Q. What time delay between stereo overhead mics is acceptable?
What are the typical tolerances (say, in milliseconds) for acceptable differences between a pair of drum overheads?
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What are the typical tolerances (say, in milliseconds) for acceptable differences between a pair of drum overheads?
There were some strange pin assignments on Eventides in the old days — could that be the problem?
In the final part of this series, Rob Toulson focuses on mic techniques for recording drums and talks us through the issue of frequency cancellation in a multiple mic setup, details how to choose the recording sweet spot in a room and explains the various stereo mic options that are available including the famous Glyn Johns technique.
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I recently got a Zoom F8n Pro recorder and noticed when using phantom-powered mics the level jumps with a loud audible thump on headphones. Is this normal?
Rob Toulson explains how to optimise the drum sound for recording by experimenting with drum head, damping system, tuning and drum shell combinations.
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I want to buy my main vocal microphone. I want a balanced microphone, with a smooth top end to be used with a deep baritone male voice.
In Part 1, we look at the key principles of drum acoustics and discuss some scientific aspects of drums with respect to making music and creative recording projects.
I am trying out an ART Voice Channel, which has some interesting features, one of which is a dial to vary the microphone impedance continuously from 3kΩ down to 120Ω. So I have been testing this with a bunch of dynamic and capacitor mics...
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An image in Genelec’s GLM manual suggests placing a subwoofer in a position to send the direct sound waves right through the underside of the mixing desk. Is it perhaps not an obstruction issue because the sub‑80Hz frequencies aren’t so directional?
Does sending phantom power to a dynamic microphone cause any problems or affect the signal?
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As electret condenser mics have internal preamps, do non‑electret condensers also have built‑in preamps?