Lesson 1Lead and back voices: picking between big-diaphragm condenser (NT1-A, TLM 102) and moving (SM7B, SM58) and exact spaces, pop screen use, and angle to cut plosivesCompare big-diaphragm condensers and movers for lead and back voices. Learn best work spaces, angles, and pop screen use to cut plosives and sharp s's while handling room tone, near effect, and singer moves.
Picking condenser versus moving micsSetting voice space and mic heightUsing pop screens and wind guardAngling the mic to cut plosivesHandling near effect and movesLesson 2Steady mic pick thinking: matching mic pickup shape and freq answer to tool traits and room limitsGrow a step-by-step way to pick mics by linking pickup shape, freq answer, and quick act to each source and room. Learn to back picks tech and music wise for redoable, sure results.
Looking at source movers and spectrumMatching pickup shape to placeUsing freq curves to guess toneBalancing alone vs room soundWriting and backing mic picksLesson 3Snare spot and top/bottom micing: space, angle, and flip reason for balanced snare toneLook at snare top and bottom mic roles, best spaces, and angles for hit and body. Learn how to handle hi-hat leak, set bottom mic flip, and blend both signals for a held, punchy snare in different music styles.
Top mic space and angle for hitBottom mic spot for snare wiresFlip and phase checksHolding hi-hat leak into snare micBlending top and bottom for last toneLesson 4Electric guitar amp mic ways: close-miking with SM57/e609, 3–6 inch spots, slight side-axis place, and room mic use when canStudy electric guitar amp micing with close moving mics and optional room mics. Learn 3–6 inch spots, on-axis versus side-axis angles, cone sweet spots, phase with multi-mic setups, and fitting tone for thick blends.
Finding the speaker cone sweet spotOn-axis versus side-axis placeSetting 3–6 inch mic spacesAdding and spotting a room micPhase checks with many guitar micsLesson 5Drum kit close-miking: suggested mics per part (kick: AKG D112 or Shure Beta 52A; snare: SM57; toms: moving mics) and exact spot spaces/anglesDetail close-miking picks for each drum part, including kick, snare, and toms. Learn suggested mics, spaces, and angles to catch hit and body while holding leak, phase, and steadiness across the kit.
Kick in and kick out mic spotsSnare close mic angle and spaceTom mic pick and mount picksPhase checks between close micsBalancing close mics with overheadsLesson 6Pickup shape and freq answer picks: how cardioid, hypercardioid, and figure-8 shapes touch leak and rejectGet how cardioid, hypercardioid, and figure-8 shapes form pickup, leak, and room tone. Learn to read pickup plots and freq graphs, and match shape and answer to source, stage volume, and alone needs.
Cardioid versus hypercardioid waysFigure-8 uses for reject and toneReading mic pickup shape chartsGetting freq answer curvesShape pick for live versus studio useLesson 7Overheads and stereo ways: XY, ORTF, spaced pair pros/cons, height above kit, and balancing cymbals vs kit clearnessLook into overhead roles in setting drum picture, comparing XY, ORTF, and spaced pairs. Learn how space, angle, and height touch stereo width, phase, cymbal hold, and balance between cymbals and full kit clearness.
XY vs ORTF vs spaced pair compareSetting overhead height above the kitHandling cymbal level versus drum bodyPhase match in stereo overheadsMatching overheads with the snare middleLesson 8Bass DI vs amp miking: using DI + mic (SM57 or ribbon) ways, blending DI and mic, and low-freq handlingCompare bass DI and amp miking, learning when to favour each. Look into mixing DI clear with mic trait, handling phase, low-freq pile-up, and noise while shaping hit, hold, and blend shift on small speakers.
Clean DI catch and level stepsPicking and spotting amp micsPhase match between DI and micHolding low-end pile-up and rumbleBlending DI clear with amp traitLesson 9Tom spot and damp thinks: mic space, angle, dodging floor tom shakeLearn how tom mic space and angle shape tone, hit, and leak. Check damp picks, head types, and tuning. Handle floor tom shake, same ring, and alone from kick, snare, and cymbals in thick drum sets.
Picking mic space from tom headsAngling mics to hold cymbal leakDamp picks and tone give-upsCutting floor tom shake and buzzHandling tom ring in the blendLesson 10Kick drum ways: inside vs outside mic spot, beater vs shell place, phase match and use of port micLook into kick drum mic spots inside and outside the shell, focusing on beater click versus low-end weight. Learn port spot, phase match between many mics, and how to fit ways to style and drum tuning.
Inside kick spot for hitOutside kick spot for low endPort hole miking plansMatching phase between kick micsFitting spot to style needs
