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 plosivesCompare large-diaphragm condensers and dynamics for lead and backing vocals. Learn ideal working distances, angles, and pop filter use to reduce plosives and sibilance while managing room tone, proximity effect, and singer movement.
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 limitationsDevelop a systematic approach to choosing microphones by relating polar pattern, frequency response, and transient behaviour to each source and room. Learn to justify choices technically and musically for repeatable, reliable results.
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 inversion rationale for balanced snare toneExamine snare top and bottom mic roles, ideal distances, and angles for attack and body. Learn how to manage hi-hat bleed, set bottom mic polarity, and blend both signals for a controlled, punchy snare in different 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 possibleStudy electric guitar amp miking with close dynamic mics and optional room mics. Learn 3–6 inch placements, on-axis versus off-axis angles, cone sweet spots, phase with multi-mic setups, and adapting tone for dense 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/anglesDetail close-miking choices for each drum element, including kick, snare, and toms. Learn recommended microphones, distances, and angles to capture attack and body while controlling bleed, phase, and consistency 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 6Polar pattern and frequency response decisions: 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 isolation requirements.
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 articulationExplore overhead roles in defining drum image, comparing XY, ORTF, and spaced pairs. Learn how spacing, angle, and height affect stereo width, phase, cymbal control, and the balance between cymbals and overall 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) techniques, blending DI and mic, and low-frequency managementCompare bass DI and amp miking, learning when to favor each. Explore combining DI clarity with mic character, managing phase, low-frequency buildup, and noise while shaping attack, sustain, and mix translation 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 rattleLearn how tom mic distance and angle shape tone, attack, and bleed. Evaluate damping choices, head types, and tuning. Address floor tom rattle, sympathetic resonance, and isolation from kick, snare, and cymbals in dense drum arrangements.
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 micInvestigate kick drum mic positions inside and outside the shell, focusing on beater click versus low-end weight. Learn port placement, phase alignment between multiple mics, and how to adapt techniques 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
