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Cards Violins Mic'ing A Drum Kit on a Budget Introduction In the past
mic'ing a drum kit has always been made out to be an expensive and
complicated procedure. Well you can do it on a budget and get very
good results too! Scenario We're i
n the studio and have a 5 piece shell kit to mic up (Kick, Snare, Tom
1, Tom 2, Tom 3 + cymbals). We can't afford to splash out on 8 odd
mic's to capture each component of the drum kit (i.e. Each drum, hi-
hat mic and a pair of overheads), that would get very expensive very
quickly let alone all the extra outboard we would need to employ in
order to keep spill from one mic to the other to a minimum... We're
talking thousands! Solution It's possible to record great drums with
the bare minimum of fuss, and a bare min http://www.chinese-microphone.com/Drum-Microphones.html
imum of equipment and here's how. We need to get down to the bare
basics and decide what's essential to capture from the drum kit in
modern music... what's essential in the mix and what's not so
important. Let me tell you now that the key factor that a listener
will want in a recording is to be able to distinguish the base of all
the rhythm. The main rhythm composed within modern music is within the
Kick and the Snare only anything else is just the extra icing on the
cake and is not as relevant. It's important that these two components
are dominant in the mix therefore each has it's own microphone. You do
not need to splash out on expensive microphones to get a great sound
from these two components in the drum kit. There are budget
microphones on the market which are brilliant and require very little
to make them sound as good as expensive microphones; your common
everyday Joe is not going to know the difference between two if you
were to have expensive microphones on the kick and snare... the
difference is barely audible to the common ear. It takes sound
engineers years of training their ears to the subtle nausiances and
harmonics within a tone to recognise differences as small as this. The
rest of the kit can be picked up easily too in one go via the use of a
single overhead condenser microphone or if your budget can stretch to
it and you want a stereo image... two overhead condenser microphones;
for the purpose of this article I will refer to them as a pair of
condensers. The condensers will pick up all your toms, cymbals and a
bit of overspill from the snare etc. but this is the key part of
it... the condensers would have already picked up all those sounds and
ambience to a level which is not overpowering the rest. You generally
do not want the toms high up in the mix, they are subtle additions to
any mix which once put together fits perfectly. Microphone Choice Kick
Drum: JTS NX-2/AKG D112/Shure PG52 Snare Drum: JTS NX-6/Shure PG56
Overheads: JTS NX-9/Shure PG81 or similar back electret small
diaphragm condenser You may notice my favour to the JTS NX range of
microphone – They're suburb and are probably one of the cheapest
http://www.chinese-microphone.com/Drum-Microphones.html microphones
on the market... yet they excel all the other microphones listed.
Think Shure Beta series quality but without the price tag and you've
got it! Technique There is definitely an art behind getting a good
drum sound exactly how you want it to sound, a great deal of it is
learnt through experimentation but this should get you off to a good
start. Kick Drum: Place some dampening material into the chamber of
the drum to soak up excessive resonance. For a tighter sound place the
microphone closer to the batter head, for a more resonant
“loose” sound place the microphone further from the batter
head. If you're recording a heavy metal sound for instance it is
likely you want a “clicky, tight but boomy sound” - to
achieve this get the microphone as close to the batter head as
possible and aim it towards where the beater head lands on the batter
head – you can then process the recorded sound in post-
production with a multi-band compressor and get the sound exactly how
you want it... tight, crisp but punchy! Snare Drum: For a tighter
“snappier” sound have the microphone aimed towards the
edge of the rim and also closer to the head. For a looser and deeper
sound aim the
microphone across the head of the drum, distance the microphone more
from the top of the skin for further “looseness” and
ambience. Experimentation is the key here in particular – play
around with microphone positioning until you find a sound which s
http://www.chinese-microphone.com/Drum-Microphones.html uits you!
Overheads: The key here is to imagine the drum kit as two squares next
to each other so as to form a rectangle. You want to make sure that
the microphones are exactly in the centre of these two squares so as
to capture their own part of the kit. The higher you raise the
overheads the more ambience and sibilance you will capture, the closer
to the cymbals the more “beef” and “grunt”
you're going to capture from the kit... again... experimentation is
the key here until you find what's right for your particular mix.
Conclusion Regardless of what techniques you employ and how much you
have your technique perfected – you can't polish a turd. For
instance if the drum kit has not been correctly tuned, and then not
even dampened. Before you begin recording it is essential that you
listen to all of the drum kit separately in detail, tune it correctly,
and apply damping techniques where necessary via the use of moon gel/
gaffa tape/tissue. Start with a good sound and then you can take it to
the next step.Good luck and have fun! About the Author This article
was written by the team at Rose Morris Musical Instruments. For more
info on a wide range of audio products as well as guitars and amps
visit http://www.proaudiostore.co.uk ELECTRIC GUITARS - SITE MAP -
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