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Multi-tracking

Multitracking is a method of recording which allows you to record separate sound sources simultaneously or
individually to create a whole piece. This is useful when, for example, only one part of the song wants to be heard,
such as the guitar. By muting all the other instruments you can hear just the guitar whereas if all of the instruments
were recorded onto the same channel they would be inseparable and there would be no way to extract the guitar
with precision to isolate it. This is also beneficial when it comes to mixing the track as it is easy to retain complete
control over sculpting each individual component of the song.

Multitracking is useful when recording drums so that it is easy to EQ, compress or add any effects to certain drums.
Although audio spill still occurs, it is significantly reduced by using separate microphones for each drum.

Overheads: In the studio we use 2 Neumann KM184’s for overheads to record overall sound. They
are condenser microphones with a frequency range of 20 Hz - 20,000 Hz. It has a cardioid polar
pattern to reduce feedback. There are multiple ways to place the microphone one being XY, where the
microphones are placed at 90º from each other, or spaced where the microphones are placed and
equal distances from the snare drum. XY placement picks up more of the entire sound as it does not
direct to the floor, whereas the spaced microphones are more direct. They are commonly plugged into
input 7 & 8 on the stage box.

R L

XY Postition

Kick Drum: In the studio we use an Audix F14 microphone.

This is a dynamic microphone with a tailored frequency
response of 30 Hz - 10 kHz. A condenser microphone is not
used as they are too sensitive for a kick drum. It has a cardioid
polar pattern to minimize feedback and isolate the drum from
the others. Microphone placement is a big factor of the sound
produced; whether the microphone is placed inside the hole
or outside on a stand, how big the hole is, how many inches
from the outside, what angle the microphone is at etc. The
kick drum is connected to the stage box via XLR cable and is
commonly in input one > channel one.
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Toms: The toms are mic’ed with Audix F10’s. This is a dynamic microphone with a
cardioid polar pattern to pick up direct signals and minimize feedback. It has a
frequency response of 50 Hz - 12,000 Hz making it good for picking up mid-bass
and mid-high sounds. The microphone is put onto a rim microphone clip onto the
High Hat: This is mic’ed rim of the drum pointing towards the centre of the skin of the drum. They are
with the Audix F15. This is commonly plugged into input 4 & 5 on the stage box.
a condenser microphone
to get a crisp, clear high
hat sound. It has a
frequency response of
100Hz - 20 kHz. It has a
wide cardioid polar
pattern along with high
sensitivity. The mic is
positioned above the high
hat towards the centre to
get the full spectrum of
sounds from the high hat.
It is commonly plugged
into input 6 on the stage
box.

Snare Top: This is mic’ed with the Shure SM57. It is
a dynamic microphone with a cardioid polar pattern
which isolates the main sound source. It has a
frequency response of 40 Hz - 15,000 Hz. This is
placed near the snare pointing towards the centre of
the skin. It is commonly inserted into input 2 of the
stage box. This microphone has the phase inversion
button on to avoid phase cancellation where two
sound waves clash and cancel each other out.
Snare Bottom: This is mic’ed with the Shure
SM58. It is a dynamic microphone with a
cardioid polar pattern which isolates the main
sound source. It has a frequency response of 50
Hz - 15,000 Hz. This is placed underneath the
snare drum to get the sound of the snare drum
beads and get a fuller sound. This microphone
commonly goes into input 3 on the stage box.
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1 2 3 4 5 6 7 8
Stage Box:

9 10 11 12 13 14 15

When recording it’s good to keep an order of inputs and which instrument goes into where. When
recording drums the order is commonly, kick, top snare, bottom snare, hi-tom, mid-tom, floor tom, hi-hat
and then overheads. Keeping it in this order makes it simple to remember and easy to put into the mixing
desk and onto computer programs.

Polar Patterns: A polar pattern is a graph showing the shape of the area that the microphone is most
sensitive to the sound. There are 5 different polar patterns.

Cardioids (unidirectional pattern) are most

sensitive to sound arriving from one particular
direction and less in all other directions. This is the
most common type and is used if a more isolated
pick up is desired.

Cardioid (unidirectional pattern) mics also come in

other variations such as the supercardioid and the
hypercardioid.
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The omnidirectional pattern has an equal

response at all angles. Its pickup angle is a full
360 degrees. They produce a very natural sound,
good for ambience.

Bi-directional microphones receive sound equally

from both the front and back. Since sound arriving
from the side reaches the front and back equally at
the same time the microphone has no sensitivity
to a certain direction.