The DC4099 Clip for Drum is the perfect solution to connect a 4099 to any type of drum. Additionally, it will make it much trickier to sync the snare to the rest of the drum kit. 2. 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. You’ll find many audio engineers using the Shure SM57 for snares, and it often comes down to mic placement at the snare that gives the snare different sound characters. To do this, one of the mics should have its phase reversed. Its revolutionary 90° system provides a wide range of mounting options. Therefore, it is crucial to get the mic in the right place. Jae talks about selecting the right drum mics and why he chooses the microphones he does. You can choose to either have only one microphone at the top or have two mics, one for the top and one for the bottom. There will be recording, mixing and mastering tips for seasoned professionals and hobbyists alike. All of the above-mentioned microphones can be placed either on a microphone stand or directly on the snare drum using the appropriate microphone mount. I will be aiming to update this blog semi-regularly with posts about all things audio! 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. Room Mic Placement. Mic Placement The position of the microphone can be limited by the amount of space available between the drums. The big picture is that the sound comes from the overheads while the kick and snare mics act as “spot” mics to fatten up those two huge elements of the kit and give you a bit more to mix with. Room miking behind the kit: the four-mic set-up. Mic positioning 11. Hello and welcome to the Bottle Rocket Recording Blog! If you’re a programmed drum aficionado, you might be able to skip to the next section, unless you’ve got a Drum Sample Library that lets you tweak the placement of the microphone. For example, placing the mic away from the snare drum will reduce the low-end and allow for a more natural snare sound. Specifically all you need for this method are 2 overhead mics (ideally large diaphragm condensers), one kick mic (dynamic or condenser), and one snare mic (usually a dynamic). Miking the snare drum's batter head is an almost universal first choice, either with one mic or two different mics together, but opinions are divided as to whether the drum should be also be miked from below.

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