User Manual
9
Acoustic Guitar
Acoustic guitars can be tricky, but here the Worker Bee reigns supreme. Its shimmering high end adds life and air to bring out the
guitar’s “sparkle.” Each guitar is dierent, but the “sweet spot” is usually near where the neck and body join (around the 12th
– 14th frets). For maximum presence, start with the mic close to the guitar—about 3 or 4 inches (7 - 10 cm). Moving the mic
closer to the sound hole increases the warmth and fullness, but beware the dreaded “sound hole boom” that can give acoustic
guitars a “muddy” quality. Now try moving the mic farther from the guitar. This may help even the sound and create a better
image, with the trade-o of a little less presence. Find the right balance, and your guitar will sing.
Adventurous types can try adding a second Worker Bee below and behind the bridge. Adjust the tilt toward the bridge to add
brightness and reduce lows. Pan the two mics left and right for a spectacular stereo image. The balance is correct when the
sound is wide, but centered. Sweet!
Strings
Because of the Worker Bee’s natural highs and soft midrange characteristics, it’s an excellent choice for recording all members
of the orchestral string family. Violins and violas sound best with the mic placed above the body at a distance of 2 to 3 feet
(0.6 - 1 m). Angling the capsule toward the bridge produces a warmer sound, while favoring the tuning pegs produces a lighter
tone. Raise the mic for a more classical ambient sound, or lower the mic for a more detailed, contemporary sound. For a cello
or bowed bass, start with your Worker Bee closer—1 to 2 feet (30 - 60 cm) away and aimed toward the bridge. Tilt closer to the
f-hole for a warmer sound. But if you need thunder from your basses, move the mics back and let the room roar!
When recording a full section, a pair of Worker Bees placed wide in front, at a distance of 10 feet (3 m) or more can greatly
enhance your ensemble’s image and depth. Mix the room sound in with the close mics for a rich, spacious blend.
Upright basses in a contemporary setting, which are often fingered, need a dierent approach. Start with your Worker Bee in
tight—3 to 4 inches (7 - 10 cm) above the f-hole but angled towards the bridge. This should produce a clear, present timbre
with rich bass and a clean percussive finger attack. Move away from the f-hole if the sound becomes “muddy.” Or, for a darker,
more traditional tone, try placing the mic directly in front of the bass between the bridge and fingerboard at a distance of 6 to