AKG C 214 ST Stereo-Set Stereo set with tuned frequency response
Lead Vocals, Solo vocalist.
Working distance: 6 to 12 in. (15 to 30 cm). Bass cut: ON. For best results, be sure to use a pop screen, e.g. the PF 80 from AKG. If no pop screen is available, use at least the supplied W 214 windscreen. To give the talent better control of their own voice, recommend adding the talent's track to their headphone monitor signal.
To mic up a large choir, we recommend using a pair of microphones plus one spot microphone each for the soprano, alto, tenor, and bass sections. In rooms with perfect acoustics, using just a pair of high quality microphones is a proven way to get superb-sounding recordings.
- Backing vocals/technique 1: If enough tracks are available, we recommend overdubbing each voice separately. Refer to section Lead Vocals above.
- Backing vocals/technique 2: If only one or two tracks are available for backing vocals, use one microphone each for two or three vocalists maximum. Place the vocalists in a semicircle in front of the microphone.
- Solo violin: Direct the microphone to the f holes from a height of 6 to 8 feet (1.8 to 2.5 m) above the floor.
- Large string sections: Use a combination of a pair of microphones in an XY, ORTF, or other stereo configuration and close-in spot microphones.
- Viola: Direct the microphone to the f holes from a height of 7 to 10 ft.(2.2 to 3 m) above the floor.
Align the microphone with one of the f holes from a distance of about 16 in. (40 cm). If you need to record the double bass together with an ensemble, place the microphone closer to the instrument to prevent leakage from other instruments into the microphone.
- Cello/technique 1: Refer to "Double bass" above.
- Cello/technique 2: Use a close-in microphone as in technique 1 above plus a distant microphone. Set the level of the close-in microphone approx. 20 dB lower than the distant mic level.
Place the microphone 20 to 40 in. (0.5 to 1 m) away from the guitar and aim it obliquely at a point between the sound hole and neck. Using two microphones gives you even better control of the sound. Point a C 214 at the sound hole from a distance of one to two feet (30 to 60 cm). Place a small-diaphragm microphone (e.g., a C 451B) 20 to 40 in. (0.5 to 1 m) away from the guitar and align it with a point between the sound hole and neck.
- We recommend using two microphones. Place mic 1 above and to one side of the player (to reduce blowing noise) and align it with the player's mouth, and aim mic 2 at the instrument from the side.
- If you prefer to use a single microphone, place the microphone as mic 1 above at a distance of about 7 to 8 1/2 ft. (2 to 2.5 m) above the floor.
Point the microphone at the lowest key. To minimize key noise, place the microphone a little ways to the side of the instrument.
Tenor and Soprano Saxophones
Aim the microphone at the middle of the instrument from a distance of about 2 to 3 1/2 ft. (50 cm to 1 m).
- Aim a single C 214 or an XY or ORTF pair of C 214s at the middle strings from a height of 5 to 7 ft. (1.5 to 2 m).
- For a rock/pop sound, place two C 214s roughly 8 to 16 in. (20 to 40 cm) above the strings. Align mic 1 with the treble strings and mic 2 with the bass strings, both at a point about 6 in. (15 cm) behind the dampers.
Use the same technique as for the grand. Open the lid and have the microphones "peek into the instrument" from above.