Lesson 1Lead and backing vocals: selecting between large-diaphragm condenser (NT1-A, TLM 102) and dynamic (SM7B, SM58) with precise distances, pop filter application, and angle to curb plosivesContrast large-diaphragm condensers and dynamics for lead and backing vocals. Master optimal working distances, angles, and pop filter use to minimise plosives and sibilance while controlling 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 2Logical mic selection reasoning: aligning mic polar pattern and frequency response to instrument traits and room constraintsBuild a methodical way to pick mics by linking polar pattern, frequency response, and transient response to each source and room. Justify choices 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 soundReview snare top and bottom mic functions, ideal distances, and angles for attack and body. Manage hi-hat bleed, set bottom mic polarity, and mix signals for a controlled, punchy snare across 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-miking with SM57/e609, 3–6 inch positions, slight off-axis setup, and room mic when feasibleExamine electric guitar amp miking using close dynamic mics and optional room mics. Master 3–6 inch positions, on-axis vs off-axis angles, cone sweet spots, phase in multi-mic setups, and tone adaptation 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/anglesSpecify close-miking options for each drum part, covering kick, snare, and toms. Learn 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 choices: how cardioid, hypercardioid, and figure-8 patterns influence bleed and rejectionComprehend how cardioid, hypercardioid, and figure-8 patterns affect pickup, bleed, and room tone. Interpret 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 methods: XY, ORTF, spaced pair advantages/disadvantages, height above kit, and balancing cymbals vs kit definitionInvestigate overhead roles in shaping drum 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 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 centerLesson 8Bass DI vs amp miking: using DI + mic (SM57 or ribbon) methods, blending DI and mic, and low-frequency handlingContrast bass DI and amp miking, knowing when to prefer each. Combine DI clarity with mic character, manage phase, low-frequency accumulation, and noise while forming 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 buzzLearn how tom mic distance and angle form tone, attack, and bleed. Assess damping options, head types, and tuning. Tackle floor tom buzz, 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 methods: inside vs outside mic placement, beater vs shell positioning, phase alignment and port mic useProbe kick drum mic spots inside and outside the shell, emphasising beater click vs low-end punch. Learn port placement, phase alignment for multiple mics, and adapting 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
