I know, you're supposed to record opera singers in acoustically perfect concert halls, but I'm on a budget and all I have is my 8 x 10 home studio which doubles as both a control room and a live room. My goal is to record live vocals over pre-recorded orchestra karaoke tracks to famous soprano arias.

Hi all-newbie here with a question. My daughter's HS marching band also performs orchestral music (upper college and sometimes professional level pieces) at a local church sanctuary which is huge-seats about 3000. Next month the chorus will be doing the show along with the band. So I'm looking for advice on mic placement,how many mics I would need,and which mics would work best.

What is the strangest place you have used to get that exact sound you or some producer was looking for. What place was it,closet,barn,Oven etc. and what did you use to get the sound?

I was using this mic in a classroom. No carpet. Mic was about 4.5 feet from the bell of the trumpet.

ADK Vienna Edition Cardioid True Condenser Microphone

It was recorded on a macbook/DP6/Apogee Duet. I used a small amount of EQ and added a little bit (5%) reverb from the ProVerb on DP6.

It still sounds hollow. Am I using the wrong mic to record trumpet?

ok guys i have yet another question about john mayer

Hi, I was just wondering real quick, where should the dynamic mic be placed in relation to the mouth if you want it to pick up higher frequencies?

I know like most subjects in recording mic placement techniques are subjective, but are there any Holy Grail of references or books that cover the topic in great detail?

If I have a 4x12 guitar cab in a small very dead vocal-booth type room, I know I will need the standard sm57 on the sweet-spot of the cab speaker, but would putting a condenser at a farther distance and getting the phase right make any difference to the sound?

A while ago (a few months?) someone posted a link to an online calculator that would create contour plots on different microphone configurations.

You could input the type of pattern on the microphone, the angle, and the position. It would graph the power as a contour plot, as well as show the left to right balance and a number of other statistics.

I seem to get the best recorded saxophone sound by placing the microphone in line with the bell about a foot or two away. The lowest note on the saxophone always overloads the mic, however. I can help alleviate the problem by riding the fader, but I'd rather not. If I move the mic to the side, I lose a lot of sound quality.