Microphones needed
First, you’ll need two mics, one cardioid, and one bi-directional (“figure 8”). It’s traditionally recommended that you use either the same mics (two multi-pattern models, one set to cardioid and the other set to figure eight) or two similar mics, but this isn’t essential. I’ve experimented with a dozen combinations and have always achieved useable and often spectacular results.

Placement of a Mid-Side Mic Array

I find it’s always best to start with the “Mid” (cardioid) mic. You’ll need to aim that directly at the sound source. As with normal cardioid mic placement, adjust the “aim” to taste; but if you’re a fan of close mic’ing, try pulling back from the source a bit further; this will result in a more natural stereo image.

Next, place the “Side” (figure 8 ) mic so that the two lobes of the pattern are set 90° relative to the cardioid microphone (i.e. so that the side of the mic is facing the sound source [see picture 1]). Like the more popular XY, Mid/Side is a coincident microphone technique, so you want to get the diaphragms of the two mics as close together as you can. This position allows the figure-8 mic to pick up ambient and reverberant information coming from the sides of the sound source, although the sides will have opposing polarities.

Note: the bidirectional (figure 8 ) mic is not a stereo mic: if you turn the middle mic off, you will not hear independent left and right channels from the side mic.

Once you’ve placed your microphones in their proper relation to one another, feel free to experiment with position and distance in relation to the sound source. When used to record drums or grand piano, it can be placed as an overhead (for a more direct sound) or further back in the room (for ambiance). The closer you get to the source the more exaggerated the stereo effect becomes in relation to that source. Conversely (especially with Mid/Side recording), as you move further away from the source, you begin picking up more of the room ambience; how the instrument sounds in the room.

In this audio example, I have the Mid/Side array about four feet above the snare drum. I also pay close attention to where I point the array at the drum set. Since the snare drum is generally panned dead center, I make sure to point the mid mic at the snare. This is important to remember when recording individual instruments as well.

If you’re tracking an acoustic guitar, where you point the Mid/Side array will determine where in the stereo field the guitar seems to be coming from. In this case, I prefer to point the array where the guitar’s neck and the body meet. Experiment with angling the array more towards the body or toward the neck depending on where you think the instrument should be panned.

Mic Preamps

Now that you have your mics set up, what next? Well, you need to configure how you record your signals. To do this you’ll need either:

1. A mic preamp with a built in M-S decoder
-or-
2. An M-S decoder plug-in for your DAW and any two similar mic pre-amps (the ones on your mixer will do).
Here are a few suggestions of equipment and software that I’ve used over the years:

1. Mic-Preamps (w/ decoder): ART ProMPA, Mackie Onyx 800, Universal Audio DCS
2. Plug-Ins: Waves S1, Voxengo’s free VST format Mid/Side decoder

Each of these options comes with a few drawbacks. With the M-S decoder in the preamp, you’ll have to decide on the width of the stereo signal before you record. Whatever you choose, you’re stuck with that track as you cannot go back and change the stereo width. When using a DAW plug-in with standard mic pre-amps, you won’t be able to monitor the stereo signal until after you’ve recorded it. However, you can adjust the width of the stereo image to your heart’s content after the fact. If you’re recording someone with this method and they need to monitor their instrument with the rest of the mix (through headphones or in a tracking room), just feed them the signal from the “Mid” mic by itself.

Another alternative, which is my personal favorite, is to use a mic preamp with two identical outputs like the Joe Meek 3Q (a bargain at $250). This option would involve plugging the “Side” mic into the 3Q and sending both outputs into separate inputs on your mixing console and panning them hard left and right (and maintaining identical volumes). You will need to flip the phase switch on one of those channels (it’s the switch with this “ø” symbol on it) and actually record three separate tracks (the “Mid” signal and L/R “Side” signals coming from the 3Q). This method has the distinct advantage of allowing you to both monitor the sound before you record it and adjust it afterwards.

Mid-Side Mic Advantages

In case you’re wondering at this point why you would want to put forth all this effort just to get a stereo signal?   Let me point out the two substantial advantages.

A. When mixing in that previously mentioned acoustic guitar, for example, if you notice the Mid/Side recorded tracks taking up too much space in the mix, you can simply reduce the level of the side mic (narrowing the stereo image). Or, you can eliminate the side mic altogether and still have a perfectly recorded mono track. Just try that with the XY stereo technique.

B. Absolute phase coherency. You won’t hear swishy cymbals or phased sounding notes from a piano or guitar, because the mid mic picks up its sound at the null point. What is the ‘null-point’? Well, the array derives its information from three completely different points in space, so the ‘null-point’ is where these 3 points intersect. The spot where the figure 8 pattern mic picks up nothing at all, and the side mic receives information from both sides of the same diaphragm (when the right side goes in, the left side is going out).

When working with an XY array, you have two independently moving diaphragms picking up much of the same information in the middle but the mics are pointed 90º away from each other. This independent diaphragm movement and the opposing direction of the mics almost guarantee that you will suffer some comb filtering from the sound picked up by both mics. This won’t always ruin a stereo track but it only had to happen to me a couple of times before the Mid/Side became my preferred method for stereo recording.

Back to Decoding

If you’re using a preamp with the M/S blending feature built into it, then your decoding has already been done. Again, there’s no adjusting the stereo image. That glorious, phase free stereo track you’ve recorded is what you’re stuck with. If you’re using one of the other methods I mentioned earlier, let me explain how to record and use those tracks.

DAW Recording

First, add two mono recording tracks in your DAW software, making sure to route the inputs of your software to their corresponding tracks. I have a trick that keeps me from screwing this up! I always organize my tracks as follows: “Mid” first track and “Side” second track. I always use odd/even pairs to send to those tracks.

Example: “Mid” mic goes into channel 1 on my mixer, then into input channel 1 on my DAW software, then into rec/playback track 1 which I’ve labeled “Mid”. The “Side” mic is plugged into channel 2, and follows the same numbering as track 1. This helps me keep track of pretty much any stereo recording method.
Now, record-enable both tracks, make some noise and record for a few seconds. When you playback these two tracks, you’ll hear an odd, sort of “sideways” sounding analogue of your original sound source. This is not what you were hoping for! So we need to move onto the decoding phase…

You’ll need to create a stereo “group/submix” track in your project. Make sure this stereo track is routed to the Master output. Load your M-S decoder plug-in onto the “group/submix” track.
Note: No adjustments to the decoder plug-in are needed; it simply “decodes” the information that’s fed into it.

Now, pan the “mid” track all the way left and the “side” track all the way right. All you need to do next is route the outputs of your “mid” and “side” tracks to the inputs of your “group/submix” track. Set the ”mid” track at “0” gain, neither boost nor cut any of the signal, and set the ”side” track at “-5” gain.

If you’ve routed the tracks properly you should hear your Mid/Side signal in all its glory. If it sounds too wide, simply turn down the “side” track. If it’s not wide enough, then turn it up. As I mentioned earlier, experiment with the placement. Angle the array to the left or right, move it closer or further back, to the left or right. And know that, when mixing, if the song calls for a subdued mono version of your M/S recorded tracks, you can mute the “side” track and pan the mono “mid” track wherever you want to.

So you don’t have an M/S decoder plug-in. There is still hope; oh, and another option for you. You can make a copy of the “Side” track and then invert the phase on it. Simple enough…just add another mono track to your song, make sure the song position indicator is exactly where the “side” track starts, paste the copied audio recording onto that added mono track and then “invert phase”.   Next, simply pan the original and copied track hard left and right while making sure they maintain identical volume levels.  Blend these tracks with your “mid” track and presto, Mid/Side without the decoder! Like plug-ins, you aren’t able to hear the stereo signal until after you’ve recorded and copied it, however, you can adjust the width of the image after recording.

Feel free to comment & discuss further as this can be a bit tricky the first go around.  Again, the results are incredibly satisfying.

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Then, out of the blue, came a scattering of affordable new ribbons by budget mic manufacturers in the faraway reaches of Asia and Eastern Europe.  I know lots of you, like me, bought some of these microphones in the past.  And I’m sure many of you, like me, were underwhelmed.  Most of these mics are dark, murky and damn near inaudible.  Still, I haven’t dismissed the validity of the virtues of ribbons.  I’ve simply chalked it up to the adage “you get what you pay for” and I’ve gone about merrily using my condenser mics for recording vocals, acoustic guitars and drum overheads.

A few years ago, though, a few industrious entrepreneurs started companies that once again went to Asia and Eastern Europe and took advantage of the cheap labor costs and the new designs of modern ribbons, and they’re responsible for today’s new “reasonably” priced offerings.  Having used some of these reasonably priced new mics for some time now, I can say, unequivocally, that all the hype is real.  Ribbon mics offer a realism and multi-dimensional sound that you have to hear to believe. I also find that, at the mix stage, the sounds they record respond much better to EQ and compression leaving me with sonic options I never had before.

Let me be clear, not all of the new ribbons are amazing.  Some are more useful as paperweights.  And when I say “reasonably” priced I mean under $1,000, though there are a couple as low as $199. Some of these new gems include offerings by Cascade and Shinybox out of Washington state, Crowley and Tripp out of Massachusetts, Sontronics in England and SE Electronics in China (yeah, that China).  And since we’re talking about China, that’s where many of the parts that both Shinybox and Cascade use in their ribbons come from (though they’re meticulously assembled in Washington State.)   And one more thing, those parts are also very high quality, so let’s put an end to dismissing all gear with a “made in China” label as inferior.

Before I go on about some of my favorite mics and their uses, let me attempt to describe what these things are. A ribbon mic is a type of dynamic microphone, like a Shure SM 57.  Unlike an SM 57, which uses a coil of wire wrapped around a “cap-like” diaphragm suspended over a magnet, ribbons use a very thin strip of aluminum or nanofilm placed between the poles of a magnet.  These mics respond to the air velocity of the sound wave by means of electromagnetic induction, as opposed to dynamics, that respond to pressure variations.  Most but not all, are bi-directional (figure eight), which simply means they pick up sound equally from both the front and back.  Additionally, the word on these mics is that they were once too quiet, rather fragile (it doesn’t take much to break a piece of aluminum many times thinner than a chewing gum wrapper) and running electric current through them (48v phantom power) would fry the ribbon.

All of the above used to be true of most ribbon mics but not anymore.  Several modern designs are wired to ignore phantom power and can handle sound pressure levels up to 135 dB or more. There are also new, though more expensive, designs called “active ribbons” that actually feature a built in preamp (powered by 48v phantom) to substantially boost their output.  My favorite newer designs are the stereo mics (two ribbons, stacked one on top of the other, facing 90° apart) and the cardioid & hypercardioid models.

Here is my disclaimer: this article is not intended to present all of the good, inexpensive ribbon mics available. I haven’t heard all of them.  The microphones I mention hereafter are models I either own (and paid for) or have used extensively, and of course, this is just my opinion.

There’s a method to this mic’ing madness.

When you’re setting up your snare, the goal isn’t just to score a loud, punchy sound—you have to find a balance.  An explosion of beats doesn’t give your track the rich complexity it deserves.  Likewise, you don’t want your snare to fall flat. So how do you hit a high note? Practice, my friend, and do it before you hit “record.”  In fact, you should try to work out all of the kinks before you hit the mixing board; that way your headaches will be substantially reduced.  Don’t rely on the mixing process to allow the time for sound correction.  By finding your perfect set-up before you record, you’re more likely to achieve the perfect sound.

Just ask Jim Moreland, a drummer and recording artist with more than 25 years of experience in the music industry.  Jim also owns an Orange County, CA-based studio Live Oak Recording, and he’s here to share his most valuable snare secrets with our Sonic Weekly audience.

Step One: Get To Know Your Snare

The sound of a snare drum can vary significantly from drum to drum, so it’s imperative that you become intimately familiar with your drum’s specific sound. Be conscious of the quality of the heads, the snare itself, and any wear and tear that affects the overall resonance.  The drum’s material also has a large impact. In the wood department, maple is by far your best recording choice—producing a big, classic-sounding beat.  When it comes to metal, brass is your go-to. It’s the most commonly recorded metal drum, but bear in mind that these puppies tend to have a bit more over-ring.  But that’s nothing you can’t overcome.

If you hear a tinny “ping” when you hit your snare, you may need to mute it. Metal drums are especially plagued by this problem.  To achieve this, place a strip of duct-tape directly on the head.  You can also use Moon Gel, a nifty little product favored by many professionals. Jim Moreland describes his technique, “I usually put the Moon Gel right where the drum head and the rim of the snare drum are.  That will mute it enough to give it a little ring. Just a little bit of a ring helps the drum sound fuller.”  A snare can easily get lost in the post-compression stage, so don’t go overboard with the muffling process. Remember, balance is key.

Step Two: Tuning Your Snare

Tuning the drum is also a tricky process because the end result is rather subjective.  As you’re finding the perfect pitch, remember that the snare is always tuned a little higher than the rest of the drums.  Trust your ears from there, and let your song be your guiding force.

To implement the tuning process, use a drum or torque key.  Begin by finger tightening all the tension screws on both the top and the bottom of the drum. Next, use the tuning key to tighten each screw.  You should always criss-cross from one screw to another on the opposite side of the drum.  Tune each head in a uniform manner until they feel nice and firm, but not spongy.

You’re ultimate goal—to create the same pitch all around each side of the drum.  To get the right sound, the top head will likely need to be tuned higher than the bottom.  Many of us are after a lower, deeper drum sound.  Jim’s got the perfect tip to make this happen. “If you want a lower sound on your snare, start loosening up the bottom head a little bit—you’ll get more meat.”  Don’t fret too much about over or under tuning—just keep your ears tuned-in, and they’ll certainly catch the difference.

Step Three: One Mic or Two?

There are two distinct ways to mic a snare drum.  The first involves placing a single microphone at the top of the drum, and the second uses another mic at the bottom.  There is a common misconception that two mics are better than one.  Trust us, this is not always the case.  If you’re a jazz-style drummer that utilizes tapping and brushes, double-mic it. Otherwise, simplify the process and stick to a single microphone.

Why not use a second mic?  Modern ways of playing don’t get any real benefit from a double mic set-up.  These days, the snare is used primarily as a back beat, and there is a tendency for the drum to be hit a little harder than it needs to be.  This actually muffles the final sound. Jim sums it up perfectly, “In my 15 years of experience, I’ve never once used the recording from the bottom microphone.”  When you compare the same recordings with or without a second mic, you will find that microphone number two rarely adds anything to the final mix.

Step Four: Choosing the Perfect Mic

Here’s an interesting statistic: “60% of the sound of a snare drum that you hear on a recording comes from the drum, and the other 40% is the overhead microphone you are using to pick up the cymbals.”  This is where that top, reverberating sound really comes from.  The best mics for your cymbals are either tubes or condensers—they pick-up quick sharp, articulate sounds.  These suckers are crucial because dynamic microphones used for the snares don’t normally pick up sharp sounds very well.  Dynamic mics are the best choice for your snare.  They handle larger sound pressure levels and are less prone to getting damaged during the recording process.  What’s more, they’re also relatively inexpensive. Dynamic mics are ideal for snare recording as they pick-up lower frequency sounds far more accurately than the higher variety.  The result is a rich, deeply intense snare sound.

Step Five: The Mic’s Perfect Placement

First, place your mic, and its mic stand, underneath the high-hat, making sure it’s directly behind the microphone.  This drastically reduces sound leakage.  The pick-up range for most dynamic mics is shaped like an inverted heart.  This means that it picks up more of the sound pointed directly at the mic, rather than from the sides.

If you hear the high-hat bleeding through, wrap a thick piece of Auralex sound proofing foam around the mic base.  Position the Auralex about an inch away from the pick-up, and the problem should be rectified.  For another inexpensive solution, create a cardboard barrier between the mic and the high-hat.  The results won’t be quite as impressive, but it’ll still do the trick.

The microphone itself should sit about one inch above (and to the side of) the rim of the drum, creating enough distance to prevent impact with the drummer.  Many musicians point the top mic directly at the middle of the drum; this is far from optimal.  When you record a snare, you’re generally trying to capture the backbeat.  You’re not recording the sound of the drum as much as the sound of the stick hitting the drum.  Now here’s a tip: The absolute best place to point the mic is directly at the wear pattern on the drum.  This is normally a smidge off-center and naturally places the mic at an angle of approximately 45 degrees.  Why off-center? Jim explains, “I have never in my life come across a drummer who hits the snare in the center.  I’ve been a drummer for over 25 years and I have never hit it dead center.” Follow this handy rule of thumb, and you’ll eliminate most of the headaches associated with mic placement.

Step Six: Final Nuggets of Wisdom

There are no hard or fast rules when it comes to mic’ing your snare drum.  Use these tricks of the trade in conjunction with your own trusty intuition and hearing, and you’ll no doubt find the right blend of snare-magic.  The music you play will also help determine what works best for you. If you’re a country music drummer, you’ll likely want a little less “ring” from the drum.  With hardcore rock anthems, however, you’ll probably want to compress the hell out of the drum for the entire mix.  Whatever your sound, a perfectly mic’d snare helps it all come together.  By finding the perfect tone for your drums, you’ll at the very least score a delicious, infectious background.  Add to that, the right balance of boom, and dude, you’ve got the beat and the makings of a killer tune.

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