M-Audio Microphone manual Three different approaches to miking Drum kit with two mics

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Single Mic. Using a single mic, the best you can attain is some sense of balance between the individual drums, along with the amount of room reflection versus pure drums. Using a boom, try angling a cardioid mic toward the kit at about 6 feet off the ground and about one foot in front or behind the kit. Alternately, place the mic four feet above the center of the kit. If you desire more room sound, try pointing the mic directly at the kit at a distance of about eight feet and auditioning both cardioid and omni patterns.

Two Mics. Several techniques are available using two mics. If you have a matched pair, try an X-Y pattern about three feet directly above the kit. Alternately, place the matched mics level with the drummer￿s ears and facing forward about four to eight inches on either side of his/her head. (The drummer￿s head actually acts as a form of baffle in this technique.) If you do not have a matched pair, try placing the one with the larger diaphragm inside the kick drum and the other on a boom about two feet over the rest of the kit.

Three different approaches to miking

a drum kit with two mics

Three Mics. Where only three mics are available, two main techniques are favored. The first is a hybrid of the aforementioned dual-mic techniques where one mic is placed inside the kick and the other two form an X-Y several feet above the kit.The other is to mic the kick and snare separately along with one overhead. (See individual close-miking techniques for more information.)

When only three mics are available for drums, try featuring the kick and snare, capturing the rest with a single overhead

Four mics provide for featuring the kick and snare, while capturing the rest of the kit with a stereo X-Y configuration

Four Mics. The use of four mics begins to open the possibilities for professional results. Place individual mics on the kick and snare, then use a matched pair in X-Y configuration for stereo overheads. (See the information on individual close-miking techniques for more information.)

Choosing & Using Microphones

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Contents Page Contents Microphone Types MicrophoneC apter 1DesignDynamic microphones Ribbon microphonesCondenser microphones Capsule SizeSmall Capsules BackplateMedium Capsules Large CapsulesCardioid pattern PatternsSingle pattern vs. multi-pattern mics Super-cardioid patternMicrophone Electronics Top Address vs. Side Address DesignsTube electronics Tubes vs. solid stateStory behind affordable matched pairs for stereo-miking Manufacturing StandardsSolid state electronics Higher standards Choosing & Using Microphones Caring forChapterMicrophones2 Temperature and HumidityShock Protection Pop Filters and WindscreensCleaning and Storage Close-Miking vs. Distance-Miking Techniques Basic MikingChapterConcepts3Mic Preamp Large Capsules vs. Medium CapsulesDealing with Unwanted Low-Frequencies Revolutionary New Tampa Preamp Recording EnvironmentPhasing Issues with Multiple Microphones Choosing & Using Microphones Choosing & Using Microphones Appropriate angle Stereo MikingChapterTechniques4Mid-Side BlumleinDecca Tree Spaced OmniChoosing & Using Microphones Vocals Specific MikingChapterApplications5Acoustic Guitar Grand Piano Electric GuitarDrums Three different approaches to miking Drum kit with two mics Choosing & Using Microphones Choosing & Using Microphones Choosing & Using Microphones Patterns Cardioid, Omni & Figure Address Top M-Audio FamilyChapter 6of MicrophonesProblem No audio from mic TroubleshootingAppendix a TipsProblem Audible buzz Problem Sound is muffledAudio France Audio Germany Audio Japan ContactAppeInformationdix BAudio Canada