Lesson 1Lead an' backin' vocals: choosin' between large-diaphragm condenser (NT1-A, TLM 102) an' dynamic (SM7B, SM58) an' exact distances, pop filter use, an' angle fi reduce plosivesCompare large-diaphragm condensers an' dynamics fi lead an' backin' vocals. Learn ideal workin' distances, angles, an' pop filter use fi reduce plosives an' sibilance while managin' room tone, proximity effect, an' singer movement.
Choosin' condenser versus dynamic micsSettin' vocal distance an' mic heightUsin' pop filters an' wind protectionAnglin' de mic fi reduce plosivesManagin' proximity effect an' movementLesson 2Coherent mic selection reasonin': matchin' mic polar pattern an' frequency response fi instrument characteristics an' room limitationsDevelop a systematic approach fi choosin' microphones by relatin' polar pattern, frequency response, an' transient behavior fi each source an' room. Learn fi justify choices technically an' musically fi repeatable, reliable results.
Analyzin' source dynamics an' spectrumMatchin' polar pattern fi environmentUsin' frequency curves fi predict toneBalancin' isolation versus room soundDocumentin' an' justifyin' mic choicesLesson 3Snare placement an' top/bottom micin': distance, angle, an' polarity inversion rationale fi balanced snare toneExamine snare top an' bottom mic roles, ideal distances, an' angles fi attack an' body. Learn how fi manage hi-hat bleed, set bottom mic polarity, an' blend both signals fi a controlled, punchy snare in different musical styles.
Top mic distance an' angle fi attackBottom mic placement fi snare wiresPolarity inversion an' phase checksControllin' hi-hat bleed into snare micBlendin' top an' bottom fi final toneLesson 4Electric guitar amp mic techniques: close-mikin' wid SM57/e609, 3–6 inch placements, slight off-axis positionin', an' room mic use when possibleStudy electric guitar amp mikin' wid close dynamic mics an' optional room mics. Learn 3–6 inch placements, on-axis versus off-axis angles, cone sweet spots, phase wid multi-mic setups, an' adaptin' tone fi dense mixes.
Findin' de speaker cone sweet spotOn-axis versus off-axis positionin'Settin' 3–6 inch mic distancesAddin' an' placin' a room microphonePhase checks wid multiple guitar micsLesson 5Drum kit close-mikin': recommended mics per element (kick: AKG D112 or Shure Beta 52A; snare: SM57; toms: dynamic mics) an' exact placement distances/anglesDetail close-mikin' choices fi each drum element, includin' kick, snare, an' toms. Learn recommended microphones, distances, an' angles fi capture attack an' body while controllin' bleed, phase, an' consistency across de kit.
Kick in an' kick out mic positionsSnare close mic angle an' distanceTom mic selection an' mountin' optionsPhase checks between close micsBalancin' close mics wid overheadsLesson 6Polar pattern an' frequency response decisions: how cardioid, hypercardioid, an' figure-8 patterns affect bleed an' rejectionUnderstand how cardioid, hypercardioid, an' figure-8 patterns shape pickup, bleed, an' room tone. Learn fi read polar plots an' frequency graphs, an' match pattern an' response fi source, stage volume, an' isolation requirements.
Cardioid versus hypercardioid behaviorFigure-8 uses fi rejection an' toneReadin' microphone polar pattern chartsInterpretin' frequency response curvesPattern choice fi live versus studio useLesson 7Overheads an' stereo techniques: XY, ORTF, spaced pair pros/cons, height above kit, an' balancin' cymbals vs kit articulationExplore overhead roles in definin' drum image, comparin' XY, ORTF, an' spaced pairs. Learn how spacin', angle, an' height affect stereo width, phase, cymbal control, an' de balance between cymbals an' overall kit articulation.
XY vs ORTF vs spaced pair comparisonSettin' overhead height above de kitManagin' cymbal level versus drum bodyPhase coherence in stereo overheadsAlignin' overheads wid de snare centerLesson 8Bass DI vs amp mikin': usin' DI + mic (SM57 or ribbon) techniques, blendin' DI an' mic, an' low-frequency managementCompare bass DI an' amp mikin', learnin' when fi favor each. Explore combin' DI clarity wid mic character, managin' phase, low-frequency buildup, an' noise while shapin' attack, sustain, an' mix translation on small speakers.
Clean DI capture an' level stagin'Choosin' an' placin' amp micsPhase alignment between DI an' micControllin' low-end buildup an' rumbleBlendin' DI clarity wid amp characterLesson 9Tom placement an' dampin' considerations: mic distance, angle, avoidin' floor tom rattleLearn how tom mic distance an' angle shape tone, attack, an' bleed. Evaluate dampin' choices, head types, an' tunin'. Address floor tom rattle, sympathetic resonance, an' isolation from kick, snare, an' cymbals in dense drum arrangements.
Choosin' mic distance from tom headsAnglin' mics fi control cymbal bleedDampin' options an' tonal trade-offsReducin' floor tom rattle an' buzzManagin' tom resonance in de mixLesson 10Kick drum techniques: inside vs outside mic placement, beater vs shell positionin', phase alignment an' use of port micInvestigate kick drum mic positions inside an' outside de shell, focusin' on beater click versus low-end weight. Learn port placement, phase alignment between multiple mics, an' how fi adapt techniques fi genre an' drum tunin'.
Inside kick placement fi attackOutside kick placement fi low endPort hole mikin' strategiesAlignin' phase between kick micsAdaptin' placement fi genre needs
