drum mic placement

The X/Y techniques inherent phase coherence is particularly valuable when using lots of mics on a single kit. The kick drum will spill into other microphones more than other elements of the kit, so it makes sense to start with this as a reference point.Monitor carefully with a high-quality pair of headphones and check the phase as follows: Pay particular attention to how your kick and snare sound together as this will form the backbone of your beat. Share Quote. Looking for suggestions for mic placement on a drum set for live performance. As he demonstrates how to mic up a drum kit, Jae takes some time to explain his microphone selection and placement, and why he’s making those choices. Much like our Led Zeppelin example mentioned earlier, this technique is particularly effective in capturing the attack and dynamic range of the drum kit.If you decide this approach is right for you, it's best to start with the overheads. While the minimal approach described above captures a pure and dynamic sound, close micing comes with its own distinct advantages and can even be the preferred approach for certain genres of music. 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. As a general rule of thumb, placing your mic inside the kick drum and pointed towards the beater will capture lots of attack, while positioning further back – or even outside the drums resonant head – will increase low-frequencies. There are lots of different approaches for overhead mics, ranging from Eddie Kramer’s 3 … Mounting to the drum's existing lug casing fasteners and cabling routed through the drum's vent hole with the provided patented AVC connector, the MAY IND provides a non invasive, maximum impact miking system for your snare, floor, rack tom and kick drum without any drilling. Overhead. In this case, place the mic right in the middle, pointing where the beater strikes the drum. For those of us with a little less experience, it's useful to start with some tried and tested methods, from which, you can adjust to taste as your experience grows. First things first, this approach only works with a great drummer in a fantastic sounding room. This more controlled approach also has the advantage of retaining control over the room sound right down to the final mixing stage. Therefore, the lesson here for drummers is clear: if you have a limited budget for your drum kit - spend it on cymbals first. If you’re in a small space, then there’s a good chance you won’t need to mic up the kit at all. This placement gives you a sharp attack from the beater hitting the head. The next step, of course, is to put your hard word into action by recording and mixing your drums. Hey Gents, Was curious what other engineers look for sound wise in their room mic or mics for drums and what they use? Again, two very different approaches should be considered depending on a number of factors. 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. If you’re in a small space, then there’s a good chance you won’t need to mic up the kit at all. March 31, 2015, Shure Incorporated | 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. November 25, 2020, Marc Henshall | Failure to do so can result in a weak sounding recording. Make sure the kit and the drummer are on top form before proceeding with anything else.Setting up and tuning drums is a real skill. 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. The tricky thing about drum mic placement for sound reinforcement is figuring out exactly what you need to mic up. If neither sounds good, you might have a phase problem and will need to experiment further with mic placement for a better result. By reducing reflections using soft materials or specifically designed room kits, it is possible to turn even the most humble of recording spaces into a usable room. Once you're satisfied with how the drums sound, the next biggest influence on how your final recording will sound is the room it's in. Unfortunately, most home acoustics are less than stellar. With this in mind, you can begin to imagine how a balance between drum and cymbal sounds can be achieved simply by moving the overheads. 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. 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. Over time, the introduction of purpose-built, discreet condenser microphones have made it much more practical for engineers to harness the superior transient response of condenser mics, without risking damage to their favorite mic. Snare - The jury is still out on whether a dynamic or condenser works best for snare drums, and much will depend on style and taste.By far the most common approach is to use two microphones: with one placed above the snare to capture the 'crack', and the second placed beneath to give you more 'fizz'. Consider using a purpose built kick drum mic to boost the bass drum and either a dynamic or condenser to emphasise the snare. The reason for this is that you'll likely apply a heavy dose of low cut to overheads during the mixing stage for close-mic applications; allowing the individual kick and snare mics to carry the burden. Toms - Cast your mind back to our minimalist drum mic approach, and you'll recall that the toms are rarely close miked. If you don't feel confident tackling this on your own, I'd highly recommend you consult someone who does. If, like many of us, your studio acoustics are naturally uninspiring or detrimental to the recording  - you might want to consider controlling rather than embracing them. The close-mic approach can give you a drier, more intimate sound, with greater separation and control. 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. 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. KSM44 large diaphragm microphones used as overheads in the A/B formation. Place microphone or adjust cymbal height so that puff of air from closing hi-hat cymbals misses mike. If your drum heads are old, they can be very difficult to tune, so you might want to consider replacing them first.If you're still getting excessive, undesirable resonance after you've replaced and tuned the skins, it's worth considering specialist drum damper products, such as 'moongel'. At the very least, conduct some research first; paying close attention to the kind of drum heads and how they're tuned. 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… If you do decide to try the A/B technique, be sure to listen carefully for phase problems. GT. Usually back about 6 feet. 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.

Dread Return Combo Edh, Developing Conceptual Framework, Fallout 3: Game Of The Year Edition, Curried Quinoa Salad With Cranberries And Almonds, Zucchini Tart Recipe Puff Pastry, Fathers Rights In Divorce, Beethoven Piano Sonata N8, Hal Leonard Guitar Method, Blog Title Analyzer,

Leave a Reply