The floor tom’s there. I think reading through what you offer through this site has probably attributed to some very early successes. He usually puts it roughly even with Ken’s forehead. If you haven’t tried this, do it. I ask cuz I have a couple Telefunken and Shure vocal mics that I like but all are Dynamic (you mention using a good vocal mic as the mono overhead?). I know what you mean. This is a good moment to talk about my new mic setup I found my own way of miking a drumkit (with 4 mics). Actually, I would see it as a mixture of NOS and ORTF. Although the drums were changed considerably between the “contemporary” and “vintage” mixes, the instruments were unchanged. Gives all the punch in the drums you need! In Reaper you can enable “free item positioning” so that you don’t even need seperate mix tracks for your afterward tracked cymbals. (and it is even mono compatible!) While there isn’t as much attack, you get more overtones and notes. Example 1: In the first four bars, you’ll hear the “modern” drum mix and when it repeats, you’ll hear the “vintage-ized” drums. Oh sorry i misspelled your name, embarissing… Graham*. I will track death metal drums for a band and i decided to use 1 overhead mic. And maybe a couple options in the lower to mid-price range would be greatly appreciated! those can be panned to left and right and mixed in to your taste to get a nice stereo cymbal image without losing the punch of your mono OH mic. This helps the brain to focus on the drums and feel them as a powerful instrument. When it came to panning the OHs I didn`t dare to make the image too wide (l/r) because that would make the snare sit slightly on the left. With Ken now in the drum booth, Matt explains that he set the Upton to its cardioid pattern, which is wide enough to capture the hi-hat, the snare and the rack tom. A kit recorded with only a few mics sounds sort of “old school,” by its nature, particularly in comparison to modern recordings where the drums have 7, 8, 9 or more mics on them. The drums are completely panned to the left, and the bass guitar to the right. Capter l’ensemble de la batterie de façon satisfaisante n’est pas toujours évident. Hmm, wonder what a M/S overhead would sound like. Nice! Gear Addict . He loves how it sounds, and points out that one of its attributes is how it captures low end from a distance—an essential quality for a drum overhead mic placement. Is (a) because of the desk it was recorded on, (b) the producer’s choice to open up more space, (c) to just sound more old school (d) to not have to deal with any phase issues whatsoever. Hi Graham. The kick will be a bit less powerful by comparison, but this may be fine for your song, or it could be fixed with some EQ. I don’t own a 57 that works anymore, sadly. Joesi, I’m not 100% sure I understand. It can sometimes be just what your mix is needing. But what if you have a kit already recorded, but later decide it might be a cool thing to go for a more vintage drum sound? Yes, the mono overhead would be in addition to close mics. Pulling them back will pull them closer to the snare, floor tom, and hi-hat. Graham, the reason I love your materials is because you speak the truth, you’re humble, and you know what you’re talking about. The U67, also a tube condenser, is also smooth on the top and picks up drums well from afar. A great way to start is the recorderman method or the Glyn Johns technique. But did you know that recording a mono drum overhead will help you get better sounding drums, faster? This site is TITS!!! But this time he went with the Upton. While the cymbal hit fades out all the other stuff recorded before in that track plays on. Would be cool to try that kinda thing but I feel like I need to gain confidence in myself as a mixer and recording engineer and also put out good sounding mixes to make a band feel like that kind of experimintation can be cool because they trust me. I know this is pretty old, but just my 2 cents: MS is super cool but tends to make the snare feel very, very smeared. Gear Addict . Jul 2, 2010 St. Louis, IL. hi Andy! THANKS! This will give your tracks a bit of space in the background will keeping the attack and main tones of the kit coming straight out of the center. The same holds true if you have your drummer listening to a wedge, placed on his left side. Your email address will not be published. Designed by Elegant Themes | Powered by WordPress. With Ken now in the drum booth, Matt explains that he set the Upton to its cardioid pattern, which is wide enough to capture the hi-hat, the snare and … One final great reason to record with a mono overhead is that in the end, a mono drum recording can sound way more punchy in the mix. 14th September 2011 #2. If your aim is simply to provide your entire mix with a bit more depth, a mono room mic squashed through a FET compressor will do the job. You could employ some mixing techniques to help you do that, some of which we’ll demonstrate in the following audio examples. I know it sounds obvious, but this is a no brainer when you want punchy, clear, and artifact free drum overheads. It looks a little weird, but works really well. The room is treated (room within room, bass traps rockwool etc) but its 7×8 with 8′ ceiling. Sometimes the simplest setup is the best one, as you’ll see in this excerpt from Start to Finish: Matt Ross-Spang - Episode 1 - Setting Up The Live Room & Getting Sounds. You have to try and listen back It will totally depend on the kit, the player, and the mic. I have an MD421II, a U87, and a great modded ribbon mic. I thought about a way how to balance the stereo image of a drumkit just by placing the microphones differently, not by reconstructing the whole drumkit. However, if you’re looking at imparting particular sonic qualities on your music, a little more finesse may be required. Let us know how it turns out! It also creates opportunities for creative panning options for other instruments and vocals. Matt also likes how it reacts to transients. You’ll get a natural representation of the kit as a whole, favoring the snare a little. Cymbals under control…. If the mics are very high, the capsules will point straight … The snare and kick were EQed to sound thinner. They are tremendous help for newbies like me. He says, referring to the drummer, he likes to put the overhead “right in their face.”, As he’s moving the boom for the OH mic, he explains that he’ll wait for Ken to arrive and be seated at the kit for final placement of it. Just let me know and I try to describe it. Mono drums sound like classic recordings–love ’em. Simply enter your email below and we'll send it right away: Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Google+ (Opens in new window). Well…I think I made it. I liked the sound so much for quick and dirty demos especially I tried again with a Shure SM57 and I loved that result, too (still mixing or I’d post it). They do sound tighter and more “real.”. Start to Finish: Matt Ross-Spang - Episode 1 - Setting Up The Live Room & Getting Sounds. That comes in handy when you really want to record all the bleeding because you keep the original number of tracks and everything runs through the same FX chain.] I love the sound of a mono overhead. Simply put a reverb plugin in a stereo buss or aux. Hope that helps! He says Ken doesn’t flail around when he’s playing, making it possible to place the overhead pretty low. Just a couple more questions: Graham, in the example you gave did you just use a mono overhead by itself or did you use teh overhead with spot mics? The drawback here is only have a mono drum sound compared to the option to pan left and right with the Glynn Johns method. Plus, he points out, a drummer can still sound big while hitting quietly. Then, track the cymbals seperately. Like in Example 1, the first four measures feature the more contemporary drum mix and the second four the faux “vintage” treatment. If the transients are aligned why would the phase need to be flipped? As I am a kind of experimental recording guy I try to avoid mixing problems by adapting the technique I use.
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