The choice of mics and their placement around the drum kit can have a massive impact upon the recorded sound and, while there are no hard and fast rules when it comes to mic placement and choices, here we'll look at some of the most popular options for getting quick and easy results. Think about the final sound you hear in your head and which technique will best get you there. The three-finger rule can help keep the mic away from unwanted harmonics from the edge of the head and hoop, while aiming it at the center helps capture the stick sound at its point of impact. One problem often encountered when miking the bass drum comes if the drum is fitted with a full front head. Finally, an over-the-shoulder AEA R84 ribbon mic, pointed towards the snare, captures the drummer’s perspective. This approach is more effective on smaller set-ups such as four- or five-piece kits which, with a mic. This mic provides a large, slightly trashy sound. Buyers' guides to all the best music gear, choosing the right mic - dynamic vs condenser, what is a dynamic microphone? To do this, one of the mics should have its phase reversed. Considered an “SM57 on steroids”, the SM7b picks up a lot of detail on the hi-hat without being overly bright or dark. So one final overhead option is to bring the mics down low. Shop, Hollow & Semi-Hollow All rights reserved. Try them all and move mics as … usually ship the same business day. a Card Payment, Manage The other type of mic that is frequently used is a condenser mic which, unlike the dynamic mic, needs power sent to it from the desk or pre-amp. This is a good way of capturing a stereo image of the kit with no phasing problems, as the sound of the kit reaches both mics simultaneously. Have an account? Orders placed before 5 p.m. This particular setup provides a lot of low-frequency character in the room, picking up some of the rumble and reflections of the floor. So, which is best? Setting up the overheads Plug an XLR cable into each overhead mic Plug the mic into CHANNELS 7 and 8 in your audio interface Positon the first mic approx 4-5ft above the left side of the kit. Finally, for one more option, the team set up a 251-style microphone in the hallway between the live room and the control room. Moving to the toms, Dave and Eric choose to use Sennheiser MD 421s on the top, perhaps the most commonly used tom mics on the market. Focusing on proper placement will allow you to capture the drummer’s dynamics and performance as accurately as possible. With one fader up as the other is blended in, the sound should remain full. Future Publishing Limited Quay House, The Ambury, Categories, More Ways to (video tutorial), what is a condenser microphone? As recording and microphone technology has changed and evolved over the past 70 years, perhaps no instrument has seen a change in approach as drastic as the drum set. By We can check for phase cancellation by taking two channels and using the pan control to sum them to mono. In the case of the toms, you'll also hear their sympathetic overtones ringing away as other drums are hit. The mic of choice for most recording engineers when recording a kick drum is a … Utilizing both microphones allows them to capture the sound of the stick on the head, as well as the full, deep sound of the toms. No matter how many mics you use and how you choose to mix them, this approach will yield any number of sounds. Our site appears in English, but all prices will display in your local currency. Kick (bass) drum. 08 June 2009, A step-by-step guide to microphone positioning. Pete Riley - Rhythm Magazine Essential Gear Buying Guides, Artist Interviews & More, About While our techniques have so far addressed relatively close miking techniques, to capture the sound of the live space at Gold-Diggers, the team set up two pairs of room mics and one hallway mic. Firstly, miking the batter side of the drum will have more definition, while adding a second mic in front of the drum 'out of phase' (more on this shortly) will capture the ambient sound of the front head. (video tutorial). If recording in a nice-sounding room and you have the luxury of spare mics and channels, putting up room mics can provide some useful natural ambience, which can really bring the sound of the kit to life when dialled into the mix. You will receive a verification email shortly. This can work well when blended in with the top snare mic, as it helps to capture some of the sizzle and pop of the snare wires. Moving up to a more modern approach, Dave and Eric demonstrate how you can use 20+ microphones to capture every nuance and detail of the drum kit, while also capturing the sound of the room you’re recording in. This can be EQed out but is best avoided. Call or Chat for expert advice and to hear These would usually be miked using a small condenser mic from above, 2"-3" away and sometimes pointing away from the kit. This 'phantom power' is sometimes available on individual channels of a desk, though it can be sent globally to all mics without affecting other dynamic mics. Visit our corporate site. Receive news and offers from our other brands? A dynamic mic is usually the mic of choice here and, surprisingly, the relatively cheap Shure SM57 wins over more expensive alternatives thanks to its ability to capture the mid-range and handle the high SPLs (sound pressure levels) a loud 'two and four' backbeat is capable of delivering. However, the pay off for having the mic outside of the drum is more bleed from the rest of the kit and less attack than if it were placed inside. Body, Best Compressor Settings for Vocals, Guitars, Drums and More, Make The second mic, the Beyerdynamic M 160, is a great choice if you’re looking to add a little grit to your drum sound. The first room pair involves two omnidirectional Electro-Voice 635A’s taped to the floor, pointed towards the drums. Condenser mics also tend to be more sensitive than dynamic mics because of the low mass of their moving parts but usually have built-in pad switches (10 and 20 decibel increments) to enable them to handle the levels us drummers are capable of delivering. Bass Drum. 139). The mic on the left will pick up the right side of the kit, and the mic on the right will pick up the left (see Fig. Rather than use condensers for the full kit, AEA R84 ribbon mics were used for the floor tom and overhead, a Neumann U 47 FET was put in front of the bass drum, and a Shure SM57 was used on the snare. For the bottom they used Shure SM58s. Ultimately, the modern miking approach outlined above should provide a great deal of mixing flexibility. First is the dynamic mic, which will often be used on the snare, bass … In the digital domain the waveform can be inverted after it is recorded for the same effect. However, depending upon the budget, large diaphragm condensers can sometimes be used. Our Gear Advisers are available No matter where you are in the world, we'll help you find musical instruments that fit you, your music and your style. The snare would usually be miked like the toms, from the top, three fingers away and at the edge of the drum and pointing at the centre. This will result in a tighter drum sound, with less room sound. If out of phase, the two channels will sound hollow when heard together. They demonstrate each microphone in isolation, as well as the combined sound when mixed together. The Shure SM7b is utilized to give you additional control of your hi-hat sound. More, Popular A fourth microphone was sometimes put on the snare for additional body. Receive mail from us on behalf of our trusted partners or sponsors? While each approach was borne of a certain time period, they all have validity today. Another thing to avoid is placing the mic so that it faces the point where the air escapes from the hi-hats (also a good reason not to have a fan pointing right at the kit on hot gigs). ET Placed slightly above the rim of the bass drum, when processed through a compressor, this particular mic placement will give you a trashy, aggressive sound. BA1 1UA. Choose the right mic: dynamic. Position the second mic … This setup typically involved a condenser microphone placed in front of the bass drum, an overhead condenser microphone picking up from the center of the kit and a third microphone placed nearly perpendicular to the floor tom, at the same distance from the snare as the overhead. Consider your drums, your drummer and the space you’re working in. 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