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 plosivesCompare big-diaphragm condensers and dynamics for lead and backing vocals. Learn best working distances, angles, and pop filter use to cut plosives and sibilance while sorting room tone, 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 2Coherent mic selection reasoning: matching mic polar pattern and frequency response to instrument characteristics and room limitationsBuild a steady way to choose mics by linking polar pattern, frequency response, and transient action to each source and room. Back choices with tech and music sense for steady, 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 inversion rationale for balanced snare toneLook at snare top and bottom mic jobs, best distances, and angles for attack and body. Sort hi-hat bleed, set bottom mic polarity, and mix signals for a tight, punchy snare across 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 techniques: 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 dynamics and optional room mics. Learn 3–6 inch spots, on-axis vs off-axis angles, cone sweet spots, phase in multi-mic setups, and tweak 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: recommended mics per element (kick: AKG D112 or Shure Beta 52A; snare: SM57; toms: dynamic mics) and exact placement distances/anglesBreak down close-miking for each drum part, like kick, snare, and toms. Learn suggested mics, distances, and angles to grab attack and body while checking bleed, phase, and kit steadiness.
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 rejectionGrasp 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 techniques: XY, ORTF, spaced pair pros/cons, height above kit, and balancing cymbals vs kit articulationCheck overhead roles in drum imaging, comparing XY, ORTF, and spaced pairs. See how spacing, angle, and height hit stereo width, phase, cymbal hold, and balance between cymbals and kit snap.
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 managementCompare bass DI and amp miking, knowing when to pick each. Mix DI sharpness with mic vibe, handle phase, low-end pile-up, and noise while shaping attack, sustain, and small speaker mix fit.
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 rattleLearn how tom mic distance and angle shape tone, attack, and bleed. Weigh damping picks, head types, and tuning. Tackle floor tom rattle, resonance, and isolation from kick, snare, and cymbals in full 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 micDig into kick drum mic spots inside and outside the shell, focusing on beater click vs low-end punch. Learn port placement, phase match between mics, and tweak for 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
