Jacquire King: UA Modeling Microphones Masterclass (Jazz)
TLDRJacquire King hosts a masterclass in his studio, showcasing Universal Audio's new microphone models utilizing Hemisphere technology. He and his team demonstrate various miking techniques for jazz drums, revealing the setup and microphone placements for a 59 Gretch kit. King shares tips on achieving a transparent sound, adjusting for resonant frequencies, and balancing the kit with room mics. The class also covers the recording process, microphone selection, and the impact of mic modeling on the overall sound quality.
Takeaways
- 🎙️ Jacquire King introduces a masterclass on Universal Audio's modeled microphones, focusing on three new microphones using Hemisphere technology.
- 📍 The session takes place in Jacquire King's studio in Franklin, Tennessee, where they demonstrate the technology across four music genres.
- 👥 Jacquire King is joined by his studio team, Sam Horn, Dawson March, and Dawson Geneva Co, who contribute as composers, co-producers, and performers.
- 🥁 The first demonstration is a jazz song, with Logan Todd as the session drummer, using a 1959 Gretsch kit tuned high for a jazz sound.
- 🎨 The drum kit setup is detailed, with specific attention to the tuning, dampening, and positioning to achieve a warm, round sound without a port on the front head.
- 📌 The placement of the SD5 microphone on the kick drum is explained, emphasizing finding a 'sweet spot' for transparency and minimizing resonant frequencies.
- 🔊 The use of different microphones for various drum parts is described, including the SD3 on the snare, SP1s on the high hat and ride, and the SD7 on the floor tom.
- 🌐 The importance of room microphone placement is highlighted, with the goal of achieving a balanced room tone that complements the close mics.
- 🔍 The process of checking microphone polarity and phase relationships is outlined, focusing on minimizing low-frequency cancellations.
- 🎹 The piano overdub section discusses mic selection and placement for capturing a more ambient, open sound, contrasting with the intimate piano sound in the rest of the track.
- 🎛️ Jacquire King shares his approach to mic modeling and the impact of proximity effect, using the LD 67 microphone for its balance in the lower mid-range without clouding the bass.
Q & A
Who is Jacquire King and what is the purpose of the video?
-Jacquire King is a renowned audio engineer and producer. The purpose of the video is to demonstrate Universal Audio's modeling microphones using their Hemisphere technology in recording different genres of music, starting with a jazz song.
What new microphones are introduced in the Universal Audio's standard line?
-The new microphones introduced in the standard line that use the Hemisphere technology are the Sphere, DLX, and LX.
What is the significance of the Hemisphere technology in microphones?
-The Hemisphere technology allows for a wide range of microphone emulations, giving users an extensive 'mic locker' to create world-class sounding records.
Who are the members of Jacquire King's studio team mentioned in the script?
-The members of Jacquire King's studio team are Sam Horn, Dawson March, and Dawson Geneva Co, who goes by DG.
What is the role of Logan Todd in the video?
-Logan Todd is a session drummer who helps in recording drums for the four compositions demonstrated in the video.
What type of drum kit is used in the jazz song recording?
-A 1959 Gretsch kit is used for the jazz song recording, tuned high to achieve a typical jazz sound.
How is the kick drum set up in terms of microphone placement?
-The kick drum is set up with the SD5 microphone placed on a 'sweet spot' where the drum head moves the least, to avoid resonant frequencies and achieve a more transparent sound.
What is the purpose of not using a port on the front head of the kick drum?
-Not using a port on the front head of the kick drum aims to give it a warmer, rounder sound with some muffling to reduce overtones.
How does Jacquire King approach the microphone placement for the snare drum?
-The snare drum is miked with the SD3 in a typical position, just over the drum and slightly towards where the stick or brush will play, to capture attack and a bit of openness.
What is the significance of using SP1s on the high hat and ride cymbals?
-The SP1s are used to capture a hole sound, pointing into the kit slightly, to add a bit of the room tone and fill out the stereo field.
How does Jacquire King ensure minimal cancellation in the low frequencies when recording?
-He checks the polarity of all microphones starting with the kick drum, comparing it with the overhead, snare, and room mics, ensuring all amplitude starts positively to minimize cancellation in the low-end capture.
Why does Jacquire King use the API microphone PR in the Unison slot during recording?
-The API microphone PR is used in the Unison slot to commit the sound to the recording, allowing for flexibility in post-production and demonstrating the capabilities of the mic modeling during the session.
What is the role of the vision strip in the recording process?
-The vision strip is used for applying post-recording effects such as compression, EQ, high pass, and low pass filters, without baking these effects into the recording.
How does Jacquire King approach piano miking for the C-section of the song?
-For the C-section, Jacquire King opts for a more ambient open sound by miking the piano further away, providing a sonic departure from the intimate feeling of the piano in the rest of the song.
What microphones does Jacquire King consider for the piano overdub and why does he choose the LD 67?
-Jacquire King considers the LD 67, LD 12, and the LD 251 for the piano overdub. He chooses the LD 67 because it offers a warm lower mid-range without clouding the bass, providing a balanced sound that he prefers over the other options.
How does Jacquire King use the proximity effect in the microphone placement?
-Jacquire King uses the proximity effect by moving the microphones closer to the source for more low-end punch and focus. He also uses the plugin to replicate the effect of moving the microphones away, testing the impact on the sound.
Outlines
🎙️ Introduction to Universal Audio's Modeling Microphones
Jakir King welcomes viewers to his studio in Franklin Tennessee, where he introduces Universal Audio's new microphones that incorporate Hemisphere technology. These microphones, including the Sphere DLX and LX, are designed to work alongside standard line microphones, offering a versatile 'mic locker' for recording high-quality music across different genres. The video will demonstrate these microphones using four different genres, with a focus on drum miking techniques and additional instrumentation. The studio team, including Sam Horn, Dawson March, and Dawson Geneva Co (DG), will assist in composing, co-producing, and performing overdubs. The session also features drummer Logan Todd, who will record drums for the compositions.
🥁 Setting Up the Jazz Drum Kit and Microphone Placement
The video continues with a detailed look at setting up a 1959 Gretsch drum kit for a jazz song. The drums are tuned high, with the toms and snare open for a warm, round sound, and no port on the front head. The kick drum has a cushion to control resonance. Jakir demonstrates the placement of the SD5 microphone on the kick drum, seeking a 'sweet spot' for transparency. The snare drum is mic'd with an SD3, and SP1 pencil condensers are used for the high hat and ride. The floor tom is mic'd with an SD7, and the overall kit is set up to capture a jazz-like, open sound. The room mic is placed by walking around the room to find a balanced tone. Polarity checks are performed to ensure minimal cancellation in the low frequencies.
🎛️ Dialing in the Drum Sound and Microphone Choices
Jakir moves to the control room to fine-tune the drum sound, starting with the core microphones and then adding others to the mix. He emphasizes the importance of low-end capture and checks the amplitude and phase relationships between the microphones. The goal is to minimize cancellation in the low frequencies. After recording, Jakir listens back to the drum sound with a composition, making sure the overhead microphone contributes significantly to the overall sound. He also discusses the use of the API microphone PR in the Unison slot and the flexibility of the mic modeling, Hemisphere, and Sphere U plugins in the monitor for post-recording adjustments.
🎹 Piano Overdub and Microphone Modeling Experimentation
The session progresses to a piano overdub for the jazz tune.不同于以往的近距离麦克风设置，这次选择更远距离的麦克风摆放，以捕捉更开放的环境声音。Dawson plays the piano while Jakir experiments with different mic modeling choices, eventually settling on the LD 67 for its warm lower mid-range without clouding the bass. The proximity effect is tested by moving the microphones away and then adjusting the placement to replicate the effect using the plugin. The natural sound of the piano and the room's acoustics are highlighted, with minimal need for EQ or processing.
🎼 Final Thoughts on Microphone Selection and Sound Quality
In the final part of the script, Jakir reflects on the importance of microphone selection and placement, noting how the choice of the LD 67 provided a perfect balance for the piano sound. He compares it to other options like the LD 12 and the 251, which had some undesirable qualities. The discussion highlights the subtle differences that can be heard when combining microphones and the power of the technology to shape the sound. The session concludes with a successful piano overdub, emphasizing the importance of the kick drum as the foundation of the sound and the impact of changing its microphone emulation.
Mindmap
Keywords
💡Jacquire King
💡Universal Audio
💡Microphone Modeling
💡Hemisphere Technology
💡Drum Kit
💡Miking Techniques
💡Polarity
💡Room Mic
💡Proximity Effect
💡API Microphone PR
💡LD 67
Highlights
Introduction to Jacquire King's studio and Universal Audio's modeling microphones.
Three new microphones in the standard line using Hemisphere technology.
Demonstration of technology with four genres of music, including drums and different drum miking techniques.
Introduction of studio team members involved in composing and co-producing.
Logan Todd, session drummer, discusses the setup of the 59 Gretsch kit for a jazz song.
Explanation of drum tuning and muffling techniques for a jazz sound.
Placement of the SD5 microphone on the kick drum for transparency and minimal resonance.
Use of SD3, SP1, and SD7 microphones for snare, high hat, ride, and floor tom respectively.
Technique for finding a balanced room tone with the room microphone.
Importance of polarity checks and low-end capture in microphone setup.
Adjustment of microphone positions based on composition feedback.
Use of API microphone PR in Unison slot for recording commitment.
Explanation of monitor and record effect choices in the recording process.
Piano overdub technique using ambient open sound with microphones placed further away.
Experimentation with LD 67 and LD 12 microphones for piano sound.
Discussion on the balance between microphone choice and sound processing.
Finalization of microphone placement and recording of piano overdub.