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48 Cards in this Set
- Front
- Back
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Parmetric EQ |
Widen or narrow Q. Popular in PAs to reduce feedback. Great for cutting problem frequencies. |
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Passive EQ and Active EQ |
P: affects whole signal -- arent as agressive. Physical better. A: sidechains (takes a piece, adjusts it, puts it back in) |
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Polar Patterns |
Omni - circular Cardioid - heart Hyper - reduces bleed Fig 8 - front and back |
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Dynamic Mics Summary |
Robust, inexpensive, non sensitive to humidity. Limited freq response. Weak above 10khz 3-5kHz presence life/resonate peak Sm357 most popular Use: snare, guitar amp, voice |
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Condenser Mics Summary |
Flatter freq. response. More detailed. Temp/humidity affects performance. Suspectable to mechanical noise. Better lows, extended high. 48v needed. Vocals, drum overheads, acoustic guitar, piano |
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Ribbon Mics Summary |
Less high freq than condenser, very smooth, rolled off highs. Warm. Can't handle high spl. Figure 8 pattern permanently. Great for symbols, vocals bass, piano, guitars, brass. Bad to use 48v. |
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Frequency to add air to vocals |
7500 hz |
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Frequency to reduce vocal nasalness |
650 hz |
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Frequency of kick drum mallet sound |
About 2500 hz |
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Add punch to kick drum |
Boost 60 hz |
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Frequencies to add grit and buzz to distorted guitar |
4300 Hz and 5000 Hz |
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Phantom Power |
Used by condenser mics and some direct boxes. It is DC power transmitted through the mic cable to operate mics with active electronic circuitry. |
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Proximity Effect |
Increase of low end as mic is moved closer to the source. Sounds fuller. |
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What is Phase Cancellation? |
It is when waves of two or more signals are out of phase with each other and are cancelling each other out. Important if more than 1 mic is used. |
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What rule is important when it comes to acoustic phase cancellation |
3 to 1 rule: 2nd mic should never be within 2 times the distance the first one is from the source. |
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Two types of phase cancellation |
Acoustic: sonic waves of multiple tracks are out of sync. Electric: polarity of signal is out of phase due to improper wiring |
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How to fix phase cancellation |
Move mics properly or reverse polarity on the preamp or console |
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How to check polarity of mic setup |
Use a reference mic to check against other mics by talking into both and toggling phase switch of second mic. The phase selection with more bottom end is the correct phase. |
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How to check the phase of a drum set recording |
Listen to overheads with monitors with hard L and R pan, then panned in center. Switch phase switch and pick which one has best low end. Slowly add each piece of set to mix and choose their correct polarity. |
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Pop Filters |
Reduces P's and B's and reduces spit on mic which can reduce high frequencies (15khz). Better to use its own stand. |
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Shock Mount |
Reduces transmission noises through the stand. |
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What is a direct box? |
It's a direct injection box that converts unbalanced or high impedance instrument signal into a format (balanced or low impendance) suitable for connecting to a console's mic input, without use of mic. |
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Two Types of Direct Boxes |
Active: provides gains, needs power Passive: doesn't provide gain, doesn't need power |
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Hi-Z vs. Lo-Z |
High impedance and low impedance. Hi-Z: guitars, basses, 1/4 cable, more interference, cables can't be long, over 10,000 ohms Low-Z: keyboards, mics, audio equipment, less interference, cables can be long, under 600 ohms |
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Some differences between small diaphragm and large diaphragm condenser mics |
Small has one polar pattern: cardioid and a slightly lower freq response Large can have multiple polar patters with an 8-12khz peak |
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5 Mic Placement Tips |
1. Listen live in front of instrument 2. Use hands to simulate mic polar patterns 3. Don't place mics by sight 4. Change mic position instead of adjusting EQ 5. Give mic distance to create depth |
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Bass Loading |
When an instrument is too close to a wall the lower frequencies bounce back and interact with same frequencies from the instrument. |
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Human hearing frequency range |
20hz to 20,000hz, more sensitive between 2,000hz and 5,000hz |
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Lowest range of bass guitar and kick drum |
Bass guitar: 31hz (5 string) 40hz (4 string), kick: 50hz. 50hz - 100hz shared |
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Drum set in room placement techniques |
Walk around room and clap for smoothest sounding ambience. Stay out of corner or too close to wall. |
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How to reduce snare buzz |
Check snares if flat, or loosen bottom head, may be toms or use diff snare |
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Kick drum not punchy? |
Adjust muffling or change to heavier head |
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Rack and floor tom issue fixes |
Check heads for dents, check even tension, tighten bottom head |
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Best techniques for recording bass drum |
Remove front head, put towel in, use large-diaphragm dynamic mic (AKG D 112). Place mic in center of head inside. Drum head hole? Inside hole. No hole? Place few inches slightly off center from center |
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What is a subkick mic? |
It's a speaker used as a mic to pick up very low frequencies below 50hz. Place few inches in front of front head. |
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Best way to record snare with 1 mic |
On top or facing shell of snare for heavy hitters. Avoid recording other drums and keep out of way of drummer. Sm57 perfect. |
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Best way to record snare with 2 mics |
One on top and one on bottom facing upwards. Bottom mic needs to be super/hyper cardioid to avoid picking up bass drum. Flip phase too. |
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Best way to record a hihat |
Small diaphragm condenser - mic favors high end. Halfway above hihat about 8 inches above. |
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Best way to record toms |
Dynamic or condenser (pad). 6 inches above facing towards head away from stick movement. |
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2 Best way to record symbals |
2 Condenser (pad) or ribbons. Parallel to each other above bells about 24 inches high. Height adjust for ambience. Or ORTF stereo mics over drummers head to the right a bit. |
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Usage of room mics for drum set |
Used to fill in frequency holes to make set sound whole. 1 to 3 used. 1: set in center facing drummers head. |
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Purpose of drummer sound check & how to fix issues. |
To check for overloads, crackle, mechanical sound. Check drum one by one in solo. To fix: may need to replace cable, tape on drums, mic placement. |
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How to set levels for drum set on mixer |
Bring everything down, then test one by one til -10db or in appropriate range. For room mics: raise level until you can just hear them. |
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How to pan drums |
In audience viewpoint: snare slightly to right, hat to 3:00, toms pan by position, overheads panned far l and r. |
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How to record a drum set with just one mic |
Large dia. condenser about 3 feet in front looking at center. Adjust height for bass. |
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How to record drum set with just 2 mics |
Popular in 50s and 60s. 1 mic in front of bass drum, then an overhead in center. |
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How to record a drum set with just 3 mics |
Bass drum, snare and one overhead |
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Mic setup on drum set with just 4 mics (2 ways) |
Popular in jazz or classic sound. Drum, snare, 2 overheads. Drum, snare, ORTF overheads |
