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 plosivesContrast large-diaphragm condensers and dynamics for lead and backing vocals. Master optimal working distances, angles, and pop filter application to minimise plosives and sibilance while handling room tone, proximity effect, and singer motion.
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 methodical process for picking mics by linking polar pattern, frequency response, and transient response to each source and room. Justify selections both technically and musically for consistent, dependable outcomes.
Analysing 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 toneReview snare top and bottom mic functions, ideal distances, and angles for attack and body. Handle hi-hat bleed, adjust bottom mic polarity, and mix signals for a controlled, punchy snare across various musical 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 possibleExamine electric guitar amp miking using close dynamic mics and optional room mics. Apply 3–6 inch distances, on-axis vs off-axis angles, cone sweet spots, phase in multi-mic setups, and tone adjustments for crowded 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/anglesSpecify close-miking options for each drum part, covering kick, snare, and toms. Select recommended mics, distances, and angles to grab attack and body while managing bleed, phase, and kit uniformity.
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 influence pickup, bleed, and room tone. Interpret polar plots and frequency graphs, and align pattern and response to source, stage volume, and isolation needs.
Cardioid versus hypercardioid behaviourFigure-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 articulationInvestigate overhead roles in shaping drum stereo image, contrasting XY, ORTF, and spaced pairs. Adjust spacing, angle, and height to control stereo width, phase, cymbal levels, and balance between cymbals and kit definition.
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 centreLesson 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 prefer each. Combine DI precision with mic warmth, align phase, control low-frequency excess, and noise while crafting attack, sustain, and mix compatibility 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 considerations: mic distance, angle, avoiding floor tom rattleUnderstand 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 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 micProbe kick drum mic positions inside and outside the shell, emphasising beater click vs low-end punch. Apply port placement, phase alignment for multiple mics, and adapt methods 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
