Another truly excellent, information-heavy Masterclass from Marcel. You'll never be the same again.
If you thought you knew your vocal mics... Marcel discusses, in remarkable depth, his personal favourite vocal microphones. This is good stuff indeed.
Capturing a truthful recording of a performance is the goal for studio engineers – Marcel shares his thought processes and methods for achieving this.
Thinking carefully about your microphone choice is the first step along the path to a great recording. Marcel shares his brain.
Marcel goes into detail demonstrating the proximity effect with various mics, and what choices one is faced with in a recording situation.
Recording in stereo, like most things in audio, has some glories and some pitfalls. Marcel discusses AB and XY techniques.
MS Stereo technique is a bit different in that you end up with 3 channels on the desk rather than the usual 2 channels.
Marcel shares his brilliant multi-microphone drum recording technique, all based on getting the phase relationships right.
A brilliant, very deep discussion about microphone choice, positioning and phase when recording a drum kit.
We hear with two ears, so imitating stereo location clues with the overhead mics helps our brains to perceive the recording as realistic.
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.
EQ for free! Marcel uses four in-phase microphones to achieve a certain amount of tone control without reaching for the EQ knobs.
With four mics on top and two on the bottom, Marcel explain how to get all six in phase for a great snare sound.
Marcel shows us how he decides on a position for the hi-hat mic, and how to avoid wind noise.
Showing how an accidental setting on a HPF filter can damage the recording, Marcel chooses the best position for the Rack Tom mics.
Marcel chooses a position for the Floor Tom mic by listening carefully while he scans the surface of the drum.
Marcel delves deeply into phase aligning the whole drum kit. This is a must-see!
Creating a realistic stereo image by panning the hi-hat and toms to match the stereo image from the overheads.
We compare the sounds of the AKG 414s and the DPA 4011s and decide which to use.
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.