High Pass Your Reverb

A handful of high pass settings for a weekend.

A handful of high pass settings for a weekend.

This will likely be a quick one. One of the most common problems I hear in mixes, especially with less experienced engineers, is that when the reverb gets turned up, the vocals get muddy. The solution is simple; high pass the reverb. Got it? Ok, we’re done.

Channel Strip High Pass

Well, not quite. I’m going to give you a few ways to high pass your reverb. Perhaps the easiest way is to simply turn up the high pass filter on the reverb return channel. Most of the time, we’re bringing the reverb in on a regular channel, and it has full processing. So go ahead and engage that HPF and dial it up. You also might find that taking a little out of the low-mids also helps. But we’ll come back to that in a moment.

Effects Level High Pass

Some reverb effects have a high pass filter (and even a low pass) built in. You can also use the function there. Why use it at the effect level instead of the channel strip? Well, the main reason I prefer to do it there is snapshot control. It’s not that I can’t snapshot the EQ of my return channel—that’s easy enough—it’s that I’m already recalling the effect setting with each snapshot. For me, it’s easier to recall the effects, and then recall only fader movements on my individual channels. It’s easier and quicker for me to scan down the recall settings and make sure I’m not recalling any EQ or anything on any of the channels than it is to make sure I’m grabbing EQ on the effects return channels. Again, it’s not that we can’t do it, it’s just easier to do the effects. 

You may also have some different controls in the effect unit. High dampening is another one that is very useful for taming some of the high end sizzle that can make reverb stand out instead of blend in.

How High?

The question should be asked, how high to set the HPF? Well, probably higher than you think. I typically start with my high pass somewhere around 250-300 and go from there. It’s not uncommon for me to go to 400, especially when I’m layering effects. This is all by ear, of course, there is no set formula. However, what you’ll find is that the higher you run the HPF up, the more reverb you can use without it clouding the vocals. It seems counter-intuitive, but you can actually get more reverb by taking it away. At least the low end. 

Give it a try this week. I bet your mixes will sound better.

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Drum and Instrument Mic'ing Part 2

Image courtesy of Art Bromage

Image courtesy of Art Bromage

Last time around, we started talking about using mic’s in a live setting. We talked about some options for the drum kit and how to change some variables to get the right sound. Today, we’ll consider some of the other instruments on stage and how we can make them sound great. 

Don’t Get Stuck in a Rut

Sometimes, we get so used to using the same mics on something we never consider what would happen if we change them out. Or we just use whatever the last guy was using on a given instrument, without questioning if that’s the best approach or not. A great example of this is the Hammond Organ. When I arrived at my last church, we had a B3 connected to a Leslie 112 cabinet (the classic combination). We had been using two very expensive, variable pattern condenser mics on the top speaker (AKG C414), and another mic usually used for toms on the bottom rotor (Audix D4). It was what we had and it worked OK. But it was just OK.

Then I got talking with a B3 playing legend (alright, name drop, it was Bob Heil…) and he suggested changing it up a bit. So I packed up almost $2,000 worth of condenser mics and replaced them with about $500 worth of dynamic mics—Heil PR-30s—and swapped the bottom mic out with one normally used on a kick, a Heil PR-48. He suggested positioning the top mics 90° to each other and flipping one of them out of polarity. 

The first weekend we tried that, without telling our B3 player what I had done (and it’s his B3, so he knows what it should sound like), he started playing and almost immediately pulled out his ears and asked, “What did you do to the B3; it sounds so much better!” He suggested we move the lower mic back a few inches to smooth it out—which we did—and it sounded fantastic.

I’ve had similar experiences with electric guitar cabinets. Simply trying a different mic, or moving either closer or further from the center of the speaker will dramatically change the sound. Don’t be afraid to put two different mics on a guitar cabinet and mix the two (or use one or the other depending on the song). Our job as sound techs is to find the combination that sounds the best. That often takes experimentation and the willingness to try something new. 

What I’ve found is that getting the right mic—properly matched to the source—in the right position will dramatically improve your sound. You’ll know you’re on the right track when you are using less EQ and fewer plug-ins to get the sound you want. 

Finding the Right Mic

Finding the right mic is often a matter of trial and error. However, it’s helpful to ask what other engineers are using, and find out how they are using them. Talk with your dealer and see what options are out there for a given instrument. And if you buy a mic that doesn’t end up working for purpose you intended, try it on something else. A friend of mine is using a mic marketed as a tom mic on his guitar cabinets with great results. 

Ultimately, we have to remember we are in the sound reinforcement business. We take what’s on the stage and make it louder. Getting great sound starts with a great sounding source. Work with your band to get that part right first. Then choose the right mic, get it in the right spot and listen to your mix improve.

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Drum and Instrument Mic'ing, Part 1

Photo courtesy of goatling

Photo courtesy of goatling

A while back, I found myself in a somewhat unusual situation; I just couldn't get the toms sounding good. I say it’s unusual because most weeks they dialed right up and sounded really good. We had a house kit that we used every week and while the drummers changed, for the most part, the tone remained the same. But not that weekend. They didn’t have the snap they usually do, and were not sitting right in the mix. I tried EQ, I tried compression and gating. I even tried changing the plug-ins. But nothing really worked. And since we start from a baseline that should sound good, I knew something was amiss. 

Then it hit me—I hadn’t set the drum mics up, a less experienced volunteer had. I ran down to stage and sure enough, they were all out of position. Not by a lot, but by enough. I quickly repositioned them (they probably moved a total of 1 1/2” inches) and returned to FOH. Finally, I had my toms back. I reset my EQ, and compression to my usual starting points and went on with the rehearsal.

I share that story at the beginning of this series to demonstrate that quite often very small changes in mic position can yield large changes in sound. Sometimes, we will rely too heavily on “fixing it in the mix,” when what we really should do is head down to the stage and move or change the mic. Sometimes, the problem is having the wrong mic on the instrument. I’ll illustrate that point in a moment. But first let’s consider the instrument that probably has the most mics on it; the drum kit.

Drum Kit Mic’ing

How you mic your drums will depend on the room, the size of the kit, your mic inventory and the style of music you’re dealing with (not necessarily in that order). Generally speaking, most of us will have at least a mic in the kick, on the snare and high hat. Which mic you use for each will depend on taste and/or budget and inventory. There are plenty of mics to choose from for the kick (the Shure Beta 52, Audix D6, AKG D112, E/V RE320 and Heil PR-48 are popular choices), and each has a different sound. 

Placement is just as critical as mic choice. First, listen to the kick drum by itself. Get right up on it, and listen to what it sounds like. If the front head has a hole in it, I typically start with the mic sticking in the hole about 1/2, and give it a listen in the PA. If I like what I hear, I’ll leave it. If not, I may move it inside to get more of the snap of the beater on the front head, or outside to get more boom. There aren’t necessarily wrong positions; it all depends on your set up. By the way, I start this exercise with the EQ flat and leave my compressors bypassed. I want to hear what the drum really sounds like. After it sounds good with no FX, then you can work with those tools. 

For snare and tom mics, your life will be much easier if you are using rim-clip mic mounts. These give you the ability to put the mics right close to the drums without having stands all over the place. Positioning again starts with listening. If the drums don’t sound good up close, tune them (or have someone tune them). 

There are a lot of ways to get your positioning dialed in, but here’s one way to get them in the ballpark. Turn one hand over and place it near the rim of the drum. Use your other hand to flick the drum head (or use a stick). As you hit the drum head, move your other hand around and you’ll feel the hair on the back of your hand vibrate. The place where the “tickling” sensation is the strongest is a good starting point for the mic. 

Sometimes you’ll want them low and near the heads, other times, it will sound better with them off the heads just a bit. Always listen first, then adjust. Once you get it sounding good with no EQ, compression or gating, you have a good starting point for great sound. This takes a while if you’re doing it yourself, so it’s good to have someone else help.

There are plenty of ways to position a high hat mic, but lately I’ve found myself swinging a boom mic stand over the center of the cymbal and pointing the mic toward the outside rim, away from the snare. This takes advantage of the natural null in the cardioid pattern of the mic to reduce the snare spill into the high hat mic. I prefer the sound of this position, but many like to come in from the outside and get more of the open/close action of the hat. Use what works well for you. Or try something different. 

Many times, you don’t really need overhead mics. If you have a smaller (or really live) room, you may have too much cymbals already. But if not, there are two basic approaches here. One is to take one or two condenser mics and position them a few feet above the kit, on the left and right sides. These act as “whole kit” mics and will pick up all the drums as well as the cymbals. This technique can add some overall sparkle to the whole kit, though you may have to delay your close mics to keep phasing issues to a minimum. 

Another approach is to use dynamic mics with a tighter pattern—such as a Heil PR30, my personal favorite—and use them more as cymbal mics. I’ve been doing this lately and really like the results. By minimizing interaction between the drums (mainly the snare) and the cymbal mics, phasing is reduced and I find the whole kit sounds tighter. 

Yet another option is under-mic’ing the cymbals. I’m seeing this more on awards shows and concerts as it gets some of the hardware out of the way. I have not personally done this much as I’ve not had the right mounts, but some friends have tried it with good results. This definitely offers more of a cymbal mic sound, which might be just what you’re looking for.

But this is not a right/wrong thing; take the approach that works best for you in your room.

So that’s the drum kit; but there are plenty more mic’s on stage that we need to account for. But we’ll save those for next time!

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