First Listen! Universal Audio SD-3, SD-5, SD-7 Standard Hemisphere Microphones! With Drum Samples!
TLDRIn this video, the host introduces three new Universal Audio SD-series microphones: the SD-3, SD-5, and SD-7. These dynamic microphones are versatile for various instruments, especially drums, due to their cardioid and hypercardioid polar patterns. The highlight is the Hemisphere plugin, which emulates the sound of different microphone models, allowing for flexible sound shaping without changing hardware. The viewer is treated to a raw drum kit demo, showcasing the microphones' natural sound and the potential for enhanced tones through the plugin's emulation options.
Takeaways
- π€ Universal Audio has released three new microphones: SD-3, SD-5, and SD-7, all part of the Standard Hemisphere series.
- π The SD-3 is a cardioid dynamic microphone, versatile for various high SPL instruments like snare, guitar cab, and horns.
- π The SD-3 comes with sturdy metal clips for precise angle adjustments and secure placement even in high-vibration environments.
- ποΈ The SD-7 is a hypercardioid microphone, ideal for applications requiring more sound rejection from adjacent instruments.
- π The SD-5 is a supercardioid microphone, designed to capture low frequencies effectively, suitable for kick drums and bass cabinets.
- π¦ All microphones in the series include metal clips and come with pouches and instruction manuals for ease of use and transport.
- π The microphones feature a unique Hemisphere plugin that emulates the sound of other classic microphones, offering flexibility in recording.
- π΅ The video demonstrates the microphones' performance on a drum kit, using additional mics like the SD-1 for hi-hats and SP-1 for overheads.
- ποΈ The Hemisphere plugin allows for real-time or post-production microphone emulation, providing the option to change the sound without re-recording.
- πΆ The demo showcases two drumming tempos, first in the microphones' natural state and then with various Hemisphere plugin models applied.
- π The video illustrates how the same microphone can be used for different sounds by switching emulation models, enhancing the recording process.
- π€ The host invites viewers to check out his friend George's drumming channel and emphasizes the ease of achieving diverse sounds with the new microphones.
Q & A
What are the three new microphones introduced by Universal Audio?
-The three new microphones introduced by Universal Audio are the SD-3 cardioid microphone, the SD-5 supercardioid microphone, and the SD-7 hypercardioid microphone.
What is the primary use of the SD-3 microphone?
-The SD-3 is a dynamic cardioid microphone designed for use on instruments with high SPL, such as snare drums, guitar cabinets, and horns.
What is special about the microphone clips included with the Universal Audio microphones?
-The microphone clips are made of metal, sturdy, and allow for angle adjustment as well as the tightness of the microphone hold, which is crucial for minimizing vibrations and preventing the microphone from sliding down.
How does the SD-7 microphone differ from the SD-3 in terms of polar pattern?
-The SD-7 has a hypercardioid polar pattern, which is more focused and provides better rejection from adjacent instruments, making it suitable for applications like percussion, horns, toms, and snare where more isolation is needed.
What is the main feature of the SD-5 microphone?
-The SD-5 is designed to capture a lot of low frequencies and is suitable for use in front of a kick drum or bass cabinet, where a significant amount of low end is required.
What is the significance of the Hemisphere plugin for these microphones?
-The Hemisphere plugin emulates other microphones, allowing users to choose from at least five different microphone models for each microphone in the Standard series, providing versatility and the ability to change the sound without needing additional hardware.
How does the demonstration of the microphones on a drum kit showcase their capabilities?
-The demonstration includes recordings of a drum kit using the microphones both in their natural state and with various Hemisphere plugin models enabled, showing how they can adapt to different recording situations and provide a range of tonal options.
What is the purpose of the 'subkick' model in the Hemisphere plugin?
-The 'subkick' model in the Hemisphere plugin is designed to capture a lot of low end, simulating the sound of a subkick drum, and can be used to enhance the low-frequency content of a kick drum recording.
How can the microphone models be used to blend different sounds in a drum recording?
-By using different microphone models from the Hemisphere plugin, such as the D12 for a subkick sound and the 112 for a more attack-focused kick sound, one can blend these models to create a fuller, more dynamic kick drum sound.
What are the advantages of using the 441 and 421b models in the Hemisphere plugin for snare?
-The 441 and 421b models in the Hemisphere plugin are favored for snare due to their sizzle top end, providing a bright and crisp sound that can be adjusted with the plugin's proximity control for the desired tone.
How does the video script demonstrate the flexibility of the Universal Audio microphones and the Hemisphere plugin?
-The script demonstrates flexibility by showing how the same microphones can be used in various configurations and with different plugin models to achieve the desired sound for different drum kit components, without the need for additional hardware changes.
Outlines
π€ Introduction to Universal Audio's New Microphones
The video script introduces three new microphones from Universal Audio, starting with the SD-3 cardioid dynamic microphone, which is versatile for high SPL instruments like snare drums, guitar cabinets, and horns. It comes in single or three packs with sturdy metal clips for angle adjustments. Next is the SD-7 hypercardioid microphone, ideal for instruments requiring sound rejection, such as percussion and toms. Lastly, the SD-5 supercardioid microphone is highlighted for its low-end frequency capture, suitable for kick drums and bass cabinets. The script mentions the inclusion of a hemisphere plugin that emulates other microphone models, allowing for flexibility in recording and post-production.
π΅ Demonstrating Microphone Sound Quality and Emulation
The script describes a demo of the microphones on a drum kit, using additional microphones like the SD-1 for the high hat and SP-1's as overheads. The raw sound of the microphones is showcased without any processing. The hemisphere plugin's ability to emulate different microphone models is demonstrated, starting with the kick drum. The script explains how the DN sub model can mimic a subkick, enhancing the low-end frequencies. The process of duplicating the channel and blending different emulations to achieve a desired sound is detailed, emphasizing the flexibility and sound quality of the microphones.
π Exploring Emulation Models for Drum Recording
The script continues to explore the use of emulation models for different drum components. It discusses the snare microphone options, the SD-3 and SD-7, and how the proximity effect can be adjusted for tonal changes. The SD-7's hypercardioid pattern is praised for its ability to minimize bleed from the kick drum. Various emulation models are tested for the snare, with the 441 and 409 models being favorites for their top-end sizzle and low-end presence, respectively. The script also covers the high hat, rack tom, and floor tom microphone selections, emphasizing the importance of choosing the right model for each drum's context within the kit.
πΌ Overhead Microphone Selection and Sound Preferences
The script focuses on the overhead microphones, using the SP-1's in an X and Y configuration, similar to an ORTF setup. The choice of microphone models for the overheads is discussed, with a preference for the 54 model due to its darker sound, but also considering the need for high-end presence in the mix. The importance of context in microphone selection is highlighted, as the choice may change depending on the song's requirements and the overall mix.
π§ The Advantages of Hemispherical Technology in Recording
The final paragraph emphasizes the time-saving benefits of the hemisphere technology, which allows for flexibility in microphone selection during recording or post-production. The script explains how this technology simplifies the process of adapting to different instruments and production needs without the need for changing microphones or extensive EQ and compression. The video concludes with an invitation for viewers to ask questions, like, subscribe, and engage with the content.
Mindmap
Keywords
π‘Universal Audio
π‘Cardioid Microphone
π‘Hypercardioid
π‘Supercardioid
π‘Dynamic Microphone
π‘Hemisphere Plugin
π‘SPL (Sound Pressure Level)
π‘Microphone Clip
π‘Polar Pattern
π‘Emulation
π‘Drum Kit
Highlights
Introduction to three new Universal Audio SD-series microphones: SD-3, SD-5, and SD-7.
SD-3 is a cardioid dynamic microphone available in single or three packs, ideal for high SPL instruments.
SD-3 includes sturdy metal clips for precise microphone positioning and vibration resistance.
SD-7 is a hypercardioid microphone with a focused polar pattern for better instrument rejection.
SD-5 is a supercardioid microphone designed for capturing low frequencies, suitable for kick drums and bass cabinets.
All SD-series microphones come with a metal clip and are high SPL handling, making them versatile for various loud sound sources.
Demonstration of microphones on a complete drum kit, showcasing their natural sound without any emulation.
The unique Hemisphere plugin allows emulation of different microphone models, providing flexibility in recording.
Ability to record through modeling or apply it later, offering post-recording flexibility.
Raw drum recordings using Apollo x8p interface with no additional processing for authenticity.
Application of Hemisphere emulation to the kick drum, demonstrating the subkick model for enhanced low end.
Technique to duplicate and blend microphone channels for a fuller kick drum sound.
Snare microphone sound comparison using SD-3 with different Hemisphere models for tonal variety.
Use of SD-7 on snare bottom to minimize bleed from the kick drum due to its hypercardioid polar pattern.
High hat recording preference for the 88 model through the Hemisphere plugin for a unique sound.
Rack tom recording with SD-7 and selection of the 160 ribbon microphone model for its distinct characteristics.
Floor tom recording with SD-3 and the choice of D4 model for its favored sound quality.
Overhead recording using SP-1's in an ORTF configuration and preference for the 54 model for its darker sound.
Final drum kit recording with all chosen microphone models and the impact of Hemisphere plugin on the overall sound.
The time-saving benefits of Hemisphere technology in adapting microphones to different recording situations without physical changes.