Do not miss! The Justin & Marcel double-act get stuck into Phase - what it is, how it affects your work and how we exploit it’s effects.
Positioning your kick drum within the live room makes all the difference in getting the best out of the low end. Phase comes into play yet again.
We hear with two ears, so imitating stereo location clues with the overhead mics helps our brains to perceive the recording as realistic.
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 delves deeply into phase aligning the whole drum kit. This is a must-see!