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[Music]
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today I want to talk to you about miking
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a drum kit there's about a million ways
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to do it and I'm just going to tell you
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about my technique and what works for me
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and hopefully you'll get some pointers
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from it so on a kick drum I'll typically
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use two microphones one on the inside
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that's closer to the beater it'll pick
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up the attack of the drum and I'll do
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like a beta 52 or something like that on
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the outside right here in the hole to
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kind of fill out the bottom in a little
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more and usually I'll just kind of throw
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them in there to start and then listen
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to see what it sounds like I'll put the
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the ninety one right in the middle of
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the drum and the fifty two kind of right
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in the middle of the hole and you can't
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just put a mic on a drum and assume it's
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going to work because every drum sounds
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different every drummer hits different
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sounds different and if you hearing that
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there's too much attack on the inside
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mic then you can pull it away from the
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beater a little bit or if you need more
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attack you can put it up closer to the
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beater that's the biggest part on how to
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get a drum sound that you like is moving
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the mic a lot of people will try to just
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use the the EQ they don't like it which
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it's a great tool to have but I want to
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start with the best sound I can get by
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just moving the microphone to the sweet
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spot of the drum one thing that I think
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is really important in kick drums is
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having something inside to dampen the
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sound a little bit if you just get a
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kick drum with with nothing inside it a
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lot of times to me it sounds like you're
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bouncing a basketball on the floor and
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maybe you like that but it's not what
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I'm going for so typically if you put a
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little pillow inside or a blanket or
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just something to put up against the
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front head and it will help tone down
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the basketball so on the snare drum I
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also like to use two microphones
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whenever possible my default is sm57 on
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top I've tried other mics here and there
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and they work but every every time I go
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back to the 57 and I just think it
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sounds the best every time on the top
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mic I'll do the 57 and typically I'll
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get it almost almost parallel with the
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drum just up and angle a little bit I
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know some other people like to angle it
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more and and kind of aim it right in the
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center but I'm weird and different like
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that I guess I'll do it maybe an inch or
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two two fingers off of the drum right
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here and kind of kind of shooting
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towards the middle of the drum but right
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on the edge of the rim is where the the
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head of the microphone sits I like to
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use a bottom microphone
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whenever the resources are available to
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pick up the sound of the snares because
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if you just use a top mic sometimes it's
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a little too snappy and you don't like
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if you're standing here and you hit the
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snare you hear the snares rattling on
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the bottom and that's just the natural
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sound of a snare and I like to hear that
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so it helps a lot if you put a mic on
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the bottom of the snare to pick that
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sound up a little bit more and then you
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can just blend them in however necessary
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if you just have a bottom snare mic by
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itself you're probably not going to like
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the way it sounds because it's going to
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be all ratalie snares but I like to put
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a condenser on the bottom right now we
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have a KSM 1:41 sure microphone I think
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it sounds great
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so we want these two mics to be in
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polarity with each other that's how
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you're going to get your best snare
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sound but just know that doesn't always
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mean that you go to your console and hit
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the polarity button there could be a
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cable wired backwards or just somewhere
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along the line something wide backwards
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it's just not always a hard and fast
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rule to hit the polarity just listen to
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what it sounds like if it sounds good
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don't mess with it so on the hi-hat I'll
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use a condenser we've got the ksn 141
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here I don't really get extremely
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technical with this most of the time
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because with Jesus Culture he uses these
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huge high hats they're actually crash
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cymbals and they're really loud I barely
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even need this mic really it's just
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there for like the quiet moments wanting
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you to turn it up I'll just mic it kind
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of right on the edge of the hi-hat here
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maybe an inch inside you don't want to
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get it right too close to the edge
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because you'll get this weird whooshing
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sound when the cats hit together
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sometimes depending on the hi-hat sound
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I'm going for all my
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get a little bit closer to the bell in
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the middle of it get a little bit more
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of that bell sound but typically right
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here couple inches off right inside the
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edge of it on the Tom's we've got the
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beta 98 and I'll try to put them about
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two to three fingers away from the drum
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I actually prefer the sound when it's a
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little further away like three three or
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four fingers but if you got a big symbol
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right next to it like this the closer
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you get the better otherwise you're
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going to get a whole lot of cymbal bleed
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for the overhead mics we've got the KSM
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32s here for my overhead sound I like to
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try to get kind of an overall full drum
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kit sound I'm not going specifically
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just for the cymbals like some people
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may do so I'll take a cable and measure
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from the center of the snare drum to the
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microphone and you want to make sure
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that your two overhead mics are about
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the same distance and see how that's not
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that's a few inches off right now so
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that's actually going to give us a
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little bit of phasing problems that you
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may or may not hear in your mix but it's
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just better if you can try to try to
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line those up to the the loudest thing
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on the kit you got allotted a lot of
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drums here a lot of stuff going on so
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it's it's really difficult to try to
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time align all of that but if you just
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try to line them up to the loudest thing
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on the kit which is your snare drum for
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sure then it should help you10824
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