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PGA Drum Bundle
PG Alta
Drum Microphone Kit
Spaced pair position
X-Y position
③
①
① Kick (PGA52)
•
Place the microphone in front of the resonant kick drum head.
Proximity Effect
Directional microphones progressively boost bass frequencies as the micro-
phone is placed in closer proximity to the source. This phenomenon, known
as proximity effect, can be used to create a warmer, more powerful sound.
Microphone Techniques for Stereo Recording
Stereo recording using two microphones adds realism by capturing sound similar to the way that humans hear. Panning (directing the signals left and right) adds
width and directionality when listening on stereo systems or headphones.
Tip: Panning the signals farther apart increases stereo separation and width. Be careful of panning too far, as it may result in a hollow sound in the middle of
the stereo field.
① X-Y Coincident Pair
The X-Y technique provides excellent phase coherency because sound arrives simultaneously at both microphones.
Placement: Set up the microphones with the capsules close together, but not touching. Experiment with angles between 90 and 120 degrees to capture the full
width of the source.
2/11
④
②
•
If there is a hole in the head, place the microphone inside for better iso-
lation. Removing the resonant head and placing the microphone closer
the beater head provides increased attack.
•
To reduce the sustain and overtones for a focused attack, try using a
pillow inside the kick drum.
② Snare (PGA57)
•
Place the microphone 1-4 inches above the drum, near the rim.
•
Point towards the center of the head to capture more stick attack, or
closer the edge to capture more overtones.
•
Aim the microphone with the rear side pointed towards the hi-hat to re-
duce the amount of cymbal in the snare drum signal.
③ Toms (PGA56)
•
Place the microphone 1-4 inches above the drum, near the rim.
•
Use the included AP56DM drum mounts to attach the PGA56 onto the
drum. The microphone can also be mounted on a standard 5/8" micro-
phone stand.
•
Point towards the center of the head for a deeper sound, or closer the
edge to capture more overtones.
④ Overheads (PGA81)
Overhead microphones capture cymbals and an overall stereo image of the
drums. Refer to the stereo microphone techniques section for details.
Overhead microphone tips:
•
Pan one microphone to the left and the other to the right on a mixer or
in recording software to create a stereo image
•
The farther the left and right signals are panned, the wider it will sound
•
Overheads can be panned from the audience or drummer's perspective,
depending on preference. Pan the toms to match the overhead panning
for an accurate stereo sound.
•
Other stereo drum recording techniques to learn about include the Glyn
Johns method, Recorderman, and Mid-Side.
•
Additional information on recording drums and microphone techniques
is available at shure.com
Shure Incorporated
2017/10/24
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