Recording Drums with One Microphone | Season Six, Episode 17
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- Опубликовано: 9 окт 2023
- One mic. That’s all it takes. Sure, maybe you’ve got an interface with 8 preamps but you don’t have to use them all. In fact, adding more microphones can really add to the headache. We’ll experiment with five different placements for a single microphone to capture and reproduce different aspects of the drum set, all with raw audio - no EQ, compression, reverb, or other polishing.
PATREON:
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PRODUCTION PARTNERS:
GIK Acoustics (sonic treatment): sladl.ink/GIK
AKG Audio (microphones): sladl.ink/AKG
Evans Drumheads: sladl.ink/EvansDrumheads
ProMark Drumsticks: sladl.ink/ProMarkDrumsticks
Signal chain:
Mics - Focusrite Clarett 8Pre USB- Mac Studio w/Pro Tools 2022.5
Recorded at 48kHz / 24bit
Microphone: Single AKG C314 sladl.ink/C314Pair
Acoustic Treatment:
GIK 242 Acoustic Panels: sladl.ink/GIK242
GIK 4A Alpha Pro Series Diffusor/Absorber: sladl.ink/GIK4aAlphaPro
GIK Evolution PolyFusor Combination Sound Diffuser/Absorber: sladl.ink/GIKEvolutionPolyFusor
GIK Tri-Trap Corner Bass Trap: sladl.ink/GIKTriTrap
Drums:
Pearl Masters Maple Custom Extra
Cymbals:
22” Jesse Simpson clone of old Zildjian A, 15" Zildjian Kerope Hihats
Drumheads:
Snare: Evans G12 coated / Snare Side 300
Snare Wires: PureSound Custom Pro Steel 20-strand
Toms: Evans G12 coated / G1 Clear
Kick Drum: Evans UV EQ4/ EQ3 Coated White Reso
Hosted by: Cody Rahn
Production & Consulting: Ben O'Brien Smith @ Cadence Independent Media
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If it doesn’t sound pretty much balanced and blended with one mic, 8 more mics ain’t necessarily the solution. Great vid.
I made an EP where I recorded everything on an early iPhone. I recorded the drums straight onto the phone mic. I had a great sounding room in my house at the time. The EQ profile could have been a little rounder, but I was surprised at how good it sounded. You could hear everything. The snare, which was a regular Acrolite sounded like a sledgehammer. I think that a well-placed single mic can definitely capture a complete drum mix. I think I put the phone several feet in front of the snare and then moved it around until the balance was right. Don't get me wrong, it didn't sound pro, but the issue was more the quality of the mic than its placement or the fact that it was a single microphone. You gotta make sure that every drum and cymbal sounds good, because every EQ move you make is applied to the whole kit. That said, the problem area is likely to be around 250-350 hz, and most modern drum mixes scoop that area to some extent.
Great video!
I find, It’s also important to think about what’s behind the drums that the mic is pointing at. That could be the deciding factor. You might get a better sound of the drums, from one angle, but too much of the wall behind them, ruing the effect with early reflections.
Fanrastic episode as always guys! Really useful
This was a really great video, I gotta share it to other friends FR. Thank you guys!
Very, very cool. I’ve been wanting to mess around with microphones on my own, outside of gigs and recording. Just to see how I can improve my drum-sound, and just hear better what I’m playing. This definitely gave me some ideas.
I'm just now starting to record some of my stuff so this really helps. Thanks guys Always great info
Your timing couldn't be better - I recently moved my old interface (which only has 2 inputs) to my rehearsal space and was toying with the idea of recording some drums with minimal micing setups. Thanks for the input!
I was really eager to see what you were going to come up with here. I own only one mic, and there have been occasions where friends have asked me if I have the capability to record my drums I've always begged off, owing to the fact of not having a full set of drum mics. You've given me lots of very, very usable information here, and I can't thank you enough! For my money, the out-front placement gave the most complete sound. The bass drum in all the other arrangements sounded, to my ear and to varying degrees, a little bit cardboard-y, whereas out in front, there was genuine impact from the kick, which I like very much. The floor-level mic was, as you observed, absolutely gorgeous with the wires thrown off. Holy shit!
Thanks, Ben and Cody! Another great video!
What a great video. Thank you!
Super useful!
Neglected my kit and playing for 10 years. Just starting to get back into it and want to record so i can hear back on what i need to work on. Subbed for quality content!
Very interesting video. Thank you.
This is good for some production where the folks have a stereo (two channel) interface and over dubs are done. Most often, folks have 8 channel inputs and the band plays together without any investment that can sustain different rooms and multi channel head phone monitors in a small room. In this situation, the mic bleeds from mics will get really crazy.
Out front sounded the most balanced to me. I'd choose the overhead if there was more kick present. The left foot placement is fun, I wonder how blending that with another over the shoulder would sound.
overhead with a kick mic is a great minimal recording setup imo
Very interesting, I think this video is really useful at the moment where a lot of people are on social media and have limited resources. I would have liked to listen to it with some track in the background to see how it looks in a recording. Anyway, good video as always!
Awesome! I’ve liked the “wurst” mic in the past, as well as 1 overhead, 1 bass drum microphone. Now, the over the shoulder, perhaps complemented by the “floor” microphone could be something I’d love to try with 2 microphones. Of course with 2 microphones watch phase. :-)
well back when we frequently recorded on 4 or 8 track, minimal drum mic setups were the norm . The single mic above the bass drum worked really well, I liked using a KM86 in omni or a U87. Also worked suspended from the drummer's chest . Today I think I would go with a two mic setup, kick drum mic and and an overhead.
Really informative video, guys. I've been researching home recording lately, so this is very timely. I think sometimes people have more mics than they need because of marketing, ie, you can purchase 7 mics, including a hard case, for such and such a price, which works out less expensive if you want to branch out later on into the world of close mics. However, do these deals mean poorer quality mics? ... my guess is, yes, quality substituted for quanity? Anyway, it's all abit of a conundrum to me, as I have zero experience, so a learning curve awaits me. Thanks, Cody and Ben, I really enjoy you sharing your expertise and thoughts on anything drum related.
The way I record my band is a single stereo mic (zoom H5). Sometimes we use thee two extra inputs for bass DI or vocal mic. I've been meaning to record drums multitrack for our new release. I'm planning to use the zoom H5 stereo as an next-head-overhead and add only a snare and kick mic. It should work as you demonstrated with a single mic at the drummer's head.
Nice video! For me, the recorder man technique worked very well, but I'm surprised about how good it sounds with the "fat mike" below the ride cymbal, never tried before!
I found the position right behind my shoulder to be the best.
Have you seen the Jim Lill videos on microphones and things? Gotta watch it!
YES! We were just nerding out over that last week! As you can imagine, it truly spoke to us given our approach to experimentation and myth busting.
Very good video. Thank you. I get emotional almost to the point of crying. It seems incredible to me that someone today thinks like that. I may seem extremist, but for a few years I have been doing all my work with an MD-441 in front of my head and an old D12 in front of the bass drum. I bring the appropriate drums, tuned for the situation and a set of cymbals that match the style and place. Sometimes they are small concerts and other times big festivals. Some technicians have been pleasantly surprised, as they assumed that a poor sound would come out. At this point they try to buy the microphone or they assume that in stereo it must sound much better. In other cases they don't even want to listen to me and then there is a problem that can delay or cancel the concert (I'm a little difficult with this). I don't understand if you mic the entire drum, once you take gains, what level does the technician give to each channel? Unless he is the band's technician or a great professional, he will set the levels similar to the album or concert he likes most in the world, without paying attention to the style of the situation... In addition to what you say about the phases. At this point there is nothing to discuss, two microphones are easier to sound than 8 or 12.
But you forget an important detail: the sound has to be made by the musician behind the drums. If you play the cymbals very loudly, this is how it will sound. If you don't have the punch... well that's it. I think that on average, when they only put one or two mics on the drums, the drummers sounded more balanced than the average today. Also today they fill the bass drum with things... If you have to project the sound, there are other ways to muffle the bass drum without losing projection and volume. Maybe it's the only thing I liked least about the video.
Having said all that, thank you very much.
I use my iphone wired headset as left overheads.. very good result
If you only have 1 mic available, then to my ears, placing the mic out front sounds the most balanced.
I bet if you had just one more, an out front & overhead combo would probably work pretty damn well.
Try this with an Omni !
A balance drummer and ears location it sound good
As a beginning drummer, with no mics, except an iPhone to record, am wondering if these same principals would apply? Thanks and as always learn a ton from your videos!
They should. Even though the microphones in phones are comparatively tiny and will compress a lot. Meaning that the thing that is closest to it will always be the loudest (too keep it simple).
The same principles definitely apply, but keep in mind that your phone may have a difficult time with the volume/SPL of a particular location (which can result in distorted sounds). There's still plenty to be learned by using any microphone though.
I use a zoom h1n which is a stereo mic with a recorder and its very cheap but sounds great, i have a few nice mics, but i use the zoom more than anything else it sounds fantastic, and you can overdub on it, so if you have a backing track you can listen to it as you practise and it will overdub your drums onto it, and you can listen to that later to check your progress,
Thanks for the suggestions and info!
@@briangoodwin8166 your most welcome im a beginner too!
Sooo...just curious when the Sounds Like A Drum Collection becomes available to purchase?
Tuning, setup, mic placement for:
1. Sounds like a snare
2. Sounds like a kick
3. Sounds like a tom
4. Sounds like a kit (overall kit sound/vibe)
5. Bonus: Feels like a kit (ergonomics)
Should we make a course? Several?
I will try the mic next to the head of the player to record timbales
Hi guys, do you listen for how close or far apart the two heads on a snare drum are in term of pitch? I’ve always come across these sweetspots when fiddling around with tuning where the sound was really fat, but also sort of hollow and throaty. I only recently found out these ‘sweetspots’ were just the two heads pretty being close to each other in terms of pitch (no more than a third). This has been kind of a revelation for me😅.
We really don’t focus on the interval between batter and reso with snare drums. We’ve got a handful of videos demonstrating and comparing our methodology for snare reso tuning that dive into the details.
I’ve checked out a bunch of your vids on the reso head and found them really interesting! But I’ve still been a little mystified by the role of the reso head. For me, paying attention to the pitch relation has been pretty useful. Not so much in terms of strict musical intervals, but more like sliding scale between a very warm and harmonious tone that is a little unresponsive in terms of wire response, and the choked and super snappy sound you talk about in your table top tight reso video.
seems behind the shoulder makes the most sense.
It works really well for capturing the full kit but it can also provide a bit too much attack/articulation in certain circumstances. The key is to know what different placements have to offer so that you can make use of them when that's the sound you want.
@@SoundsLikeADrum yeah like above better for brushes.
Would a condenser vocal mic (Rode NT1) work for this purpose?
As long as it can handle the SPL generated in these different positions, yep!
Nice video. The mic has so much low bloom to it - not so good.
Thanks! For what it’s worth, it also has a high pass filter that we chose not to engage for the sake of continuity between placements. If we were recording for a specific purpose, we would make specific adjustments to the flyers, polar patterns, pad usage, etc. based on the context.
1800>>$$$ THATS CRAZY PRICE TO USE A MIC
1800?
thats what the mic cost that you said you use@@SoundsLikeADrum
THOSES MICS YOUR USING LIKE ANY BODYS GONNA PUT OUT 1800 JUST FOR A MIC ?????????? im shure there is cheaper mics do the same thing your just prompting for akg@@SoundsLikeADrum
Nas