#mic techniques

On tuesday's session of Audio Production Practice, we were experimenting with different drum mic techniques. The first of which was the Glyn Johns technique of mic placement.

This is where you have 2 condenser microphones placed at equal distance away from each other at either side of the kit to create a stereo image. I have experience with this technique as I've used it in college and also for my 8 track recording in a previous module and is one of my favourite mic techniques. 

The other technique we tried was the XY placement of 2 pencil condenser microphones. This also creates a stereo image of the kit but in a different way to the Glyn Johns method as the microphones are placed next to each other and pointed at an angle. I will post pictures of the techniques as we used them. 

We then recorded a few bars of drum playing and compared the sound of both overhead mic placements. As much as I like using the Glyn Johns method, the technique that had a better quality of sound was the XY placement.

See more on the Glyn Johns technique here: http://therecordingrevolution.com/2011/01/10/the-glyn-johns-drum-recording-method/ 

See more on XY placement (first technique): http://blog.shure.com/five-techniques-for-stereo-miking-drums/

We also used a different kick drum microphone to what we normally use. Instead of using the AKG D112, we went for a Sennheiser E602 when in comparison to other sessions where I've used the D112, the E602 sounded much better quality in recording the punchiness and impact of the kit.

Today we introduced recording acoustic sounds using basic stereo microphone techniques, where one microphone creates the left channel and the other, the right channel.

Please read and listen to the recording samples on two websites which illustrate the difference in how these techniques sound, and make a blog post recording your observations and reflecting on them.  Listen for and comment on:

Stereo imaging (the left-to-right distribution of sounds across the stereo field)

Tone (or timbre of the recorded sound)

Balance (ratio) of direct and reverberant sound (the distribution of sounds in the depth field)

Please make objective observations as much as possible, and at the end, state your personal sound preference.

1.  Choral recording: http://www.dpamicrophones.com/en/Mic-University/Stereo-Techniques/stereo-recordings.aspx 

Listen to: 

AB Stereo 4006A Omni Microphones

Everything seems to be all coming at me in one direction. I can't hear how the ensemble is set up. There is not much attack, but the blend is nice. There is quite a bit reverb. 

ORTF Stereo 4011A Directional Microphones

Again, everything seems to be all coming at me in one direction and I can't hear hour the ensemble is set up. This has much more attack, but the lack of reverb makes it seem like the ensemble is in a smaller venue. The sound is more dry. 

XY Stereo 4011A Directional Microphones

This also comes at me in one direction and I can't tell how the ensemble is set up. Personally, this is my favorite set up. I can hear an ideal amount of attack and blend, but there is also an appropriate amount of reverb. 

2.  Drumset recording: http://recordinghacks.com/2010/04/03/drum-overhead-microphone-technique-comparison/

Listen to:

XY (Coincident Pair) xy_cardioid.mp3

I hear attack with this set up. However, the stereo field seems a bit narrow. During the fill, it doesn't sound like the sound is moving even though the drums are in different location. There is a bit of reverb, but not an overpowering amount. 

Spaced Park spaced_omni.mp3

I feel that this set up has more attack than the previous. This set up also varies in that the stereo field is much wider and I can hear the fill changing drums. However, there is more reverb. This is my favorite set up. 

ORTF ortf.mp3

http://www.recordingmag.com/videos/videoDetail/18.html