Tuning the Electric Guitar
The
following does not apply to acoustic guitars with a fixed bridge.
The
electric guitar tunes to a Pythagorean scale as opposed to an
Absolute scale like a Piano. Consequently only about a range of
seventeen notes will ever be in tune on the neck of a guitar. Most
turn the nuts on the neck, using the double stop position, until the
strings are all in tune. Proper tuning also includes tuning the
bridge so the entire range of the string is in tune with itself.
Using a
strobe, and picking the string at your normal strength, tune the
neck on the double stop position. Then adjust the bridge with the
open string (an octave lower). This will probably change the tuning
on the double stop, so go back and forth from double stop to open
string until your tuning is exact on the bridge and the nut. You
will notice a much fatter sound. With a good set of matched strings
you will notice that the bridge forms a fairly straight but diagonal
line.
Under
normal usage, once the guitar is tuned properly, you won't have to
adjust the bridge for quite a while. As the strings get older, they
stretch a little and then you need to either replace the string or
re-tune the bridge.
Tuning the Drum Kit
Most
people don't think of a Drum as having pitch. They usually only
think of the tone of the Drum. Having a Drum kit in tune with the
Bass Guitar will make a subtle but nice difference in the sound of
your band's ensemble. We start with the Bass Drum and tune it to the
key the song is in. For example, if the song is in B Flat, have the
Bass player play the low B Flat and tune to foot to that. Tune the
Snare an octave higher and then tune your Toms up a third, fifth and
an octave if you have three Toms. Most songs are played in a Major
key so this applies. If you are in a Minor key you might adjust the
Toms accordingly.
Miking the Percussionist
Most percussionist
will have a large array of Drums (Bongos, Congas, etc.), Timbales
and other instruments. The usual practice is to put
microphones over each instrument. This creates a lot of ambient
sound in the mix because of the multiple microphones. We found that
using a wireless mike with a reasonably tight cardioid pattern and
clipped to the player's shirt will eliminate much of the problem.
Miking the Vocalist
Most
singers in front of a band will have a lot of ambient sound from the
guitar amps and other instruments behind the vocalist. A way to
decrease this sound by at least 200% is to use a technique called
"Differential Miking". Use two identical microphones, wired out of
phase with each other. Most microphone connectors have a three prong
plug. Just switch the high and low side, leaving the ground the
same. If you tape or attach these mikes together and the vocalists
sings slightly onto one side so only one of the mikes gets the
majority of sound, the result in the out-of-phase positioning will
greatly diminish the ambient sound from all the instruments that are
farther away. Check up on the law of inverse squares to find out the
why and how.
Establishing a "Big"
Ensemble Sound
This
portion does not apply to solos but the overall sound. If there are
two Rhythm Guitars it's a good practice to position them in the mix
on opposite sides. Also, if they play in different octave ranges
that also helps with greater separation of sound. We usually ask a
keyboard player to open his hand spread to a greater octave range so
the guitars fit in the middle. Remember, this is an Ensemble, not a
bunch of soloists playing together. Solos of course are played in
the range where they are most effective.
Sweet Spots
When
miking acoustical instruments such as pianos and guitars, etc., we
were always asked where was the best place to put the microphone.
The answer is simple and obvious, but most people don't realize it.
This technique varies from instrument to instrument, so there is no
absolute placement, but if you cover one ear with your hand and move
your head around the area of the sound source, you will notice one
place where the sound is the richest and fattest. That's called the
Sweet Spot and the location of your ear is where to place your
microphone.
Equalization or Lack Of
Equalizers on your mixing console are there as a remedy, not a tool
to use when you can get a better result without their use. An
equalizer, when used will cause certain frequencies to be
out-of-phase with the rest of the sound in the mix. The out-of-phase
portion of the sound diminishes its volume. The amount can vary from
a little to a lot resulting in the sound quality you may desire, but
usually causing a "thinner" less rich sound of that instrument. If
at all possible, using the techniques listed above, it is much more
desirable to use little to no Eq. This usually results in the
"fattest" sound. Taking the time to mike an instrument properly will
pay big dividends in your overall sound.
All of
the above are only suggestions. Your band may like a thick sound and
everyone will play in a tight octave range. We only mention these
various techniques to give you options. Nothing is carved in stone.
We do hope, however, that these little hints will be of some value
to you. "Live Long and Prosper!" |
