Let's talk drum recording!

[Jeff MacdonaldModerator]

I'd love to get some insight from PLAPA members that record drums as to the techniques and gear you use to record drum kits and percussion. Looking for everything from go-to setups to, the whacky and wonderful.

[Michael HordorwichParticipant]

ok well jeff you already know my favs but hopefully this thread lights up for ideas we can use plus i already got alot from you thanks again. Basically if its my own kit which i spend alot of time preparing so its record ready i always use a beta 52 kick inside, kick out varies alot but usually a good large diaphragm condensor, i use SM81's on the OH's, 57 top snare, No bottom snare mic for me, dont like the sound and to me its just added noise but not saying i havent before and if done right can be usefull but if i do its another 57 in phase with the top 57, i use 421's on the toms and my setup now is 4 rack toms and a floor tom which all get 421's. For stereo room mics i use c414's and then and akg mono room mic, Going to try my mojave m200 valve on the mono room mic tomorrow again and see how it sounds cause she was expensive but my fav mic ive bought in a long time. Amazing on vocals. I have tons of mics and drums so alot of options and sometimes ill use the glyn johns technique also 4 mics only. Experimenting is key. I'm going to try jeff's technique for the snare as i only use the top so i may add his idea of coming in from the floor tom and micing the side of snare. I think this is going to work for me as i dont like the bottom and hearing the wires too much. Biggest thing i stress to anyone is dynamics and play to the song even if that mean using lighter or heavier sticks and or tuning to the song, be creative. Oh and i dont usually use a hi hat mic anymore as i get enough from my oh's imo but i have and it worked, i guess the best thing about that is i can pan the hats drummer perspective i always use and its cool so i think ill go back to micing as im recalling some early recordings i used it to great effect i think i just need to try a different mic to my liking, again thanks jeff for that. Well hope to hear any new fresh ideas as im always in search of many different ways to record and get better. Happy recording. Michael

• This reply was modified 7 years ago by Michael Hordorwich.

[Michael HordorwichParticipant]

Jeff im trying your snare idea tonight any suggestions on the hi hat mic? I usually used a 57 or small pencil condensor pointing outward away from snare on egde of hats. I have a huge mic locker so was even thinking of trying one of my ribbon mics as i want to include the hat mic but again i always end up equing the hell out of it and its harsh. thanks

[Michael HordorwichParticipant]

One last thing lol I tried this a few times and took 2 mics and put them on the floor atleast 10' away facing the kit or father away in the corners and facing the kit whatever you have space for and used as room mics, added in just a tad in the mix and had a cool effect.

[Jeff MacdonaldModerator]

I think it's all preference and experimentation with hat mics - as you said if you have a basher they rarely get used. Warren likes to tape a 57 to an SDC and go straight down. I like the CLA method of a foot back pointed at the centre of the snare. In my opinion you can never have enough snare - but watch out for phase issues and smearing with this as different setups (e.g. hihat heights/snare heights) won't allow it to work very well. A 57 pointed at the bell of the top cymbal pointed straight down is a nice mo-townish sound that works well more times than it doesn't. SM7s also sound great on hats, but I'd throw the SM7 on the snare before a track that may endup on the floor come mix.

[Jeff MacdonaldModerator]

Interesting. I am going to try this for sure. Were they just lying on the floor or on stands as close to the floor as you could get them? We just got hammered with a lovely snowstorm so after I dig out from that I am going to throw up some mics and give this a shot.

Cheers,

[Devin RodarteParticipant]

Im not the best at tracking drums.... It's truly an art form. But I've been using the Glyn Johns OH technique with two 214's. 57 on the rack tom and a D12 on the floor. For kick, I use a beta 52 inside with a cheap AT condenser of the outside. For snare I use a transformerless 57 and I sometimes use an under snare (hardly gets used in the mix). I then take an avantone ribbon mic and use it as a side snare(right over the kick facing the snare). The side snare mic adds a little more body to the snare and more attack to the kick... Just got to time adjust them. Most of the time I'll have a cheap MXL 840 pencil on the high hat that its mixed low.

I use 2-3 mono room mics. I'll put my room microphones behind baffles because I like how it kills most of the higher cymbal frequencies. I'll usually place one towards the back of the room in front of the kit and another really low to the ground. I find them to be interesting elements for a drum mix.

I kind of fused/stole these ideas from Jaquire King and Justin Meldel-Johnson (however you spell it).

Also, Im probably dumb for doing this... But I really try to challenge myself by not using any sample on my drum mix unless the song truly calls for it. It would also help to upgrade some of my mics in the future = )

[Jeff MacdonaldModerator]

How do you find the transformerless compared to the regular 57? I have been meaning to take apart on of my 57s for a while now but never find myself getting around to it.

I don't think it's dumb at all to try to not use samples. It'll certainly get your recording chops built up a lot faster if you are not relying on replacing sounds. I still think there is a place for samples in many mixes and the listener's never going to know. But I am with you there, I try my best to get the drums down as they are going to be in the mix then add samples if needed.

I am going to try your baffled room mic trick - are you going cardiod with the capsule pointed at the baffle? so Kit -> Baffle -> mic? I have been using ribbons in the room as they roll off the top, or eq, but if there's a way to save a step I am all ears!

Cheers,

J

[Devin RodarteParticipant]

I really like the Tless 57. It kind highlights the air being pushed through the snare and other mid range stuff on guitar cabs. You lose a lot of gain from the mic... but then again you are usually using a 57 to mic something really loud haha (snare/guitar cab) so I haven't run into any issues with it. I would recommend doing it if you have at least 3 57's so you have options if you need two 57's with the transformer.

I just took one of my 57's and got a soldering kit and pulled up a youtube video and did the mod myself. I have never used a soldering iron in my life and it was a pretty simple mod.

With the baffles I go Kit ->(10-15ft) Baffle -> Mic with the capsule facing the kit. I have the mic like an inch or two from the baffle.

[Michael HordorwichParticipant]

hey @Jeff Macdonald i never tried the audix mics but you said u were and audix guy and theres a guy by me selling an audix d6 for 80 he said hed give it tome for. should i pull the trigger. Id prolly use it on floor tom ya think as im a beta 52 guy on kick in or what other apllications on drums? How about on bass amp too? thanks bud or anyone else use audix chime in please. thanks again. mike

• This reply was modified 7 years ago by Michael Hordorwich.

[Jeff MacdonaldModerator]

I'd say for $80 it's well worth it. I got a pair of them years ago. I have used the D6 on Hard Rock and Metal kick drums (it really excels here), on floor toms (where they are living at the moment), bass cabinets, a cello once (can't remember if I liked it or not) and it's decent on shakers for something completely different.

But for the sake of $80, I'd say give it a try, if you don't like it you could probably sell it for $90+ if it's in good shape and has the clip.

[Pedro Pitta GrozParticipant]

I've recorded a M/S setup (with a Rode NT5 and a Studio Projects B3) behind a baffle and looking away from the kit. This makes the room seem larger, as the sound bounces before getting to the mic.

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