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Thread: XY micing technique.

  1. #1

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    Default XY micing technique.

    Does anybody do this? I dont have drum mics at the momment , just a 57 and two cheapo dynamics. without even micing the kick, (using the plastic side of the beaters on my iron cobra probably helped) i could still hear the bass in the mix. I go into cubase 5.1 and i applied these preset compressers called "pumping drum overheads) and panned my two mics hard right and hard left and it actualy sounded really good. you could feel the hats on the right and the splash on the left.... i didnt know if anybody else used this technique but it really works!

  2. #2

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    Sounds like something I might be doing. Tell me about the cable ends. Are they quarter inch and then you have to get them to a sound card on your computer with a smaller hole......or do you go to like an M-audio interface or something ?
    Most definitely. As a matter of fact, there will be "NO LIMIT"... just an unending quagmire of musical genius.

  3. #3

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    Quote Originally Posted by Austinkessler View Post
    Does anybody do this? I dont have drum mics at the momment , just a 57 and two cheapo dynamics. without even micing the kick, (using the plastic side of the beaters on my iron cobra probably helped) i could still hear the bass in the mix. I go into cubase 5.1 and i applied these preset compressers called "pumping drum overheads) and panned my two mics hard right and hard left and it actualy sounded really good. you could feel the hats on the right and the splash on the left.... i didnt know if anybody else used this technique but it really works!
    do you place the mics overhead or out in front of your kit?

  4. #4

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    Quote Originally Posted by truckerdrummer View Post
    do you place the mics overhead or out in front of your kit?
    they are overhead, but above the front of the kick basically, not over the top of the snare.

  5. #5

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    I like it a little better than the recorderman technique personally. Easier to set up, and remember how to as well. I like the idea of phase cancellation, though admittedly when I first tried it I forgot to do the panning and didn't get any of the advantages gained by this technique. I would try it again and probably stick with it from there on out.
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  6. #6

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    i like the xy also. it's cool that it's so quick and easy to set up. if you have a good sounding room, setting the mics out in front of the kit by drawing a straight line from the middle of the snare head and through the middle of the kick gives a pretty cool stereo spread and a little different sound. it keeps the kick and snare in the center of the mix and rules out phase problems. i enjoy experimenting with the placement of my room mics and overheads to see how it sounds

  7. #7

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    Quote Originally Posted by truckerdrummer View Post
    i like the xy also. it's cool that it's so quick and easy to set up. if you have a good sounding room, setting the mics out in front of the kit by drawing a straight line from the middle of the snare head and through the middle of the kick gives a pretty cool stereo spread and a little different sound. it keeps the kick and snare in the center of the mix and rules out phase problems. i enjoy experimenting with the placement of my room mics and overheads to see how it sounds
    Right on brother, mic placement does alot more than one might think,

  8. #8

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    i use a permanent x/y mic as a overhead and most of the mix is from that ...because my room has really high ceilings and jarrah floor boards there is minimal phase issues

    iv been doing some tricky things with my mix lately ..eg..making clones of my kick tracks and having 1 panned hard left ,1 panned hard right and the original 1 dead centre ...it sounds huge with out any compression

  9. #9

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    which piece of equipment in the recording chain is required to pick up on phase issues ?
    Most definitely. As a matter of fact, there will be "NO LIMIT"... just an unending quagmire of musical genius.

  10. #10

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    Quote Originally Posted by MR. G View Post
    which piece of equipment in the recording chain is required to pick up on phase issues ?
    your ears..

    any kind of major reflections from walls can cause phase issues

  11. #11

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    Quote Originally Posted by MR. G View Post
    which piece of equipment in the recording chain is required to pick up on phase issues ?
    Hey Mr. G. This is simple. A lot of plug ins have a phase inversion button. Just slap it on one of your tracks and A/B it while listening to the other track. It will be excruciatingly obvious when it is out of phase or if there is a phasing issue.

  12. #12

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    if you can eliminate any phase issue's before the recording its mighty helpful

    eg..if any mics cross paths ..thats a phase issue

  13. #13

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    Quote Originally Posted by itchie View Post
    if you can eliminate any phase issue's before the recording its mighty helpful

    eg..if any mics cross paths ..thats a phase issue
    Agreed... Taking care of it before recording is definately the best way to deal with a phase issue... To me, mic placement is more important than any kind of eq or post production tricks. Its worth the time invested to have it sound its best when you press the record button. A tape measure and your ears are the best tools to have when dealing with phase. If using more than one mic on a particular source the rules i was taught were; Either the mics must be the same distance from the source, or the 3:1 rule: the distance between the mics should be at least 3 times the distance of the mics to the source.

  14. #14

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    Quote Originally Posted by truckerdrummer View Post
    Agreed... Taking care of it before recording is definately the best way to deal with a phase issue... To me, mic placement is more important than any kind of eq or post production tricks. Its worth the time invested to have it sound its best when you press the record button. A tape measure and your ears are the best tools to have when dealing with phase. If using more than one mic on a particular source the rules i was taught were; Either the mics must be the same distance from the source, or the 3:1 rule: the distance between the mics should be at least 3 times the distance of the mics to the source.

    Agree with one big caveat. Room acoustics. The biggest phasing issues I have heard from drum tracks are usually room acoustics with standing waves, and flutter.
    Last edited by nucjd; 03-03-2012 at 11:25 AM.

  15. #15

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    Quote Originally Posted by itchie View Post
    making clones of my kick tracks and having 1 panned hard left ,1 panned hard right and the original 1 dead centre ...it sounds huge with out any compression
    Do you turn them down?

  16. #16

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    Quote Originally Posted by Austinkessler View Post
    Do you turn them down?
    in a nut shell yep...

    but try make the most of headroom volume

  17. #17

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    I have be doing spaced pair without issue but i picked up a pair of Shure KSM 109s at a local pawn shop. the will be perfect to try X/Y with. i will have to give it a shot
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  18. #18

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    Quote Originally Posted by rmandelbaum View Post
    I have be doing spaced pair without issue but i picked up a pair of Shure KSM 109s at a local pawn shop. the will be perfect to try X/Y with. i will have to give it a shot
    i've never even thought of looking at pawn shops for recording gear.

    could be risky

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