Lesson 1Lead and backing vocals: selecting between large-diaphragm condenser (NT1-A, TLM 102) and dynamic (SM7B, SM58) and precise distances, pop screen use, and angle to cut plosivesCompare large-diaphragm condensers and dynamics for lead and backing vocals. Learn best working distances, angles, and pop screen placement to lessen plosives and sharp sounds while handling room noise, closeness 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 2Logical mic choice reasoning: matching mic pickup pattern and frequency response to instrument traits and room limitsBuild a step-by-step way to pick mics by linking pickup pattern, frequency response, and quick sound handling to each source and space. Explain choices on technical and musical grounds for consistent, trustworthy outcomes.
Analyzing source dynamics and spectrumMatching polar pattern to environmentUsing frequency curves to predict toneBalancing isolation versus room soundDocumenting and justifying mic choicesLesson 3Snare positioning and top/bottom micing: distance, angle, and phase flip reasons for even snare soundLook at snare top and bottom mic roles, ideal distances, and angles for punch and depth. Learn to handle hi-hat spillover, set bottom mic phase, and mix both signals for a tight, strong snare in various 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 methods: close-micing with SM57/e609, 3–6 inch spots, slight off-centre positioning, and room mic when feasibleStudy electric guitar amp micing with close dynamic mics and optional room mics. Learn 3–6 inch positions, straight vs angled placements, speaker sweet spots, phase in multi-mic setups, and adjusting 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-micing: suggested mics per part (kick: AKG D112 or Shure Beta 52A; snare: SM57; toms: dynamic mics) and exact position distances/anglesDetail close-mic options for each drum part, including kick, snare, and toms. Learn recommended mics, distances, and angles to get punch and body while controlling spillover, phase, and steadiness across the kit.
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 6Pickup pattern and frequency response choices: how cardioid, hypercardioid, and figure-8 patterns influence spillover and rejectionUnderstand how cardioid, hypercardioid, and figure-8 patterns affect capture, spillover, and room sound. Learn to read pattern diagrams and frequency charts, and match pattern and response to source, stage loudness, and separation 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 methods: XY, ORTF, spaced pair advantages/disadvantages, height above kit, and balancing cymbals vs kit detailExplore overhead roles in shaping drum spread, comparing XY, ORTF, and spaced pairs. Learn how spacing, angle, and height impact stereo width, phase, cymbal handling, and balance between cymbals and full kit detail.
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 micing: using DI + mic (SM57 or ribbon) methods, blending DI and mic, and low-frequency controlCompare bass DI and amp micing, learning when to prefer each. Explore mixing DI sharpness with mic warmth, handling phase, low-end buildup, and noise while shaping punch, length, and mix fit on small speakers.
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 positioning and damping thoughts: mic distance, angle, avoiding floor tom buzzLearn how tom mic distance and angle form tone, punch, and spillover. Assess damping options, drumhead types, and tuning. Tackle floor tom buzz, related vibrations, and separation from kick, snare, and cymbals in full drum setups.
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 methods: inside vs outside mic spot, beater vs shell position, phase matching and use of hole micInvestigate kick drum mic spots inside and outside the drum, focusing on beater snap versus deep low end. Learn hole placement, phase matching between mics, and adapting methods to music style and drum setup.
Inside kick placement for attackOutside kick placement for low endPort hole miking strategiesAligning phase between kick micsAdapting placement to genre needs
