I like using a mono overhead in conjunction with a stereo (spaced pair) room mics. So if mono and minimalism are your thing then jump on in! But should we use a small diaphragm or a large diaphragm condenser as our mono mic? However if you find a small diaphragm condenser to be too bright then using a large diaphragm condenser will prove more to your liking with the added benefit of a larger proximity effect if using a cardioid pattern which can help to emphasize the bass drum. Here is what it sounds like through my Mojave... Next we are going to move the microphone up a little more so that it is starting to look down over the kit and move in slightly but not so much that it is actually over the drum set. In a stereo setting we can pan the microphones which helps to reduce some of the phasing problems but in mono we do not get that luxury. On the other hand, if you want to conjure raw energy instead of the polished sound, try a single, mono overhead. For this I am going to be using Mojave's new MA-301 FET which is a large diaphragm condenser that is both full and articulate in how it sounds. CategoriesMixing & Mastering Audio, Recording AudioTagsdrums, microphone, mono overhead, phase, stereo, Your email address will not be published. Now you can go mad with it! This technique will give you a little more tom, cymbal and snare sound since it is looking down at the kit as oppose to straight at it. A 4ms or less attack will add a nice snap to the snare and using a 30-50ms release time will ensure a nice even sustain. If you think the kick doesn't have enough snap and has too much bleed as well then try and add the gate as state above. Overheads are no exception either. Your email address will not be published. Try and attack around 10ms and a release of about 30 ms, but make sure the threshold is high so it only reacts on the peaks (mostly from the snare and toms). Because for most people, it’s only natural to want those big, wide, stereo drums. If you need a more balanced kick drum tone from your kick mic then I recommend placing the mic just inside the drum port but if you feel you need more attack then by all means push it in closer towards the batter head. If you have patience for details, you can even control the exact amount of the mono/stereo ratio of the overhead sound, all the way through the song. The final placement is going to be even higher up than the previous placement and actually be slightly over the set; barely over the toms to be specific. But be warned, the information inside is anything but minimal! In this tutorial we will cover what techniques work best for a minimal mono drum recording and what mixing techniques will best serve our purposes. I also use the mono overhead to free up an input for a snare bottom mic or a second mic in my kick. The danger comes in when you put the reverb on and forget to merge the stereo reverb to mono. Share ideas. This will enhance the cymbals and drum articulation which creates the clearer mix. Trademarks and brands are the property of their respective owners. What remains is a smaller sound, because phasing will occur from the two speakers creating their own two different sounds in any given listening environment, too. There are still many places in which audio is summed to mono and we all know the dangers of mono summing and what it can do to a mix. Then you get to listen to the whole thing from a couple feet away, and the big, wide stereo drum sound disappears. Well, think about it. Adding some gentle compression to the overhead can help give it a fuller sound without adding any noticeable artifacts. And that question arises pretty often today, as it did in about the last 40 years. It is because of this position I chose the 55SH Deluxe for its hyper cardioid pickup. If you are finding that your snare is not giving you enough crack then try adding a compressor with a short attack and longer release time to the snare track so that you have more emphasis on the attack; I find a 5ms attack and a 30 ms release work fairly well. Minimal micing and mono recording can be a wonderful break from the complexity of multitrack stereo recording. You can do reverb in mono but you need to mix with a mono reverb from the beginning. Everything you need for your next creative project. It’s a little counterintuitive but sometimes getting the widest sounding mix actually means pulling the drum overheads into the center a bit. There’s something powerful about mono drums coming at you from the middle, and this way, everything else panned around them will not be disturbed by the drum sound either. Mono drum overhead? Well in this tutorial we are going to cover just that! For slick pop or rock music arrangements, stereo overheads might just be the best way to go. Acoustic guitar sound created with an electric guitar – is it possible?

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