July 31st 2018: Site development on hold until Autumn. Following last week's unwelcome hacker attack, the Cambridge-MT site seems now to be back in a reasonably stable and usable condition, although we can't guarantee we've completely removed all malicious scripts from the server. However, I was already planning to completely redevelop the site in September/October to accompany the forthcoming second edition of Mixing Secrets For The Small Studio, during which process the server will be totally cleaned out and reinitialised. Until then, though, I won't be adding any new resources, so as to avoid destabilising the current site in the short term. If you'd like to support my ongoing development of this site, please consider joining the Cambridge-MT Patrons. Thanks for your understanding. Mike S.



Home Training & Advice Studio Services About CMT   Recording Secrets For The Small Studio

The 'Recording Secrets' Library Of Microphone Positions:
Cymbals

The following audio examples were recorded with drummer Peter Zimre in a large, high-ceilinged converted loft space. The microphones used were Avantone CK1 small-diaphragm condenser mics, preamplified via an Audient ASP008 multi-channel microphone preamp and recorded digitally without any signal processing.


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MULTIMIC SETUP 1

This microphone setup used five Avantone CK1 microophones with their cardioid capsules to record the angular dispersion of four different cymbals: a nineteen-inch Sabian AAX X-Plosion Crash ('Crash 1', shown below); an eighteen-inch Sabian AA Medium Thin Crash ('Crash 2'); a twenty-inch Zildjian K Custom Ride ('Ride'); and a nineteen-inch AAX X-Treme Chinese ('China').

  • ANGLES IN THE VERTICAL PLANE: With the cymbal set up on a stand about 1.3m from the floor, the mics were placed on the vertical plane of the player at five different angles to the cymbal: directly above the cymbal; 30 degrees from vertical; 60 degrees from vertical; on the horizontal plane of the cymbal; and 30 degrees below the horizontal plane of the cymbal. All mics were approximately 60cm from the cymbal's bell in each case.


(For a higher-resolution image, click here.)

Mic Cymbal Angle
Crash 1 Crash 2 Ride China
A WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp Above the cymbal
B WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp 30 degrees from vertical
C WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp 60 degrees from vertical
D WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp On the horizontal plane of the cymbal
E WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp 30 degrees below the horizontal plane of the cymbal


MULTIMIC SETUP 2

This microphone setup used five Avantone CK1 microophones with their cardioid capsules to record different above-cymbal placements for the same four different cymbals: a nineteen-inch Sabian AAX X-Plosion Crash ('Crash 1'); an eighteen-inch Sabian AA Medium Thin Crash ('Crash 2'); a twenty-inch Zildjian K Custom Ride ('Ride', shown below); and a nineteen-inch AAX X-Treme Chinese ('China').

  • Positions Above The Cymbal: With the cymbal set up on a stand about 1.3m from the floor, the mics were placed on the horizontal line roughly 45cm above the cymbal surface pointing downwards at five different locations on the cymbal: the player's edge; midway between the player's edge and the bell; directly on the bell; midway between the bell and the far far edge; and the far edge.


(For a higher-resolution image, click here.)

Mic Cymbal Position
Crash 1 Crash 2 Ride China
A WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp Pointing at the player's edge
B WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp Pointing midway between the player's edge and the bell
C WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp Pointing directly at the bell
D WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp Pointing midway between the far edge and the bell
E WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp WAV/MP3 bp Pointing at the far edge

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