So even if you can’t get inside the drum, there’s still a lot you can “I use a three- microphone technique on bass drum,”. Of all acoustic instruments, drums and percussion instruments seem the most elusive to capture with a compelling sound. Pop recordings are. First is the dynamic mic, which will often be used on the snare, bass drum and sometimes on the toms. A dynamic mic functions just like a.

Author: Mazurn Maurisar
Country: Honduras
Language: English (Spanish)
Genre: Medical
Published (Last): 25 June 2005
Pages: 39
PDF File Size: 7.72 Mb
ePub File Size: 17.59 Mb
ISBN: 562-8-83167-153-9
Downloads: 28399
Price: Free* [*Free Regsitration Required]
Uploader: Nilar

MusicRadar

Gonna test this tomorrow and three new songs. A Shure Educational Podcast Learn which microphone characteristics mikiing the way microphones sound, and how you can use these characteristics to help choose the right microphones for a variety of…. Reflective floors and absorbent ceilings are usually better than the other way around carpet below and drywall above, for instance.

Tony Stahl on January 31, at 1: If all you have is a basic dynamic vocal mic, go with it and make it work. In the case of the toms, you’ll also hear their techniqies overtones ringing away as other drums are hit. For the widest possible stereo spread, use AB.

What are the best vacuums on January 28, at 5: How different mijing a single pair of microphones, in the same room with the same drums, really sound?

However, the pay off for having the mic outside of the drum is more bleed from the rest of the kit and less attack than if it were placed inside. We have recorded some full kit recording taking up most of the mixer inputs with drums 7 or 8 channels. The risk can be mitigated somewhat by keeping the two microphone capsules equidistant from the center of the snare drum — but even then, the mic placement should be auditioned in mono to reveal possible problems with the kick, toms, or cymbals.

  16F876 DATASHEET PDF

Hey Graham, what kind of mic stands do you use? But move things around, experiment, change it up. The method starts with taking your first overhead mic and placing it about 3 to 4 feet directly above the snare or middle of the kit. If possible, I would like to hear the drums mixed in context with the rest of the instruments. But you can still achieve both with some compromise.

What materials do you have against the wall on the high-hat side for acoustical treatment? And the kicker…he only used 4 microphones to do it! It was never so easy to get a beautiful sound — and vibe — from drums. Beau on December 2, at March 26, — Link — Leave a comment [ Improving Drum Corps Performance with Wireless Audio With new rules governing the use of technology in drum corps performances, Bluecoats wanted to see what wireless audio and in-ear monitoring could do for them.

Perhaps because the microphone position simulates human ear position, the resulting stereo field seems very natural and realistic, and generally collapses to mono without significant problems. Regardless of height, I recommend mounting the XY array directly above the snare drum, to ensure that the snare is centered in the stereo image. Just a quick question though, why would you prefer to use large diaphragm condensers over small diaphragm condensers?

Pinch the string together at the point where it touches the mic above the snare, so that both legs of the string are taut. Definitely trying this out on the next recording. Therefore, the best kick sound is typically captured in front of the bass drum, while the best overall sound is usually gotten from above the muking.

13 correct ways to mic up a drum kit | MusicRadar

I just stumbled upon your blog and in accession capital to assert that I acquire in fact enjoyed account your blog posts. If you have nothing to do someday, take two identical mics, any type will do, set them for the miming gain and volume, and move them around as you sing. I just bought a stereo x-y condenser. Glyn Teechniques Studio Geekery: Using a tape measure, place this mic the same distance from the center of the snare as the overhead mic.

  GE RAILEDGE PDF

Biplab Poddar on June 1, at 3: Graham Cochrane on August 6, at 4: This can be useful to a point, however if you get too close, the proximity effect will render sound unnatural or unusable. Place it where you get that fullness and attack that you want to compliment your first two mics. And Page had more to do with how the drums were recorded than Johns did.

Then, without losing your loop spot on the cable, swing it over to the 2nd overhead and make sure the grille lines up. After looking over a number of the blog posts on your website, I truly appreciate your way of writing a blog. Glyn Johns recommmends not hard panning the drums — but putting them just off centre.

Glad you found it helpful. So one final overhead option is to bring the mics down low. Do you have preferance? The objective for while is just to record some mking. Graham on September 2, at 1: Could you list of every one of all your community sites like your Facebook page, twitter feed, or drun profile?

George Piazza on October 28, at 2: When panned, these two microphones alone should give you a completely balanced, clear, and punch stereo recording of your kit. What kind of frequency should we get out of the overhead microphones? Submit a Comment Cancel tecyniques Your email address will not be published.

I also monitor these microphones in mono when balancing. Mikimg can be EQed out but is best avoided.