This is the initial test experiment for my ‘Innovation In Sound’ module. I will be doing a set of recordings using a variety of microphones. My main goal is to see how I can use the different frequency responses of the microphones in conjunction with the room to create different sounds. I also want to deduce the best method for documenting the process.
I'll be recording a selection of drums in the stairwell of my house, which has a skylight at the top. This space has a very interesting sound, given the combination of a long thin passage and the end being highly reflective. I will be using an SM58, Samson Q-Tom, Oktava Mk-012-01 pair and Rode NT1-A in various positions. The Rode & Oktava are both cardioid condensers, and the Q-Tom & SM58 are both cardioid dynamic. A pair of omnidirectional patterned mics would also be ideal for the room sound, however this is something I can revisit another time. 

A few example ideas for mic positioning are: 
Oktava's in an XY pattern pointing out towards stairwell, to capture some of the cancelations and flutter echo created by the reflections and parallel walls.
NT1-A in the hall around the corner to capture more of the houses echo.
The SM58 slowly swinging above the drum skin, to capture the differences at various points of the polar pattern.
Q-Tom clipped to the drum combined with the SM58 swing.
Firstly we set the snare up on the landing. The microphones positions were: the SM58 beneath the snare, capturing the strings (phase inverted), The Samson Q-Tom clipped to the snare capturing the skin and initial transients. The NT1-A down the upstairs hallway and the Oktava pair pointing out into the stairwell. We initially had the Oktava pair pointing at the drum, but moved them shortly after we began recording. 

Given that the space is highly reflective, the sounds produced were very hectic, with a large amount of the frequency spectrum covered. The tail of the single hits has an interesting quality however, as the flutter echo combined with the resonance of the drum creates a mild modulation and phasing effect.
We then moved the drum down into the stairwell. The Oktava pair stayed in the same position, as did the Q-Tom (relative to the snare) while the NT1-A was moved into the downstairs hallway. The SM58 began in the same position as before, however we then created a pendulum-like device with the SM58 on the end. The effect of moving the snare was quite dramatic, as the reverberation and resonance of the hallway was far more noticeable, which ultimately led to a richer sound.

The experiment with the SM58 was less effective than imagined, as the sound difference was somewhat negligible. I believe this was due to a combination of a restricted arc size for the microphone to swing, and the cardioid polar pattern being too broad. 

When I retry this experiment, I plan to use a shotgun mic, which has a much thinner frontal polar pattern. I will also try and find a location where I can generate a larger swing with the mic. Also using a combination of multiple mics swinging at different intervals could create some interesting phasing effects. 

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