effect on the treble due to “excessive” bass boost.
Experienced vocalists instinctively locate the proper working distances
for the microphones they are using. From as early as the 1930s,
Frank Sinatra always kept one hand on the microphone stand while
singing. Some joked that he simply was steadying himself, but more
knowledgeable people noticed that he would bring the mic closer for
more intimate moments, and then move it farther away when he belted
out a line. This technique became known as “working the mic.”
Your N8 was designed to exhibit a balanced sound at relatively far
distances from the sound source; it works equally well placed close to
the source.
Application Examples
Your ears are obviously the best judge of microphone choice and
placement, but AEA has garnered a great deal of experience testing
the N8 in a variety of recording settings and by talking to experienced
musicians and engineers. As a result we suggest the following
guidelines to help you achieve optimal results when using the N8.
Watch the videos on our website (www.ribbonmics.com, www.
aeasessions.com) and on our YouTube channel
(www.youtube.com/AEAribbonmics) for more tips and tricks for our
microphones and preamps.
Drum Overheads, Rooms, and Percussion
When recording drums, there are many techniques to capturing the
sound of the kit. A good starting point is to use the N8s above the
kit as a spaced pair. Try positioning them a couple of feet above the
drummer’s head with a few feet of space in between the two mics.
Make sure to listen to the combined signal summed to mono to catch
potential comb filtering that could be caused by out-of-phase signals. A
quick technique that can help avoid phase problems is to keep an equal
distance between the two overhead mics and the snare or kick drum.
Another popular technique to record drum overheads is to setup the
mics in a Blumlein configuration (coincident pair at 90 degree angle)
above the head of the drummer with each mic pointing in a different
direction. This will give you a very wide image of the drums that sounds
like you are in sitting center stage.
Both of these techniques also work well for recording the sound of the
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