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Miking a battery (2 mic)

The methods of miking a battery for registration is subject to change according to your needs and your budget statement.
A limit on the amount of microphones to use may come from the maximum number of channels that your sound-card audio has the ability to accept, bearing in mind that in the case record the drums with other instruments, the number of channels for the same decline further. We start by considering
then the minimum number of microphones needed to get a decent recording. The first case is the one that uses only two microphones. There are two alternatives: to use two microphones, or a panoramic scenic environment and a dynamic microphone for bass drum. The first option allows a good recovery as a whole. I may have elevated vantage on the set, facing down, respecting the rule of 3:1 or making sure that the distance separating the two microphones is about three times the distance between each microphone and the battery below. The other solution is to place one hand over the battery (so as to ensure a resumption of food) and the other in front of the drum at an average height. With the first provision ensures a recovery battery, however, neglecting the stereo bass drum instead will surely better recovery in the second. To get a better shot of the bass drum, instead of using a panoramic, as already mentioned, you can use a dynamic. In this case, however, you will need inside the drum or through a hole made on the resonant head, or totally removing the skin resonant. Obviously the sound will be slightly compromised, however, if the microphone is placed quite close to the door, you will definitely sound more decent. Depending on the distance and height of the microphone from the point of percussion of the swing, you will get a sound more or less full, more or less rich attack. It is up to the tastes of the drummer and sound engineer to find the right position of the bass drum microphone.

Dario Arpino (drums of technical, Nube Azul recording studio)

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Different Ways to listen to music

Already after a while that you're dedicated to audio recording you will notice that your perception of music, your sensitivity to sound has changed. Eminently a song that did not notavate now understand the above and you understand the meaning of many technical and artistic choices, as some effects, reverberation, equalization of the instruments, etc..
Here are some key aspects on which to listen or pay attention while you are recording a song:
* TEXT: As the text is consistent with the various melodies of the song? Lots of text that could weigh down some steps, just empty text sometimes a song of its expressive power. Some lines are too long encumbers the hand, some voice kept too long but could block the flow dynamic of the song.
* Vocal Technique: The voice is an instrument. Could break too the number of syllables, or eat some words for the rush. A voice can be sung but not very expressive, you may not agree to the "mood" (mood, color) of the song.
* BOTTOM LINE: A bass line that follows the guitar chords makes a dull song, but sometimes it is perfect. A line that tends to separate from the melodic line could create problems for the singer during the recording of the voice.
* Rhythmic Percussion: Too much to say. In some songs the battery acts as a base completely passive, is deliberately anonymous, and room for other instruments. Sometimes however, exploits all the dishes, change the pace of ongoing grants and even solos. Certainly the leadership of percussion needs a precise valtazione. *
ARRANGEMENT: ovvvero as musicians embody the melodic structure. What tools are leading? which frequencies are out? how are they played?
* REPORT INVENTIONS / CONSTRUCTION (PATTERN): A song we see it as a clever dose of repetitions and diversions. A song that changes pace, sound, and vocal melody line every 10 seconds or more is a masterpiece or is likely to be unlistenable. On the other hand, a song that ripetein accused would continue the same reason as "amateur." What parts are repeated in the song? undergo changes? which pieces are unique, what is the role a whole?

Figure

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Microphones: Microphones

polar (or polar) of a microphone is a graphical representation on a plane of the sensitivity of a microphone according to the direction of origin of a signal that strikes it. Need to figure out how to involve a microphone in a given environment and on the other side to decide how to position themselves in relation to the sound source.

The most common figures are:

omnidirectional - the answer is almost uniform for any angle of incidence (circular diagram).

way - the answer is maximum if the sound source is placed in front of the microphone and gradually decreases when the source rotates around the microphone (perpendicular its axis), this type of response is obtained by combining a capsule with an omni-directional and bi-directional, depending on the prevalence of the contribution dell'omnidirezionale, pole figures are obtained more or less directional, cardioid

- presents an attenuation of about 6 dB at an incidence angle of 90 °, to reject completely the sounds coming from behind (the point of no recovery at 180 ° to the axis), the name comes from the shape of its polar pattern, which vaguely describes a stylized heart.

supercardioid - the answer is similar to that of the cardioid, but is even more directional. Presents an attenuation of about 8.7 dB at an angle of incidence of ± 90 ° and a posterior lobe of recovery (from reduced sensitivity and frequency response), the viewpoint is nothing to ± 125 ° axis.

Hypercardioid - directivity is even greater than the supercardioid with the effect of increasing the sensitivity back. Presents an attenuation of 12 dB at an angle of incidence of 90 ° and a larger posterior lobe and the point of no return is ± 110 ° from the axis.

bidirectional or "figure eight" - the answer is up to the sounds coming from the front or back of the microphone (incidence angles of 0 and 180 °), while it is nothing to the sounds coming from the sides (angles of incidence 90 ° and 270 °). (Reworking wikipedia)

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polar figure: what to buy?

Assuming you've in mind the difference between dynamic and condenser microphones, I know some parameters and have a budget to spend, there is virtually to decide what to buy. Here are some products on the market divided by use:

- Item:
* Shure SM58 Mic Cardioid dynamic. And 'the standard for live, but is also used for reg. with good results. "The strength of construction, a proven shock mount system, and a steel mesh grille ensure consistency of performance, even when handling without delicacy." Approximately € 100 *
SM ProAudio MC01: Mic cond. cardioid. Capture a very natural sound, full of nuances. Elegant, also includes anti-shock. "A wide frequency response, accurate response curve, large dynamic range and low distortion." Approximately € 120
* Audio Technica 2020: Mic Cond. cardioid. Its price / quality ratio is really exceptional. Wide dynamic range. "Low-mass diaphragm for extended frequency response and superior transient response." Approximately € 95

- guitar or bass:
* Shure SM57 Mic Cardioid dynamic. And 'the consideration of the SM58, made especially for string instruments but drums (toms, snare drum). Good for acoustic sounds is perfect for those amplified. "It has a cardioid pickup pattern very effectively isolates the main sound source while minimizing background noise." 95 € *
Behringer c2: Cardioid condenser mic. Likely to cost (69 pair) and brand could be considered very low bill and inadvisable. Instead, the experience tends to reassess and make them ideal for those who can not spend more. There will be very effective on transients but the sound is really good pasta.

- Battery: * Audio Technica
mb/dk5: Set of mic for drums. Probably the best in their price range (150 €). They are sold with the attacks (which saves you quite a bit).
* Other kits: Below 200 € there are different kits. These include: MSD 7 (190 €, 7 pieces), Proel DMSbig 7 (200 €, 7 pieces), Samson (160 Euros).
* Without kit: You could not buy a kit but add a mic to mic allla time. This will cost you much more. For Tom could take 5 SM57 (total about 500 €!) Or cheaper Proel DM822 5 (total € 80). For plates 2 (if you want to make serious also 3) Scenic: 2 Proel CM600 (total € 70) or 2 Behringer C2 (the same section of the guitar, the pair € 70)

If you do not have much experience turn around internet seeking additional comments and ask friends who have tried a few. Good luck!

Massimo Di Gioacchino (sound engineer, recording studio Nube Azul)