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Simple Live Drum Micing Technique


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I once heard someone mention that they did this with success for gigs, and I'd like to get others opinions about it....One dedicated kick drum mic on the reso head, and then clamp a Sennheiser e604 on the top of the batter bass drum hoop in between the two rack toms, facing up, but angled toward the snare a bit. I heard this picks up the toms and the snare (I'm not sure how much of the floor tom though, if any). Cymbals should come though the vocal mics. Opinions?

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For simplicity, as stated, K, S and OH's. I usually get as much as I can in, mic all snares/toms and leave the overheads stereo for simple balance to whatever comes in through vocals. But that's just me, it helps dial in a better sound most of the time.

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I once heard someone mention that they did this with success for gigs, and I'd like to get others opinions about it....One dedicated kick drum mic on the reso head, and then clamp a Sennheiser e604 on the top of the batter bass drum hoop in between the two rack toms, facing up, but angled toward the snare a bit. I heard this picks up the toms and the snare (I'm not sure how much of the floor tom though, if any). Cymbals should come though the vocal mics. Opinions?

 

 

The success of placements like this are highly dependent upon the drummer's playing style and the layout of his kit. It wouldn't be a good general-purpose technique to mic'ing the snare, because the microphone is a good 3' away from it.

 

-Dan.

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If you know how to play the drums as a musical instrument and have good dynamics you should not worry. If you bash away with no care in the world then you may want to reconsider.

 

In one of my rock bands I play large 18-20" A custom projection crashes, Earth Rides ect, and have no problems with volume.

 

Edit: spelling

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If you know how to play the drums as a musical instrument and have good dynamics you should not worry. If you bash away with no care in the world then you may want to reconsider.


In one of my rock bands I play large 18-20" A custom projection crashes, Earth Rides ect, and have no problems with volume.


Edit: spelling

 

 

This. If it's like deathcore or something, then I can understand part way. But in any other case, it all comes down to the musician/drummer...lol. I keep the OH's there just incase. Vocals can pick some bleed up but not the sound you may want. Like I said, I mic as much up as I can, just a single mic per snare/tom, kick, and one or two overheads.

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When I do simple drum mic setups it usually consists of Kick, snare and 2 overheads.

 

 

My drummer has too many mics to allow that to happen. At least while indoors, he only uses a kick mic. But I can see that working quite well.

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I have done similar to the OP's question in the pastat an outdoor in an alley gig (plenty of reflections from the buildings). I ran a kick mic and an SM57 boomed in over the kick between the snare and a single mounted tom. It worked adaquately in that situation, short gig, small mixer, no subs. I THINK itwas just old Peavey SP2s on stands for the speakers (rounded top cabinets).

 

Boomerweps

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I have done similar to the OP's question in the pastat an outdoor in an alley gig (plenty of reflections from the buildings). I ran a kick mic and an SM57 boomed in over the kick between the snare and a single mounted tom. It worked adaquately in that situation, short gig, small mixer, no subs. I THINK itwas just old Peavey SP2s on stands for the speakers (rounded top cabinets).


Boomerweps

 

 

did the exact same thing in an acoustically active space with better than expected results.

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For small setups I have had very good success with just micing the kick.

 

Next up I would strongly consider a mic between the toms.

 

I have had issues with cymbal volume even in relatively large indoor venues and therefore don't really use my overheads indoors at all.

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For small setups I have had very good success with just micing the kick.

 

Next up I would strongly consider a mic between the toms.

 

I have had issues with cymbal volume even in relatively large indoor venues and therefore don't really use my overheads indoors at all.

 

I'm curious about your set up OneEng.

 

What mic are you using between the toms?

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For small setups I have had very good success with just micing the kick.

 

Next up I would strongly consider a mic between the toms.

 

I have had issues with cymbal volume even in relatively large indoor venues and therefore don't really use my overheads indoors at all.

 

For small indoor shows, like less than 100 patrons, in a typical bar or restaurant, and with typical rock type music or anything lighter - what he said. I have a cheap Audix F90 that I clip on the snare just in case, but seldom find the need to turn it up.

 

I used to do a lot more drum mic'ing both to learn how to use my gear and how to build a decent drum mix. But gig after gig it seemed I ended up with most of the drum channels pulled way down as the drums (except kick) were more than loud enough. So I just started cutting out mics one at a time. I also gradually realized that I get way more enjoyment out of a typical gig by minimizing time spent on all the prep, loading, setup, soundcheck, tear down, load out, storing, etc. It is amazing how much time can be saved just by hauling out less gear. There are fewer things that could go wrong and need debugging, too. Now I am generally more relaxed and can focus on the the fun part of the gig: mixing and and maybe even the ability to socialize a little. The other pleasant surprise is that often the overall mix sounds better. The fewer open mics the less "mush" and fewer points for potential feedback.

 

As the size of the hall goes up, or for anything outdoors, then more extensive drum kit mic'ing is needed. Of course if you are recording a live gig, full kit mic'ing will give you more options during mixdown even if you don't actually use the mic for the live show.

 

Of course you must be guided by the specific circumstances, the promoter, band, and crowds expectations, and your own personal style. For me, less is often more.

 

 

 

 

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Hey thanks for the response. I'm definitely a keep it simple type of guy.

 

I've been reading more on the topic and found an interesting one mic method by Steve Remote (Remoteness). (Called the Steve Remote Knee mic or something.) Essentially using one omni mic placed in the area around the drummers right knee. Apparently he gets great results recording this way. Not sure it would work live or in a rock type setting. He seems to have a great attitude about trying different mics in different positions even if it is somewhat unconventional or frowned upon.

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Sorry didn't realize it was taboo to respond to an old post. Other forums I visit actually prefer that you do a search instead of reposting the same thing over and over.

 

I do see OneEng on here quite a bit and thought he might see my question.

 

Whatever....forget about it.....

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