Lesson 1Lead and backing vocals: selecting between large-diaphragm condenser (NT1-A, TLM 102) and dynamic (SM7B, SM58) with precise distances, pop filter use, and angles to cut plosivesCompare large-diaphragm condensers and dynamics for lead and backing vocals. Learn best working distances, angles, and pop filter applications to minimise plosives and sibilance while controlling room tone, proximity effect, and singer movements.
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 selection reasoning: matching mic polar pattern and frequency response to instrument traits and room constraintsBuild a step-by-step method for choosing microphones by linking polar pattern, frequency response, and transient handling to each source and room. Justify selections both technically and musically for consistent, dependable 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 flip reasons for balanced snare soundLook at snare top and bottom mic functions, ideal distances, and angles for attack and body. Manage hi-hat bleed, adjust bottom mic polarity, and mix both signals for a tight, punchy snare across different 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 positions, slight off-axis setup, and room mic when feasibleStudy electric guitar amp miking using close dynamic mics and optional room mics. Learn 3–6 inch placements, on-axis vs off-axis angles, cone sweet spots, phase in multi-mic setups, and tone adjustments 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: suggested mics per part (kick: AKG D112 or Shure Beta 52A; snare: SM57; toms: dynamic mics) and precise placement distances/anglesDetail close-miking options for each drum part, covering kick, snare, and toms. Learn recommended microphones, distances, and angles to grab attack and body while managing bleed, phase, and kit consistency.
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 choices: how cardioid, hypercardioid, and figure-8 patterns influence bleed and rejectionGrasp how cardioid, hypercardioid, and figure-8 patterns affect 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 advantages/disadvantages, height above kit, and balancing cymbals vs kit definitionExplore overhead roles in shaping drum stereo image, comparing XY, ORTF, and spaced pairs. Learn how spacing, angle, and height impact stereo width, phase, cymbal control, and balance between cymbals and kit articulation.
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) methods, blending DI and mic, and handling low frequenciesCompare bass DI and amp miking, knowing when to prefer each. Combine DI clarity with mic character, manage phase, low-frequency buildup, and noise while shaping attack, sustain, and mix playback 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 placement and damping factors: mic distance, angle, avoiding floor tom rattleLearn how tom mic distance and angle define tone, attack, and bleed. Assess damping options, head types, and tuning. Tackle floor tom rattle, sympathetic resonance, and isolation 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 techniques: inside vs outside mic placement, beater vs shell positioning, phase alignment and port mic useExamine kick drum mic positions inside and outside the shell, focusing on beater click vs low-end punch. Learn port placement, phase alignment for multiple mics, and adapting to 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
