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 cut plosives and sibilance while handling room tone, near effect, and singer move.
Picking condenser versus dynamic micsSetting vocal distance and mic heightUsing pop filters and wind protectionAngling the mic to cut plosivesHandling near effect and movementLesson 2Steady mic picking reasons: matching mic polar pattern and frequency response to instrument features and room limitsGrow a steady way to pick mics by linking polar pattern, frequency response, and quick behavior to each source and room. Learn to give reasons tech and music for repeatable, sure results.
Looking at source dynamics and spectrumMatching polar pattern to placeUsing frequency curves to guess toneBalancing alone vs room soundWriting and giving mic picksLesson 3Snare placing and top/bottom micing: distance, angle, and polarity turn reasons for balanced snare toneLook 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, punchy snare in different music styles.
Top mic distance and angle for attackBottom mic placing for snare wiresPolarity turn and phase checksControlling hi-hat bleed into snare micMixing top and bottom for final toneLesson 4Electric guitar amp mic ways: close-miking with SM57/e609, 3–6 inch placings, slight off-axis spot, and room mic use when possibleStudy electric guitar amp miking with close dynamic mics and optional room mics. Learn 3–6 inch placings, on-axis versus off-axis angles, cone sweet spots, phase with multi-mic setups, and fitting tone for thick mixes.
Finding the speaker cone sweet spotOn-axis versus off-axis spottingSetting 3–6 inch mic distancesAdding and placing a room micPhase 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 placing distances/anglesDetail close-miking picks 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 spotsSnare close mic angle and distanceTom mic picking and mounting optionsPhase checks between close micsBalancing close mics with overheadsLesson 6Polar pattern and frequency response picks: how cardioid, hypercardioid, and figure-8 patterns affect bleed and rejectionUnderstand how cardioid, hypercardioid, and figure-8 patterns shape pickup, bleed, and room tone. Learn to read polar plots and frequency graphs, and match pattern and response to source, stage volume, and alone needs.
Cardioid versus hypercardioid waysFigure-8 uses for rejection and toneReading mic polar pattern chartsExplaining frequency response curvesPattern pick for live versus studio useLesson 7Overheads and stereo ways: XY, ORTF, spaced pair pros/cons, height above kit, and balancing cymbals vs kit clearExplore overhead roles in setting drum picture, 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 clear.
XY vs ORTF vs spaced pair compareSetting overhead height above the kitHandling cymbal level versus drum bodyPhase together in stereo overheadsAligning overheads with the snare centerLesson 8Bass DI vs amp miking: using DI + mic (SM57 or ribbon) ways, mixing DI and mic, and low-sound handlingCompare bass DI and amp miking, learning when to favor each. Explore mixing DI clear with mic character, handling phase, low-sound buildup, and noise while shaping attack, hold, and mix change on small speakers.
Clean DI catch and level settingPicking and placing amp micsPhase align between DI and micControlling low-end buildup and rumbleMixing DI clear with amp characterLesson 9Tom placing and damping thoughts: mic distance, angle, avoiding floor tom rattleLearn how tom mic distance and angle shape tone, attack, and bleed. Check damping picks, head types, and tuning. Handle floor tom rattle, same resonance, and alone from kick, snare, and cymbals in thick drum setups.
Picking mic distance from tom headsAngling mics to control cymbal bleedDamping options and tone trade-offsCutting floor tom rattle and buzzHandling tom resonance in the mixLesson 10Kick drum ways: inside vs outside mic placing, beater vs shell spotting, phase align 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 placing, phase align between multiple mics, and how to fit ways to genre and drum tuning.
Inside kick placing for attackOutside kick placing for low endPort hole miking waysAligning phase between kick micsFitting placing to genre needs
