Each instrument is fitted with an array of 4-6 microphones. The purpose of the microphones is to amplify sounds normally inaudible to the human ear, and to allow maximum potential for sound spatialization and effecting or processing of the sounds. |
SuperCello: 6 microphones, 2 switches, 1 fader, 1 volume pedal
(A) Bridge microphone, for swishy and screechy bowing sounds
(B) Microphone inside cello, via F-hole, for inside resonant sound
(C) Microphone under tailpiece, for bowing on tailpiece (bassy sound)
(D) Microphone inside scroll, to amplify strings at highest tension point
(E) 2 contact microphones embedded in fingerboard, to amplify tapping of fingers
SuperViolin: 4 microphones, 2 switches, 1 fader, 1 volume pedal
(A) Bridge microphone, for swishy and screechy bowing sounds
(B) Microphone inside violin, via F-hole, for inside resonant sound
(C) Microphone inside scroll, to amplify strings at highest tension point
(D) 1 contact microphone on back of lower fingerboard, to amplify tapping of fingers
SuperFlute: Three microphones are placed inside each of the bodies of the alto, bass, and C flute. Piccolo receives one, which covers the end of the instrument.
Two capture the sounds of key clicks- the sounds made purely from fingering notes- and one captures the breath and "normal" flute sound.
SuperPercussion:
Snare Drum and Floor Tom: One contact mic on the inside wall of the snare drum, one electret mic suspended between the two heads inside the drum
Cymbals: One mic positioned near the bell, one positioned between the rim and the bell. (Thought for future: would like to incorporate on-the-spot mobility for these mics)
Accessory mic: One extra mic for uses such as inside the woodblock.
SuperPiano:
Two mics inside soundboard, one low and one high
Two mics underneath piano keys, one low and one high
One mic inside pedal mechanism
One mic underneath piano bench