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overhead and stereo mic techniques???

Discussion in 'Room & Overhead' started by jalipaz, Apr 10, 2004.

  1. jalipaz

    jalipaz Guest

    hey does anyone know a site or a good book that has complete discriptions and pictures of overhead and stereo mic techniques?
    thanks -jal
     
  2. johnwy

    johnwy Well-Known Member

    These three websites will get you on your way

    http://www.dpamicrophones.com/eng_pub/index.html

    http://www.tape.com/Bartlett_Articles/stereo_microphone_techniques.html


    http://www.soundonsound.com/sos/1997_articles/feb97/stereomiking.html


    also look at the posting for m/s micing technique in this forum
     
  3. RecorderMan

    RecorderMan Distinguished Member

    you're on one
     
  4. jalipaz

    jalipaz Guest

    hey thanks for those links johnwy! ive seen those before im ike looking for like real pictures though. like isnt their a book or a site that just has pictures of a technique and then what its called and a description of how it sounds. yeah i know recorderman, i really dug ur technique on here. i replied on it.
    -jal
     
  5. johnwy

    johnwy Well-Known Member

    Your best bet would be to get a book called "Professional Microphone Techniques" by David Miles Huber and Philip Williams (available at amazon.com).

    The Shure website also has downloadable pdf's on a whole lotta stuff at http://www.shure.com/booklets/techpubs.html

    Use these as a guide, your ears will do the rest.
     
  6. jalipaz

    jalipaz Guest

    i have that book it doesnt have many pictures at all. -jal
    nevermind. i was just wondering if their was a site or a book that had all the oh, and stereo mic techniques neatly laid out with a very detailed picture and description, guess not. -jal
     
  7. dymaxian

    dymaxian Guest

    scoll down on this forum and look for a huge thread about overhead mic technique. I forget the title, but it's over 5 pages long. The 2nd or 3rd post is by Recorderman, with a very detailed description about overhead mic placement. It's not conventional, but by the replies on that thread it works very well. I haven't tried it myself.

    I think RM gets a little frustrated that he spent all that time describing that mic technique and people don't bother to even scroll down for it, let alone search. Can't say I blame him.

    Kase
    http://
     
  8. jalipaz

    jalipaz Guest

    thanx for the reply dymaxian.
    i did read all that. im the last person who replied on that post. it was great, but again it doesnt mention all the techniques and their arent pictures of all the techniques. thats what im looking for. i did goto school for recording in '95 but they didnt cover all the techniques and id really like to know all of them, the reason i want pictures is cause a description just isnt enough. what id really like to find is a video, i mean it wouldnt be that hard to have a video with that, just film so guy setting up mics and showing what preperation he did and what it sounded like. so thats more of what im looking for. -jal
     
  9. RecorderMan

    RecorderMan Distinguished Member

    thanks..but not even. It's only one tool in the chest. there is no best way to do anything, except maybe the beat way for each unique situation.
    Jack Joseph Puig once told me about the first time he worked for Glyn Johns, recording guitar for somebody like Clapton, I don't remember the artist. He spent all this time trying to put up the perfect combination of mics in the perfect phase arrayed placement. Glynn came out and asked him if he was done? jack replied yes...then Glyn kicked over his beautiful "perfectly" placed mics. and said hurry up and just throw it up...he had a guitar overdub to do. The point was, there's many things much more important to making the sound great than any single technique or gear, etc. On this particular day, The artist who was about to play and Glyn's coaching/production were far more relevant. Many times the amount of difference that that 1" makes especially heard days, weeks or even months later is irrelevant. We end up changing the EQ anyway to make it fit with the rest of things that have been added, or our own changed perspective of that day. It's a combination of everything. The sum is greater than the whole. I'd rather get everything @ 90% than get stuck on any one thing trying to achieve 100% and missing completely something else.
     
  10. jalipaz

    jalipaz Guest

    i couldnt agree with u more rm. im just looking for a real wide, and detailed stereo image. know of any? i mean i did the snar and r shoulder technique but i just cant get it wide enough. sounds good though. any ideas would be great, if not ill stop talking.
    thanks -jal
     
  11. johnwy

    johnwy Well-Known Member

    This paragraph is taken from the Bruce Bartlett tape.com article that I provided a link to above:


    "With the coincident-pair method (XY or intensity stereo method), two directional mics are mounted with grilles nearly touching and diaphragms one above the other, angled apart to aim approximately toward the left and right sides of the ensemble. For example, two cardioid microphones can be mounted angled apart, their grilles one above the other. Other directional patterns can be used, too. The greater the angle between microphones, and the narrower the polar pattern, the wider the stereo spread."

    Hope this is what you are looking for.
     
  12. forsooth

    forsooth Guest

    Hi jalipaz,

    I saw your question and it's something I am getting ready to do as well. I just got my copy of Recording magazine today and there is an excellent article on stereo recording and good pictures of the various mic techniques. It was on recording classical demos and although it is not my preferred kind of music it is a good article and you will pick up some good stuff there.

    I'm considering getting a pair of stereo mikes for this as well, anyone have an opinion on the Studio Projects C4 condensers versus a pair of AKG C1000s?

    Both are in the same price range. Anyone?

    cheers

    forsooth :D
     
  13. jalipaz

    jalipaz Guest

    thanks forsooth ill definitely check it out. i had the c1000's before not really a fan ive heard good things about the sp's though. o and their is a topic all about that on this forum it should be pretty recently. -jal
    what kind of music r u into?
     
  14. johnclark2

    johnclark2 Guest

    Hey Jalipaz,

    You might want to try this site --> http://www.oade.com/Tapers_Section/faq-mic.html

    I found the wealth of information on this site to be very helpful.

    Hope it helps you too.

    JHC
     
  15. RecorderMan

    RecorderMan Distinguished Member

    If you want wide...use a standard spaced pair of OH's on either side of the kit, on the outside, above the kit (usually over the cymbals ) looking down. I hat toms going from speaker to speaker, etc. and it isn't as punchy / not my cup o tea. To get it beyond the speakers, though you'll need something like 'Q'-sound, spatializer, B.A.S.E. unit, ect...something that plays with phase. Again though, this approach will have detrimental affect on the kick & snare, toms, lo and lo-mid in general..that's why I like a more centered approach...like if you're on the kit or looking at it. Let's us know what you finally come up with that you like.
     
  16. jalipaz

    jalipaz Guest

    wow good site jk2! thats the best so far. i still wish they had pictures though. :wink: ive been doing what u suggested rm for a while now and that way is the closest ive gotten to the sound ive been looking for. i just thought there might be another way.
    if u wanna listen to some stuff ive done heres a link:
    http://www.purevolume.com/audioconfusion
    id say that redefining reticense is the better band on there.
     
  17. RecorderMan

    RecorderMan Distinguished Member

    also...wear headphones and listen while you place the mics. just be carefull the volume that some hit's the toms with (good source for hearing stereo and demension) will be differrent than what you set for recording. They should play soft and you should have the OH's and or cues pretty loud to hear it while your out moving the mics. Just move them around with your hands with out stand till you find a cool spot(s) then lock 'em down on stands and re-adjust gain.
     
  18. jalipaz

    jalipaz Guest

    thanks rm, will do -jal
     
  19. forsooth

    forsooth Guest

    Hi Jalipaz,

    I'm into rock, blues, jazz, acoustic and almost everything but classical and hip hop!

    I'll check the forum for info on the Sound Projects C4s.
    I'm disappointed that you didn't fancy the AKG C100s because I have an AKG D112 and four AKG 418s that I like, I'll keep looking!

    Thanks

    forsooth :shock:
     
  20. svart

    svart Active Member

    oktava mk012s rock. especially when modded. I used a "room mic" technique and moved them out about 10 feet at chest level pointing one at the hats the other at the ride. i moved the left one (ride) closer 2 feet due to the bass drum obstructing the snare but after that the mix was great. no boom, no washing of the mics when hitting cymbals. just great sounds. move to suit your needs.
     

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