All right people. So when we talked about Ms, we had a great guitar sound. But now we're making the situation a bit more complicated. Now we're going to have a set of a by asteroid is not only going to play guitar, but also sing. Yeah. Now we're now clearly we need an additional vocal microphone.

We're going to talk about it a little bit later in more detail. So but we're using today to Norman use 67 or one of my favorite microphones, and I want to use it for its focal here I have left the same successful ms setup for the guitar. Now clearly straight away, you're going to see the car they're going to be so much some issues here. For starters, it's easy to see that both microphones clearly can hear both sources. It's easy to see how the MSX set up is going to be able to register Astrid sois. Remember we're using an omni omni directional picks up sound from everywhere so so it picks up quite a bit from us as voice.

At the moment I've switched the UCP seven to a cardioid pickup pattern. That is a typical pattern that you would use for for vocal recordings. Although I have the microphone point is more or less at acetates mouth. Clearly this microphone is also going to pick up quite a little bit of the guitar itself. Now I want you to listen to a tune these individual sounds the MS we've got just listen to you have not listened to it in a minute to remind yourself. And then if you listen to the vocal on its own, yeah, then then that's going to sound pretty good.

Use a nice microphone we have a beautiful voice when you know in a very good room. So so that should be good. But when things become really tricky is when we mix them together. Because what's going to happen you see is that as we mix these sounds together, and as they both contain information from both sources, the issue is timing. difference. Yeah, the MS microphone is going to pick up the guitar at a different point in time compared to the EU, the EU 67 to 67 is going to pick up the guitar at a slightly later point in time, and perhaps the other way around with the voice and the EU 67 picks up the voice first.

And the MS picks up the voice just a little bit later. When we mix this together, of course, we're going to get comb filtering because of the timing difference. We're going to have certain frequencies face cancel and other fake frequencies phase boost. Yeah, and that causes a comb filtering and that that changes the tambor and we have a bad situation because we have a lot of crosstalk a lot of spill. Yeah. And, and we have a lot of comb filtering.

Have a listen. And and I remind you listen to the microphone set up on their own and you go Oh, that sounds pretty good. But the moment you put them together, that's when it then doesn't work. Have a listen. So clearly this doesn't work, you have a situation whereby we have a pretty good vocal sound pretty good guitar sound, of course, but mixing them together gives us comb filtering. It's a there's a there's lots of crosstalk as well.

We do not have a good enough sound. That means that that we're going to have to rethink this situation and and we need to Come up with a microphone set up whereby we minimize the amount of spill. So our new guitar microphone is going to pick up as little as possible from us for its voice. And that's the vocal microphone is going to pick up as little as possible from asteroids guitar, because that way, then you have two completely separate sounds that you can mix together without facing without comb filtering. Now, the only way to achieve that is by using two figure of eights. like five minutes ago, you saw me talk into the figure of eight microphone, and if I move it sideways, my voice almost completely disappeared.

That is what we're going to use both for Austin's voice as well as for us as guitar, or by the trick is this. Yes, I'm gonna with my hands. I'm going to pretend I'm a die from have a microphone. Yes. And then what I'm going to do is I'm going to switch in a minute the use 67 to be a figure of eight microphone and then I'm going to insert Ms. I'm going to forget to use a singular figure of eight microphone.

And I'm going to position the the vocal microphone so that the guitar. Yeah, the sound of the guitar itself is in the rejection field of the figure of eight. So remember when I spoke sideways into the figure of eight, it wasn't the diaphragm was looking either side of me. Yeah, that my voice had the least impact. So that's what we're going to do. The vocal microphone is going to pick up athletes voice and then on access, and then at a 90 degrees angle from that, that's we're going to position the guitar like so.

So we're going to move our microphone in that space. And then with the guitar microphone, we'll go to do the exact opposite. We're going to have the guitar microphone to figure of eight is going to look at the guitar, but we're going to make sure that ostrich voice is in the rejection field in the rejection angle of that figure of eight microphone, starting with Vulcan microphone. I've just switched it to Figure Eight figure of a bigger better. So we're so one side of the diaphragm is looking towards us it was the voice. And the other one is looking completely in opposite way, big enough room sound and nothing else.

And and you can see that on the camera, you can see it because it essentially did the diaphragm would be in line with this with this metal strip that runs on top so that the diaphragm is exactly that. So now listening to it to the vocal microphone, I'm going to ask you to play guitar. And I'm going to move the vocal mic around. Yeah. And you're going to listen to the amount of spill that we hear from the guitar onto the vocal microphone. Yeah.

And you'll see there'll be they'll never completely go away. Because Because clearly some reflections of the guitar against the wall, the floor and the ceiling will will ultimately fire back into the microphone. But But at least it's possible to to really minimize and certainly minimize The amount of direct sound from the guitar coming towards the microphone. So I said if you could play a little bit I'm going to demonstrate rotating the microphone and then you guys are going to be able to listen and and hear certain spots whereby you hear more guitar and of course we're going to look for is the situation whereby we have the minimum amount of guitar is possible on the vocal microphone KDC now, I'm taking it deliberately a little bit too far. So you start to pick up a lot of guitar gets less and less and less. And if I move it too far the other way we also start to pick up more guitar.

So I need to identify a spot perhaps around here somewhere by have the least amount of the are like I said earlier, the sound of the guitar will never completely go away because clearly they are reflections and they come into microphones or at least the direct component the sort of immediate sound of the guitar cannot be hurt. If you have the microphone it's an angle like so. So we set up the vocal mic earlier made sure that we had as little as possible crosstalk from the guitar on to the vocal mic is the minimum amount of spill right? We're going to do exactly the same but then opposite of course with the with the guitar mic, we're going to make sure we have as little as possible voice on the guitar microphone. Now. Now here I've got my figure of eight microphones same thing have a microphone at that early we used to in the MS set up particularly MS is not going to work Right now you see I put the figure of eight more or less in the same magical spot that we found earlier with the guitar.

Yeah sort of around here somewhere this time of course the figure of eight. So I said if you could sing a little bit from Blue hear very loud now. facing this way, just keep going. You're leaving. Like you always said you was going down a level. Further down in level don't think I was going to pick it up again.

So I need to go back perhaps around you We can still hear her. But again, these are room reflections against the walls and the ceilings here. But compared to the room, we see that at least a direct sound at this position as much as possible, canceled out. Okay, so here we are then. So now we have finalized our guitar microphone and a vocal microphone and now we're going to put the two together. And, of course, because because we've minimized the amount of crosstalk the amount of spill in both microphones, we should be able to mix them together.

Yeah, without her being punished for it through means of comb filtering and phasing. Now, let me say a few things. Yeah, clearly we still there is still a bit of a compromise because because earlier when we were dealing with The tower on its own. We were dealing with a beautiful stereophonic sound with Ms. That's not be possible now we're still we have a monitor and we have a monitor voice. So why so you might argue that it would have been preferable to have a stereo guitar after all. But of course one thing you could do we could still run that guitar later on in the mixing process through a stereo reverb units to add to add some some three dimensionality to it.

I said let's play it. play and sing Yep, I think the full the full monty heard it on the way from the blue bird. Don't think