recording drums with vocal mic
Do this with each channel that is being used. But it wouldn’t be my top choice, because although it gives you a wide stereo image, it’s prone to phase problems, which can cause cancellation and distortion if the recording is heard in mono. You don’t need the Pro’s version for a great sound. Choose the position of the Phase switch that sounds the best, put them back into the stereo mode and move on to the next step. One of the most critical ways to improve your Home Recordings is Microphone Placement. This can be a very complicated matter. Either a Condenser or Dynamic Microphone can be used for Live play or Recording. Move it in and out for the defined sound you’re looking for. And sometimes, less is more—the legendary drum sound on Led Zeppelin’s When the Levee Breaks was the result of two overhead drum mics suspended from the rafters above the drum kit. Point the mics away from the drum kit toward corners or any other reflective surfaces in the room. Also, find that position that will pick up some of the player’s stick sound that is mixed with it. The closer to the kit the more tone and frequency will fill the mic. Microphones are the tools of Songwriters. These techniques can change your sounds completely and with a slight adjustment will change them again. A dynamic cardioid mic is designed specifically for use with loud instruments like snare and toms. Many manufacturers offer matched pairs of mics that have been factory calibrated to ensure identical performance. Microphone manufacturer knew this and have tried to come up with some was to simplify the procedure. Many Studio Engineers agree that the most important part of miking drums and mic placement is the players themselves. Each time another microphone is added you need to check the Microphone Phase. Experiment with these positions. Some songs don’t require a lot of beef on the drums or they might sound ok with a thinner sound with less low end. Recording Cymbals room mics to capture the wide frequency range of the cymbals and ambiance of the room. But first, let’s talk about the use of drum microphones for the types of drums they record. Then position your Mics and experiment with the placement to get what you need. Have you had success recording drums with a two-mic configuration? The further back you move it, the more ambience you’ll pick up. You could use what’s called a spaced pair configuration, which entails spreading the mics out on either side of the kit until you find a good balance of kit sounds and left-to-right image. Each piece of your drum kit will be miked by a particular ideal microphone that works well in those known frequencies. Again it’s about experimenting. The chances of Phase Cancellation problems are far greater when miking drums because of the number of mics used. Before the use of multi-track recording when making an album was done with minimal electronic reinforcement, processing tracks. The signal is then converted into audio. The last position is directly Overhead of the drum kit centered over the kick drum batter head. To get the most from these techniques, you need to use a pair of the same mics, otherwise the differences in response will throw off the stereo image. Make sure the mic is high enough when the hat opens. If you want to really make sure the mics are as closely matched as possible, you can even buy matched pairs that have been factory tested to make sure that their specs are identical. Some Drum Microphone kits include a set of 3, 6, 7 or more mics in a case with the clips, goosenecks, and attachments you’ll need to mic each individual drum component and send that sound to a mixer. These Placement techniques are just meant to be a starting point. Save my name, email, and website in this browser for the next time I comment. Or miking drums on a budget in a small room. 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. One above and one below. The best thing to do is make a few changes to the room and your equipment before you turn the recorder on. Place the kick drum mic close to the front head of the bass drum, or even inside it. Otherwise, one side will sound louder than the other in the mix, and you’ll have to compensate with your volume faders during mixdown to get it into balance. So try a lot of different placement heights once the boom is centered over the kit. Use the 1 Overhead Mic Recording Set-Up then add another microphone, a Bass drum mic. Some drummers mic the edge of the hats Parallel to the cymbals to catch the air that is expelled from closing the hi-hat. Mike Levine is the former editor of Electronic Musician, and has written numerous articles on music technology and recording. Room mics are used to add space to the drum sounds in the mix. It’s Glynn Johns to rescue with his simple yet monumental method for recording drums. The price should be lower with the kit. Here are some suggestions for mic placement: The last miking technique is using a Room Microphone. If you can, I encourage you to experiment with the different methods discussed here, to see which one gets the best results. That’s how I approach making a record. No matter what type of mic you use to make sure that the diaphragm is pointed at the sound source on the hat. Pull the capsule out farther towards the front of the Bass where you will pick up the natural lower frequencies normally found here. This is what’s being called a minimalist approach for miking drums. Try and keep the Crash and Ride Cymbals from the proximity of the microphone. Check this video out on using 1 mic in a smaller room. This is the starting point for an appropriate sound. Probably the best choice for a stereo drum-miking configuration is a relatively new one called the Recorderman method. Switch the polarity on the Snare channel on the Console or DAW. Variety also includes different snares, cymbals and drums or hardware that can be swapped out with your kit to change up the sound. Move it in and out for the defined sound you’re looking for. In the case where brushes are used on the snare playing. A basic two-mic drum-miking setup, with a kick drum mic and an overhead mic. The ongoing quest for the Drummer to quiet his/her kit in certain situations have come up with some great helpful audio accessories that lower the sound decibels and make some folks happy by doing... JimGalloway is well-known Songwriter from the Philadelphia and Jersey Shore area. You can use a Cardioid microphone that is less expensive. With the popularity of Home Recording Studios, miking drum kits became a necessity, and companies like Shure and Audix came up with sets of specialized drum microphones for this reason. First, Move the mic stand out from 10ft to 5ft-to Overhead position. It’s all about Location and Placement. The mic can be placed outside the breather hole of the kick drum. The Hi-Hat is an important component in the drum kit and should be overlooked when recording. It wasn’t possible for bands, never mind orchestras to have their own microphone for individual tracks. Is there a more low end when you switch the Phase switch? In this example, we use one Ribbon Mic to record the drum kit. But the answer to getting the best sound out of your kit is practicing mic placement and positioning to learn How to Record Drums. If you use this mic placement from inside the shell of the Kick drum you will need another mic to pick up the lower frequencies that the outer head creates and you won’t hear. In the minimalist series, we’ve been looking at simple ways to make the most out of basic audio setups. Quick answer: the AKG C414 XLS condenser microphone and the Sennheiser MD 421 II dynamic microphones may be all that you need for general drum recording. Switch the polarity for the kick drum mic on the console or DAW. The 1st position is 10 ft. out in front of your kit. The downside is that it limits you to a mono drum mix. Shure Beta 52A with built-in drum mount, it serves as the kick drum mic with its good low-end handling. Experiment with positioning. The mic can be placed outside the breather hole of the kick drum. This is the first type of control you may not be limited to, so take advantage of it. In the minimalist series, we’ve been looking at simple ways to make the most out of basic audio setups. Because Dynamic mics offer a better Mid-Range frequency response. Next, you will need some capable mics that will pick up the versatility that your drums produce and transfer those sounds to a recording. Designing Hybrid Distance Learning Classrooms. 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.
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