27 nov xy drum overhead placement
Place two mics over the kit, one directly over the snare, the other directly over the floor tom, and up from the kit about 2 to 3 feet, use your ear to dictate the exact distance. Is this a phase issue? The following two clips are of the same performance; the only difference is a mix-time gain change. Omni: A pair of cardioid mics provides several distinct, viable OH sounds. I'm always using either XY or near XY over the middle of the kit to try and minimise phase issues between the mics and with 'near XY' - to introduce some timing cues. The easiest way to avoid screwing up the snare sound with phasing problems is to put the two capsules of the spaced pair at equal distances from the center of the snare head. How many ways can you mike a drum kit? As a drummer and Multi- instrumentalist I am always trying to get the drums right ( in my home project studio ), and at school we examine all the different mic, and pre-amp combo’s as well as the the positioning. X-Y stereo miking is the most common type of stereo microphone setup and the one that you’ll likely use if … Update: Many recordings that used spaced pair overheads have an exaggerated stereo image. Adjust the OH position with an ear toward your final mix. There are currently 1 users browsing this thread. I produced two samples; the difference between “narrow” and “wide” is about 8dB worth of gain on the side channel. What we hear are recordings that differ in stereo width (or the size or extend of the kit in the stereo image) and in the degree of “intimacy” (closeness of the kit to the ear and the amount of roomand ambience). While based on a very simple concept, it's unfortunately the hardest to implement, if you ask me Use your ears (and a tape measure too). All the following are legitimate stereo miking techniques (well, except maybe for XY-omni). And it’s not true stereo separation to my ear; rather, the size of the space seems to grow, and the size of the kit seems to grow, but I don’t hear the high-hats or floor tom move farther to the outside of the mix. This has the added benefit of centering the snare in the stereo image, which is most likely where you want it anyway. The tom fill has some movement, although it seems to start in the middle move to the right. XY – Original Placement. Mic Database | Mic Reviews | Microphone Sale, Saturday, April 3rd, 2010 | by matthew mcglynn. (We reviewed them here: http://hac.kz/1/1994 ). The sound of this track grew on me over repeated listenings. But as with the Omni samples above, Mid-side would likely work better in a treated room. Thank you for being so analytical. For a true comparisson, the distance of the mics to the main drums of the kit, and/or their height above the floor level, should have been the same. This sound puts me in the middle of the kit. Although I liked the Spaced Pair track in isolation, when I compare it to ORTF, it seems unnatural. Any drums or cymbals that are on-axis — meaning, in the mics’ “line of sight” — are going to be more clearly heard and probably louder too. First, the room is awful. The XY track contains more of the sound of the room, due to the height of the XY pair. I like the sound of the Cardioid pair; the drums retain their presence without losing the sound of the room. I think I’d like ORTF even better if the mics were lower. My MS pair was located 71'' above the floor, with the “mid” capsule about 52'' from the center of the snare. 8 at OCVTS in Ocean County and will defiantly turn the class on to this article. If the mic placement puts the whole drum kit off-axis, the OH sound will be primarily the sound of the room. @bill, I doubt you’ll love the SM57 as an overhead mic. Just to keep things confusing, this time the excerpts are 2 bars long: a 2-bar clip in ORTF, then Spaced, then ORTF again, then Spaced again. It’s not as wide as the Spaced Pair image, but it sounds more realistic. Narrow: (We are liking this mike a lot; watch for a full review soon.). Use the technique of XY overheads, as discussed in the simple drum kit miking article. While you might find a favorite here, be aware that the appropriate technique for any session depends on the drums, the room, the player, the song, and the arrangement. I’ve always gravitated to ORTF due it being the most reliable for me in terms of phasing, as well as sounding the most realistic in terms of stereo field. I recorded samples in both Cardioid and Omnidirectional modes. Personally, lately I’ve discovered MS recording only works correctly with an omni mic. Thanks. It’s punchy, clean, and very dry. Thank especialy for introduce me to Recorderman setup and comparsion of ORTF vs X/Y was also valuable for me. I learned a few new tricks. One of the benefits of mid-side is that adjusting the relative gain of the two signals can alter the perceived width of the stereo image. Listen to the closing tom fill — there is little discernible lateral movement. Anyone else notice the first crash cymbal hit quick-panning in the Recorderman sample? [audio:XYOriginal.mp3|titles=XY Original Placement] XY – 5 Inches Higher. The audio samples below are stereo 320kbps MP3s. X-Y (coincident) stereo miking consists of using two microphones that are placed right next to each other so that the diaphragms are as close together as possible without touching one another. (See this video to learn more about mid-side technique.). The closer the mics are to the kit, the less room sound you’ll hear (and the less preamp gain you’ll need). But all the techniques I tested give a usable representation of the kit. The “Recorderman” technique is a close-overhead technique that attempts to put both mics equidistant from both the snare and the kick drum. http://recordinghacks.com/sounds/samples/oh-positions/compare_cardioid_xy_spaced.mp3 The stereo image is not as wide as on the Spaced Pair track, but ORTF sounds more realistic — see below for a head-to-head comparison of ORTF vs. Spaced Pair. Question about some micing practice for ya. The XY technique. 1) I wonder that ORTF sound so diferent in comparsion with X/Y. I love the presence of this sound. The most obvious missing drum mic technique here is the “Glyn Johns” method, about which more can be read here. The A-B technique. The stereo “left” channel is the mid plus the side, while the “right” channel is the mid minus the side… more or less. Maybe next time. (0 members and 1 guests), [B][COLOR=DarkRed]Listen to my songs at[/COLOR]:[/B], By JBFdrums in forum Drums and Percussion, X-Y overhead miking - need advice from those familiar with this technique, https://homerecording.com/bbs/showthread.php?t=39030, https://www.youtube.com/channel/UCe-...Wp8jk4nVThdcWQ, Recording with tablets & smartphones (iOS & Android), advice on miking up acoustic instruments live, If this is your first visit, be sure to The “Recorderman” technique has been my go-to OH technique for years, so it is familiar, and a welcome change from what was sounding like excessively room-y overhead tracks. A few useful lessons emerged from this process: As always, the main takeaway is “Test and listen!” But you knew that already. All the following are legitimate stereo miking techniques (well, except maybe for XY-omni). It sounds like you're actually sitting behind a drum kit that's 8 feet wide. I had a good idea of my choices, but I wanted to hear them all together so I would know what works in my room. Thanks, be blessed. ... you're not doing it in XY. Thank You!!!!!!! http://recordinghacks.com/sounds/samples/oh-positions/spaced_omni.mp3. Cardioid: Wide: Two mics on a single stand can easily be moved around in space to quickly find a sweet spot for height and angle. ORTF is a nice, balanced, not too exaggerated, but well-defined stereo technique, in my opinion. Therefor, XY sound a bit thin, with little stereo width, and therefor, recorderman sound dry and intimate, like the ears are sitting inside the kit. (And personally, I do like those big Neil Peart tom fills that go from one corner of the room to another!). Overhead Mic Placement-Left to Right. Here’s the result… we’ll be playing more with this soon. I also didn’t try a Jecklin disk. It's a big boxy, tall cement room. How to record heavy drums - XY overhead technique - YouTube Following certain guidelines (XY, ORTF, the 3:1 rule, etc.) What you did, was to move the mics closer to the kit each time you tried out a new stereo technique. Hello, Use the technique of XY overheads, as discussed in the simple drum kit miking article. Pro Tip: Any time you have microphones covering the same sound source from different distances, you’re likely to run into some phase problems, as the offset in distance causes the sound to reach the microphones at different times.
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