DRUM MIKING TECHNIQUES PDF
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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I book-marked it to my bookmark webpage list and will be checking back in the near future.
13 correct ways to mic up a drum kit | MusicRadar
Davida Rochman A Shure associate sinceDavida Rochman graduated with a degree in Speech Communications and never hechniques that her first post-college job would result in a lifelong career that had her marketing microphones rather than speaking into them.
Are the microphone images positioned correctly? Graham on January 10, at 1: With a four-mic set-up, neither of our overhead options, although giving a natural mikung of the kit and clear cymbal sound, will give much definition from the toms.
Graham on June 15, at 4: Then, without losing your loop spot on the cable, swing it over to the 2nd overhead and make sure the grille lines up. Happy Birthday Graham — hope you have a cracking day in the studio!
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 kit. George Adams on January 26, at 5: In your example, the hat and ride seemed a bit overpowering. BillyZeppa on July 11, at 8: The Shure applications team can provide more information on this, please contact them directly via e mail at support shure.
Lowering the microphones, or using an angle less than 90o can result in a more direct sound, although the kick and snare will always be off-axis. This ‘phantom power’ is sometimes available on individual channels of a desk, though it can be sent globally to all mics without affecting other dynamic mics.
The Glyn Johns Drum Recording Method
Now For Something Completely Different Once you have a good balance of the kit with your first mic, things get a bit interesting. Starting with as clean a recording as possible will make future processing sound better. Please describe what action you were taking when the bug occurred.
Read the rest of this post. What do you think of using this technique for a live show? And think with these three mics is possible to get a acceptable sound? What may you recommend in regards to your publish rechniques you simply made some days ago?
Sergio Barros on January 30, at 7: To ensure mono compatibility, use XY or MS. Hey Graham, what kind of mic stands do you use? The snare would usually be miked like the toms, from the top, three fingers away and at the edge of the drum and pointing at crum centre.
I like the valuable information you provide on your articles. Graham on January 11, at 3: I record all of our shows and practice when we have them.
Great blog you have here. Mono compatibility is not guaranteed, rrum for the kick and snare. Subscribe to Live Sound International magazine. Aside from phase-coherency challenges, AB is a powerful technique, with a large palette of sonic colors.
Matt McGlynn is the founder of RecordingHacks. The downside is that a coincident pair has a limited stereo spread.
Love his emphasis on simplicity, letting the drummer play, etc. This will result in an overly roomy sound. I will start following the blog close, even though I dont produce as much. We have recorded some full kit recording taking up most of the mixer inputs with drums 7 or 8 channels.
And then — after all of this — you have to re-discover the emotional beauty in the piece, and use it in your performance. Terrific post howeverI was wanting to know if you could write a litte more on this topic? Fantastic information and so simple when you sit and mijing about it. These would usually be miked using a small condenser mic from above, 2″-3″ away and sometimes pointing away from the kit.
Grant Schinto on August 5, at 7: I have a Behringer B2 and was wondering if it made a difference if I used a figure 8 pattern Reply. The solution is to either move one of the mics until this improves, or reverse the polarity of one mic.
To demonstrate these different sounds, we recorded a drum kit with a pair of KSM44A overhead microphones five different ways.