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hi this is Justin with sonic scoop today
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we're going deep into drum miking
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fundamentals this time we'll be looking
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at over Hamlet how to place them and
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what each of the main method sounds like
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we're here at strange weather recording
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we've got some great mics from our
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sponsors and Sennheiser and really
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killer drummer Parker kindred behind the
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kit alright let's get started
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all right so we're going to start by
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looking at X Y and O RTF - kind of
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similar positions where the mics are
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going to stay fairly close together the
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idea about keeping your mics fairly
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close together see it phase coherence so
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XY you want to line up your capsules so
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they're pretty much touching ideally
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they'd occupy the same space in the air
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but they can't so you want your capsules
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pretty much touching at a 90 degree
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angle almost like corner of a rectangle
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that's XY a lot of focus decent stereo
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spread the next pattern we're going to
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look at after that is ort f + 4 o our TF
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the mics are actually about six and a
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half inches apart at the capsule so you
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can measure the capsule pointing
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outwards by about a hundred and ten
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degrees and this gives us a little bit
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of a wider stereo spread stereo Bar can
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make that pretty easy both of the mics
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can sit on the stereo bar and they're
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usually markings that allow you to
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figure out just how far you can move
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your mics to get the distance you can
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get a ruler which is what we're going to
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do today or you can kind of eyeball it
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if you don't have a stereo bar again XY
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pretty easy or TF you can kind of line
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up the back of the mics 90 degrees then
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just cheat them out a little bit to 110
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get some extra distance and you're
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pretty much there a common approach for
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XY o RTF is to come in like this but you
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could plausibly come behind the
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drummer's head if you were to do that
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you might get a little bit less cymbal
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sound a little bit more of the skins and
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resonance of the drum and that can be
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good if you have a real basher
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on the symbols which when you're
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starting out you'll deal with a lot of
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symbol bashers only issue if you're
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coming from this angle you might get a
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lot more bleed from the rest of the band
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if your tracking group together what
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we're going to do is start with XY from
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a front of Kate position and then move
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into our ort f1 last disclaimer I want
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to add the difference between the two
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takes you're going to hear could be
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almost as significant as the difference
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between these two mic placements they
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really are pretty similar so make sure
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you're listening on good pair of
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headphones or good set of speakers and
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you might want to go ahead and put this
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in high definition if you're watching in
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YouTube over on the bottom right-hand
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side of your screen you can set this
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video to HD so you can make sure you're
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going to hear the differences all right
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let's go
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the next two overhead patterns we're
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going to look at our space pair and
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Glenn Jones if you want to get more
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spread more spaciousness space pair for
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a space pair technique you're spacing
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them out left and right over the kit
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there's a million different approaches
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to space pair the way that I'm going to
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do it now is my kind of default approach
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but some people will spay some kind of
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close together pointing outwards I tend
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to like to go pretty wide because for me
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half the point of space pair is to get
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kind of exaggerated stereo spread that
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kind of sound is not going to be right
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for every record but in records where it
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does work it really works if you want
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spread in your cymbals if you want some
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kind of spread in your Tom fills a space
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pair can really help accent that the
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biggest thing for me though is centering
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the kick drum now you might say Justin
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if you said hit a kick drum the snare
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drum is going to be off to one side to
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which I say your point uh that's kind of
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how the kit sounds and I don't mind it
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if you want to Center your snare and
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have your kick off center that's your
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prerogative some people prefer it that
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way
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that's fine there's really no right and
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wrong way with space pair other than
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watch out for phase meaning if you're
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too far away and too close together
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higher likelihood of phase issues on any
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one piece of the kit if you're further
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apart lower down less likelihood of
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phase issues on any one piece of the kit
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especially pieces that are centered in
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between the two mics another good method
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is Glyn John's and Glyn John's is a nice
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compromise between the space pair which
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can get you a lot of spread for some
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people too much spring and those more
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focused biking options for Glyn John's
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you're going to put a microphone
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directly over the snare drum maybe three
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to four feet up your second microphone
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looks in over the shoulder of the tom
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drum towards the heavier snare here's
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the big catch
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it wants to be exactly equal distant
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from your top mic there's a couple ways
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to do this you can again get a tape
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measure a lot of folks don't have a tape
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measure in the studio it's never carry
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one but you can take a microphone cable
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mark off the distance and check the
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distance to your Tom mic with just those
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two mics and kick and snare you're
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pretty good shape got the whole kit
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covered lot of records have been made
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with just those four mics let's hear how
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these two send
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who is to say you need to overhead mics
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at all we're going to try one overhead a
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lot of great records have been made this
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way in the past and now it's a really
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classic approach this is annoy Minh m269
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kind of like annoy Minh u67 we've got an
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ointment FET 47 out in front of the kick
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right now these are some pretty nice
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vintage mics from strange weather but
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you can get newer versions of these
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kinds of mics distributing the US now
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through San Howser let's hear what this
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sounds like
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thanks for tuning in to this episode on
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overhead mics stay tuned for the next
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episodes on closed miking Andrew miking
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subscribe for free at sonic scoop com
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thanks see you next time11201
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