placing the microphone(s) at a distance of four to six feet above
the kit works very well without the cymbals sounding splattered.
A kick drum should be miked at a distance of at least 18 inches
and possibly used in conjunction with a blast filter to prevent ex-
cessive ribbon movement. If the front head has a hole cut it in,
position the microphone away from the hole to avoid excessive
air blasts.
For closer miking of a kick drum (10 to 18 inches), the micro-
phone should be leaned forward at a 45 degree angle to protect
the ribbon element from excessive plosive forces. This micro-
phone position also provides good kick drum isolation because
the top of the microphone, which does not pick up sound, is
aimed at the rest of drum kit.
Recording Loud or Plosive Sound Sources
Certain types of instruments and sound sources contain powerful
blasts of air that are potentially harmful to ribbon microphones of
all types. Kick drums, close miked horns, guitar and electric bass
amplifiers are typical examples of the sources that can produce
potentially harmful air currents. You can place your hand in front
of a sound source (where the microphone is to be placed) to feel if
the air pressure is excessive. A simple technique that can avert
damage due to overstressing the ribbon is as follows: After choos-
ing the optimum placement for the microphone, slightly angle the
microphone is such a way that the percussive wave is not directed
at the front of the mic “head on”. Often, a slight angular tilt
(either vertically or horizontally) is all that is required to prevent
potential harm to the ribbon.
Example of the vertical posi-
tioning technique
Slight off-axis positioning will
minimize stressing the ribbon
on loud sound sources.
Example of horizontal posi-
tioning technique
Angling the microphone slightly
16
Summary of Contents for R-122
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