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A single-mic setup with the mic directed at the speaker cone and almost touching the grille cloth can get you a good sound, especially if you tweak the positioning ( see our guide to amp mic'ing for more), and it's important to monitor the effects on tone when you change the positioning dead centre will be punchier, positioning to the edge adds a darker tonality. It's important to monitor the effects on tone when you change the mic positioningĭynamic mics are rugged enough to cope with the high frequency sound pressure levels coming from amplifier speakers.
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Make sure your overhead drum mics are equidistant to avoid mic phasing 5. And to reduce the amount of hi-hat cymbal sound hitting the snare mic, make sure it's facing directly away from the hi-hat. The further you move it away, the more room ambience you'll get. You may also choose to place a pillow inside the kick drum as a muffler to reduce unwanted overtones and help give a punchier, less boomy sound.įor the snare, position the dynamic mic a couple of inches above and an inch from the edge of it. It's vital that they are equal distances from the kit to avoid mic phasing (which happens when the sound is hitting each mic at different times).įor the kick drum, the closer you position the mic to the batter head (the side that is hit) the more attack you'll get from the sound. Start by positioning them six feet above ground level and aimed down at the kit. These capture the sound of the kit being played in the room and help produce a clearer cymbal sound. Using a four-mic setup for the drums to capture clean sound, start with the overhead mics first. You can minimise bleed between the other instruments by positioning musicians in a semi-circle or horseshoe shape so they're spaced out from each other but still close enough to communicate but amps aren't facing each other where they could cause feedback. It tends to happen less with the close mics you'll have on amps, but the drums are a loud instrument and spill from them is likely.īecause of this it's advisable to record your vocals in a separate session rather than have a sensitive condenser mic picking up the other instruments as well. This is when the instrument on one mic is picking up the sound of another. Positioning the bandīecause you'll be using mics to record the instruments, 'spill' or 'bleed' is inevitable between them. “One Man Band” is the second single from Old Dominion’s self-titled third album, which dropped in October.Having a mate to be your engineer can simplify and speed up the process 3. You never know when inspiration is going to hit.” Then we came back to it later-I think probably a couple of weeks later-out on the road in a dressing room and we finished that song up. we were supposed to be walking out onstage, but instead we were sitting there next to this big speaker singing. “The intro music was playing-we had had the idea but it just kinda struck in that moment.
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“We actually started writing ‘One Man Band’ immediately before we were supposed to be onstage one night,” says Matthew. Penned by Josh Osborne with Old Dominion’s Matthew, Trevor and Brad, “One Man Band” fits the OD playbook with its clever spin on the idea of committing to a relationship instead of the solitary life: “I don’t wanna be a one man band, I don’t wanna be a rolling stone alone / Putting miles on a rundown van, baby, we can take our own show on the road / I’ll lay down the beat, you carry the tune, we’ll get tattoos and we’ll trash hotel rooms / Baby, take my hand, ’cause I don’t wanna be a one man band.” 1 single this week as “One Man Band” ascended to the top of both the Billboard Country Airplay chart and Mediabase chart. The guys from Old Dominion-Matthew Ramsey, Trevor Rosen, Geoff Sprung, Brad Tursi and Whit Sellers-scored their eighth No.