Apple Logic Pro 9 - Manual (Page 33)

Microphone inputs differ from line-level inputs in that they provide power (known as
phantom power), which is used to amplify the incoming signal from condenser
microphones.
Multiple mixer outputs and a headphone distribution amplifier are also beneficial in group
recording situations, as different signals can be sent to each performer; for example, a
click track to the drummer, a light drum mix and click track to the bass player, a composite
mix to the vocalist and guitarist, with a touch of reverb for the singer, and so on. This
different strokes approach is commonly used as it facilitates the best performances from
each group member.
Mixers can also include several auxilliary or bus channels that can be used to simplify a
number of jobs; for example, sending different signals (or mixes, if you like) to multiple
locations such as a front-of-house P.A. and a multitrack recorder, adding individual effects
to multiple channels, rerouting processed audio back to a different position in the signal
path, and much more.
Many of these mixing tasks can be performed with a multi input/output audio
interface—using Logic Pro (and the interface control software, if applicable) to adjust
levels and routings. The catch-22 with this is twofold: it is not as immediate as physically
moving a slider or knob on a mixing console, and your computer generally needs to be
turned on, to allow control. To balance the equation, you can add a control surface to
your Logic Pro system, enabling hands-on operation. On the latter point, a number of
current audio interfaces can be used in standalone mode, but the problem of level control
remains unless the computer is turned on.
Microphones
If you are recording acoustic performances—spoken, sung, or played—into Logic Pro,
you need one or more microphones. The array of microphones available these days is
mind-boggling, but to simplify things, they basically fall into two categories: condenser
and dynamic.
• In general terms, condenser microphones are more sensitive, and are commonly used
for vocal recording. They are also used for ambience recording, and for instruments
such as guitars and woodwinds.
• Dynamic microphones are often used for recordings with high sound pressure levels
(loud signals, in other words), such as drums and percussion.
Ultimately, either microphone type can be used for any recording job, but each will offer
a distinct advantage—sonically—in different recording situations. To further clarify, both
condenser and dynamic microphones come in a variety of forms, with many specifically
designed for the recording of certain instruments. As such, there’s no one-size-fits-all
microphone for every recording you will make, so purchasing or hiring several microphones
for different projects is advisable.
33 Chapter 2 Setting Up Your System