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So even if you can’t get inside the drum, there’s still a lot you can “I use a three- microphone technique on bass drum,”. Of all acoustic instruments, drums and percussion instruments seem the most elusive to capture with a compelling sound. Pop recordings are. First is the dynamic mic, which will often be used on the snare, bass drum and sometimes on the toms. A dynamic mic functions just like a.

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The snare would usually be miked like the toms, from the top, three fingers away and at the edge of the drum and pointing at the tecbniques. Now For Something Completely Different Once you have a good balance of the kit with your first mic, things get a bit interesting.

Minimal Miking Techniques

Of course even in a smaller space, you can get a great sound. For capturing the entire kit with a single mic, we chose a fairly neutral, full-range condenser because it can pick up the extremely wide frequency range of the drumset.

This post explains the advantages of stereo miking and the four most common recording techniques. A dynamic mic is usually the mic of choice here and, surprisingly, tecbniques relatively cheap Shure SM57 wins over more expensive alternatives thanks to its ability to capture the mid-range and handle the high SPLs sound pressure levels a loud ‘two and four’ backbeat is capable of delivering.

Marc — Yes, I pan the OHs left and right not quite hard but that is up to taste. It is important that this method involves the room very strongly. This can be useful to a point, however if you get too close, the proximity effect will render sound unnatural or unusable. Paul on Red Rose Speedway!!!

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We can check for phase cancellation by taking two channels and using the pan control to sum them to mono. Send Me The Guide. You have to be precise and diligent, creative and robotic. January 5, at The sketch is attractive, your authored material stylish.

Love his emphasis on simplicity, letting the drummer play, etc. It requires you to pick apart your piece, play every little segment over and over, dissect it, tinker with it, cry over it, feel completely lame about it, then get over yourself and start practicing again.

The Glyn Johns Drum Recording Method

Being a professional recording engineer, called to take care of critical recordings, I have over the years adopted a certain working philosophy of recording. Want an estimate on how long setup will take? Graham techniquex February 27, at I will start following the blog close, even though I dont produce as much.

How big was it? Perspective I find that recording drums has very much to do with your monitor mixing as well as the actual sound you are getting on both the individual drums and the total drum kit.

Five Techniques for Stereo Miking Drums | Shure Blog

Drrum drums, the room, the preamps, cables, and composition remained the same. You may also receive occasional emails about timely events. Common Techniques for Stereo Miking This post explains the advantages of stereo miking and the four most common recording techniques.

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Perhaps because the microphone position simulates human ear miming, the resulting stereo field seems very natural and realistic, and generally collapses to mono without significant problems. When all the mics are up and mixed in correct balance, you have a total drum sound composite. BillyZeppa on July 11, at 8: Most dynamic mics use a cardioid pattern, which means they reject sounds coming from behind them while also boosting bottom-end when placed close to the subject.

The Glyn Johns Drum Recording Method – Recording Revolution

The space your drums are in will make a bigger difference in a minimal-miking session than in a typical close miking situation.

And like XY, it produces a relatively narrow stereo spread. Glyn Johns Mic setup David Beauchamp – [ Thank you so much, and congratulations for your awesome work with hints, lessons and posts. Low and high frequencies as well as dynamic range are also better judged at this level.

Tecyniques all acoustic instruments, drums and percussion instruments seem the most elusive to capture with a compelling sound. The mic should point across the top of the floor tom toward the snare and smaller toms, which ensures that the snare tecniques will reach both mics at the exact same time, resulting in a strong, well-defined, and in-phase snare tone. For larger drumsets and especially when solos are played, I recommend additional support microphones, which can be mixed carefully.