[dokushoka]

Originally Posted by mwagener

Yes.


If I'm not 100% certain (based on experience) which mic to use, I go through a selection of mics that I think make sense for the particular source, and some oddballs, which I've never tried on that source. I set them up all in the same place in relation to the source, one after the other. I use the same mic pre for each mic (the ones int the SONY console are just fine for that, because they are fairly neutral). Then I record a track at the same level with each mic in order to compare the general usefulness of each mic on that source.

After I find the best mic for the job, I have the assistant move it around while the instrument is being played, to find the right placement. The assistand has to wear headphones where he/she can hear me talk in the control room, so I can yell "stop" when the mic is in the right spot.

Then I try different mic pres to see which one transports most of the "mood" of the instrument into the control room. Most of the time I'm happy at that point, but if not I use a little EQ to help it along. Doing things in that order keeps me in most cases from having to go back and change the mic or the position later. Compression gets used to get control over high dynamic sources or as an effect (overcompression on acoustic 12 string, drum room etc.)

The whole thing takes a lot of time and concentration, if no time is available, i might go for what worked in the past and use EQ if needed. Whatever works

Just out of curiosity, what are the musicians doing through this whole process? That can't be very exciting for them!