AKG C1000s on Vocals – Microphone Demo

On this 5th installment of my mic demo series I’m out to find out if the AKG C1000s is indeed the “Swiss Army Knife of Microphones” by using it for vocals and acoustic guitar.

As a Drummer, I’ve come to know the AKG C1000s as either an overhead or a hi-hat mic. Being a small-diaphragm condenser, I also noticed that engineers would typically use it for acoustic guitars, and I had bought it for those exact three purposes.

AKG C1000s

However, as I like to experiment with different microphones on each vocalist I get to record, I started including the C1000s in the shootouts. Eventually, I found myself coming back to it more often that I would’ve imagined. More than once I found myself favouring it for vocals over more conventional, large-diaphragm mics.

Recently, I found myself using it quite a lot while recording Tali for our project Shadow Ensemble, so I thought I’d take this opportunity to demo the mic and also give a peek into how we record a guide track for a new song. The acoustic guitar here was also recorded with the C1000s, together with its pick-up panned hard left for a fuller sound.

What’s your surprising go-to studio weapon? Share your thoughts below!

Song: ‘A Wolf at the Door’ (Original) by Shadow Ensemble
Listen to our debut EP: shadowensemble.bandcamp.com
Music, lyrics & guitar by Tali Magory
All recorded with the AKG C1000s
Video shot with Nikon D5300

Debut EP for Shadow Ensemble

I’m happy to announce the release of a debut EP for my personal project Shadow Ensemble. The ‘Out of the Darkness’ EP is the result of my work with incredible singer-songwriter Tali Magory (The Scientist).

It’s available for purchase on our Bandcamp & CD Baby pages. You can also listen to it on this YouTube playlist:

Oren Gilad – Instrumentation & Programming, Music & Lyrics (2,4), Vocals (2,4)
Tali Magory – Vocals (1,3,5), Backing vox (2,4), Music & Lyrics (3,5)

Recorded, arranged, mixed & produced by Oren Gilad
Track 1 music & lyrics by Matt Johnson © Sony/ATV
Mastering: Barak Yechezkeli @ Pluto Studios, TLV
Band photography by Ofir Abe’s PhotoVision
Cover photo by: Peter Ordog

REVO Live @ the BuXa

Live Sound 101: Player’s Guide to Soundcheck

Surviving a sound check – useful tips & guidelines for players of all instruments


Purpose of Running a Soundcheck

Anyone who’s ever been to a live show has probably witnessed some awkward technical difficulties happening on stage: Ear-piercing feedbacks, mics not working etc’. Anyone who’s ever gone up on stage and played a gig knows how hard it is to deliver a good performance when you can’t properly hear yourself or your fellow band members. In order to lay the ground for a smooth running show, a soundcheck must be done in order to prepare the stage and venue before the crowd comes in. The key objectives of soundchecking are:

  • Assembly of all required gear for both the band and the sound crew
  • Reducing the likelihood of malfunctions during the show
  • Allowing the sound engineer to balance between all instruments in a way that serves the show in terms of style & genre while taking into consideration the acoustic characteristics of the venue
  • Allowing the performers to find their comfort zone on stage in terms of hearing a good live mix of their performance, having enough space to move around and achieving their desired sound.

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