I have my favorite mics that I’ve used over the years and will share a medium budget list for this guide. Additionally, the bleed from the close mics will interact with the overheads and shift the tone. Check the Recorderman and Glyn Johns setups for more four-mic ideas. Most of the time, if the cymbals need extra sparkle/top end I’m addressing this on the buss. Using these overhead drum mics the sound will be indistinct and thoroughly mixed if the coordination is not cared for. If you want to capture the snare drum, for example, the hi hat will likely find its way into your snare drum track. Matthew Weiss is the recordist and mixer for multi-platinum artist Akon, and boasts a Grammy nomination for Jazz & Spellemann Award for Best Rock album. Or if the cymbals are too tame for the style of music, the Renaissance Axx Compressor, which is originally intended for guitars, but has a nice bite to it. In addition to distortion, it also has tone controls and dynamic controls and can function in multiband so you can get a lot of great character into your sound. The microphone choices and placement are the next most impactful, followed by preamps, analogue to digital converters (your interface), and mixing gear and techniques. If the overheads feel thin, a bump around 2k usually thickens things up (particularly for cymbals). The worst thing you can do is not have a plan for tracking drums. The setup I’m focussing on is about $1,200. If you have a ride cymbal or crash that’s really present, take out a little 1k mid-range to open the sound up. eval(ez_write_tag([[300,250],'rhythmnotes_net-large-leaderboard-2','ezslot_12',129,'0','0'])); No microphone or budget will matter if you don’t know where to place them. I’ve said it several times in this article, but I’ll say it again. My recommendation for overhead mics is to spend around $200 on your first set and to save enough to spend $1,000 or more on your second set. Wide overheads also feel very forward, which can be great, but sometimes we want the drums (cymbals in particular) to sit a hair back in the front-to-back imaging. Some drummers will not respond well to the issues you face, and there’s not much you can do about it. Positioning the mic closer to or farther from the rim also changes the sound. The close mics on the drums to achieve more stereo control when the drum setup, mic placement, or room are problematic. The choice of mics and their placement around the drum kit can have a massive impact upon the recorded sound and, while there are no hard and fast rules when it comes to mic placement and choices, here we'll look at some of the most popular options for getting quick and easy results. There are lots of different approaches for overhead mics, ranging from Eddie Kramer’s 3-mic technique using Shure KSM44As (positioned left, center, right, in a triangle shape over the drums) to the Glyn Johns’ 3-mic technique (if you include the kick drum mic) with mics positioned equidistant from the snare at roughly 11 o’clock and 3 o’clock over the drums (drummer’s perspective). Experiment with placement by moving the mic over the front rim of the snare drum, moving it more to the right side of the drum, or over the drummers knee. We just sent a download link to your inbox. Like the Recorderman technique, the Glyn Johns technique aims to solve phasing issues while still balancing the coverage of drums and cymbals. The kick mic can be placed inside the drum or in front. They are one of the most recognizable things you could play on drums or... Cáscara Rhythm - How to Play It The Right Way. First I listen to what’s there to determine what my overheads are bringing to the table. Place the mic above the rim of the floor tom and looking back at the snare drum. This gives you a … I’ll listen to how the kick and the overheads play with the close capture of the kick and if they aren’t getting along I’ll use a linear phase high-pass filter to tighten things up. If you have one condenser, a kick drum mic, and a dynamic mic (i.e., SM57), try a close mic on the kick and snare, and place an overhead above the center of the kit to capture a balance of the cymbals and toms. Microphones can be the most expensive investment for a drummer or home studio. This isn’t really processing on the overheads per se, but it helps me figure out where the overheads are really sitting which influences whatever processing I’ll end up doing. The best mic you have is the one you have today. If you’re trying to do a Recorderman technique with two mics, you may find that it requires a mic on the kick and sometimes the snare. First up: choosing the right mic - dynamic vs condenser. If the kick in the overheads is making the feel of the kick too boomy/washy, I may high-pass the overheads. The distance that sounds the best and can handle the ride and crash cymbals is the one to go with. Contrary to what you may have read on the Internet or were told by someone you trust, Recorderman is not a two-mic setup. Get 65% Off Mix Essentials Now. The best drum mics are the ones you have. There’s just something about their tone. This means having a really solid phase relationship particularly in regards to the snare. A bottom snare mic is not a deal breaker because it always comes down to the tuning and setup of the instrument, as well as the performance. The best studios will have great mics and the engineers to place them. eval(ez_write_tag([[300,250],'rhythmnotes_net-leader-3','ezslot_17',111,'0','0']));The snare bottom mic adds some of the dirt of the snare drum back to the sound. The tones coming from these players are rich enough to not need much adjustment, and the volumes are smooth and musical. The mics are the next in a series of heroes of a great mix, and the bottom mic is definitely on my list of priorities. In other words, a bottom snare mic helps to make a snare drum sound like a snare drum. I think the snare is the most important out of the two – at least it’s the harder of the two to achieve a good sound.