Members Marko Posted July 24, 2008 Members Share Posted July 24, 2008 Hello buddies. I'm still lurking here a lot, more lurking, but still here. I just got a digital recorder, and my buddies and I are gonna start recording some songs we Link to comment Share on other sites More sharing options...
Members BeakerArk Posted July 24, 2008 Members Share Posted July 24, 2008 this seems pretty economical, trackwise. .. [YOUTUBE]L5Fjuz7jXzs[/YOUTUBE] Link to comment Share on other sites More sharing options...
Members Marko Posted July 24, 2008 Author Members Share Posted July 24, 2008 Yeah, I watched that video. I thought I Link to comment Share on other sites More sharing options...
Members sirskatealot066 Posted July 24, 2008 Members Share Posted July 24, 2008 usually i use two, i put one behind me about 3 inches above the floor tomand 6 inches back, angled nearly straight in (a little down) towards the space between the snare and the kick. the other one goes in the kick. it has a pretty nice blend Link to comment Share on other sites More sharing options...
Members boxofrocks Posted July 24, 2008 Members Share Posted July 24, 2008 If you only have 4 I would expand the recorder man method with one in the kick and one on the snare. On a 4 piece kit I have been putting a mic on every drum 2 over heads and 1 room mic and get good results. I've been learning to get a good mix going with the overheads and room mic and slowly bring up the close drum mics to fill in what is needed, most of the mix is all overheads and room, the close mics are just bringing in whats missing if that makes since. So really in a good sounding room with careful mic placement 4 mics would be plenty, and you would walk away with great recordings. I'm no expert at all, but I talked with a studio guy and that's what he explained to me, and it works, he was right. Link to comment Share on other sites More sharing options...
Members D Carroll Posted July 24, 2008 Members Share Posted July 24, 2008 I have used as many as 8, and as little as one, the 2 shown in the video, plus a kick mic is my usual set up, but when I use one, it is about a foot above my bass drum, and about a foot away, and that pics up the main drums, but I do have to move my china's around a little... Link to comment Share on other sites More sharing options...
Members Chefmike8888 Posted July 24, 2008 Members Share Posted July 24, 2008 I've used the Glyn Johns method and got some really good results.http://homerecording.about.com/od/recordingtutorials/a/glyn_johns.htmPlace your overhead about 3' to 5' over the set facing down toward the snare and a little back to the rack toms (I kind of split the difference). Measure the exact distance from the center of the snare head to the front of the mic. Now instead of placing the other mic to the side of the floor tom (try both placements and see which works better for you), put it behind the floor tom over your shoulder, a little lower then your shoulder and angled down at the top of the snare head. measure it and move it so that it's the same distance from the center of the snare to the front of the mic as the overhead is. Place the bass drum and snare mic to taste. If you only have one condenser mic, I'd use that as the overhead.The mic's might require a little fine tuning to make sure that everything is getting picked up. Mike Link to comment Share on other sites More sharing options...
Members Marko Posted July 24, 2008 Author Members Share Posted July 24, 2008 If you only have 4 I would expand the recorder man method with one in the kick and one on the snare. ... That's exactly what I'm thinking. Some guy said to mic the snare halfway up the side, about 3-1/2" away, better than top or top/bottom. I'm gonna try that. Now I'll read up on that Glyn Johns method Chefmike8888 suggested. Thanks for the ideas so far. Link to comment Share on other sites More sharing options...
Members cearleywine Posted July 24, 2008 Members Share Posted July 24, 2008 An external mixer just for drums, that would allow much freedom. Link to comment Share on other sites More sharing options...
Members D Carroll Posted July 24, 2008 Members Share Posted July 24, 2008 An external mixer just for drums, that would allow much freedom. +1, A little berhinger euro mixer will work magically. Link to comment Share on other sites More sharing options...
Members Marko Posted July 24, 2008 Author Members Share Posted July 24, 2008 I have a mixer, but since each drum mic will be on it Link to comment Share on other sites More sharing options...
Members D Carroll Posted July 24, 2008 Members Share Posted July 24, 2008 I have a mixer, but since each drum mic will be on it Link to comment Share on other sites More sharing options...
Members Marko Posted July 24, 2008 Author Members Share Posted July 24, 2008 If you want to record the whole band at once. Or, you could use it for live use. Gotcha. Yes, that works well for live. I Link to comment Share on other sites More sharing options...
Members Mogwix Posted July 24, 2008 Members Share Posted July 24, 2008 I have a spaced pair of Audio-Technica AE5100's for overheads, an Audix D6 in the kick, and an Audio-Technica ATM650 for the snare. There's four channels. I usually mic the toms too, that's 4x Audio-Technica AE3000. Link to comment Share on other sites More sharing options...
Members Marko Posted July 24, 2008 Author Members Share Posted July 24, 2008 I have a spaced pair of Audio-Technica AE5100's for overheads, an Audix D6 in the kick, and an Audio-Technica ATM650 for the snare. There's four channels. I usually mic the toms too, that's 4x Audio-Technica AE3000. Not in the budget just now. SM57s will have to suffice for the time being. I'm not expecting "all that" from this project for a while... just a learning and creative experience. Eventually maybe... Link to comment Share on other sites More sharing options...
Members drumstix Posted July 24, 2008 Members Share Posted July 24, 2008 You might just be suprised what a kick, snare and 2 overheads will sound like. You can also just do the kick, snare and two 1-L, 1-R room mic's about 10' away. Dont forget to give yourself 1-2 bars of a click of some sort, (kick drum, drumsticks, 1-2-3-4) makes it easier for adding extra tracks after you put down the drums. Then just delete them during the mix down. Link to comment Share on other sites More sharing options...
Members cheeseadiddle Posted July 24, 2008 Members Share Posted July 24, 2008 I play a small kit, so this may qualify what I'm about to say. When I've recorded like you've described, I've found that in just about all situations I can get by with one overhead condenser and one dynamic in front of the bass drum. You'd be surprised how much these two mics will pick up. Link to comment Share on other sites More sharing options...
Members Jarick Posted July 24, 2008 Members Share Posted July 24, 2008 Like this. Don't be afraid to NOT pan the drums hard left and hard right. If you have extra mics, I like one on the snare anywhere from a peeking over the top rim and looking at the center of the head to 6-12" away pointing right at the side of the shell. I also like one just inside the hole on the kick pointing at the beater impact spot. If you have mics for the toms, I like them a couple inches over the rim and an inch or two inside the drum (depending on the diameter) pointing just inside from the center of the drum. Link to comment Share on other sites More sharing options...
Members Kabaalk Posted July 24, 2008 Members Share Posted July 24, 2008 I'm new to this, but if you're trying to pick up toms on your bass mic, I think that would likely eliminate your ability to replace the bass with a better one... jus' sayin'. I honestly got incredible results with just one overhead, but I'm still experimenting. Link to comment Share on other sites More sharing options...
Members Carminemw Posted July 24, 2008 Members Share Posted July 24, 2008 Marko, Marko, Marko...how the heck are ya...long time no hear... 57s and a condesor work just fine. It really depends to on the sound you're going for. If you have 4 channels to deal with, I'd put one on the kick, one on the snare, one over head, and one in front or ambient a few feet away for room sound. The 57s and 58s work on snare and kick. I, unlike alot of the guys here today, mic'ed the kick from the inside (I used one head for many a year) about 3 inches from the head, almost at the beater spot. Put a 57 in there and with the right eq, you'll thump your brains out. I also used a folded moving blanket just touch the bottom of the head and my old sheet method on the kick... Snare is tougher cause up top near the head you get too much head and impact noise, and below you get too much snare buzz. I'd position it about 2" away from the top and about 2" out...maybe even catch a little hat with it. Good backbeat needs a good "crack" so if you do more rim shots...bring it back even further to get some nice snare tone...JMO:thu: Link to comment Share on other sites More sharing options...
Members turdadactyl Posted July 24, 2008 Members Share Posted July 24, 2008 I would put one on the kick (an AKG D-112 would do) and one on the snare (a Shure SM-57 is the standard). Then do two overheads, preferably condensers. I posted a while back with my whole setup, including mic models and pictures of angles. See here: http://acapella.harmony-central.com/forums/showthread.php?t=1951891&highlight=cardinal Link to comment Share on other sites More sharing options...
Members Marko Posted July 24, 2008 Author Members Share Posted July 24, 2008 Marko, Marko, Marko...how the heck are ya...long time no hear... How ya doing there Carm... 57s and a condesor work just fine. It really depends to on the sound you're going for. If you have 4 channels to deal with, I'd put one on the kick, one on the snare, one over head, and one in front or ambient a few feet away for room sound. The 57s and 58s work on snare and kick. I, unlike alot of the guys here today, mic'ed the kick from the inside (I used one head for many a year) about 3 inches from the head, almost at the beater spot. Put a 57 in there and with the right eq, you'll thump your brains out. I also used a folded moving blanket just touch the bottom of the head and my old sheet method on the kick... Yes, I planned on a 57 inside the kick I think I Link to comment Share on other sites More sharing options...
Members turdadactyl Posted July 24, 2008 Members Share Posted July 24, 2008 I wanted stereo, so I Link to comment Share on other sites More sharing options...
Members Jarick Posted July 24, 2008 Members Share Posted July 24, 2008 A few things: Check out Naiant mics if you're on a budget. Really nice quality omni condensers for $55 each. Great reviews from semi-pros and hobbyists. Best deal out there for condensers. A pair of those should do a wonderful drum sound. Next most important is the kick sound. SM57's will do in a pinch, but a dedicated kick mic is even better. Just be sure that you put some kind of muffling inside, even if it's a fluffy blanket not touching the heads, if you plan on putting the mic inside the drum. Kick drums get that basketball sound if there's too muh reflective surfaces. On the snare, SM57's are amazing for a punchy sound with some warmth and low end. If you're looking for a lot of detail, grab a large diaphragm condenser, even a cheap one, and stick it on the side. A mic pointing at the head itself from above will have a lot of attack, punch, and some ring. A mic pointing at the bottom will have more crack and tons of snare sound and high end. A mic pointing at the shell will have a lot of warmth, tonality, and body. By pulling that mic back and aiming either at the bottom (if you get plenty of attack and body from the overheads) or at the top (if you get plenty of crack and detail from the overheads), you can fine tune that sound. Link to comment Share on other sites More sharing options...
Members Jarick Posted July 24, 2008 Members Share Posted July 24, 2008 Oh yeah, and another thing. The reason I like the Recorderman setup (Glyn Johns, the one in the video) is that it gets the fattest tom sounds as well as centers the snare and kick. There are fewer phase issues with the cymbals than other stereo techniques. Recorderman = fatter toms and snare, few phase issues, great stereo image ORTF = detailed and accurate imaging with few phase issues, thinner sound X-Y = narrow image, few phase issues, not very interesting Spaced pair = wide but splotchy image, lots of phase issues unless experienced, fatter sound Link to comment Share on other sites More sharing options...
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