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Drums
Spark Digital’s fast transient response, crisp highs, and high-pass filter make it an ideal mic for recording drums. For kit and hand drums,
begin by placing the microphone two to four inches above the rim or hoop (where the head is secured to the shell). Angle the front of the
capsule (microphone head) toward the player’s stick or hand to pick up more attack and definition. Turning the capsule toward the shell will
soften the sharp attack of a hand drum, or pick up more of the bright, crackling buzz from a snare. Moving the microphone closer to a drum
generally increases the low end, shell resonance, and separation from other sound sources, while more distant placement emphasizes the
interaction of the drum and the environment, producing a blended and airy sound. If you are recording a snare drum or using Spark Digital
as an overhead microphone, try engaging the Focus Control. Engaging the Focus Control will help to eliminate unwanted kick drum sound
on your snare or overhead track and bring a more direct hit to each attack.
Saxophones, Flutes, and Reeds
For soprano sax, clarinet, oboe, and related instruments, position Spark Digital directly above and in front of the keys between the middle
of the horn and the lowest pads. Try moving the microphone up or down along the length of the body to adjust the balance of airy highs
(toward the mouthpiece) and cutting midrange (toward the bell). On flute, start by placing the mic above the middle of the instrument, and
move the diaphragm closer to the mouthpiece if more high frequencies and breath sounds are desired.
For other members of the saxophone family, start by placing Spark Digital two to six inches in front of the lip of the bell. Angle the
microphone upward toward the mouthpiece to capture more air, brightness, and high notes. For a mellower sound, orienting the diaphragm
toward the floor will emphasize the low range of the sax, and will tame the biting upper midrange that projects straight out of the bell.
Piano
Pop and jazz piano recording is usually accomplished with a pair of microphones placed inside a grand piano, either close to
the hammers for a defined, percussive sound, or roughly in the middle of the piano body to get a more resonant and blended
tone. When using these methods, it is conventional to employ a coincident stereo pair of microphones, with one microphone
capsule oriented to pick up the treble strings, and the other focused on the bass range of the instrument.