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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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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[edit]
[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
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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