But the rack toms get a bit more cymbals than I'd like. Whether you put an E-V RE20, AKG D112, or Shure Beta 52A on the outside of the kick, you’ll find lots of variability in the sound depending on where on the head you position it and the distance away from the head. Neumann U87s set up using the Glyn Johns technique. 50Hz to 100Hz is a good start. First is the dynamic mic, which will often be used on the snare, bass … Some people like to drop a Shure Beta 91A or Beyerdynamic TG D71c condenser mic in the hole, laying it right on the pillow at the bottom of the kick. It keeps the bleed from other drums and cymbals to a minimum and will give you lots of impact. This will result in a better sound. Just like the kick drum remove a pretty big … You can get great results by using an inside kick mic combined with a mic outside the kick. As you move the mic closer to the batter head and closer to the center of the drum, you’ll get lots of attack (click) but not as much low end. Dynamic mics like the Sennheiser 421 or Shure SM58 will work well for capturing the attack. The standard microphone used on toms is the Sennheiser MD421, but you are not limited to using only this mic. For mic placement when using mic stands, many of the same rules for snare miking apply. There is no real definitive right or wrong with room mics, experiment and play around, listen to the room, and look for a miking technique that will best compliment the sound you are trying to achieve. When it comes to condensers on toms, the low-profile Audio-Technica Artist Elite AE3000 sounds really sweet. depending on your placement, you may not even need to bother with overheads for your cymbals. I typically position the mic off center on the drum head (at about 1/3 of the drum’s diameter) and about halfway back in the depth of the shell. above drum heads. For stage, and especially for video however, you might need microphones that are less visible. Get Directions | Try placing the mic underneath the ride cymbal, approximately 3 inches above the rim but still pointed at the center of the head. Phone Hours | For recording I start dialing in my drum sound by listening to only the overhead mics and then fill in with the spot mics. From the tweakiest techniques to the biggest ideas, our experts work hard to constantly supply inSync with a steady stream of helpful, in-depth demos, reviews, how-tos, news, and interviews. If you put the mic too close to the bell, you end up with a pinging sound. Either way, have something available to deaden a drum if it’s producing an annoying ring. The RE20 is the broadcast studio voice-over mic used by pros for years. Using a boundary mic lying inside the drum for the low end, combined with another stand-mounted mic for the attack, gives a lot of flexibility when crafting an awesome sounding kick. … I'm not concerned with the floor. Shure PGA56. This mic tackles loud sources with ease, provides good off-axis rejection (thanks to its hypercardioid polar pattern) and shows a frequency response from 30Hz to 15kHz with a notable presence boost in the upper mids that will give those toms a great level of 'detail'. Choosing the Best Thunderbolt Audio Interface on Any Budget, How to Metal Scream Without Hurting Your Voice, How To Mic Drums for Recording, Part 1 — Two Microphones, How To Mic Drums for Recording, Part 2 — Four Microphones, How To Mic Drums for Recording, Part 3 — Multiple Microphones, How to Create a “Mic Room” for Kick Drum Mics. NOTE: For the outside mic you can alternately use the DW The Moon Mic in front of the kick as a low-frequency pickup source too. Overhead Mic Placement: Front to Back As you might expect, the balance changes dramatically as you move the mics from front to back. Being music makers ourselves, we love geeking out on all things gear. There are lots of mics that work well inside the kick. Using hypercardioids on toms may actually accent the cymbals that are directly behind the mic far more than a standard cardioid dynamic. Place two mics in an XY, mid-side, or Blumlein pattern, far from the kit. You can also position mics as far away from the drums as possible, given the size of the room you’re recording in. * One mic outside the front (resonant) head. Some of my favorite hi-hat mics include the Shure SM81, AKG C 451 B, Neumann KM 184, and Audio-Technica AT4051. Boundary mics like those mentioned above resting inside the kick with a mic on a stand positioned near the beater will yield excellent results. The Ludwig Zep Set 5-piece shell pack is a re-creation of John Bonham's legendary acrylic set. Lynn Fuston spent 37 years behind recording consoles in dozens of studios in Nashville, as well as doing remote recordings around the globe. Microphone choice has a huge impact on the sound of a snare drum. He also produced the world-renowned 3D Audio CDs, a series which allows listeners to compare mics, preamps, analog-to-digital converters, DAWs, and summing, giving them the ability to hear the differences in their own spaces. , Snare Drum I’ve used Audio-Technica 4047/SVs for about a dozen years, but I’ve also had success with Telefunken C12s, the Neumann U 87 Ais, AKG C414 XLIIs, and DPA 4006-As through the years. There are lots of different approaches for overhead mics, ranging from Eddie Kramer’s 3-mic technique using Shure KSM44As (positioned left, center, right, in a triangle shape over the drums) to the Glyn Johns’ 3-mic technique (if you include the kick drum mic) with mics positioned equidistant from the snare at roughly 11 o’clock and 3 o’clock over the drums (drummer’s perspective). If you only have one mic start at position 2 and move towards position 3 until you have a balance you are happy with. Listen to the under-snare mic combined with the over-snare mic, and switch the polarity of the under-snare mic. With over 28,000 articles and counting, inSync is your FREE resource for breaking news, reviews, demos, interviews, and more. Or if you’re in a smaller room, you can put dynamic mics in the corners, pointing away from the kit, or figure-8 mics in the corners with the drum kit sitting in the nulls (90 degrees off-axis) to create a bigger room sound. The most common overhead miking setup is probably two spaced cardioids above the drums over the left and right sides of the kit. * Over/Under – If you want more buzz or more snare sound (the wires that run under the bottom head) from the drum, adding a second mic beneath the drum is a great idea. If you get too close to the edge of the cymbals, you’ll end up with a cuppy sound that accents the opening and closing of the hats. Get new heads and pay attention to the tuning. The techniques: There are lots of mic techniques for getting a great kick drum sound. For lots more pointers, check out these videos and other articles about miking drums. Now is the perfect time to get the gear you want with simple, promotional financing. There are lots of ways to mic a drum set. Learn More. If I want less low end, I move the mic farther away from the drum (higher) or farther from the center of the head, which diminishes the low end due to diminished proximity effect. Popular options for live or recording uses are the Shure SM57, Telefunken M80, and Audix i5. The techniques: One favorite variation of this tip is to use tube microphones. Store Hours, If you have any questions, please call us at (800) 222-4700. Note: when placing drum mics, it’s important to remember that sticks and hands and cymbals will be falling very hard near them, so make sure your mics aren’t in the way of the player or a rogue ride cymbal.