A brilliant, very deep discussion about microphone choice, positioning and phase when recording a drum kit.
Back in the control room, Marcel mixes the whole kit – the beautifully in phase mics channels making life easy for the mix engineer.
Marcel demonstrates the Glyn John method – a means of setting up overheads so that the kick and snare end up in the centre of the stereo image.
We compare the sounds of the AKG 414s and the DPA 4011s and decide which to use.
Creating a realistic stereo image by panning the hi-hat and toms to match the stereo image from the overheads.
Marcel chooses a position for the Floor Tom mic by listening carefully while he scans the surface of the drum.
Showing how an accidental setting on a HPF filter can damage the recording, Marcel chooses the best position for the Rack Tom mics.
Marcel shows us how he decides on a position for the hi-hat mic, and how to avoid wind noise.
With four mics on top and two on the bottom, Marcel explain how to get all six in phase for a great snare sound.
EQ for free! Marcel uses four in-phase microphones to achieve a certain amount of tone control without reaching for the EQ knobs.
Marcel shares his brilliant multi-microphone drum recording technique, all based on getting the phase relationships right.