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3 Using the Microphone
3.3 Preattenuation
Pads
3.4 Stand
Mounting
3.5 Hints on
Microphone
Placement
3.5.1 Lead Vocals
Fig. 7: Solo vocalist.
3.5.2 Choir/
Backing Vocals
Refer to section
3.5.1 Lead Vocals
above
The selectable preattenuation pads allow you to increase the mi-
crophone's headroom. Remember to check that the equipment
connected to the microphone (microphone preamp, mixer input,
recorder input) can handle the maximum output level of the mi-
crophone without causing distortion.
•
The supplied H 85 LTD shock mount has a standard 3/8"
thread insert so you can mount the microphone on almost
every commercial stand or suspension with a 3/8" thread.
•
To fix the shock mount on a stand with a 5/8" thread, remove
the tread insert and screw the shock mount directly on the
stand.
•
To remove the shock mount from the microphone, rotate the
bayonet-type lock at the lower end of the shock mount CCW
to the point that the shock mount unlocks.
As an introduction to the "secret science of making good record-
ings", the following sections describe some proven
miking techniques.
• Working distance: 6 to
12 inches (15 to
30 cm)
• Polar pattern: cardioid
• Bass cut: ON (40 or
80 Hz)
• W 414 LTD windscreen
or PF 80 pop screen
recommended
• To give the talent bet-
ter control of their own
voice, we recommend
adding the talent's
track to their head-
phone monitor signal.
To record
large mixed choirs
, we recommend using one stereo
microphone plus one spot microphone each for the soprano,
alto, tenor, and bass sections.
In rooms with good acoustics, a single stereo microphone or two
matched mono microphones will often do the trick.
Backing vocals/technique 1:
If you have enough tracks available, we recommend overdub-
bing each voice separately.
Backing vocals/technique 2:
If you use a separate microphone for each of several vocalists
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AKG C 414 LTD
6411_AKG_BDA_C_414_LTD_FS 19.12.2006 8:12 Uhr Seite 22