Most overhead configurations pull the snare to one side, so the close mic on the snare is used to center it. My favorite is the Shure Beta 91a. But I have seen some of my favorite engineers pass over the more expensive mic to choose a budget mic because it fit the situation. eval(ez_write_tag([[728,90],'rhythmnotes_net-medrectangle-3','ezslot_16',132,'0','0'])); Here are some things to consider long before the recording or live session. 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. This would be necessary if you only have a two-channel audio interface. If you start off with bad sounds, you will only have better sounding bad sounds after employing even the best mixing techniques. For me there’s a bit of procedure that doesn’t vary — I do the same thing essentially every time. The best studios will have great mics and the engineers to place them. The close mics on the drums to achieve more stereo control when the drum setup, mic placement, or room are problematic. Drums are generally tricky to both record and mix. Change the mic before adding more mics. Pinch a piece of string (or a cable) with the kick drum beater against the head. Please try again. Often enough there will be some boxiness in the lower-mids (particularly if recorded in a small room) that might need some taming. Drums are generally tricky to both record and mix. Home studios don’t always have that luxury and need to make every dollar count, which is why I have a few recommendations. You’ll need to listen back for a balance of the kit. The worst thing you can do is not have a plan for tracking drums. The setup explained below comes from an interview with the producer, Mixerman, who produced the first session with this drum mic concept. I like it when they kind of play together rather than sound like “hi, I’m a drum kit and here is my room.” So while I’m pretty conservative with processing on the overheads themselves, I tend to be pretty aggressive on the rooms — with my general aim to be getting the room tones to sit into the overheads. First I listen to what’s there to determine what my overheads are bringing to the table. 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. Just depends on the style of music and particular tastes of the band. Once my overheads are sitting right, I tend to sculpt my room captures around the overheads. The Sennheiser MD 421 II have been the industry standard for decades, but these days there are several options that are more friendly to mid- and entry-level budgets. First up: choosing the right mic - dynamic vs condenser. Listen for low end frequencies because they tend to get lost as a result of mic placement. It’s a little counterintuitive but sometimes getting the widest sounding mix actually means pulling the drum overheads into the center a bit. 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. 13 correct ways to mic up a drum kit. The best solution to the problems that come with close mics is for drummers to play the instrument with more balance and control. If they sound bad, change one variable at a time. I have an 8-channel interface, so I would use two mics on the kick and two on the snare. It gives your tracks some of the snare sound, literally, that the drum deserves. Positioning the mic closer to or farther from the rim also changes the sound. It will explore 2-mic setups, 3- and 4-mic setups, and close mic techniques to ensure that your drums are captured as they sound. 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. I have never met a studio or front-of-house engineer who didn’t want another microphone for one reason or another. Don’t be afraid to mix a parallel trigger track to mix with your room mics, especially if used sparingly. On the subject of imaging and width it’s worth noting that sometimes the cymbals can mask the guitars if they have a wide stereo field. Your cymbals will shine and your drums will sound big and full. 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. But make sure your plan reflects what’s possible. Then there's a bit that varies depending on exactly what's happening in the context of t. I'd like to receive the free email course. Capturing drums as they sound is about honoring the drum sounds that the player brings to the session. For about $100, you can have a great mic that delivers professional results. For me there's a bit of procedure that doesn't vary — I do the same thing essentially every time. The mics you have should impact your decision. If you are only the engineer, you can only control your variables. Depending on your budget, the following two mics work well for a bottom snare application. You’ll know there’s a phase problem if you’re not happy with the low frequencies. It’s important to have context before carving out every aberrant tone otherwise the cymbal will end up sounding lifeless. Also, remember that there are very few rules to sound engineering. I like drum tracks with the snare right down the middle. Then there’s a bit that varies depending on exactly what’s happening in the context of the music. I know that this sounds like I’m repeating myself on this point, but it’s because, as a drummer and producer, that’s the effort that yields the most impact on the product. Four mics are my favorite. When we only want the cymbals, it may be worth high-passing the overheads to drop out the kick and body of the snare. I still remember my first professional recording session because the engineer, who was also a drummer, told me over and over to be more subtle on the hi hats. Discover how to make your kick and bass hit hard by cutting (NOT boosting) the right frequencies! The ideal mic setup (and room) would consist of really nice overhead and room mics. If you want to capture the snare drum, for example, the hi hat will likely find its way into your snare drum track. I find a linear phase EQ is usually good for this process. Many musicians start their home recording pursuits with a two-channel usb or firewire interface. You can spend anywhere from $150 to $350 on a low budget setup. Personally, I like to keep triggers really low and prefer to not rely on them. Hold the string up to the mic over the snare before continuing down to the batter head, pulling the strong tight to get an accurate measurement. The setup I’m focussing on is about $1,200. Contrary to what you may have read on the Internet or were told by someone you trust, Recorderman is not a two-mic setup. To compress overheads or not to compress overheads? Secrets for Playing a Drum Roll - Exercises for All Levels. Here’s a raw recording of the KM184s as drum overheads: The KM184s are industry standard microphones and have been used on tons of records. Step 4 - The toms. My first interface was a Tascam US-122. I use an SM57 on the bottom and an Audix i5 on the top. This approach is better the more familiar you are with the mics, the room, and the drummer. Stylistically this can definitely work sometimes, but I’d say 75% of the time I want something a little more live and deep.

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