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Discover the industry secrets to recording crisp, rich instrument tracks and vocals in any type of recording environment. Join renowned audio engineer Bobby Owsinski as he walks through the process of miking and tracking a complete song by Underground Sun recording artist Iyeoka and A-list session musicians in a top-of-the-line studio—in a way that is applicable to any recording space and musical genre. Learn how to select the correct microphone and polar pattern for each instrument, with hundreds of revealing listening examples for drums, acoustic and electric guitar, piano, keyboards, and more. These professional techniques offer critical insights for those just getting started in the recording process, and a trustworthy reference guide for more seasoned engineers. Bobby also demonstrates how to monitor and sculpt EQ settings, why and when to process your input signal, and how to choose the right outboard gear for the track. This course employs 360-degree, 3D visualizations that provide an unprecedented perspective of the equipment, players, and microphone placements discussed. Plus, with the raw audio files provided, you can critically listen to every recorded example at home with your DAW of choice at full 24-bit resolution.
Mic placement on both the rack and floor toms are pretty standard, with most engineers using more or less the same technique. In this video we'll take a look at the best place to start. Once again, the key to a big powerful tom sound is the sound of the toms themselves. Do what you need to do to make them sound great acoustically first. You can use a little masking tape or moon gel to take out the ringing, if you think that sounds better, but remember, the ring is part of the sound too. As with the all padding, use it sparingly and don't deaden them up too much unless that's the effect you're looking for.
(music playing) The one thing that does change between engineers is the mic choice. While many engineers use a dynamic mic like a Sennheiser MD 421, a condenser mic like an AKG 414, AKG 451, or a Shure KSM44 provides a nice full sound with a lot of attack.
Be sure to switch on the -10 dB pad and select the cardioid position. Check with the drummer before you mount anything on his kit and make sure that the mics are out of his way. (music playing) Place the mic about six inches above the drum head just over the rim, pointing towards the center of the drum to get the most attack. If you point it towards the edge of the head, you'll hear more ring, and less of the attack of the stick hitting the head. (music playing) The floor tom is handled just like rack toms, although you might want to place the mic at the far edge of the drum to cut down on the spill from the other drums and cymbals.
(music playing) That's how we mic the toms. Place the mic about six inches above the drum head just over the rim, pointing towards the center of the head to get the most attack. Move the mic closer or point it towards the rim to change the tone or capture more or less ring.
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