ABSTRACT
Laden with the fruits of this research, you’re ready to start making some educated guesses about suitable initial setups for your recording.
9.1.2 Which Mic? When shortlisting promising contenders amongst your mic collection, all the guidelines in Part 3 continue to apply, but with the proviso that groups of contrasting instruments are unlikely to be well served by mics which strongly
color the recorded tone, since the chances that the coloration will fl atter several instruments at once are pretty slim. Dynamic mics are rarely useful for mixed ensembles for this reason, and I would in general favor mics with the fl attest possible frequency response, both on-and off-axis (which usually means leaning toward pricier models). Don’t discount ribbons on those grounds, though, because although they’re typically duller sounding than condensers, and lose some low end when used at a distance, they may otherwise be very well behaved in the frequency domain and should respond well to broad corrective EQ boosts at the frequency extremes.
