how to mic a drum set with 1 mic

Wouldn’t one-mic recording make drum editing more of a pain? Another variation is adding a 4th mic as a close mic on the snare to give it a bit more presence in the drum mix, just like with the bass drum. or the difference in the roundess. I always say to the students “if you understand the BASICS of a subject you are beginning to UNDERSTAND the subject. You’ll know there’s a phase problem if you’re not happy with the low frequencies. It comes down to the drum, the player, and your personal preference. are the things that you probably Move it again and figure out what works. in weird ways, 00:16:20Now, is this the right tone for you? I start mixing with the LDC then add other channels to taste. If you mic hi-hats, make sure that the snare drum mic is picking up as little of the hi-hats as possible by placing it properly and/or using a noise gate (a dynamic processor use to filter unwanted noise). Microphones can be the most expensive investment for a drummer or home studio. My feeling is the following: Kick mic beside the pedal aimed at beater head, kick mic inside kick drum The most common mic for a snare drum is the trusty Shure SM57. Hello. I'll get less room. Cool post. So this guide will explain what goes into choosing the best microphones for each drum, and how you can make the best choice for yourself, based upon a few factors. Thanks for everything, bless. so make a mental picture of the snare I a/b’ed the before and after drum tracks and the difference was very noticeable. Usually my “go to” drum solution is 4 mics- kick, snare, hat, and one LDC over the kick to catch the overall picture of the kit. Point the diaphragm directly at the head. I think drums are HIGHLY overmiked in almost every situation. the options. It doen’t matter anyway…, Graham, It’s not going to be perfect, but moving the mic is so much better than fixing it later in the mixing process. Notify me of follow-up comments by email. One thing I’ve found helps is putting a super wide reverb on the drums, that can add some width. Mixing is a game of small improvements. studying the relationship that everybody expects. Can anyone suggest a good microphone to use for recording drums the one-mic way? But I totally think that this *can* be a solid option in the right context. 00:02:56Obviously, we're going for a James Brown You place it, record, and listen back. Play with the fader on the effects channel to get the most out of the parallel channel. I am not shooting for supreme quality, just enough for a rough first draft demo recording will work. Another perspective – mono pushes us to look at the drum kit as a single instrument. My biggest worry of all in recording drums is having them be properly tuned. Some people choose to let the pillow or blanket touch the inside head. In recent years we’ve veered to the “more is more” approach. I then nudged all my close miked tracks so they lined up exactly with the corresponding hits on the overhead tracks. and then I'll play the SM81 this entire set of things but that's ok, What your ear hears, the microphone hears (tonally maybe not quiet the same – but we’ll touch on that next). 00:15:47As a side note, if you remember, we As with every video I've watched here so far, I can't say I didn't learn anything. so what am I gonna do? If any one thing sounds particularly bad, you can’t just go in and fix it in isolation. by having less reflections, technique would sound like on a record. This mic is a stereo condenser microphone set up in an XY pattern. If that’s all you have, this two-mic setup would work great. This means it is creating a ‘Stereo sound’ as it has separate signal flow for Left and right. I like the second pass better, you probably will break some 1. By Jeff Strong . In our experiments we’ve done single mic tests, usually the Rode NT2a, to individually mic’d drums using a our combined collection of mics from AKG, Audix, MXL, Rode, Shure. 00:09:01You have a bass player who's there, Any configuration of close mic on kick and snare with two overheads is usually going to work, especially if the drummer sounds balanced without mics. It all comes down to spending time with placement from the beginning and capturing the best sound at the source. 00:07:35Common sense tells me that if I want The setup explained below comes from an interview with the producer, Mixerman, who produced the first session with this drum mic concept. If I do that, Um – it IS a one mic recording In the second part of the video you might be hearing the slight reverb I added. a brand new retro vibe. sound in the first pass, I just like to have a little more control and parallel compression versatility, which is why I use 4. controlled. so you can get the vibe Place the other mic, again a cardioid condenser (he uses a Neumann M49), above the drummer pointing down and fairly centrally placed over toms and snare. What about using one stereo jecklin disc/OSS disc (kinda human head analog) to get the drums in stereo in an easy way? I didn’t program though, I used a Roland electric kit and recorded the MIDI through EZD. bounce back as far, Drummers who can play well balanced do not need as many mics to balance the sound of the drum kit. 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. Correct? in this particular case, for this Regardless of which mics we have decided to use we have had a great time fooling around in my home studio and have learned a few things along the way. Simplicity , Very true Alex, but I just meant that you have slightly less work to do in your DAW; not that you are actually limiting your performance editing capabilities . The question I’ve recently explored is whether or not the snare bottom mic makes a difference. But if you have a good drummer, you may not need it. and they're never the same, Logically , you head has two ears, so two mics should be sufficient right? The other reason is that we can overthink mic placement and have very un-natural sounds (maybe too close to a drum) that just doesn’t sound like what we all know drums to sound like in real life. My first interface was a Tascam US-122. 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. We hear with two ears. I'm gonna listen to the same thing, and to get the vibe of what this 1-mic and that kind of really kill you. My default set up now is the Glynn Johns 4 mic rig: kick, snare, right OH, and left OH. set and mic, somewhere that would Try adding just a little bit (4dB or so) of a shelf EQ set at 10 kHz to add just a little sheen to the hi-hats. 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. you can fix it in the mix, right? For more delicate hats and cymbals, turn to small diaphragm condenser microphones placed four to six inches away. Nice article, but wouldn’t it be more complete if you’d also mention the disadvantages of recording especially drums with one microphone and in what situations it might not give the desired result? it's closer to the snare. it's actually kind of perfect. You will receive a verification email shortly. Visit our corporate site. Yes I agree with you! I’d always start with kick and snare but then have trouble getting everything else to sit in the mix. top/bottom tom, top/bottom bass drum, but if I were to do this with this mic, so that... 00:03:28the sound has the time to dissipate Once microphones are involved, though, things can start to get confusing, particular if you don't have a cupboard full of them at your disposal. A 57 pointing at the snare, a D112 for the kick, and a couple of condensors as O/H would be a nice combination. 40 inches high. 00:03:19And I'm gonna position it 00:03:32There you go... Like that! Glyn Johns says that there’s no need to measure because it’s not an exact placement. 00:00:45On drums we have Will Smith, I’m currently working on a track where it calls for that drums in the room rather than drums in your face sound. So glad you’re / I’m on board here! 00:02:03So the idea is to have a good line Thank you for signing up to Musicradar. Why am I harping on this one mic drum recording thing? Just thought I’d put that out there Regards, Phil. roughly in the same spot as the C12 What say you? The bottom snare mic opens doors for mixing the snare snare in such a way that pays respect to the instrument. Now that's a sound we recognize. The more you do it, it will become easier to predict what to do and you’ll have a better idea of what works and what doesn’t. The other thing you might wanna do is I work with songwriters working up demos and this is a great way to get a live drum feel without hours of drum mixing. it does not really match As you will learn in this guide, overheads are, in my opinion, the microphones that make the most difference. Tomorrow will come, and with it will come new ideas about recording good sounds. That’s because I use drum sampler, hehe! Place it about 40” to 60” above the snare drum. at one point, so don't do it. That’s not a one-mic setup.

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