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22

As others have noted, the properties of the signal from the microphone and from the piezo pickup will be different. The microphone picks up the same kind of air vibrations your ear does. The piezo pickup picks up the vibration of the saddle. The pickup has the advantage of being less susceptible to (but not immune to) feedback, and it moves with the guitar. ...


18

This is called feedback. Put simply, the microphone hears some sound. It sends it to the amp. The amp sends it to the speaker. Some time has passed. The microphone hears the sound from the speaker (now louder), sends it to the amp, and round-and-round it goes, getting louder each time. After a few goes around the loop, you reach internal limits and ...


13

In these pictures it's likely that one mic is for the PA and the other mic is for recording. Either they didn't have mic splitters or they didn't trust them! This was a very common way of doing things in the 70s. The Grateful Dead are known to use two mics as a noise cancelling technique. The output of the two mics is combined with equal levels but ...


11

Since there's a lot of bickering about it, I'll give you the three best solutions. ("Best", as in, this seems to be the sentiment of everybody who has posted so far.) High budget solution The only very effective way to amplify an accordion is with multiple microphones attached to the accordion itself. On this picture you can see three, but I've usually ...


10

There are two (popular) types of microphones: dynamic microphones and electret/condensor mics. Dynamic microphones They work like a speaker in reverse. Sound moves a diaphragm/coil assembly. The coil moves over a magnet and a current gets induces. Hence we have voltage. Almost indestructible. YOu can literally pound nails with a Sure SM58 (fun abuse ...


10

The sound from a microphone inside the guitar (or piezo pickups as in the case with Clapton) is different from the sound outside of the guitar. The signal from internal microphones or pickups will be more consistent, since it is not affected by movements of the guitar. Likely the signals are mixed to get the best of both worlds.


7

The answer is: It depends. A good amp connected to a good cab in a good room will sound good through a well placed good mic connected to a good preamp. I don't believe that any amp sim can beat that yet. But that's a lot of variables, many things can go wrong, it's not very hard but certainly not trivial. To me, a good amp simulator sounds way better than ...


7

When using an amp with microphone, it means that you play the guitar through a physical amp, and using a microphone to direct this sound into your recording system. An amp simulator is software that literally simulates an amp; you plug your guitar into your computer (through an interface for better quality), and this sound is modified by the software that ...


7

Adding to Meaningful Username's answer, the different sources (piezo pickup vs microphone) emphasise different parts of the guitar's sound. Not only is it used to help the sound be more consistent etc. but the different sounds themselves make for much more versatility when mixing. In general (this can vary wildly) a microphone will give a more "natural" ...


7

It's called pop filter, pop shield, or anti-pop. It protects the microphone from things like fast moving air and saliva. Its main function is to attenuate the aspirated plosives of the singer, which can produce noise and strong ugly transients.


6

Guitar-and-vocal studio and live micing has been studied heavily, yet while there are a lot of recommendations, perhaps the foremost among them is "experiment". Now, that advice is generally aimed at the professional recording engineer or home studio enthusiast, with a locker full of microphones to choose from. Someone looking to buy their first mike, like ...


6

The biggest advantage for line out is that you don't have to worry about feedback, and that you can model the tone without worrying about positioning, angles, mics, bleeding, etc; which is a disadvantage of the mic-amp combo, you need to worry about a lot of things to be able to do it correctly. If you love the sound that comes out of the speakers of the ...


5

I can't recall ever seeing it, but do people use pop filters in a live/concert/performance setting? I see where you are coming from. We see all these vocalists almost eating the mic and screaming and doing things that should flood the sound with loud plosives, but they don't. And they are not using pop filters... Or are they? In fact, they are using pop ...


5

Since it's not your band, and you're alerady kind enough to provide a PA system, don't do anything. Let the accordionist make do with what you have (e.g. mic stand and SM-57) or else bring his or her own equipment (such as clip-on mics and a pre-amp) to plug into your PA. Musicians have to be responsible for this kind of thing themselves, if they want the ...


5

Are the mikes on the amps feeding a PA which feeds the audience ears, or are the amps making the sound for the audience themselves ? If they're going through a PA one way is to turn the volume of the amps down a bit (so they don't saturate the room & bleed onto each other), face them away from each other or use acoustic shields to isolate them (or just ...


4

The problem with accordions (as with some other instruments) is that the sound comes from multiple places and at least part of the sound source is always in motion. That makes getting consistent results from fixed mics difficult. Mics strapped to the instrument, as in @LeeWhite's answer, are indeed the best solution, akin to other instrument pickups. If ...


4

High budget solution The only very effective way to amplify an accordion is with multiple microphones attached to the accordion itself. On this picture you can see three, but I've usually seen people using four microphones (two on each side): Remember that the sound of an accordion does not come from one central spot; each note comes from a different ...


4

The sound from the microphone is undoubtedly the best, if you want the music to sound as close as you can to how it sounds unamplified. The mic captures all of the natural resonances of the guitar without the "quack" of a piezo pickup. However, controlling feedback with only a microphone is difficult. The musician will have to keep their guitar relatively ...


4

Line out would remove the influence of the speaker, an important component of the overall tone. Miking would preserve that, with the downside of potential spill from other sources. A third option would be something like a guitar Pod, many types available these days. That would be capable of giving you speaker emulation at the line outs. The guitarist could ...


4

My first questions would be 'why rifle mics?' & 'how far away are they?' As Doug said, an SM58 tight in front of one of the cones has been used with reasonable success for decades - play with axis to get the sound as you'd like it. It may not be the ultimate solution, but it really is a working solution. When you say they're under the staging, you ...


3

Typically you use two mics for accordion. The right hand end of the instrument is the treble end and stays still (is strapped to the performer) and the left hand end is the bass end and moves about more as the bellows open and shut. The right hand mic therefore can be placed quite close to the instrument and the left hand one needs a bit more space. If the ...


3

Short answer: send your mic to a technician. Long answer: Check if your mic has some maintenance procedures specifically designed to be performed by the user. Some equipment was designed to be somewhat easy to clean, this might include your microphone. Check if this is the case, and perform said procedures. If it's still not performing as expected, send ...


3

I assume you mean the AC-60? This has a mic/line input with phantom power so should work direct with most dynamic or condensor microphones. If using a condensor mic, make sure it doesn't need more than 10mA current as this is the maximum it can provide according to the specs: http://www.roland.co.uk/products/productdetails.aspx?p=559&c=739 Other than ...


3

Great question. What all this really boils down to is the polar pattern or pickup pattern of the microphone. Some mics will pick up more sound from the front and less from the sides and rear. Mics that are extremely directional are good for rejecting the loud drums behind you and also rejecting the sound from a PA speaker that might be right in front of ...


3

It all depends on what sound you are looking for. "Better sound" is a rather subjective concept. I do suggest you to get a system with phantom power, not for a "better sound" necessarily, but for increasing your arsenal of options. Your mic choice will vary in different scenarios, and it's very useful to have the option of going condenser. Vocals are ...


2

It really depends on what type of quality you're looking for. I would highly suggest an audio interface with a good condenser mic, and possibly a pair of cardoid mics. The convenience of a USB mic is good, but audio interfaces are quite small and are not a hassle at all. It's better to record with the audio interface, because you can potentially record at a ...


2

In most live situations you would be using a dynamic microphone. The dynamic microphone equivalent of a pop filter is the the windscreen: http://www.sweetwater.com/store/detail/RK183WS?device=c&network=g&matchtype=&gclid=CPWZ29-ZkL8CFa9r7AodES4Apg Most dynamic mics are built to take lots of abuse, so more nuanced considerations like pop filters ...


2

It seems to be a high end condenser microphone with manual gain control and three independent membranes. One of the membranes may be damaged. Depending on which one, it may be possible to deactivate it by switching into different pattern (the microphone supports cardioid, bidirectional, omnidirectional and stereo). Check maybe there is a setting where the ...


2

Phantom power is here to stay. Condenser mics are better for recording. Dynamic mics tend to be more use in the rough and tumble of live stage situations. To future-proof yourself, it's better to get equipment which can provide phantom power. Better recording mics will generally need it. A pre-amp would do, but eventually you'll be better off with a system ...


2

Why not do both? Use a DI unit such as a Radial JDV or similar and run one output into your amp which is mic'd and the other into your audio interface and record the direct dry signal at the same time, then simply add an amp sim plugin and choose a tone to complement your amp tone.



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