Each piece of your drum kit will be miked by a particular ideal microphone that works well in those known frequencies. Here is a typical Simple 1 Mic Placement for Kick Drum I use: Move the mics around before adding anything and you’ll be able to get some really good recording. Place the mics for the Toms as far off the axis of the cymbals as possible to mitigate cymbal noise that will bleed through. Also, find that position that will pick up some of the player’s stick sound that is mixed with it. The last placement allows the microphone to see the entire kit. Either a Condenser or Dynamic Microphone can be used for Live play or Recording. Point the mics away from the drum kit toward corners or any other reflective surfaces in the room. This will lead us to the 3 mic Set-Up. Condenser Mics usually come in pairs and are normally used as overhead microphones that record air on top of the kit. Room Mics add depth and excitement to the recording of the drum kit added to the other mic Place Techniques can have a full professional sound that is thick and full of ambiance that is found in big rooms. All the specific things like room size and acoustics, drum variety and versatility, and microphone quality are dependent on microphone placement. Next, you will need some capable mics that will pick up the versatility that your drums produce and transfer those sounds to a recording. The top of the Snare is generally a Hyper-Cardioid mic with the bottom using a Condenser that can handle high SPL or another Dynamic that should carry the work-load and keep SPL’s from being a factor. This is where most Home Recording studios come in. This gets complicated and expensive. They do the job and handle the problems that come with SPL and placement around your drum kit. You can always improve on the sound by moving your Bass, cymbals or Snare drums in increments around the room you are recording in for better sound just like microphones, you can change the EQ without touching the Console. Then add a mic that can capture specialized sounds that cymbals and Hi-Hat make like a condenser microphone. Shure uses the SM 57’s for Snare work or Toms but also have a wide variety of work usage and can be used anywhere there is a sound source. Mike Levine is the former editor of Electronic Musician, and has written numerous articles on music technology and recording. Again stay with the position that has the fullest sound. If you can mic the inside up tight to the batter head this will drive up middle frequencies making for a great “slap” sound combined with the “Woof” sound that normally dominates this area of the drums. Is there a more low end when you flip the Phase switch? But first, let’s talk about the use of drum microphones for the types of drums they record. A bright detailed sound is needed to separate the High-Hat from the other drum parts. You don’t need the Pro’s version for a great sound. When deciding on what kit to buy make sure there is an advantage to buying a kit over individual mics. Then position your Mics and experiment with the placement to get what you need. Your Studio is a tool. Done properly, the Recorderman method yields a pleasing and well-balanced stereo image free of phase problems. Pull the capsule out farther towards the front of the Bass where you will pick up the natural lower frequencies normally found here. He has written many articles on Home Recording and Songwriting. The options to weigh when recording drums can be overwhelming. Try different heights, from a foot or so higher than the highest cymbal and lower. The result was the epic. In the minimalist series, we’ve been looking at simple ways to make the most out of basic audio setups. AKG offers “matched pairs” for a number of their microphones, including the C414 XLS. Some sounds to look for on hi-hats are the crispness and brightness attributes that compare to the lower frequencies of the fat drums underneath. One of the most critical ways to improve your Home Recordings is Microphone Placement. Do they sound thin when panned to the center? Is there a more low end and depth when you flip the phase switch on one of them? Point the mic on the inside of the shell off the center of the batter head. Pro studios mic top and bottom of Toms like the Snare but you don’t need to do that. I would recommend 1 Shure SM57 and mic for the top only. Adding a bottom mic can add some snap and crispness but also can complicate things. Do this with each channel that is being used. If the mic has a low-frequency roll-off you can get a closer placement further reducing bleed from the rest of the kit. To simplify it use this. The mic will never be completely in Phase but the problem could be minimized by simply reversing polarity on some of the channels on the mixer. “make your Original Music Sound as good as it can Sound”, link to How Are NFL Football Players Mic'd Up. This can be a very complicated matter. Before the use of multi-track recording when making an album was done with minimal electronic reinforcement, processing tracks. Capturing the snare sound is one of the most critical aspects of drum recording. He’s a producer, mixer and multi-instrumentalist in the New York area. If you’re looking for an improvement in recording Drums for your own Home Recording studio, there are lots of set-ups and techniques that engineers will give you. The Snare mic position is usually set-up between the Hi-Hat and the first Rack-Tom this will minimizes bleed while keeping it out of the player’s way. For more information on the Recorderman method, check out this article. Add 1 & 2 Microphone Recording Set-Up with an added Condenser Cardioid mic set up overhead approx. There are no rules when using Room mics for drum kits.

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