KSM44 large diaphragm microphones used as overheads in the A/B formation. Consider using a purpose built kick drum mic to boost the bass drum and either a dynamic or condenser to emphasise the snare. Typically, an experienced engineer will use just 2 overhead microphones with additional close mics – usually on kick and snare – to plug in sonic gaps. Under the X/Y technique described earlier, you'll achieve the best results when overheads are placed directly above the snare with each mic pointing left and right respectively. Let's assume I have a 2 or 3 microphone limit, and it's a standard 5 piece with two rack toms. When all is said and done, recording drums is a major challenge. Failure to do so can result in a weak sounding recording. Check out the drums on 'When The Levee Breaks' for example.Whether or not you decide to let natural acoustics shine is a matter of personal taste, genre – and in certain cases – luck. This guideline helps to reduce the audible effects of phase cancellation to a manageable level. I wanted to grab as much of the drum sound from the overheads as possible, using the other microphones of the kit just to fill in the sonic gaps and boosting certain elements of the kit, complementing the overall sound. Therefore, the lesson here for drummers is clear: if you have a limited budget for your drum kit - spend it on cymbals first. November 13, 2020, Shure & Montreux Jazz Artists Foundation Showcase 'Autumn of Music', How CalArts Shifted to Remote Recording amid COVID Concerns, Black Lives Matter Inspires Live Music Course for Women. Roll off The X/Y technique presents fewer phasing problems as the capsules are closer together, but gives you less control over balance and image of the individual elements of a kit. Have the drummer play the kit just as they would during the recording. Phase problems are a whole separate topic, but, in short, try flipping the phase inversion switch on one channel if your mixer or audio interface allows. For multiple microphones the rule states that the distance between microphones should be at least three times the distance from each microphone to its intended sound source. The wide dynamic range and sensitivity of condenser microphones make them ideal for capturing the wide frequency range and dynamics of a drum kit. This placement gives you a sharp attack from the beater hitting the head. The tricky thing about drum mic placement for sound reinforcement is figuring out exactly what you need to mic up. Once you have all the microphones in place, it's important to check phase relationships between each channel. First things first, this approach only works with a great drummer in a fantastic sounding room. The importance of room acoustics and the use of multiple microphones to capture a diverse range of sounds requires a substantial amount of patience, knowledge, and perseverance to obtain first-class results. At the very least, conduct some research first; paying close attention to the kind of drum heads and how they're tuned. GT. March 31, 2015, Shure Incorporated | Once the basic dry sound is captured, you can easily add room character later on using software plugins. 2) Control the room acoustics and apply synthetic ambiance later. For example, Led Zeppelin famously recorded drums at the bottom of a 3 storey stairwell for their album 'Led Zeppelin IV'. You could start by simply centering the overhead mics over the drum kit using an X/Y or ORTF pair (note: my first choice for this task is a large diaphragm cardioid condenser so that mic type will be assumed throughout this post. If you don't feel confident tackling this on your own, I'd highly recommend you consult someone who does. Usually back about 6 feet. Most engineers use a couple of large or small diaphragm condenser mics and develop the sound from there. By far, the biggest mic-placement challenge most live sound engineers face is choosing and placing the right drum mics. The overheads microphone placement I used on the last Siddharta acoustic tour originated in the latter approach. Saying this, for certain genres – particularly modern rock or metal – everything is close miked, and this includes the toms.Much like the snare drum, using a dynamic mic will deliver a full, fat sound, with less spill. He offers up overhead miking tips, how to reduce bleed of the ever-present hi hat, why he uses multiple microphones on the kick drum… You can typically achieve a balanced sound of the kit with overheads placed between two and three metres above floor level, and either behind or in front of the kit.A/B vs X/Y - There are two main microphone techniques to consider for overhead configurations. Looking for suggestions for mic placement on a drum set for live performance. The next step, of course, is to put your hard word into action by recording and mixing your drums. If you’re in a small space, then there’s a good chance you won’t need to mic up the kit at all. Marc Henshall | For more on dynamic vs condenser mics on toms, check out our previous post on the topic.Hi-hat - I've left this piece until last, because typically, a well placed pair of overheads should be more than enough to capture a nice crisp hi-hat. DRUMS ROOM MIC Placement and Sounds. What might surprise you though, is that these spaces aren't necessarily pro studios. Once again, whenever two microphones are used to capture the same sound source, phase coherence can become problematic. November 25, 2020, Marc Henshall | A poorly setup and tuned drum kit, will only ever produce a disappointing result; no matter what trickery you apply with microphone placement and mixing techniques. If given … The overheads are also important, but less important in context with the kick if you're working on a close-mic model for recording drums. In this case, place the mic right in the middle, pointing where the beater strikes the drum. Again, two very different approaches should be considered depending on a number of factors. The idea is to treat the kit as one entity; using a minimal amount of microphones. Nevertheless, in a world where programming a convincing, real sounding drum track is possible using software alone - the sound of real drums could be just what you need to set your recordings apart from the crowd.We hope the information in this guide has helped to provide you with a platform to from which to grow. Drums. The kit is setup, the drums are tuned, and the room is sounding great; now it's time to capture your hard work with the appropriate microphone technique. The natural reverb – captured using microphones hung down the stairwell – was used to capture their signature stadium drum sound. Fade up each individual track in turn and flip the phase polarity, Listen for which setting sounds 'bigger' or 'fuller'. 22nd June 2010 #2. Microphone Placement Tonal Balance Comments Aim microphone down towards the cymbals, a few inches over edge away from drummer (Position G). (Think concrete walls in a garage for example). The tricky thing about drum mic placement for sound reinforcement is figuring out exactly what you need to mic up. Damper products should tackle any additional resonance and are particularly useful if you prefer a dry sound. It requires a great deal of patience and a skilful drummer to achieve excellent results. Halfway inside the drum: You can modify the preceding miking technique by moving the mic back so that it’s about halfway inside the drum. You might find that X/Y works better for you in close-mic drum applications, but it's important to experiment when finding a sound that works best for you. This is because if you've set your overhead microphones effectively, the toms should be clear and well balanced with the rest of the kit. This Mic Placement Guide can be used as a starting set-up no matter how big the room is or if you are indoor or outdoor. Use these templates as a foundation and get creative! The three best locations for this rather important piece are as a room mike, a drummer’s perspective mike, and a front-of-kit mike. Purpose-designed kick drum microphones have a tailor-made frequency response designed to compliment the low-frequency power and the attack of kick drums. For the best of both worlds, many engineers prefer to balance the attack and low-frequency tone using both mic techniques in combination.Resonance - Miking up a kick drum can often reveal unwanted resonance when you monitor the result, if this proves to be the case, try placing a pillow inside the drum kit to help dampen any ringing and provide a tighter sound. November 19, 2020, Gemma Stenberg | When not at work he enjoys playing the guitar, producing music, and dabbling in DIY (preferably with a good craft beer or two). Audio-Technica has 3 basic techniques for setting up your overhead mics for recording drums. When considering distance, placing the mic a good 4 inches away from the snare and angled toward the center will ensure you capture the whole drum sound, with a clear and punchy attack. In almost all circumstances, you'll want to give the kick drum some more weight, and in some cases, the snare can also benefit from additional support. The whole kit. However, if you're lucky enough to have an interesting sounding space – try experimenting and embracing the room.
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