Just as a side note, it bears mention that the room mic in the studio was in a room that was dedicated to drums, both guitar and bass had their own separate iso. booths, so that there was no chance of bleed-over.
~B~
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SurfGuitar101 Forums » Recording Corner »
drum mic setup
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Joined: Mar 15, 2006 Posts: 1487 San Francisco 
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Posted on Jul 30 2007 05:42 PM
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Joined: Feb 23, 2007 Posts: 1650 Santa Rosa, CA 
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Posted on Aug 10 2007 04:38 PM
All drums plus pair of booms for the cymbals..studio or live.. |
Joined: Feb 26, 2006 Posts: 1338 Escondido, CA
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Posted on Aug 10 2007 06:42 PM
I went crazy with the drum mic set ups that we recorded a couple of weeks ago. Besides close mics, overheads, a stereo ribbon mic for room sound, a ribbon in the garage next door and a condenser upstairs. They probably won't all get used, but I like to have lots of options. Thanks to Rick (Rickshaw records), we were able to do that - he brought mics and other equipment plus some good advice. And Adrien Anthony. Ran — |
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Joined: Feb 23, 2007 Posts: 1650 Santa Rosa, CA
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Posted on Aug 10 2007 08:44 PM
No subsitute for a good studio man...Harry at Route 44 in Sebastopol really helped us get our sound w/o a bunch of add ons.... — |
Joined: Apr 12, 2007 Posts: 428 South Florida |
Posted on Sep 25 2007 10:02 AM
Just thought I'd add my 2 cents....overheads and a kick are the simple / natural way to go, but theres been no mention of placement. a good technique is to place the overheads 45 degrees to each other, up pretty high, and pan each slight left and right. Keeping the capsules close eliminates phase inconsistancies, and also eliminates the hole in the middle. Panning gives some movement, but don't pan hard, kick in the center. — |
Joined: May 22, 2006 Posts: 500 Hamilton, Ontario 
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Posted on Mar 02 2008 06:02 PM
Room mics are must... I record in a tiny basement studio, the room has very low ceilings (we're talking maybe 6.5 feet). I usually mic all the drums, but then add two (l/r) or three (l/c/r) room I use Cubase 4 for production, with a Delta 1010 and Delta 66 together, so I've got no shortage of inputs. I use Wavelab for mastering. I've got a couple of UAD cards and some decent plug-ins, which help. We usually record the drums by putting the bass & guitar direct into a pre-amp and onto "scratch tracks" (which will be replaced-- at this stage, all we're trying to nail is the drum tracks). The drums are mic'd up, but as I say, guitar & bass go direct-- therefore, acoustically, the only thing you hear in the room is the drums. We record the drums tracks and "scratch" bass and guitar tracks. When the drums are done, we then add the bass, then guitar, then any percussion or other highlights, then mix & master. Depending how busy everybody is, this can takes weeks and months, but hey, it's all done at home in my basement so there's no rush and no hourly fees. You still get a nice "live" sound even though the guitars and bass get overdubbed later. There's some primitive recordings on our msyspace site, but I've got some new ones coming up. I should figure out how to post some music. —http://www.facebook.com/?sk=lf#!/rockinrio.delrosa |
Joined: Aug 23, 2006 Posts: 2123 The jungle 
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Posted on Mar 02 2008 06:50 PM
I wonder about the logic of using a dynamic mic to record drums. It might give you a less-bright sound but if, for example, you simply hang a SM 57 over the middle of the kit you will not be getting much kick drum. I interpret all these techniques as a way to get the sound a drummer actually hears, which is certainly a valid objective. To get that "what the drummer hears" sound, I have used the "Recorderman" approach with success; Google it if you are not sure what it is. It places the snare and kick in the center of the sterero image with a minimum amount of mics. (Well, except for the radical single mic solution mentioned earlier.) As far as a perceived warmth or whatever using SM 57 types of mics, why not initially get the best quality sound using overheads? You can always "crappify" it later on, or EQ it, or whatever. Subtractive effects are easy to apply. But if you don't have all the sound information you need at recording, you sure won't have it at mixing. EDIT: I just read Ferenc's linked thread; IMHO, he is right on the mark. And SM-81s, esp. through a tube preamp, are a thing of real beauty on drum overhead duty. In my next recording project, I would like to try some new (CAD e70s) mics, but I am glad I have those to fall back on. EDIT: I also just listened to the Austin DIY ribbon samples: yummy! I wish I had time to build a pair. — |
Joined: Feb 26, 2006 Posts: 5097 San Francisco
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Posted on Mar 04 2008 11:40 PM
Maybe this will help the discussion. In these pics you can see the mic placement-- For comparison, here is a brief sample of Dusty playing, each with a slight adjustment. Please keep in mind that these are raw samples, no compression or EQ- You'll have to wait for the completed CD for the final mix. Second sample, with ambient room mic added: Third sample with tom mics added (listen how much bass they add to the kick drum) Fourth sample starts out dry, and I slowly raise the volume of the ambient room mic. Who needs digital reverb? Buy Speed of Dark @ Bandcamp |
Joined: Feb 27, 2006 Posts: 1070 Ventura County, Calif.
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Posted on Mar 05 2008 12:00 AM
First of all. To have Dusty Watson even step foot in your house, record his ass goin' off on the drums is a mindblower in itself! You rock Ferenc!! Be careful following the masses. Sometimes the "M" is silent........................... |
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Joined: May 22, 2006 Posts: 500 Hamilton, Ontario
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Posted on Mar 05 2008 07:40 AM
Ferenc: Your're also lucky to have a relatively high ceiling. I do my recording in a dungeon-like atmosphere, with a very low ceiling, and the overheads/cymbal mics only a couple of feet up over the cymbals. I close mic the toms as well as kick & snare. My room mics are maybe 5 to 10 forward of the kit, at about waist level-- not an optimum situation, but even in that situation (or perhaps more so), the room mics make a big difference to the overall sound & feel of kit in the mix. The room mics make it a bigger sound, even in these brutal conditions. —http://www.facebook.com/?sk=lf#!/rockinrio.delrosa |
Joined: Feb 26, 2006 Posts: 3824 North Atlantic
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Posted on Mar 05 2008 10:30 AM
For "Bang Howdy Partner" we decided to use a few mics as possible and record the drums in mono. The 2 mics we used were a large condensor about 4 feet out front of the kit at bass drum level, and a small condensor mic just above our drummers head, point down. It gave us a really nice open sound, and IMHO, isn't lacking anything. We spent a couple of days before recording finding the right spot for the mics to capture the sound of the whole kit (as one instrument), rather than individual parts. The time spent was definitely worth while. Very little EQ was needed while mixing. Rev —Canadian Surf |
Joined: Mar 02, 2006 Posts: 11060 Berkeley, CA
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Posted on Mar 05 2008 09:38 PM
That was great Ferenc, really helps to hear the differences instead of reading descriptions. I would sure like to hear that done with lead guitar some time in another thread. —Danny Snyder Playing keys and guitar with Combo Tezeta Formerly a guitarist in The TomorrowMen and Meshugga Beach Party Latest surf project - Now That's What I Call SURF |
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Joined: Aug 23, 2006 Posts: 2123 The jungle
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Posted on Mar 05 2008 11:21 PM
Nice post Ferenc! Good info. — |
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