User manual

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A) On stage (continued)
3. Microphone blended with on-board pick-up.
Best for group performances where the higher
volumes required create problems with feedback
or where the pick-up is used for the live sound
but a microphone recording is needed for studio
mixing later.
4. Wireless microphone. For total freedom on
stage, use a conventional wireless microphone
(lapel / button or standard vocal). Alternatively,
any Bluetooth headset can be used as a wireless
microphone in combination with a BlueAir Blue-
tooth Audio Adapter (visit exploraudio.com for
details)
5. Multiple microphones (with or without on-
board pick-up). For capturing the live perform-
ance in a way that offers maximum flexibility
and tonal options in subsequent studio mixing.
B) Studio
1. Single, high quality instrument or large cap
-
sule condenser microphone. For close-micing
in particular. Guitarists can play without worry-
ing about moving during the performance (and
thereby changing the sound captured by the
microphone). It also allows the musician to
take a break, put down the guitar and pick it up
again later, knowing the microphone position will
be exactly as it was before.
2. Multiple microphones. For limitless experimen
-
tation with tonal blends and stereo imagery. With
a number of microphones positioned around the
instrument, the possibilities for manipulating
both the sound recorded and the sound achieved
by mixing the multiple sources is endless. As
with a single microphone, once the perfect
microphone positions have been found and set,
there should be no worries about losing them
again when the guitarist moves or takes a break.