Lesson 1Lead and backing vocals: choosing between large-diaphragm condenser (NT1-A, TLM 102) and dynamic (SM7B, SM58) and exact distances, pop filter use, and angle to reduce plosivesWeigh large-diaphragm condensers against dynamics for lead and backing vocals. Ideal working distances, angles, and pop filter application to curb plosives and sibilance, while handling room sound, proximity effect, and singer motion.
Choosing condenser versus dynamic micsSetting vocal distance and mic heightUsing pop filters and wind protectionAngling the mic to reduce plosivesManaging proximity effect and movementLesson 2Coherent mic selection reasoning: matching mic polar pattern and frequency response to instrument characteristics and room limitationsBuild a methodical mic selection process by linking polar patterns, frequency response, and transient handling to sources and rooms. Technically and musically justify picks 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 inversion rationale for balanced snare toneAnalyse snare top and bottom mic functions, optimal distances, and angles for attack and body. Tackle hi-hat bleed, invert bottom mic polarity, and mix signals for a tight, punchy snare across 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 techniques: close-miking with SM57/e609, 3–6 inch placements, slight off-axis positioning, and room mic use when possibleExamine electric guitar amp miking using close dynamics and optional room mics. 3–6 inch positions, on- vs off-axis, cone hotspots, multi-mic phase, and tone tweaks for crowded 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: recommended mics per element (kick: AKG D112 or Shure Beta 52A; snare: SM57; toms: dynamic mics) and exact placement distances/anglesSpecify close-miking for each drum part—kick, snare, toms—with suggested mics, distances, and angles to grab attack and body, minimising bleed, phase issues, and ensuring kit-wide uniformity.
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 decisions: how cardioid, hypercardioid, and figure-8 patterns affect bleed and rejectionSee how cardioid, hypercardioid, and figure-8 patterns influence pickup, bleed, and room tone. Interpret polar plots and freq graphs, matching 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 techniques: XY, ORTF, spaced pair pros/cons, height above kit, and balancing cymbals vs kit articulationOverhead roles in drum imaging: compare XY, ORTF, spaced pairs. Spacing, angle, height effects on stereo width, phase, cymbal balance, and kit clarity.
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) techniques, blending DI and mic, and low-frequency managementContrast bass DI and amp miking, knowing when to prefer each. Blend DI crispness with mic warmth, align phase, control lows, and noise for punchy attack, sustain, and small-speaker compatibility.
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 considerations: mic distance, angle, avoiding floor tom rattleTom mic distance and angle shape tone, attack, bleed. Assess damping, heads, tuning. Handle floor tom buzz, resonance, isolation from kick, snare, cymbals in busy kits.
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 techniques: inside vs outside mic placement, beater vs shell positioning, phase alignment and use of port micProbe kick mic spots inside/outside, beater click vs shell thump. Port placement, multi-mic phase, genre/drum tuning adaptations.
Inside kick placement for attackOutside kick placement for low endPort hole miking strategiesAligning phase between kick micsAdapting placement to genre needs
