Recording Techniques-Drum Kit

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    Recording techniques:Drum kit

    This article documents how to record drums as a kit. For information on microphone t echniques for individual drums pleasesearch Category:Drums to see a listing

    Contents [hide]

    1 Single Microphone Full Kit Techniques

    1.1 One microphone in front of kit

    1.2 One microphone back of kit

    1.3 One microphone overhead technique

    1.4 One microphone 8 feet away

    2 Dual Microphone Full Kit Techniques

    2.1 Stereo X-Y

    2.2 Wide Stereo Overheads

    2.3 Head baffle technique

    2.4 One microphone overhead & one in kick

    2.5 MS Stereo Technique

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    2.5.1 Setup

    2.5.2 Analog recording

    2.5.3 Digital recording

    3 Triple Microphone Full Kit Techniques

    3.1 Kick, Snare and Overhead

    3.2 X-Y and Kick

    4 Quadruple Microphone Full Kit Techniques

    4.1 Glyn Johns Technique

    4.1.1 Microphone Selection

    4.1.2 Posit ion Your Overheads

    4.1.3 Position Your Spot Mics

    4.1.4 Panning In The Mix

    4.2 Recorderman technique

    4.2.1 Mic P lacement

    4.3 XY, Kick & Snare

    5 Videos

    Single Microphone Full Kit Techniques

    One microphone in front of kit

    One cardioidcondensermicrophone 6 feet above the f loor placed facing the kit

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    Requires

    compatible

    browser to

    stream.Click

    files to save

    Single mic in back of

    kit, 6 feet above

    floor (Large room)

    Link

    save

    Digitally rec orded

    with a Shure KSM44

    and API 512C in a

    large roo m

    MP3 stream (Large room)

    Requires flash

    MP3 stream (Large room)

    One microphone overhead technique

    This setup uses 1 cardioid condenser microphone as an overhead pointed down

    at the drums f rom a distance of about 4ft .

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    Requires

    compatible

    browser to

    stream.Click

    files to save

    Single mic in back of

    kit, 6 feet above

    floor (Large room)

    Link

    save

    Digitally rec orded

    with a Shure KSM44

    and API 512C in a

    large roo m

    Requires flash

    MP3 stream Lar e room

    Dual Microphone Full Kit Techniques

    Stereo X-Y

    This technique uses two condenser microphone with cardioid polar patterns. The

    microphones are placed at a 90 degree angle to one another at about 3 feet above the cymbals. The horizontal and

    vertical plane positioning should be the same for both microphone capsules and they should be close enough that they're

    nearlytouching each other

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    [edit]

    Requires

    compatible

    browser to

    stream.Click

    files to save

    Single mic in back of

    kit, 6 feet above

    floor (Large room)

    Link

    save

    Digitally rec orded

    with a Shure KSM44

    and API 512C in a

    large roo m

    Requires flash

    Wide Stereo Overheads

    This technique requires the use of two cardioid condenser microphones placed

    1-3 inches apart over the drum set and placed at a 90 degree angle pointed away from one another as displayed in the

    image below.

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    [edit]One microphone overhead & one in kick

    For this t echnique one cardioid condenser microphone is overhead pointing down at the drum kit. The other microphone is a

    dynamic microphone and is placed inside the kick drum aimed at the head, about half way between the center of the head

    & the shell

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    MS Stereo Technique

    M/S stereo is short for Mid-side stereo. MS

    Stereo microphones exist but you can also

    create t he effec t with a good quality cardioid

    mic and condenser with a f igure 8 polar

    pattern.

    Setup

    Place the cardioid mic where you would

    normally position it t o capture direct

    sound from the source and place the

    figure-8 mic with its diaphragm at a 90-

    degree angle to the diaphragm of the

    Cardioid mic. The Cardiod microphone is

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    called the mid mic and the fig 8 is called

    the s ide mic.

    Analog recording

    1. Bring the Figure 8 mix up into a console and then take a feed f rom the direct out of that channel and bring it back in

    via a line input on another channel

    2. Bring up the cardioid mic and center pan it.

    3. Take the two channels of the figure 8 microphone and pan one left and one right. Now reverse the phase of one of

    the splits.Listen to t he cardioid signal and bring up the signal from the condenser mic and you will hear the sound

    change from mono to a wide stereo signal.

    When you mono the figure 8 signal, the left and right signal should cancel each other out and leave the cardioid mono

    signal.

    Digital recordingFor digital recording you can either follow the direct ions above (they will work perfect ly fine) or instead of splitt ing the

    signal of the figure 8 mic as posted in step #1 above, you can simply record both mics on their own respective tracks and

    then take the figure 8 mic track and copy it to another track after recording. You should then have 2 figure 8 tracks. Now

    simply phase reverse one of them using a phase reverse feature of your DAW and pan one track hard left and the other

    hard right.

    Triple Microphone Full Kit Techniques

    Kick, Snare and Overhead

    This t echniques uses 1 cardioid condenser microphone placed two feet above the cymbals and pointed down at the set .

    Another cardioid dynamic microphone is then pointed at the snare from a distance of about 2 inches. The third microphone

    is a dynamic cardioid microphone inside the kick and positioned to personal taste.

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    [edit]X-Y and Kick

    For this technique use two cardioid condenser microphones in an XY configuration. Then mike the inside of the kick with a

    dynamic cardioid microphone.

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    Quadruple Microphone Full Kit Techniques

    Glyn Johns Technique

    Glyn Johns is a famous recording engineer. Born in England in 1942, Mr. Johns has recorded many well known musicians

    including Eric Clapton, The Rolling Stones , The Who, St eve Miller, and The Eagles.

    Microphone Selection

    This technique involves f our microphones - two overhead microphones,a kick mic, and a snare mic. For this tutorial we

    suggest these microphones. Note: it only sounds good if you have a good sounding room and a good drummer.

    Kick:AKG D112

    Snare:Shure SM57

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    [edit]Videos

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