one singer, one guitar, two channels, live . . .

Thimble Bionic · Post by **Thimble Bionic** » Sat Dec 19, 2015 7:08 am

We're shooting a live studio performance of a terrific singer-songwriter and the only recording channels we'll have access to are the two in an Apollo Twin. It's not live to stereo; I'll get to mix the tracks afterwards.

Performer sings and plays acoustic & electric, both through his Fender Twin. He wants to hear himself through his PA like he always does, with the amp in front of him.

Available mics:
AKG C414EB (2)
Sony C500
Beyer-Dynamic M500 N(C)
EV RE20, RE15 (2), RE10, RE11
Shure SM57, SM58

How would YOU do it?

mn412 · Post by **mn412** » Sat Dec 19, 2015 8:11 am

I would use the re-20 on vocals and the Sony on guitar

Nick Sevilla · Post by **Nick Sevilla** » Sat Dec 19, 2015 8:14 am

I would use the two AKG414EBs.

You'll get a consistent sound from using the same mics through the same preamps, which will then free you for mic positioning, until you get the blend you like.

Otherwise, it will sound unbalanced, and you'll wish you paid attention to this post.

LOL. Cheers.

Thimble Bionic · Post by **Thimble Bionic** » Sat Dec 19, 2015 8:16 am

How to deal with the vocal through PA situation? Use a DI on the vocal mic to split it? Tape two mics together, 60s style?

Scodiddly · Post by **Scodiddly** » Sat Dec 19, 2015 11:40 am

"Live in studio", so no PA to worry about, right?

I second using both 414's.

Thimble Bionic · Post by **Thimble Bionic** » Sat Dec 19, 2015 11:52 am

The musician wants to use his usual rehearsal setup: PA and amp in front of him, facing him. I would like to honor his request in the service of his performance, so that's the PA part.

Yeah, the 414s are tempting, but I've gotten thin results from clean amps with them. I'll definitely be using one on his vocal.

Gregg Juke · Post by **Gregg Juke** » Sat Dec 19, 2015 1:05 pm

I would use the 414 on vox for sure, so I think that's a great choice. Do you have access to a splitter? That would look better "live" (1 mike) than the tapped together thing (I've got some video of Desmond Dekker with the two-mikes-&-tape scenario; it's very distracting). How about the RE20, the Beyer, or the venerable 57 on the amp? I know you only have two channels, but can you sub-mix for more inputs? That way you could combine a couple of mikes on the guitar amp...

GJ

Thimble Bionic · Post by **Thimble Bionic** » Sat Dec 19, 2015 1:16 pm

If only! I'm flying to his rehearsal space to record, and all I'll have are the mics I'm bringing with me. The Apollo is his. Those Apollos have two line outs, so I think I can probably send the vocal to the PA through one of those. I'm not printing any effects or anything, so I don't expect a latency problem. But I can't be sure.

Assuming that's a feasible solution, the only question is really which single mic for the amp. I'm leaning 414 or C500. Those C500s are badass.

honkyjonk · Post by **honkyjonk** » Sat Jan 02, 2016 11:06 am

I do this sort of thing all the time.

I don't understand people recommending the 414's. They're going to get more PA and more guitar in the vocal mic. You won't be able to get the vocals as loud in the room. Will probably be harder to mix after the fact because of the bleed.

Plus, I sort of hate their sound, but that's just me. Who knows what this person's voice is like.

The M500 is going to be a tight pattern. Those can work great for vocals. What kind of voice does this person have? A little harsh/nasally?, go with the M500. Smoother? Perhaps RE 20 on voice.

Who cares about two mics in the video? Doesn't bother me. Does it obscure anything more than a condensor with a big shockmount? Probably not. . . .

Guitar? Whatever, depending what it sounds like. . . Twins are bright. Acoustic through a Twin miked with a 414? Harsh city. Gobos?

JWL · Post by **JWL** » Sun Jan 03, 2016 3:02 pm

If you were just gonna record the voice and acoustic guitar in the room, then I'd use the two 414s in fig 8, arranged so the mic null points are toward what you don't want them to hear. Close to a blumlein setup in front ith the mics at the right angles.

Using the amp that way pretty much necessitates a lo-fi kind of recording (relative to just the acoustic instruments), so all bets are off. I'd probably use a cardioid vocal mic arranged so the rear of the mic is pointing toward the amp, and the same deal for miking the amp (ie, cardioid).

If he runs both guitar and voice through the amp, then I'd probalby take a guitar DI and not record the amp at all, just the DI and the vocal mic. But then you'll have to build up a good recorded sound from the DI, which is challenging but doable.

Just keep the amp volume as low as possible.

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one singer, one guitar, two channels, live . . .

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