In article ,
"£ Î Z @ R Ð" wrote:

Here is a picture http://www.coraconnection.com/pages/WhatisKora.html

I am a beginner at recording and I have only a basic studio (Yamaha AW4416
workstation)

I have one Shure KSM27 condenser mic, and two Shure 57 dynamic mics

I was thinking of putting the condenser mic near the soundhole.. I don't
think I'll get the boominess that i would if I were to put the condenser in
front of an acoustic guitar hole, because the kora is a fairy high pitched
instrument.. Since I have only one condenser, I wouldn't be able to get a
stereo image, unless i also used the dynamic mic(s).

anyone have any clever ideas? Would I ever want to use a condenser AND a
dynamic at the same time?


I would just mic the head with something like a 414
I have played and live miced a few Koras
but never miced one for recording
I would follw my stardard procedure I do with any instrument for live
micing
I get really close to it and have the muso play
I listen for a sweet spot and that is where I mic

George

£ Î Z @ R Ð wrote:
Here is a picture http://www.coraconnection.com/pages/WhatisKora.html

I am a beginner at recording and I have only a basic studio (Yamaha AW4416
workstation)

I have one Shure KSM27 condenser mic, and two Shure 57 dynamic mics

I was thinking of putting the condenser mic near the soundhole.. I don't
think I'll get the boominess that i would if I were to put the condenser in
front of an acoustic guitar hole, because the kora is a fairy high pitched
instrument.. Since I have only one condenser, I wouldn't be able to get a
stereo image, unless i also used the dynamic mic(s).

You will not be able to get a real stereo image with such a set of mikes
anyway, so don't worry about it.

Stick your finger in one ear and listen with the other. Move your head
around while the performer plays. Find a place where the instrument tone
is good, and where you have the balance between ambient and direct sound
that you want. Put the mike there. This is always a good technique for
dealing with unknown instruments and rooms.

You're probably going to be better off with the KMS27, if only because of
the huge presence peak on the SM57.

anyone have any clever ideas? Would I ever want to use a condenser AND a
dynamic at the same time?

Maybe, if you have something that you want to treat as several different
instruments at the same time. Lots of folks treat drum kits that way, others
treat them as a single instrument that needs to work together. Your call.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Scott & Scott's advice are great. I know several artists who are former
members of Les Ballets Africains (Guinea) & I've heard one individual
say the pickup output is the desirable modern sound. I was so excited
to approach recording the kora, this "advice" (to grab the p/u ONLY) was
anti-climactic for me. Of course I'd put up a few mics!

Unfortunately, the gig never happened. When it does, I'll try ribbons.

No matter what the instrument... even getting sounds on djembes &
djoun-djouns, I use the 1-finger in the ear technique to find where to
START with mic placement.

hth, ~Christopher Barry

Put your condenser mic where the instrument sounds best to your ear.
I usually put it above the neck, looking down at the body. When working with
Foday Musa Suso, I take his pickup output also, since it's a good one &
actually
sounds like the instrument, instead of a thinner, harsher, plasticky version of it.
Scott Fraser

Stick your finger in one ear and listen with the other. Move your head
around while the performer plays. Find a place where the instrument tone
is good, and where you have the balance between ambient and direct sound
that you want. Put the mike there. This is always a good technique for
dealing with unknown instruments and rooms.
--scott (Dorsey)