I’m about to record some drums, help me not screw it up

[losthighway]

This place rules because there is only good advice above.

The things I'd offer to build on/add to the above are these:

As mentioned, find time to test everything out before you need to roll. Your plan might be perfect, but you don't know until you try it and then alter it. I would encourage you to spend an extra 20 minutes seeing what a couple of unmatched mics (since you have no pairs) sound like in overhead positions, something like Glyn Johns or other spaced pair positions. People are reasonably reluctant to put two mics with significantly different fingerprints into any kind of stereo setup, but I remember in my early days with limited gear where the brighter mic on the ride side was the absolute least problem next to more significant deficits I had.

I would totally mess with fairly low height 47 focused on the floor tom and the m160 on the snare/rack tom, measured equidistant from the snare. Might be cool, or might lead you to something else you wouldn't have found, worth the 10 minutes if you're spending time moving mics around.

[Nick Sevilla]

I would just add, be careful not to place any mics equidistant between floor and ceiling or between walls. I've found it really hard to get a good sound there.

That’s very interesting, I’ve never heard that before.

That midpoint, is the Null of the First Order harmonic of the room. And yes, it does cause havoc with the microphones. Never place anything you do not want sucked into a black hole in there ;P . Remember, microphones are no human ears, they pick up everything they get hit with.

"Holistically", you can approach the mic placements either by starting from the outer edge, with the mono room mic, and move in from there, adding one mic and checking it against the mono overhead as you go, until they are all in, or the reverse, if you will be relying on one part of the drum kit more than the others, say delicate snare work.

Since you are the one there and it is your mics and the players' drums, you'll be in charge of exactly what gets placed where. Thus more specific advice would not be good, except for "use your ears!"

Great advice from everyone else here, as usual.

Let us know how it goes!

[digitaldrummer]

since that room is fairly small (based on the pictures you posted) you might consider a heavy blanket (moving blanket, comforter, etc) hung across that cinder block wall - looks like there is a rail across the top? then again, it depends on the sound you are getting, and the sounds you like. One thing we haven't discussed here is that probably everyone has their own idea of what a "good drum sound" is. but I'm just thinking about all the cymbals coming back off that wall...

[Jitters]

I have been wondering about that cinder block wall and how it might affect an m/s setup in front of the kit. I’ve more or less ruled out the mono overhead/front of kit setup to avoid the phase issues that MSE mentioned. I would much rather have a simpler capture of the kit to work with than phase issues to deal with at the end of the day, although I realize I could always chose one mic over the other to use in the mix if necessary. I still have a couple of days to chew this over. Much love to all of you for the sage advice…

[drumsound]

since that room is fairly small (based on the pictures you posted) you might consider a heavy blanket (moving blanket, comforter, etc) hung across that cinder block wall - looks like there is a rail across the top? then again, it depends on the sound you are getting, and the sounds you like. One thing we haven't discussed here is that probably everyone has their own idea of what a "good drum sound" is. but I'm just thinking about all the cymbals coming back off that wall...

I'm even more concerned about the mirror right behind the drums. They reflect more than images.

[Jitters]

I’m not sure if it’s mounted or just leaning against the wall. I suppose we could face the kit in the other direction, if we can’t remove it.

[digitaldrummer]

truth on that mirror... the more I look at the other wall I wonder if that is just painted wood paneling? are you sure it's concrete? At first look I thought it was cinder block but the pattern is not right. either way I think if you can hang a few blankets it might work out a little better for you. in most cases a small room is better when it's a fairly dead room. Use close mic'ing and try to eliminate the room as much as you can. I would try either the M160 or the 47 higher than center, pointed down toward the cymbals/drums Or maybe even straight on (but sometimes you get weird phasing if the mic is level with the cymbals as they move) to capture the cymbals and use the close mics as much as possible to get the drum sound. mid/side and room mics are useful when the room sound is worth capturing. otherwise skip it.

[drumsound]

I’m not sure if it’s mounted or just leaning against the wall. I suppose we could face the kit in the other direction, if we can’t remove it.

The wall will probably be reflective as well. I'd hang blankets if possible. Or see if the drummer has more of the Auralex squares...

[MoreSpaceEcho]

Before you go nuts with blankets and all that, I'd suggest setting up some mics, do some recording and see how it's sounding. If it's too bright/splashy you'll know, and then you can try some blankets. Actually you could probably tell if it's going to be too splashy just by talking in there.

[digitaldrummer]

one more thing I forgot to mention. sometimes in a small room, the best room mic is not in the room at all. Try cracking that door and put a mic in the hallway (if you can). smash it (and maybe delay it) and it can sound huge.

[vernier]

Wow ..trippy lookin' room ..I like the lighting.

[Jitters]

Before you go nuts with blankets and all that, I'd suggest setting up some mics, do some recording and see how it's sounding. If it's too bright/splashy you'll know, and then you can try some blankets. Actually you could probably tell if it's going to be too splashy just by talking in there.

It’s night and day from my wooden floored living room where I’ve rehearsed with him and recorded him before, there’s no doubt about that.

one more thing I forgot to mention. sometimes in a small room, the best room mic is not in the room at all. Try cracking that door and put a mic in the hallway (if you can). smash it (and maybe delay it) and it can sound huge.

That would actually be a garage! That’s something to keep in mind, but I don’t think these tracks call for a huge sound, just a nice tight phase coherent sound. We do get into other territory though, we played in a power trio for a long time and there are songs we would both love to revisit.

Wow ..trippy lookin' room ..I like the lighting.

It’s very cool, just enough room to squeeze in a guitarist and bassist too, if nobody is claustrophobic

[Jitters]

the more I look at the other wall I wonder if that is just painted wood paneling? are you sure it's concrete? At first look I thought it was cinder block but the pattern is not right.

It might be wood paneling but there’s definitely concrete behind it.

mid/side and room mics are useful when the room sound is worth capturing. otherwise skip it.

That’s a shame, it seems like a more or less foolproof way of getting some stereo spread with a solid center.

[digitaldrummer]

That’s a shame, it seems like a more or less foolproof way of getting some stereo spread with a solid center.

if you have time, by all means, try it. maybe it's the sound you are looking for...

[A.David.MacKinnon]

That’s a shame, it seems like a more or less foolproof way of getting some stereo spread with a solid center.

if you have time, by all means, try it. maybe it's the sound you are looking for...

Don't disqualify anything until you hear what it sounds like. Recommendations here are just us spiitballing about what has and hasn't worked for us on the past. It's no substitute for you trying things and making a decision in the moment.