recording drums with vocal mic

Experiment with placement of the overhead mic. The workhorse microphone.In the studio, close-miking each drum component with dynamic mics give you more control over each drum part, which is important in the production process. The option is yours. No matter what type of mic you use to make sure that the diaphragm is pointed at the sound source on the hat. Next, you will need some capable mics that will pick up the versatility that your drums produce and transfer those sounds to a recording. There are no rules when using Room mics for drum kits. These Placement techniques are just meant to be a starting point. 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. Experiment with these positions. Probably the best choice for a stereo drum-miking configuration is a relatively new one called the Recorderman method. For the overhead, use a condenser mic if you can, as it’s likely to give you crisper reproduction of the high end of the kit. To avoid phase problems, engineers over the years have developed several stereo miking configurations (Blumlein, ORTF, M/S, XY) that require a specific placement of the two mics in relation to each other. The closer it gets to the back (beater) head, the more of the snappy part of the kick sound you’ll capture, and vice versa. Based on what this series has been all about “Less is Best” Technique is everything. Microphone manufacturer knew this and have tried to come up with some was to simplify the procedure. You can get some pretty remarkable recordings. The work should be done with a large Diaphram Condenser mic. 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. You do not need 2 mics to record excellent sound from each drum. They don’t have maximum time and you do. You can get excellent sound with minimal mics and good placement. But the answer to getting the best sound out of your kit is practicing mic placement and positioning to learn How to Record Drums. So use different positions until you find what you are chasing. Hopefully, you read my previous lessons and the room you are recording in is acoustically right for your drums to sound somewhat smooth and natural. Aiming or tilting the mic towards the center will create more attack while a straight up and down placement will emphasize the overtones. As long as you work carefully, and make sure you’re using the correct mic configurations, it’s definitely possible to get a good sound with two mics. Moving the Dynamic back from the drum head will open up the sound of the Tom drum being recorded. This gets complicated and expensive. The chances of Phase Cancellation problems are far greater when miking drums because of the number of mics used. If you can, I encourage you to experiment with the different methods discussed here, to see which one gets the best results. Room mics are used to add space to the drum sounds in the mix. Hitting on consistent spots and consistent fashion all are important factors for recording drum Techniques. The mic can be placed outside the breather hole of the kick drum. The Condenser mics are set up roughly in the vicinity of the cymbals, over the Toms and equal distance from the center of the Snare. You can use a Condenser in both positions but these are models used by engineers who are giving the best advice on pairing 2 mics to get the best-recorded sound. It’s easy to jump in and worry about it later but if you put a little time in it before you start, it may pay off. Professional Studios have space or most do anyway. Let’s start our journey into minimalist drum miking with a 2-mic setup that features one mic as an overhead to capture the overall kit sound, and a second mic as a spot mic on the kick drum. Use a set of stereo mics at high levels than low levels across the room pointed at the Drum kit. Moving furniture or equipment can make a world of difference in capitalizing any resonance that is in the room. These techniques can change your sounds completely and with a slight adjustment will change them again. Place the mics for the Toms as far off the axis of the cymbals as possible to mitigate cymbal noise that will bleed through. Point the mics away from the drum kit toward corners or any other reflective surfaces in the room. Depending on the style of music and with the proper placement, you can get good coverage of the entire kit, including kick, from two overhead mics. Move it in and out for the defined sound you’re looking for. Do they sound thin when panned to the center? Save my name, email, and website in this browser for the next time I comment. Out of phased mics will suck the low end from a mix but it will be more difficult to fix later in the final mix. Move it in and out for the defined sound you’re looking for. Add 1 & 2 Microphone Recording Set-Up with an added Condenser Cardioid mic set up overhead approx. They have a better sturdy built a body for mishaps that will occasionally happen in drumming. 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. Mic placement can create all different scenarios. Adding a bottom mic can add some snap and crispness but also can complicate things. For a dryer snare sound with less ring move the microphone capsule outside of the rim. You may need to lift the mic a little higher to hear all the drums. AKG offers “matched pairs” for a number of their microphones, including the C414 XLS. Here are a few examples: Microphone Placement is critical in controlling sound delivered to microphones in any size room or on any type of instrument.

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