poor if the interconnect cable
allows noise to enter or causes distortion and loss of
information. We highly recommend exclusively using
the Mogami® cables supplied with your Revelation
Solo.
Care
Dust and foreign material can degrade the performance of a microphone over time
so always store the unit in its case.
Grill
The Revelation Solo microphone uses a single layer mesh grill. This design
minimizes standing waves and harmonic distortion. Because this type of grill
leaves little protection between the user of the microphone and the capsule, we
highly recommend using a pop filter. Use of a pop filter will help protect your
microphone’s sensitive capsule, keeping it free from moisture caused by saliva
and breath condensation.
Recording Tips and Tricks
Placement of the amp is another important factor. If the amplifier sits on a carpeted floor, you are
more likely to reduce the amount of brightness in the sound. Similarly, elevating the ampli-
fier off the floor may result in a loss of low end. If you’re looking for a big reverberant tone,
placing the amp and microphone in the bathroom is another popular technique. The hard tiles
and other reflective surfaces can do wonders for a dull sound. In this case, move the microphone
back a few feet from the loudspeaker and crank it up!
Recording the Piano
The piano is one of the most challenging
instruments to record, and many problems
stem from the quality and maintenance of
the instrument itself. You’ll obtain the best
results by using an instrument that has
just been tuned and is in good mechanical
condition.
The piano is generally recorded using close
miking technique. Ideally, you’ll want a
minimum of two microphones. Usually, the microphone capturing the higher strings is
assigned to the left channel and the microphone capturing the lower strings is assigned to
the right channel in the final stereo mix, though the stereo spread generally is not hard left
and right. While a single microphone can be used, the lower and upper extremities of the
instrument will likely be compromised.
Grand Piano: For the upper strings, position the microphone approximately 8 inches from the
piano hammers (to reduce mechanical noise) and 8 - 11 inches above the strings, with the
Pan position set to left of center. For the lower strings, position the microphone toward the far
end (away from the keyboard) roughly 6 - 12 inches from the end and 8 - 11 inches above the
strings, with the Pan position set to right of center. Position the piano’s lid at full stick (see Fig.
4A). If you are using a single microphone, position the microphone approximately 8 inches
from the piano hammers (to reduce mechanical noise) and 8 - 11 inches above the strings
- centered over the piano’s mid point. Pan position should be centered and the piano’s lid
should be at full stick.
Upright Piano: With an upright piano, the two microphones are generally placed either
just over the top of the piano with the top open, or you can remove the piano’s front
panel beneath the keyboard and place the microphones below.
Front Panel Placement: For the upper strings,
position the microphone approximately
8 - 11 inches away from the strings, with
the Pan position set to left of center. For the
lower strings, position the microphone 8 - 11
inches away from the strings, with the Pan
position set to right of center (see Fig. 4B).
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