CẬP NHẬT VIDEO HOT HẰNG NGÀY

Acoustic Guitar

A lot of traditional acoustic guitars chosen by electro-acoustic bands have built-in pick-ups, so they can go through the PA via a backline amplifier, or maybe direct, typically by using a DI box. However you may just be utilizing your acoustic for just one or two numbers, then changing back to electric, so it's barely really worth having a pick-up equipped - in cases like this stick an instrument or general purpose mike (if you have one - most vocal mikes will deal if you haven't), on a boom stand and point it towards the body end of the guitar's neck from about six inches away. Be careful not to point the mike straight on the sound hole because this can result in feedback issues. Just about any feedback that does occur is going to be within the low/mid frequencies, so be ready for it. You'll be able to test out mike placement until you have the type of sound you're looking for, but don't forget that, the further towards the headstock you place the mike the more finger-on-string noise you'll probably find. And a lot of movement by the musician won't do a large amount of good for the consistency of the over-all sound.

Double Bass

When you have to mike up a double bass (quite a few nowadays are already fitted with pick-ups), you need to get the mike as close as is possible , and do not point it at the F holes, just underneath the bridge yields best results, but for a bright sound you can point the mike at the body end of the fingerboard. Any feedback that does arise will likely be within the lower frequencies, unsurprisingly.

Violin

Fiddles are likely to be best dealt with by fitting some kind of pick-up (you will find tons around, varying from cheap to pricey condenser mike-based models, or a tie-clip type mike - if you are opting for the latter, aim to get yourself a cardiod one, or be prepared for feedback fighting. An omni-directional mike usually seems superior, nevertheless , you do have to compromise a lot of volume. See my later comments on Beyer's tie-clip mikes for flute - they're good for fiddles too.

Piano

Pianos are certainly not the simplest of instruments to mike up to accomplish a good sound over the full-range. One of the ways is by using a boom stand and position the mike over the strings anywhere between middle C and the top end, with the front panel removed on an upright, and, obviously, the lid open on a grand. If you an abundance of mikes (and also mixer channels), then use two of them, one at the bass end, one close to the top, especially if the piano is one of your lead instruments. On a grand piano, position one mike halfway down the interior (underneath the lid), and also the other underneath the piano in the middle - seems like a strange concept, but it works.

Brass

Stick a mike on a straight or boom stand and treat your blowist like you would your vocalist. With seriously powerful brass you have to make sure your mike is capable of handling fairly high sound pressure levels. Most mike manufacturers make a range of fitments for brass to go with the mikes they recommend for these instruments. For the really active player, add a wireless transmitter (and receiver, of course).With powerful, high -end brass instruments like soprano saxes, keep the players well away from the mike or they'll drown everyone else as well as overloading the PA in a very nasty fashion indeedy.

Woodwind

You're unlikely to come across many of these other than the flute. A decent vocal or general purpose mike will do the job very adequately, but look out for high end feedback.