Shure KSM137
A matched pair of these ubiquitous condenser mics works wonders on piano, acoustic guitars, and even drum sets. The KSM137s sport a gold-layered Mylar diaphragm, subsonic filter, and a 3-position pad.
$699/pair
shure.com
Sennheiser MD 441-U
This dynamic mic is perfect for when you need pinpoint precision. It includes a treble boost, 5-position low-frequency contour switch, and a hum-compensating coil.
$1,099 street
sennheiser.com
AKG C414 XLII
This multi-pattern condenser mic is a bona fide classic. It can handle nine different polar patterns, features three different bass-cut filters, and gives you an LED light to keep an eye on clipping.
$1,319 street
akg.com
Neumann U 87 Ai
As one of the most legendary mics ever made, this new iteration has been updated with modern circuitry, switchable 10 dB pre-attenuation, and three directional characteristics.
$3,295 street
neumann.com
AEA N22
This active ribbon mic houses a custom-made German transformer, and a maximum SPL of 141 dB, so let those amps cook! It combines both vintage and modern elements in the RCA tradition.
$1,099 street
aearibbonmics.com
Royer R-121
The company’s flagship microphone might be the only mic to win a Grammy. The figure-8 pattern offers increased sensitivity, can handle very high SPLs, and gives equal response from either the front or back of the element.
$1,499 street
royerlabs.comom
Earthworks QTC50
This omni-directional condenser mic has plenty of headroom to capture even the loudest of audio sources. QTC (Quiet Time Coherent) allows the mic to excel even at lower volumes with strings, vocals, and distant sound sources.
$1,399 streetearthworksaudio.com
Telefunken ELA M 260
Originally released in the ’60s, this modern version features a new-old-stock EF732 vacuum tube along with a thread-on TK6x Series capsule that provides cardioid, hypercardioid, and omni polar patterns.
$1,295 street
telefunken-elektroakustik.com
In my experience, the best way to get great recordings begins with getting in tune with your inner ear and the tones you are hearing in your head. This understanding will act as a catalyst for the first important tip: choice and placement of microphones. As simple as this is, we run the risk of listening with our eyes instead of our ears, because we are creatures of habit. How many times have you placed the same mic in the same place on the same amp (or same place at the guitar, for acoustic players)? Did you really explore the possibilities, or was this the best solution at the time and now it has become ingrained? Maybe it’s time to re-think the process and try something new?
Regular Dojo readers are already familiar with the three most common microphones used in recording: condenser, ribbon, and dynamic. Regardless of what mics you have, use your ears and listen to the source you want to record. For example, listen not only to where the amp sounds the best at the speaker, but also in the room. For acoustic guitar, placing the mics near the 14th fret in addition to other locations can yield a wide variety of tones. If you are recording by yourself, make several different short recordings and document the mic placement for each, listen, and then make decisions. The idea here is that you want to get the sound you’re looking for without using any EQ. In short, if you don’t like the sound you’re getting, move the mics until you do!
Once the decision has been made, the second tip for making better recordings is to pay careful attention to your gain structure (aka recording level) and give yourself plenty of headroom. The best way to do this is to set the recording track’s fader in your DAW to unity (zero), and then adjust your preamp’s gain level until the signal meters between -15 and -5 for most DAWs (check your specific DAW to find out which VU metering type you are using). If you’re somewhere in this range, you’ll have good signal-to-noise ratio and ample headroom for loud passages, like when you kick in the overdrive channel for the chorus and solo sections.
A scenario like Fig. 1 has bad news written all over it. The track faders are pushed near the top of their range and the master bus has already peaked. This can happen quicker than you think if you didn’t set your input levels properly to begin with. If you find yourself in this predicament, you’ll need to recalibrate your gain structure for every track for the entire mix. Ouch!
The final tip is focused on signal processing and preserving the efforts of the first two tips. Once your tracking is completed, don’t be too quick to start adding copious amounts of EQ and compression. The reason for steps one and two was to mitigate the need for EQ and preserve the natural dynamic range of your tracks. Now, when you need to use EQ and compression, you can use it with subtlety and not out of necessity to fix a poorly recorded track.
As always, if you have any questions you can reach me at recordingdojo@premierguitar.com, and I also want to invite you to checkout my new single “Christian Graffiti” on your favorite music platform to hear all of these tips in action. Until next time, namaste.
