Use a pop shield and angle the mic for plosives
Problem: plosives and sibilance overwhelming the vocal track
Position the microphone 6 inches from the artist
Problem: inconsistent vocal proximity affecting tone
Choose a valve diaphragm condenser mic (e.g., N87, 47) as a reliable default
Problem: uncertainty about mic selection
Use Neumann U47 and API 1073 for vocal recordings
Problem: inconsistent vocal recordings, lack of clarity
High-quality gear captures complex high-end frequencies better
Problem: poor high-end capture
Equipment: Use U67 microphone with caution due to potential coloration
Problem: unwanted tonal coloration from gear
Use overheads for crashes when no dedicated crash mic is available
Problem: lack of crash mic presence
Position kick mics at 45-degree angles to avoid phase issues
Problem: phase cancellation, thin low end
Prioritize close mics over room mics for drum isolation
Problem: room mics overpower close mics in mix
Use FET 47 on kick head for sub-heavy low end
Problem: lack of sub-bass presence in kick
Use three mics (D112, FET 47, Coles) for kick for flexibility
Problem: limited mic character, lack of flexibility
Position Coles mic low to avoid cymbal bleed
Problem: cymbal bleed, unwanted high frequencies
Mistake: Not tilting the mic down to reduce sibilance and capture chest warmth
Problem: sibilance issues, lack of vocal warmth
Use close overhead mics for clarity, stereo overheads for dryness
Problem: dry or overly ambient overheads
Use close mics for intimacy and room mics for liveliness
Problem: unclear spatial balance between instruments and vocals
Avoid over-reliance on room mics for spatiality
Problem: loss of control over spatial elements
Prioritize a good microphone and interface over high-end computer specs
Problem: prioritizing budget-friendly audio gear
Choose microphones based on budget and purpose
Problem: overpaying for unnecessary microphone features
Use Microtech Gefel microphone for vocal recordings
Problem: muddy or unclear vocals