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Miking (2)
3) Coupling - The distance between the mics determines the amount of coupling (summation) - The angle determines the quality of the coupling - Too far apart ==> loss of center - Too close ==> too strong accent
4) Madsen - Forward facing bi-directional Mics, 7~8” apart, uses an absorbent baffle between the Mics
Drums
1) Overheads: complete “stereo” image
2) Two ways to consider drums: a) A bunch of different instruments in close proximity b) A single multi-element instrument
Overheads: - Pick “a center image” by reference with ‘kick drum’ - The overheads must be set equidistance from the center reference (kick drum)
Front, rear placement: - Both equidistance from the center reference
All instruments have a radiating pattern (dispersion properties): Low freq. instrument (such as kick drum, low tom, etc) = tend to be omni deirection High freq. instrument (such as overhead, symbols, etc) = tend to be beam (single direction)
Setting levels (open Hihats): - For correct imaging, set a basic level of both mics using the kick drum only - Set "low" adjust both equally on the faders when the drummer is playing the kit
Kick drum miking: Mic inside kick drum a) Closes to back head ==> more 'pop' b) Offset from center for less "boom": a more solid sound with HF c) No front head ==> more power d) Dual Mics: Outside Mic ==> Phase(⌀) relationship with inside Mic (fundamental freq.) e) Kick drum Tunnel = more separation of sound
f) Kick drum Beater type ==> determines tonality g) Smaller kick drum ==> bigger sound
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