Lesson 1Lead and backing vocals: picking between large-diaphragm condenser (NT1-A, TLM 102) and dynamic (SM7B, SM58) and exact distances, pop filter use, and angle to cut plosivesCompare large-diaphragm condensers and dynamics for lead and backing vocals. Learn best working distances, angles, and pop filter use to lessen plosives and sibilance while handling room sound, proximity effect, and singer shifts.
Choosing condenser versus dynamic micsSetting vocal distance and mic heightUsing pop filters and wind protectionAngling the mic to reduce plosivesManaging proximity effect and movementLesson 2Logical mic choice thinking: matching mic polar pattern and frequency response to instrument traits and room limitsBuild a step-by-step way to choose mics by linking polar pattern, frequency response, and transient action to each source and room. Explain choices technically and musically for consistent, dependable outcomes.
Analyzing source dynamics and spectrumMatching polar pattern to environmentUsing frequency curves to predict toneBalancing isolation versus room soundDocumenting and justifying mic choicesLesson 3Snare placement and top/bottom micing: distance, angle, and polarity flip reasons for balanced snare soundLook at snare top and bottom mic roles, ideal distances, and angles for attack and body. Handle hi-hat bleed, set bottom mic polarity, and mix both signals for a controlled, punchy snare in various music styles.
Top mic distance and angle for attackBottom mic placement for snare wiresPolarity inversion and phase checksControlling hi-hat bleed into snare micBlending top and bottom for final toneLesson 4Electric guitar amp mic methods: close-miking with SM57/e609, 3–6 inch spots, slight off-axis position, and room mic use if possibleStudy electric guitar amp miking with close dynamic mics and optional room mics. Learn 3–6 inch placements, on-axis vs off-axis angles, cone sweet spots, phase in multi-mic setups, and adjusting tone for busy mixes.
Finding the speaker cone sweet spotOn-axis versus off-axis positioningSetting 3–6 inch mic distancesAdding and placing a room microphonePhase checks with multiple guitar micsLesson 5Drum kit close-miking: suggested mics per part (kick: AKG D112 or Shure Beta 52A; snare: SM57; toms: dynamic mics) and exact placement distances/anglesDetail close-miking picks for each drum part, including kick, snare, and toms. Learn recommended mics, distances, and angles to get attack and body while controlling bleed, phase, and kit consistency.
Kick in and kick out mic positionsSnare close mic angle and distanceTom mic selection and mounting optionsPhase checks between close micsBalancing close mics with overheadsLesson 6Polar pattern and frequency response choices: how cardioid, hypercardioid, and figure-8 patterns affect bleed and rejectionUnderstand how cardioid, hypercardioid, and figure-8 patterns shape pickup, bleed, and room tone. Read polar plots and frequency graphs, and match pattern and response to source, stage volume, and isolation needs.
Cardioid versus hypercardioid behaviorFigure-8 uses for rejection and toneReading microphone polar pattern chartsInterpreting frequency response curvesPattern choice for live versus studio useLesson 7Overheads and stereo methods: XY, ORTF, spaced pair pros/cons, height above kit, and balancing cymbals vs kit detailLook into overhead roles in setting drum image, comparing XY, ORTF, and spaced pairs. Learn how spacing, angle, and height affect stereo width, phase, cymbal control, and balance between cymbals and kit detail.
XY vs ORTF vs spaced pair comparisonSetting overhead height above the kitManaging cymbal level versus drum bodyPhase coherence in stereo overheadsAligning overheads with the snare centerLesson 8Bass DI vs amp miking: using DI + mic (SM57 or ribbon) methods, blending DI and mic, and low-frequency handlingCompare bass DI and amp miking, learning when to prefer each. Combine DI clarity with mic character, manage phase, low-frequency buildup, and noise while shaping attack, sustain, and mix playback on small speakers.
Clean DI capture and level stagingChoosing and placing amp micsPhase alignment between DI and micControlling low-end buildup and rumbleBlending DI clarity with amp characterLesson 9Tom placement and damping thoughts: mic distance, angle, avoiding floor tom rattleLearn how tom mic distance and angle shape tone, attack, and bleed. Check damping choices, head types, and tuning. Handle floor tom rattle, sympathetic resonance, and isolation from kick, snare, and cymbals in full drum setups.
Choosing mic distance from tom headsAngling mics to control cymbal bleedDamping options and tonal trade-offsReducing floor tom rattle and buzzManaging tom resonance in the mixLesson 10Kick drum methods: inside vs outside mic placement, beater vs shell position, phase alignment and use of port micInvestigate kick drum mic spots inside and outside the shell, focusing on beater click vs low-end weight. Learn port placement, phase alignment between multiple mics, and adapting methods to genre and drum tuning.
Inside kick placement for attackOutside kick placement for low endPort hole miking strategiesAligning phase between kick micsAdapting placement to genre needs
