A single mic for acoustic guitar, percussion, vocals, melodica?

For a couple years, I've been using a Bluebird mic for all of these things. There are definitely times when it feels a bit too sensitive, but I honestly don't have much to compare to and don't know much about mic'ing....

 

For home recorded projects do you think a single mic is okay, or are there more specific mic's you would use for acoustic guitar, percussion, vocals, melodica?

For a couple years, I've been using a Bluebird mic for all of these things. There are definitely times when it feels a bit too sensitive, but I honestly don't have much to compare to and don't know much about mic'ing....

 

For home recorded projects do you think a single mic is okay, or are there more specific mic's you would use for acoustic guitar, percussion, vocals, melodica?

 

It is possible to use one mic for everything, but certainly not the norm.

Every voice sounds different thru each mic you use. Same with other instruments.

Also matters what mic pre you use.

 

What interface are you using?

I'm using a PreSonus Audiobox, nothing speical. I'm in a small apartment in Brooklyn with a studio built into my kitchen (!) just to give you an idea of how minimalist my studio is, which is one reason I've kept my setup simple with a single mic. But am open to the idea that a single mic might not do the trick... Although another friend suggested a Sennheiser 441 might do it?

Although another friend suggested a Sennheiser 441 might do it?

 

It's a 900 dollar dynamic mic. I wouldn't start experimenting with that much money, regardless of its fame.

 

I would try another condenser like the affordable AKG Perception 220, which is much flatter than the bluebird. I use it at the college where I teach.

You can find that one for less than 200 bucks.

 

For percussion, you can also try the good old shure sm 57, just 80 bucks. Classic dynamic mic for relatively loud sources.

Thanks - yeah, something a bit flatter and tighter than the Bluebird would be nice considering I'm competing with refrigerator hum nearby and not to mention nonstop construction sounds in my neighborhood that creep into the mix!

In my opinion having a variety of (decent mics) will do more for home productions than a single really high end mic. Many of the benefits to a high end mic are lost anyway when recording in an untreated room. Kind of like spending 5 grand on monitors to put in an untreated studio.

 

My mic collection is nothing to write home about but I find having a variety (of even low end mics) can be very useful getting various parts (often recorded with the same guitar, amp, singer, pedalboard, etc.) to have distinct sounds. For example, I generally use an sm57 to mic out my amps and a Rode nt1a for vocals. However, if I record background vocals as well, I sometimes use a rode nt1 (or other condenser) so they have a slightly different tone, and don't sound exactly like my lead vocal takes. Same for acoustic guitar parts. If I use the same acoustic (only have one) for two or more guitar parts, using different mics for each can help give them each their own character. Sometimes if I want an acoustic guitar to disappear in the mix, I'll use a mic with less definition to record it with. And so on.

 

That can also be achieved with eq and post processing, but aside from different response curves, mics also have different sensitivity, natural compression, and other factors that can't be easily reproduced post recording. I always find it a bit ironic that people will seek out the flattest response they can find in a mic and then make cuts with an eq to emulate the response of mic with a low or high end cut. While it's true this would give more options post recording, if one knows what they are after to start with, then mic selection can get you there easier, quicker, and with less post processing.

 

It doesn't take a fortune to build up a collection of decent low end mics (more than suitable for home recording). Many good mics can be acquired for around $100 used. Be careful buying used mics, as sometimes they may have been dropped or damaged (so pass on the sketchy dude from craigslist unless you can test it first). I recommend starting with a large diaphragm condenser, a small diaphragm condenser, and a dynamic (shure sm57 is a good bet for micing guitar amps, all around use, and great for live situations if they arise), and a second large diaphragm condenser for variety.

 

About capturing the sound from the neighborhood: a less sensitive mic with the gain raised up, will pretty much capture the same extraneous noises, just perhaps with less definition. Rather than choosing mics that will also affect the overall character of the recording, use methods to mitigate the issue. First, if you have a back bathroom or walk in closet, this can make a great vocal booth and amp room. Good for vocals, because they tend to have the worst problem of bleed from ambient noises (coming from street or other parts of your house, etc.). An interior bathroom can be very isolated, just have to make sure my neighbor downstairs isn't running water through the noisy pipes. And as far as an amp room, it helps a lot having the amp out of your control room, because it allows for monitoring at reasonable levels (also helpful in apartments), while isolating the loud amp, in a remote part of the house/apartment, with less bleed into the neighbor's house. You can also use blankets draped over mic boom stands (recommend a few of these to go with your mic collection) with the boom placed horizontally (like a T) to make an impromptu recoding booth in your main studio area. Pillows in the windows, drapes, or even a heavy blanket hung over the window, can also help alot. Closer micing techniques can also help. Bringing mic in closer and lowering the gain will cut out a lot of extra noises/sounds. And finally timing recording sessions so you're recording when there is less outside noise will help too. So for example, avoid recording during morning and afternoon work commute hours is a good idea. I live near a school so I have to avoid recording on the hour unless I want to hear the school bell in my recording (when I'm recording acoustic guitars that can't be recorded in my makeshift recording booth (bathroom). Dinner time is a great time to record in an apartment, house, etc., since there are less people out and about driving around, or watching tv too loud, etc.

 

Outside noises (and inside ones, if you have room-mates) can't be mitigated completely so it's also a good idea to always do multiple takes. That way if you hear a school bell ring, or a neighbor's car horn honking in an otherwise perfect take, you can edit it out by replacing that moment with one from a different take.

A lot of good thoughts here, thank you robinloops!

Thanks - yeah, something a bit flatter and tighter than the Bluebird would be nice considering I'm competing with refrigerator hum nearby and not to mention nonstop construction sounds in my neighborhood that creep into the mix!

Sounds to me like you have more pressing issues than your mic choices. I would turn off the fridge while recording, and try to wait for a break in the construction nearby. Then I would consider the acoustic of the room. Then, and only then, would I even start to consider getting a second mic.