Lesson 1Preamp gain staging: target peak/average levels, headroom, pad use, and trim strategySet preamp gain for clean, controlled recordings. Cover target levels, analogue versus digital headroom, pad and trim use, and strategies for dynamic performers and aggressive playing styles suitable for Namibian music.
Setting target peak and average levelsAnalogue versus digital headroom conceptsWhen and how to use input padsUsing trims and faders without clippingManaging gain for dynamic performersLesson 2Addressing bleed and isolation: gobo placement, cymbal control, bleed-minimising techniquesManage bleed and improve isolation in live tracking. Learn gobo strategies, cymbal control, mic pattern choices, and positioning tricks that reduce spill while keeping performances natural in Namibian environments.
Planning room layout for minimal bleedGobo placement around drums and ampsCymbal height, angle, and player controlUsing polar patterns to reject spillBalancing isolation with natural ambienceLesson 3Exact drum mic placement guidelines with angles and distances for punch and bleed controlPrecise drum mic placement guidelines for punch and bleed control. Cover angles, distances, height, and aiming strategies that shape tone, stereo image, and rejection of nearby kit elements in Namibian recordings.
Kick mic depth and beater alignmentSnare mic angle for crack and rejectionTom mic height and tilt for clarityOverhead spacing and stereo techniquesPlacing room mics for depth and glueLesson 4Bass placement and blend: DI/preamp gain, amp mic positioning, phase between DI and micCapture bass using DI and amps, set preamp gain, and align phase. Blend sources for clarity, punch, and low-end control that translates on small speakers and large systems in Namibian contexts.
Choosing DI boxes for bass tone and noiseSetting DI and amp levels at the sourceMic positions on bass cabinets and portsChecking phase between DI and amp micBlending DI clarity with amp characterLesson 5Guitar placement: distance, off-axis angling, phase alignment between micsPosition mics on guitar cabinets and align multiple mics. Learn distance, off-axis strategies, and phase checks that keep tone focused and low end tight for Namibian guitar sounds.
Setting starting distances from the grilleOff-axis angles to tame harshnessCombining close and room mics on guitarPhase checks between multiple micsReamping options when placement failsLesson 6Phase and polarity checks: how to test and correct phase across multi-mic setupsDetect and correct phase and polarity issues in multi-mic setups. Cover listening methods, correlation meters, time alignment, and polarity tools to preserve punch, imaging, and low-end focus in Namibian sessions.
Audible signs of phase problemsSolo, flip, and sum-to-mono listening testsUsing phase correlation metersTime-aligning tracks by waveform viewPolarity inversion versus delay shiftsLesson 7Handling plosives, sibilance, and room reflections: pop filters, mic technique, room treatment basicsControl plosives, sibilance, and room reflections in vocal and spoken recordings. Cover pop filters, mic technique, basic acoustic treatment, and monitoring to catch issues early in Namibian studios.
Pop filter types and correct placementMic distance and angle for plosive controlManaging sibilance at the sourceIdentifying early reflections by clappingQuick portable treatment solutionsLesson 8Bass capture: DI vs amp mic choices and when to use each, low-frequency considerationsCompare bass DI and amp miking approaches and when to choose each. Learn low-frequency handling, room influence, cabinet choice, and how to capture bass that sits solidly in the mix for Namibian tracks.
When to favour DI for clarity and controlWhen amp miking adds needed characterCabinet selection and room interactionManaging sub-bass and low-mid buildupCombining DI, amp, and sub-mic sourcesLesson 9Drum kit miking overview: kick, snare, rack toms, floor toms, overheads, hi-hat, room micsStructured overview of drum kit miking. Cover typical roles for kick, snare, tom, overhead, hi-hat, and room mics, plus how these elements form a coherent drum image in Namibian productions.
Kick mic roles: attack versus weightSnare top and bottom mic purposesRack and floor tom mic placement basicsOverheads as the kit’s main pictureHi-hat and ride spot mic decisionsRoom mics for size and depthLesson 10Electric guitar capture: mic choices (dynamic, condenser, ribbon), amp close-mic and room-mic techniquesDetails electric guitar recording with different mic types. Learn close-mic and room-mic techniques, cabinet sweet spots, and how to blend mics for consistent tone across songs in Namibia.
Choosing dynamic, condenser, or ribbon micsFinding speaker sweet spots by earOn-axis versus off-axis close-mikingAdding room mics for space and depthBlending multiple mics without phase issuesLesson 11Vocal capture: microphone choices (large-diaphragm condensers, dynamics, models) and rationaleExplore vocal microphone choices and why they matter. Compare large-diaphragm condensers, dynamics, and modeling mics, and learn how voice type, genre, and room influence the best choice in Namibian vocal styles.
Matching mic type to singer and genreLarge-diaphragm condenser traitsDynamic mics for loud or harsh voicesRibbon and modeling mic optionsTesting multiple mics during soundcheckLesson 12Vocal placement details: distance, angle, pop protection, booth vs live roomDetailed vocal placement techniques for consistent tone and control. Cover distance, angle, pop protection, and choosing between booth and live room to match genre and performance needs in Namibia.
Standard starting distance guidelinesAngling the mic to manage toneUsing pop filters and shields effectivelyBooth versus live room trade-offsMarking positions for repeatable setups
