, and they could be hundreds of feet away from the kit. Because of the aggressive tone that comes with a crushed room mic, many engineers tend to keep it low it the mix, adding just a bit of harmonic distortion to the overall drum sound. Hey Gents, Was curious what other engineers look for sound wise in their room mic or mics for drums and what they use? It takes awareness and understanding of how the sound propagates from the drum and out through the room, and how the mics respond to that phenomenon. This technique might seem like you’re miking the wall behind the drum kit, but it will give you both the sound of the room reflections and the kit. These soft-sounding, hard-pressed tracks can be some of the best to come out of the studio when used in the right mix. If you’re in a small space, then there’s a good chance you won’t need to mic up the kit at all. After your phase is set, evaluate what you want from your rooms to. By far, the biggest mic-placement challenge most live sound engineers face is choosing and placing the right drum mics. Mic positioning 12. than you do. Either way. The phat bus. Drum Room Mic EQ Mixing. TIP: Draw a vertical line between the bass drum and the snare drum and use that as a center point for your parallel room mics. Placed Tight on the Shells If your drum sounds thin after trying these mic-placement approaches, you can try these two things: Tune the drum slightly up. Here are 3 techniques for drum mic positioning from the 2nd edition of my, Original Big Picture Music Production Blog. The better sounding the drum kit sounds, the more this configuration will add to the sound of the drums. i have used a U87 through a API and a distressor in the past. Mono Room Placement. Have you used the technique yourself already? Even if you don’t, you might get something out of this if there’s a chance you’ll end up in a live room with a drum kit - this section is like a candy store for creatives. Have you heard a mix that’s made effective use of a room mic that you’re able to pick out of the song? Here are a few tips for unique room mic techniques: Mixing your room mics can be a challenge – especially when everything they capture tends to also get captured by closer mics. If you’ve got the inputs and the mic selection, try as many things as you want! If you’re going into a session blind, you’ll need to be prepared to make some quick decisions regarding mic placement and mic selection. A great room sound might not need much EQ at all, and that’s fine. Start the same rough distance from the snare, but with the mic facing the space just above the kick. Room mics bring an overall finish to the drum sound and help to glue it all together. The distance is determined by the balance of the kit. He acheived a little more of a wide, modern sound that way. Need more body? First and foremost, make sure you’re in phase. Note: when placing drum mics, it’s important to remember that sticks and hands and cymbals will be falling very hard near them, so make sure your mics aren’t in the way of the player or a rogue ride cymbal. Go for a cheap dynamic and save the good stuff for something else. He has authored 24 books on recording, music, the music business and social media. Your just cleaning up what you can to make the room mics more usable and controlled. By keeping the mics parallel, phase shift is kept to a minimum. Setting up a room mic is relatively quick and easy in most sessions; it just takes a bit of motivation and creativity to do it. 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. As music production started getting bigger and better (and louder), punchier, heavier drums became more prevalent. It’s the recipe for pop music for as long as popular music has been recorded. Dynamic control is key to working with room mics, as they tend to be some of the least consistent, yet most dynamic recordings a session has. 22nd June 2010 #2. If you’re renting a studio to record, there’s someone that knows infinitely more about that studio space than you do. Come share your room mic experiences with us in the. This article breaks down mic placement to the individual drum pieces. Adding shimmer and shine to your cymbals? More complex patterns and more consistent playing gained traction, leading to genres with drums that sound technical/robotic, Even as engineers and producers start programming drums out of ease of use and demand for consistency, we, Regardless of if you’re recording a live kit or you’re drawing in 64, notes at 200 BPM, there’s one common element that makes your drum mix. Adding this type of placement to your snare configurations and then automating it’s level in post or during the performance can help pick up snare hits that do not get through to the rest of the microphones on the drum set. Focus on your lows and low-mids. Room Mic Position #1. The mic of choice for most recording engineers when recording a kick drum is a dynamic mic. The biggest tool you get in a studio is the room itself. Then remove the mud that can be found around 200Hz to 400Hz. Set up your drums in a nice-sounding room and place an additional mic just outside the door to catch an additional ambient sound. to make the room mics more usable and controlled. This can be huge when trying to match what your ears are hearing in the room. If the effect is too strong at first, consider pulling back the fader on the room track(s), or better yet, try using parallel processing or a Mix knob to blend in the compression more subtly. Experiment by moving the mic farther away from and then closer to the kit. to match that goal. Room miking front: a large condenser mic in front of your kit is a logical place to start. You can read more from The Drum Recording Handbook and my other books on the excerpt section of bobbyowsinski.com. This placement offers a different kind of natural representation of the kit, this time favoring the kick over the snare. Start the same rough distance from the snare, but with the mic facing the space just above the kick. The crack of a snare on 2 and 4. Usually back about 6 feet. (more on this in just a minute), it doesn’t matter as much what you use. Privacy Policy, Copyright 2008 - 2020 by Bobby Owsinski Media Group   -  Designed by Thrive Themes Experiment with the mic angle to get the right sound for the player, room, and drum. Room mics near the ceiling (or at least high off the floor) will give you a bigger, more open sound naturally. Mono Room Placement. from bedroom closets to cathedrals. Placed Tight on the Shells The reason why is pretty clear – sounds are bouncing every which way in the room and these mics are tasked with. Angle the mic down at a 45 degree angle towards the middle of the kit like the figure on the left. While there’s a lot of fun in the microphone selection process, thousands of dollars of microphones will never make a bad room sound good. The biggest tool an engineer has when working in a major studio isn’t the console or the rack gear; it’s not even the microphones. when the drums come in, they just care that it does. | Powered by WordPress, Room mics bring an overall finish to the drum sound and help to glue it all together. Another placement technique in a larger room is to place the mics where the room ambience is the same level as the drums sound itself. The mics should be between 6 to 10 feet in front of the kit, and should sit just on the edge of the kit on the same plane and exactly parallel to each other. Whatever you want to call it, crushing room mics with compression has been a staple of big sounding drums since the late 70s and early 80s. Listeners demanded more from drummers. Your instinct will tell you what sounds right and what doesn’t.

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