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Stereophonic Sound es una compañía que brinda soluciones en audio profesional para el desarrollo de proyectos en diferentes líneas de mercado. Cuenta con la experiencia de profesionales en ingeniería de sonido.
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Shure PGADRUMKIT7
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Set de 7 micrófonos para batería
El Kit de Micrófono de batería PGADRUMKIT7 es un paquete completo de micrófonos de calidad profesional diseñado para proporcionar un sonido excelente para la presentación y grabación de kit completo. En el PGADRUMKIT7 se incluyen un micrófono de bombo PGA52, tres micrófonos de bombo PGA56, un micrófono de instrumento PGA57 y dos micrófonos de instrumento PGA81, junto con tres soportes de bombo y siete cables XLR-XLR y un estuche de transporte.
Descripción
El kit de micrófonos PGADRUMKIT7 está especialmente diseñado para bateristas, productores, ingenieros de grabación, estudios de grabación y en cualquier otro lugar en donde se requiera.
Configuración del set de micrófonos
| Kick (PGA52) | Place the microphone in front of the resonant kick drum head. |
| If there is a hole in the head, place the microphone inside for better isolation. 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. | |
| 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 reduce the amount of cymbal in the snare drum signal. | |
| 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″ microphone stand. | |
| Point towards the center of the head for a deeper sound, or closer the edge to capture more overtones. | |
| 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 |
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