Operation Manual

19
The outstanding features of the R-09
Chapter
1
Situation practical use technique
Chapter
2
Chapter
3
Applied technique
Chapter
4
Appendix
Practical
Guide to the
edirol r-09
Capture everything
from behind
Capture BD and SD
in a direct line
Adjust for
brightness
and softness
Adjust the attack and
reverberations with the
strings and soundboard
Strings
(emphasize
attack)
Soundboard
(rich, broad
sounds)
Bright
Soft
Avoid pointing directly
at the sound but aim
for the bell
Record
everything
Emphasize
the bow
Emphasize
the body
Unlike small instruments, a piano produces sound from
its entirety. Since the internal microphone is an omni-
directional microphone, it’s especially good at recording
a piano’s stereo sound.
Position the microphone to maintain a balance between
the strings and the soundboard. Adjust the balance
between the attack and sustain using distance. Try dif-
ferent congurations to obtain the cleanest recording.
Piano
If the microphone is pointed toward the bass drum, the
snare drum is o-center and its sound becomes weak.
Therefore, direct the microphone so that the bass drum
and snare drum are in a direct line, and they will then be
heard in the center during playback as a clear rhythm.
This placement also helps reduce air pus into the mi-
crophone from the bass drum because the microphone
is not directly in the front of the bass drum.
Another idea to consider when the attack is strong but
quiet is to move the microphone 10 feet (3 m) or more
away, or to place the microphone in the back of the drum
set. Doing so produces a more rounded sound, and a clear
recording is achieved, making level adjustment easier.
Drums
When recording a horn section with room sounds, set
the microphone at least 10 feet (3 m) away. Don’t point
the microphone directly at the bell, but point it slightly
upwards toward the bell to soften the direct sound of the
horn and to capture the reected sound. Also, to create a
stereo eect, leave the microphone where it’s and have the
players move apart.
On the other hand, when recording a solo performance up
close, woodwinds, like the saxophone, don’t produce sound
solely from the bell but also from the keys. Also, when all the
keys are pressed, the sound from the bell changes suddenly.
For these cases, place the microphone slightly down and
slightly to the right or left for a smooth recording.
Wind instruments
Stringed instruments, such as the violin or contrabass,
are similar to the acoustic guitar. The secret is to have
a balance between the string vibrations and the sound
from the body. The R-09 internal stereo condenser
microphone should be placed about 6 feet (2 m) away,
facing the instrument to capture the room sounds.
Bringing the microphone in to about 3 feet (1 m) pro-
duces a clear, contoured sound. Taking the microphone
out to 12 feet (3 – 4 m) produces a full sound. Adjust the
microphone height and sound quality (low to increase
the low frequencies and high to have a clearer sound)
while monitoring the sound.
Stringed instruments