phase

[xBTWATWDx]

I am trying to learn more about microphone phase. If anyone knows any good articles can you drop a link?

[brandondrury]

Well phase isn't just a potential problem with microphones. It's a problem with any energy. (So it's also a problem with room acoustics and recording a bass DI with an amp at the same time).

I started writing an epic saga about phase, but figured the interest would be low so I never finished. Here's a quick explanation. http://www.recordingreview.com/music...6/06/02/phase/

Phase in an extremely important fundamental to audio engineering and applies anytime you use are snagging more than one signal out of an instrument at the same time. Drums are probably the most effected.

While a signal being out of phase with another signal can completely cancel out the bottom end, the most common problem is comb filtering.

http://www.google.com/custom?hl=en&i...dingReview.com

Let me know if you have any questions. I've done my homework on this phase thing enough times that I should be able to help you.

Brandon

[xBTWATWDx]

Thanks for the articles.

As the drummer/recording guy in my band, I have spent a lot of time micing my drums. Sometimes I get great results, and some times I get terrible results. It almost seams like a matter of chance every time I set up mics on my kit. From the sounds of things from these articles, phase issues and comb filtering are probably the main variables that make the difference between good drum recording and a bad one. When you go into the studio and begin placing microphones on a drum kit, what is your strategy in finding the perfect placement for each microphone? What order to you place the mics in, and what technique do you use to determine if your current setup will experience phase issues? How would you go about remedying a phase issue if you determine you have one one?

My drum microphone collection includes

Shure pg52 on the kick
Shure pg56 on all 4 of my toms
I have both an audix I5 and sm57 for my snare drum, but I have yet to decide which I like better. Usually I like to use the I5 because it is a little smaller and it is all metal. I am afraid of hitting the sm57 and breaking the plastic ring surrounding the head of the microphone.
Finally, for overheads I use two MXL 991 condensers.

Thanks
Dan

[brandondrury]

From the sounds of things from these articles, phase issues and comb filtering are probably the main variables that make the difference between good drum recording and a bad one.

Assuming the performance is bad ass, the drummer is balancing is kit well, the room is great and appropriate for the song, the drums are tuned well, the right mics are used, and the placement is right you are correct. Of course, phase and comb filtering are a fundamental part of mic placement on a drum kit.

you go into the studio and begin placing microphones on a drum kit, what is your strategy in finding the perfect placement for each microphone?

My approach depends on the song. Let's just say I'm going for a drum sound that is just kind of "normal"...which means it isn't too big and isn't too small. Let's say I'm trying to get drums for a band like Live...a radio pop / rock band.

I don't place mics until I walk around the room beating on a snare or tom. I'm listening to the sound of the drum as I move around. The low end will change. The reverb in the room will change. I want a full balanced sound with plenty of attack.

I want to be in a big room, but I don't want too much ambiance..but enough.

From there we setup the kit and tune the shit it out of it. It's worth paying a real drum tuning guy to do this if you are not great at it.

Then it's mic time. Assuming that I've never used the kit and drummer before, I'll listen in the room while the drummer plays. I walk around to see if he is giving me what I need. I'm looking for a snare that cuts through everything with plenty of power. (I don't want the cymbals or high hat dominating).

From there, I'll slap up some overheads. These are usually condensers, but sometimes ribbons are fun. I want to make sure the snare drum is in phase, so I'll measure from the center of the snare to each mic to make sure it's the same distance.

From there, micing is fairly straightforward. I generally start with pointing each mic at the center of the tom or snare. If I want more resonance and less attack, I may angle the mic towards the edge of the tom or snare.

This requires a lot of listening on monitors that I trust.

I'll then put up a variety of room mics depending on what I'm going for. The most important sound is the overheads generally. They should have plenty of snare in them and should be the bulk of the sound. Relying on close mics is a big problem because it usually sounds lifeless.

what technique do you use to determine if your current setup will experience phase issues?

I listen. You can hear it clear as day when you have comb filtering problems. If things sound "weird" chances are strong that it is comb filtering.

How would you go about remedying a phase issue if you determine you have one one?

Phase is a problem with time. Specifically, when the sound of an instrument arrives at one mic at X time and another mic at Y time, you'll probably have phase issues if the difference between X and Y is close enough. I can give you the equations if you want.

Solving the problem always involves moving a mic at this stage.

I am afraid of hitting the sm57 and breaking

You sound like the 16 year old kid is really anal about his '87 Escort. The 57 is a tank. You'd really have to try hard to break a 57.

btw, if you are that out of control with your drumming, you may want to practice being a little more consistent. The tone of your drums differs drastically by where you are hitting them.

Brandon

[xBTWATWDx]

Thanks, I would love to take a look at the equations. So you would choose a 57 over the I5 on the snare drum? Every time i walk into a guitar center they always tell me not to buy an sm57.

[brandondrury]

So you would choose a 57 over the I5 on the snare drum?

Here's my take on this. Gear is all about the same. Seriously, I've got expensive stuff. I've got cheap stuff. The difference between a 57 and an Audix mic on your snare is pretty much nothing when it comes to people actually liking your record.

I'm not saying there isn't a difference. However, that difference is kind of like how your girlfriend wearing new ear rings effects your day. My girlfriend gets her hair cut, tried new makeup, etc and it doesn't do a damn thing for my php scripting or dealing with some asshole client.

The people that REALLY get excited about using an Audix mic over a 57 are sensationalists. The 57 has been used on like every snare drum in the world almost. There are different sounding mics that work. You can spend the rest your life chasing your tail with alternatives to the SM 57 in your hand. Be my guest.

You'll also hear robo pro guys who fly in a guy to tune their snare drums say "Damn! X mic is awesome!!!" while using a drum room that costs $3k a day and will probably spend $200 on his Sushi bill later on tonight. Of course, they've been using the 57 since the days of the Cold War and suddenly have this new and exciting piece of ass right in front of them.

I guess the best way of explaining this goes like this:
Unless you know EXACTLY why you don't like a 57, you really don't have any business using anything else.

Spend your time on more important things. When you get those more important things out of the way, then you can start making stuff like this more important.

Brandon