First off, thanks to Alan for this project and to the engineers that participated.
While there are multiple ways of micing any instrument and everyone has their favorite, I have found that a well tuned drum kit, a dynamic drummer and fewer mics go a long way. These days, for most of the albums I am doing, I am using a modified version of the recorderman set up that was popularized by Glyn Johns among others. I will typically use a kick, snare, high hat, two overheads and a room mic. Here is a video of a different version of this http://www.youtube.com/watch?v=IiFOD1EeKhQ. Experiment!!
I'm so glad that Sylvia spoke about phase relationship as this is so important. I actually use a cloth tape measure to start with and move the overheads as needed. I will usually place the LDC (I use Peluso P12s which are his version of the C12) about 36-40" above the snare and slightly cheated toward the high hat or kick drum depending on the music. I will place the second overhead over the drummer's right shoulder (right handed drummer) with the capsule the same distance from the center of the snare and pointing right at the middle of the snare head. This is why I use the tape to measure equal distance of the OH mics to the center of the snare drum. Next I place the kick, snare and high hat mic and check the phase relationship with overheads for each one as I place them. I also like to use a dynamic or ribbon mic on the high hat to capture the body of the high hats and allow the overheads and the room mic(s) pick up the the brighter aspects of the high hat.
I usually track with no EQ or compression, carefully match mics/preamps and position.
Here are my current mics of choice for drums from my locker
Kick Heil PR40
Snare SM57
OHs Peluso P12
HH Coles 4038, Cascade FatHead II or SM57
Room Peluso 2247LE, AT4033, AT4047, Oktava MK012 or Shure KSM32 depending on the music and player.
If a song really needs close mic'd toms MD421
If you have any questions, please feel free to contact me.
I have done a similar set up with all Earthworks mics which are absolutely spectacular. The imaging is amazing, and very natural sounding. HINT: Have a great drums set. There is no hiding an ugly drum sound with this technique.
Happy recording,
Tom Size
www.tomland.com
I got this email for the site, registered cause i was curious about the free two hours & 30 minutes?
I realize nothings free, just need to know how to acquire the footage ?
From the home page, you will find two options on the left hand side - one to order a '6-pack' of sections for download, or to pre-order the DVD, which also includes all online content.
You can also select one of the individual sections available on the right hand side from the home page. You will then have the option to stream the section for $0.99, or to download the individual section for $4.99.
If you have any other problems, please contact us at info@artandscienceofsound.com
Hi
There are so many alternatives of mic'ing a drum set, varying from the classic 2 microphone setup (Beatles) to multi-mic, however the importance here is the need at the time of recording rather than the technique and sometimes the simpler approach produces the best sound.
I have done the two microphone setups on drums for rehearsal recordings using different microphones than normally used for the standard setups and got excellent results, but when you use multiple mic techniques the mic choice itself becomes more important than the placement.
One little tip, try a medium cost 'large condenser' for the kick, placed outside but not too far away the sound hole and add EQ where appropriate.
Hi all,
Reference the above point, the last section of the drum video has a title 'Overheads and Ambience', but only the ambient mikes are mentioned.
This would appear a fairly major omission for the drum section if you want to cover all bases and levels of potential buyer for the DVD and online media.
I would guess (hope) that this material was recording in the session, but remains to be included. The whole previous section regarding phase is especially relevant to the careful positioning of the overheads, so some futher discussions of the basics and any special tips from the delightfully dry wit of Alan would be well appreciated.
I hope such constructive comments help and I look forward to seeing the next sections.
Cheers,
Ewan
It was obvious that there was material on drum tuning that was cut from the video. It seemed that there were only a couple of snippets of the tuning discussion. I would have liked to hear more from Simon on his personal approach to drum tuning.
I have recently seen ads for these kits of the earthworks for drum kits.
While I have used a few for acoustic piano recording and for analyses tools, I was just wondering on a scale of 1 to 10 how well you like the earthworks system for and overall drum recording tool? is it worth the moohlah?
Thanks!
Dana
Dana Meeks
Orlando, Fl
U.S.A.
Yes, it would seem that the description of the far OH set (large condensers) has been cut, only the "different/bright" near set is mentioned. Hope to see a re-edit of this chapter, which I otherwise really like, though the basics are explained, there's still inspiration to be found for more seasoned engineers.
This is very nice presentation to work out the quality of sound produced by drum. This is a very influencing performance that can influence any of the drummers or lovers of music. This can also be said the unique experimentation. The best part I have found in the live youtube video watch.
Thanks for all information which you gave us. Its very usefull. I ll come back For sure. So see you soon!!!
well, I will usually place the LDC (I use Peluso P12s which are his version of the C12) about 36-40" above the snare and slightly cheated toward the high hat or kick drum depending on the music. I will place the bed bugs kill over the drummer's right shoulder (right handed drummer) with the capsule the same distance from the center of the snare and pointing right at the middle of the snare head.
It's nice to know your current mics of choice for drums. I like the information you offered.
I use the tape to measure equal distance of the OH mics to the center of the snare drum. Next I place the kick, snare and high hat mic and check the phase relationship with overheads for each one as I place them.
It does not matter what lengths you go to for a good recording, you still have to start of with a good drum set and a room with good acoustics.
mike from t shirt printing Northampton
I love the minimal drum sound. The last time I was helping record a "garage rock" style band we simply used to vintage ribbon mics, one in each high end corner of the boom boom room facing the drummer. Then we used two Shure KSM32's, both outside the room, one at either end of the hallway. I have to be honest, it sounded a bit odd through my Klipsch headphones but out of the stereo speakers it was amazing. I've never heard anything closer to Bonham in my life. I was quite proud of myself, haha, and the band was very happy. The point is don't be afraid to try the "wrong" thing or something that you know will sound awful. Chances are that you'll find a way to make it unique. Cheers!
Wow what a helpful article. I am just getting started with recording drums and I am recording in a variety of garages and other less-than-desirable rooms. At present, I try to record as bone-dry as possible with individual close micing and no overheads or any other ambient mics. Then I add a good room ambience later in the mix. This technique works, but I am new so I wonder if anybody else has some ideas for me.
Does anybody have any tips on how to record as dry as possible, and which configurations you have found to be useful? Put the drums in the middle of the room, or put them into a well-dampened corner? I use the corner usually. Face the drums/mics towards the live end of the room or the dead end of the room? I have the mics face towards the dead end of the room, and let the response attenuate the reflections off the more live end. I deaden the whole room a bit, but try to totally kill one wall’s echoes entirely, or kill a larger corner area. And I hang foam here and there from the ceiling, and add some bass traps to the corners.
Anybody remember tips from your early days?
Here 2 ultimate drum sound recording tips:
1.First, and probably most obvious is to experiment with mic placement. Try to get as close to the sound you want with the mic before you add any EQ.
Take a look at where the drum beater is contacting the head, and mic to capture that attack.
How far in or out of the drum you place the mic will have a large effect on the tone you capture. Further out will give you a more “resonant” or “woody” tone, while closer up should give you more attack, with less of the drum’s shell.
2. Try miking from the beater side of the drum in addition to your normal kick drum mic placement (assuming you are currently miking from in front of or inside the drum). This should give you more attack.
A few caveats: Watch for phase problems, be careful with mic placement and pickup pattern to avoid getting too much of the underside of the snare, and be sure that the kick pedal is squeak free!
Peter | http://www.bookwormlab.com/
I actually use a cloth tape measure to start with and move the overheads as needed. I will usually place the LDC (I use Peluso P12s which are his version of the C12) about 36-40" above the snare and slightly cheated toward the high hat or kick drum depending on the music. I will place the second overhead over the drummer's right shoulder (right handed drummer) with the capsule the same distance from the center of the snare and pointing right at the middle of the snare head. This is why I use the tape to measure equal distance of the OH mics to the center of the snare drum.
Thanks for this advice! I'm still in the learning phase with all of this, so any help like that is appreciated. I'm going to try something similar to this pretty soon. I'll let you know how it turns out!
Janie McMaster
Indiana University
Computer Science Major
iphone developer
The reason lies on the behaviour of the bidirectional characteristic of the S microphone, as it generates inverse polarity if the same audio source is on the left or on the right of the capsule.
When you have not the decoder matrix, you can perform a similar function with your mixer. You can add M and S channel to get the Left signal, but you cannot subtract them, as the mixer only permits to add channels.
Its really good to know more on the drum kit mic system on the studios!! :)
I usually track with no EQ or compression, carefully match mics/preamps and position. ?????
This instrument was invented for the percussion mincing of instrument. This can be good to those who want to learn drums. This micing drum set has a step by step instruction how you can learn fast.
This is a great project. The kick and snare sound awesome
Derrly WHite
engineer/producer
Lets Rock Elmo
Using improvised method is creatively impressive. I have Snare SM57 but it release unnatural sounds, there is no service center to ask for repair of this. Perhaps, this will ended in buying a new one.
Thanks.
darren @ naming your business
http://www.javateakoutdoorfurniture.com/
It is very important that we can learn the art of sound recording and everything but first and foremost our taste and love for music has great impact on how we can do it well.
Don't you think that having multiple mics in all directions can help pick up and record all the sound which you can use for editing.
You got that right, nothing in this world is free :) I would like to get my hands
this too by the way.
Rodde