Mic'ing drums, 3 mics, down low?

Drone · Post by **Drone** » Mon Dec 03, 2012 6:11 pm

Can anyone help, I was reading a thread, where someone was talking about doing a 3 mic technique on drums, but mic'ing them from below the rack toms, so that there was more drum and less cymbal. I've been scouring the forum all day to no avail, I can't find it anymore.

I work with a drummer with very loud cymbals and I always end up with them very loud in the mix.

drumsound · Post by **drumsound** » Mon Dec 03, 2012 9:09 pm

Skip OH and put some "underheads" fairly close to the drums.

Drone · Post by **Drone** » Tue Dec 04, 2012 11:09 am

Where would you suggest? I normally use the traditional Glyn Johns, 1 mic high over the kick pointing down at the beater and one round the side pointing at the snare over the floor toms.

I'm thinking (looking from the front of the drums) one to the right of the kick, sort of aligned to the front kick skin, pointing towards the snare, and maybe one to the left of the kick, but not sure where to point it.

Also what about phase issues? I'm always careful to keep the two mics equidistant from the centre of the snare?

Gregg Juke · Post by **Gregg Juke** » Tue Dec 04, 2012 11:32 am

>>>>Also what about phase issues? I'm always careful to keep the two mics equidistant from the centre of the snare?<<<<

That should do it, right? If they're cardioid, I'd point them as "straight" as possible at whichever source(s) you want to dominate.

GJ

Drone · Post by **Drone** » Tue Dec 04, 2012 1:24 pm

Yes, but I usually achieve the distance by having the front mic 4-5 ft up whereas the side one is only 2-3 ft up but further out. If both mics are low to the ground, that's going to be tricky unless I pull one far out from the kit?

I'm hoping to use these DIY low-level stands (but not that mic) as I only have a limited number of stands too.

The Scum · Post by **The Scum** » Tue Dec 04, 2012 1:54 pm

A slightly different approach - picture a giant Mercedes logo on the floor.

Set the kit up at the center, facing down one of the spokes. Then put mics on the floor, facing the kit, at the end of each of the spokes (12:00, 4:00, 8:00). PZM mics excel at this.

Listen, adjust. You might move the front mic closer to the kick for better definition. You probably want the other mics far enough away to pick up the kit as a whole (not just the part that they're closest to), but not be overwhelmed by room sound.

With a mic that's a foot or two off the floor, and a little bit distant from the kit, sometimes the slap off the floor can be pretty objectionable, leading to hollow, phasy weirdness. (not that there aren't about 100 other variables to consider when trying to record drums)

Tim A · Post by **Tim A** » Thu Dec 06, 2012 1:11 am

what kind of music is it? I find in some cases tracking the body of the kit and the cymbals separate. keep the over heads low on the body of the kit and enjoy the benefits of compressing a drum kit without cymbals.

roscoenyc · Post by **roscoenyc** » Thu Dec 06, 2012 5:29 am

placing the overheads behind the drummer pointing at the drums (not the cymbals) can do a nice less cymbal sound. pretty natural too. It's how the drummer hears them.

vvv · Post by **vvv** » Thu Dec 06, 2012 5:54 am

roscoenyc wrote:placing the overheads behind the drummer pointing at the drums (not the cymbals) can do a nice less cymbal sound. pretty natural too. It's how the drummer hears them.

That does explain so much.

Drone · Post by **Drone** » Thu Dec 06, 2012 6:36 am

I'm imagining here part of the problem is that a drummer uses big heavy cymbals for live work, because they cut. Your average drummer can only afford the one set of cymbals, so the lighter, recording friendly, set either has to be in the studio for him, or just isn't going to happen. So if I was a proper studio, rather than a shed, I'd have the cymbals, but that also isn't going to happen

Gregg Juke · Post by **Gregg Juke** » Thu Dec 06, 2012 9:03 am

Where are you (located), Drone? Is there someone that you can borrow some cymbals from?

BTW, it's not always "lighter = quieter" as far as cymbal sounds go. It's often quite the opposite. What you really need are probably lighter/smaller sticks, and a drummer that can back-off the metal as necessary.

GJ

Gregg Juke · Post by **Gregg Juke** » Thu Dec 06, 2012 9:04 am

>>>>placing the overheads behind the drummer pointing at the drums (not the cymbals) can do a nice less cymbal sound. pretty natural too. It's how the drummer hears them.<<<<

That's actually how I've got it set up. I like to pan "drummer's perspective" in the mix, and this way, it's already done that way as far as OH's (don't have to switch L and R).

GJ

Drone · Post by **Drone** » Fri Dec 07, 2012 8:42 am

Gregg Juke wrote:Where are you (located), Drone? Is there someone that you can borrow some cymbals from?

BTW, it's not always "lighter = quieter" as far as cymbal sounds go. It's often quite the opposite. What you really need are probably lighter/smaller sticks, and a drummer that can back-off the metal as necessary.

GJ

Maybe, but all the drummers I know seem to go for loud

I'll muck about a bit with these different options, see where I get. I like the sticks idea, seems easy to implement.

roscoenyc · Post by **roscoenyc** » Fri Dec 07, 2012 5:07 pm

Make sure the guy isn't using nylon tips. That alone makes the cymbals super loud. Guys use 'em on gigs but god no in the studio!

Drone · Post by **Drone** » Sat Dec 08, 2012 7:03 am

roscoenyc wrote:Make sure the guy isn't using nylon tips. That alone makes the cymbals super loud. Guys use 'em on gigs but god no in the studio!

Good tip

I think he does just now, I'll try and find some lighter wooden tipped sticks.

Message Board

Mic'ing drums, 3 mics, down low?

Mic'ing drums, 3 mics, down low?

Who is online