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.
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Otherwise there is no stereo image. What you will however lack is some obvious low end punch to the kick and some fatness to the snare. Just curious if those overheads are enough to bring out the toms over other instruments. Glyn Johns recommmends not hard panning the drums — but putting them just off centre. Want… Week 10 witchcraft recordings – […] http: This is just a raw bounce out of Pro Tools. To minimize cymbal sound, try Recorderman. For the widest possible stereo spread, use AB.
As you listen to the tracks below, consider the following: If we want to get more precise about it, the overheads should be between 40 and 60 inches from the center of the snare. Lucky me I found your blog by accident stumbleupon. It was never so easy to get a beautiful sound — and vibe — from drums. Do you mind if I quote a few of your posts as long as I provide credit and sources back to your site?
If the cymbals are too abrasive, move the mic up a bit more. Some of the best drum recordings are made with simple techniques like this. So by accident, stereo drums were begat. To do this, one of the mics should have its phase reversed. Size is equated to all of the following characteristics: This is therefore a great way to combat some of the problems that plague live drum recording in home or project studios:.
And yes three mics is perfectly fine to capture a drum kit. Srum have a Behringer B2 and was wondering if it made a difference if I used a figure 8 pattern Reply.
Then with your drummer still holding his end firmly to the snare, swing the cable over to the second mic and mikjng sure that mic is lined up with where you are pinching it. Graham on September 18, at 1: Lorcan Howard on June 4, at 8: Strictly speaking, all post-processing will increase both noise and distortion… to a certain degree.
Five Techniques for Stereo Miking Drums
This can be checked by taping the two ends of a length of string to the center of the snare and kick drums, respectively. Super low cost large diaphragm vocal condensers and I love how it comes out. First is the dynamic micwhich will often be used on the snare, bass drum and sometimes on the toms.
Are your dark-sounding vintage hi-hats getting lost next to the slamming rimshots on your wide-open metal snare? Has anyone tried this on live situation? The drums, the room, the preamps, cables, and composition remained the same.
Minimal Miking Techniques – Modern Drummer Magazine
Travis Whitmore on January 10, at Try as producers and engineers do, you cannot defeat drhm physics in the recording studio. Just a quick question though, why would you prefer to use large diaphragm condensers over small diaphragm condensers? Please visit my website too and tell me your opinion.
Are the microphone images positioned correctly?
A Shure associate sinceDavida Rochman graduated with a degree in Speech Communications and never imagined that her first post-college job would result in a lifelong career that had her marketing microphones rather than speaking into them. I just stumbled upon your blog and in accession capital to assert that I acquire in fact enjoyed account your blog posts. The objective for while is just to record some demos. Franco on July 29, at 8: It also showcases every mistake very well and leaves no chance for overdubs!
I also have a true shure sm57, and a G. How you strike the drums is more important than which drums you use.
The Glyn Johns Drum Recording Method – Recording Revolution
Alexandre on September 12, at 3: The only issue with that is bleed. Large condensers, small condensers, dynamics, and ribbons are all capable of capturing musical, organic drum tones. The two capsules are typically pointed toward the left and right sides of the kit.
Even the position of the players can have an influence. The sketch is attractive, your authored material stylish. For a wider stereo image, spreading the mics apart as a spaced pair is more effective. You techniquee find that info here: