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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.
In this video we're going to look at how to use a sub-kick mic. The sub-kick phenomena started due to the burning desire to get a little more of the lower bass out of the kick without having to crank up the EQ. Let's take a look at how to use it. The sub-kick mic is actually a small speaker that used a microphone to pick up the ultra lows of a kick drum that most mics just can't capture. These are mostly below 50 Hz. While something like this can be jury rigged by taking the low frequency driver from a monitor like a Yamaha NS-10M. Yamaha also makes a commercial model known as the SKRM-100.
Here's how to use it. Place the sub-kick mic a few inches from the lip of the kick drum head. Since you'll probably be using it with another mic, you'll have to set off-center a bit, but that's okay. You won't pick up much of the beater sound anyway. (music playing) This is one case where moving the mic won't change the sound very much. It's only picking up low frequencies to begin with, so moving it back will only increase the leakage from the other drums without much benefit to the sound. The sub-kick sounds best if it is added only to the point where it can just be heard.
Too much makes the low-end of the kick sound muddy, so don't be tempted to use a lot since a little goes a long way. That's how a sub-kick mic is used, place it a few inches from the kick drum head. The more you move it back from the kick, the more it'll pick up the rest of the kit. Make sure you don't use too much in the mix as a little goes a very long way. (music playing)
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