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 reduce plosives and sibilance while handling room tone, closeness effect, and singer movement.
Choosing condenser versus dynamic micsSetting vocal distance and mic heightUsing pop filters and wind protectionAngling the mic to reduce plosivesManaging proximity effect and movementLesson 2Clear mic choice reasoning: matching mic pickup shape and sound response to instrument traits and room limitsBuild a step-by-step way to choose mics by linking pickup shape, sound response, and quick behaviour to each source and room. Learn to explain choices technically and musically for repeatable, reliable 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, best distances, and angles for attack and body. Learn how to handle hi-hat bleed, set bottom mic polarity, and mix both signals for a controlled, strong 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 placements, slight off-axis positioning, and room mic use when possibleStudy electric guitar amp miking with close dynamic mics and optional room mics. Learn 3–6 inch placements, on-axis versus off-axis angles, cone sweet spots, phase with multi-mic setups, and adapting tone for thick 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 choices for each drum part, including kick, snare, and toms. Learn suggested mics, distances, and angles to catch attack and body while controlling bleed, phase, and steadiness across the kit.
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 6Pickup shape and sound response choices: how cardioid, hypercardioid, and figure-8 shapes affect bleed and rejectionUnderstand how cardioid, hypercardioid, and figure-8 shapes form pickup, bleed, and room tone. Learn to read pickup plots and sound graphs, and match shape 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 clearnessLook 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 overall kit clearness.
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-sound managementCompare bass DI and amp miking, learning when to prefer each. Look into combining DI clarity with mic character, handling phase, low-sound buildup, and noise while shaping attack, sustain, and mix transfer 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 form tone, attack, and bleed. Check damping choices, head types, and tuning. Handle floor tom rattle, matching resonance, and isolation from kick, snare, and cymbals in thick 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 positioning, phase matching and use of port micInvestigate kick drum mic spots inside and outside the shell, focusing on beater click versus low-end weight. Learn port placement, phase matching between multiple mics, and how to adapt 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
