Instruments / Drums: Difference between revisions
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Wiring the the two mics out of phase creates essentially a "dipole". Everything that is in the middle (i.e. equal distance) between the two microphones will get equally but out-of-phase so it cancels when the two microphone signals are summed together. In essence it creates a "blind spot" for the microphones for whatever is right in the middle plane. For the drums, that's mainly the kick (as Larry pointed out) and also the drummer (when he/she is hemming and hawing, squeaking with the chair, yelling about or in general having a grand old time). | Wiring the the two mics out of phase creates essentially a "dipole". Everything that is in the middle (i.e. equal distance) between the two microphones will get equally but out-of-phase so it cancels when the two microphone signals are summed together. In essence it creates a "blind spot" for the microphones for whatever is right in the middle plane. For the drums, that's mainly the kick (as Larry pointed out) and also the drummer (when he/she is hemming and hawing, squeaking with the chair, yelling about or in general having a grand old time). | ||
Another nice trick is to place the L1 that gets the mic signal somewhere the middle plane of the microphones. This drastically reduces potential for feedback and unwanted regeneration. | Another nice trick is to place the L1 that gets the mic signal somewhere in the middle plane of the microphones. This drastically reduces potential for feedback and unwanted regeneration. | ||
Sound sources that are significantly closer to any one of the microphones are not much affected by the whole procedure. | Sound sources that are significantly closer to any one of the microphones are not much affected by the whole procedure. | ||