Next-Level Drum Mic Recording Setup with Jacquire King & Robot Monster
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- Опубликовано: 5 окт 2024
- Learn the tone-shaping mic techniques that Grammy-winning producer Jacquire King (Tom Waits, Kings of Leon) used when recording @robotmonstermusic's new single "Out" at UA headquarters in Santa Cruz, CA.
Credits:
Performed By - @Robot Monster
Written By - William Brennan, Logan Sidle
Produced By - Jacquire King
Assisted by - Dawson March
Mixed by - Jacquire King
Mastered by - Pete Lyman
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#universalaudio #engineer #recording #mixing #robotmonster
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For those of you who don’t have a sub kick, you can send your kick in channel to side chain a gate that’s being fed by a tone generator set at 50 - 60hz. Every time the kick hits it opens the gate and lets the sub tone through. You can play with hold and release to set your tail length. If you add distortion you can get into 808 territory.👍🏼 Jacquire is my favorite mix engineer along with Tom The Lord.
agree.. there are many ways of emulating a subkick.. and as a drurmmer and engineer I have stopped using subkick mics as I get way better results from using a few plugins on a BD in or BD front mic. Basically any LDC condenser will be super fine to make a subkick sound. In REAPER (the one and only) there is a 50Hz kicker plugin (you can choose any frequency though!.. I mostly end up around 36-38 Hz) which makes everything easy. Then add a little compression and maybe a transient designer to control the ring/tone and a Analog Obsession RARE (pultec) to firm up the low end around 30 Hz with the pultec trick .. voila.. perfect subkick.
(the octave down and the ping pong ball techniques work well too!)
They have some super easy plug ins that do this very easily and allow you to get what you want really quick. Plus there is always stuff like Slates Trigger plug that you can just add a sub kick miced sample to the mix. It's never been easier really. But there is something to be said about getting the signal from the actual kick drum that you are using for the rest of the kick sound though. It will gel easier and come together with less work than anything you will do in post. That's why pro studios with great rooms still waste their time and money on a real sub kick. You can also make a sub kick if you have an extra speaker laying around, probably like an 8" or so, low impedance and a speaker that has the ability to play the frequencies you want to capture. All you do is hook it up in reverse. If you get the pos and neg backwards you will just have to flip the phase on it to match the other mics. This is how this mic came about initially anyway
The 3 most important things in this recording before all the mic and processing techniques: A great drummer, a great sounding kit and a great sounding room. In that order.
Weckl has made some great sounding recordings in not so great sounding rooms. Just sayin
and not to be a contrarian, sure a good kit helps but you can get away with a cheap kit depending on what you're looking for. maybe a great sounding kit (for your creative expression) would be a better explanation.
@@TheSpelderwinde you can get away with a properly tuned kit, no matter how cheap or expensive if you have a great drummer. But cheap cymbals can destroy your mix unfortunately.
Also great cymbals and mics make a big difference for the high end.
@@jaegervand2112 Great point! Funny that you mentioned Weckl. Not to sound like his lawyer - But speaking to a friend yesterday, in regards of some microphones recommendations that were made to him which prices were through the roof. I said to him - Dave Weckl has one of the BEST drum sounds in the world and uses microphones that cost three times less of the price than what you’ve been recommended and puts his drums to sing clearly.
Which in return, his personal studio back in Los Angeles was not as fancy as the one here, and he’s achieved more with less. (Sorry is I went on a tangent) but, folks - training your ears is key!
Love this, nice work Jacquire and UA. I gotta get one of those sphere mics!
It's super slick. I have a pair on a piano right now and it's pretty crazy what you can do in post.
I’ll sell you a brand new one that I just got in the mail as part of the 8X promo! Let me know.
Very early in my career (70s), I took full advantage of my own band’s captive ‘patience’ and with hours and hours of experimentation, found the exact same ‘overhead’ positions. Uncannily the same. I was using U87s at first but eventually realized I preferred a smaller capsule. I use that config to this day.
That sound is pretty freaking spot on for that kind of music.
That's the most interesting mic setup I've ever seen. Is there a part 2 where he mixes this? I'd pay for it.
Wow! Thanks alot! That's mastermind right there. That coloration stuff is really nice! That's also quite a hughe load of information. For all Nerds, theres all you need for drum recordings, it's now officially out there. What a blessing. I like this modern kind of a library (RUclips) that could last over decades or centuries potentially with free access to expertise and knowledge at your fingertips. What a way to learn nowadays. Isn't it wonderful to be a musician? Life is good. Thanks for contributing to this! : )
This is so over my head. Incredible what goes behind this stuff. Thanks.
I’ve always struggled with the three mic technique. Really looking forward to trying this out. Thx!
This super helpful, thanks yall!
Jacquire is great!! thanks so much
That harmonica mic sounded great
Interesting mic setup overall. Is there a part 2 to this where you take all the mics and build it in the mix? Drums for me became my albatross. I listen to early recordings I did when young and ignorant with super limited gear sounded so good compared to as I learned more techniques and acquired better gear. Drove me nuts. Now that I'm old and taken a long break I want to come back in dumb again.
Love the use of the Trident EQ post 1176 LN 🤙 Such a flexible EQ to sculpt the (slightly) tamed transients; because of its looser curves this EQ really lets you shape how the drums (and anything else thrown at it) will be living, sonically, for the track/ project. But of course, it’s still all in the proper practice of microphone technique 🤘
Dude recorded Mule Variations AND Good News for People Who Love Bad News? I’m sold. Time to go fuck around with some drum mics.
I like the creativity, it's refreshing idea. Thank you, it helps me a lot for my video recording.
14:30 is really worth sticking around for. Production 201.
Right!
The drums sound pretty good just on their own acoustically. And that's the first thing to accomplish. I'm not as big of a fan of this Johns technique because the cymbals are not at the same volume as the drums. And Maybe that's what you are looking for. Myself I like the cymbals and drums be at the same level, but that's just me. And what do I know? Always interesting to hear what different artists do in the studio. Thanks for taking the time to make the video!
More! More!! MORE!!!
Oh snap it’s Robot Monster
So many weird know it all’s in the comments. This is Jacquire King man. Put some respect on this mans name.
This is GOLD!
Awesome presentation. It really got me thinking of ways to get a more dynamic sound.
Love it. that sub mic technique is spot on.
Some great info there!
I'm surprised to hear so many chopped breaths and lack of cross fades in this video though. Aren't UA meant to be a company of and for Audio Professionals?
J.K - such a legend 🙌
killer drum part.
Jacquire the man
The overhead miking was inspiration
RIP Geof Emerick. His book Here, There and Everywhere is great.
Killer drum sound! Nice
My guy said “simplicity” with this setup but the more I listened the less simple it got.😂
Smiling
amazing video !!!
great vid! Quality setup and results! Perhaps redefining the term "acoustic shadow" as a synonym for baffle. One of my texts refers to "acoustic shadow" as the time/space/phase relationship from a surface reflection back to the sound source. The acoustic shadow are the waveforms twice the distance/time and reverse phase of the distance from the sound source to the initial reflective surface.
Interesting use of the Sphere L22s!
Learned a lot from this. Thx for the vid!
🥂
Love this. No bottom snare? Or just depends on the project?
Not a fan of bottom snare
To me Jacquire is the "modern" Glyn Johns. Thanks for sharing
Why? Because he uses Glyn Johns drum miking technique?
@@p0llenp0ny no, because he is open minded and tries different techniques. He is also very kind and polite, so...
👊
How about we just leave it as he is "jacquire"?! Peoplemare not copies of other people...
And there is no best.. same logic.
@@morbidmanmusic it’s an analogy that worked in succinctly getting what they were trying to say across “this person is an innovator with valuable knowledge”. They weren’t trying to compare or say one is better.
Great stuff.
I love this - im attrmpting to s similar mic set up - for a dynamic mix in song - love this video 🎉🎉🎉🎉let you know howxwe do. Simple with some expansion later with room and other mics❤Wonderful thank you
"I like to keep it simple so I'm dropping an harmonica mic on the ground, a subkick but it will be a sub-butt today and a couple digital processing modeled microphones pointing at the bass drum shell and everywhere else with the other... Oh! you'll notice that I don't even use toms microphones so as I said, simplicity! (Just joking btw xD Great job!)
Jaquire, let me know when you are looking for an apprentice!✊🏾
Hmmm . . a 16-minute vid about pro techniques for drum mic recording and the snare sounds like a $49.95 snare from JCPenney and the kit as a whole sounds like it was recorded with one $39 room mic from Radio Shack. W . . . T . . . F ????
"I prefer simplicity, especially with drums, because the more mics, the more complex it gets". And then he does a (3 mic) Glyn Johns... with NINE mics!
Ha - exactly!
wow
would like to see/hear those mics going through that Tree Audio...
I use a three mic system on my bass drum, Shure Beta81 boundary mounted on a shu inside, Telefunken M82 or DPA 4055 at the soundhole and a Neumann U47 FET or Telefunken "Copperhead" on the outside just left of center! The reason for the variety of different mics at the sound hole and the outside is because of the SPL level if im recording rock &heavy metal its The 4055 & the copperheads. Country i use the M82 and copperheads , Jazz i use the U47 and 4055 because combined with the internal mic it gives me a nice clear natural sound ! What's your opinion on this?
* Shure beta 91 (Mistype) sorry
Thanks! …speaking of subkicks, I discovered something that is new to me and wondering if anyone else has tried? : pumping a subkick mic on a 24” kick drum into a PA subwoofer in the room. For me, the kick bottom bleeding into my phones is the best kick drum sound ever! On playback, not so present on any one mic but with out it the sauce is gone.
Have done similar things for years
Flood did something similar when recording Jimmy Chamberlain’s drums for Mellon Collie and the Infinite Sadness. Never heard of anyone else trying this, but now that someone out in the real world has tried it and gotten good results I’m definitely gonna try this next time around!
@universal audio Any particular reason why you used the two separate api plugins rather than the api channel strip? Also, it would be nice to see the process of you actually blending all the mics for the mix.
It is to avoid any unnecessary processing on the record path. We just needed the preamp and the EQ so that’s what we recorded through.
@@Daman07x Yes sir
Can't please everyone but hope it gets some thoughts and inspiration going
You’re a legend brother. I would rather listen to your mixes than any of those turds that aren’t pleased.🤘🏼
@@randomschittz9461 👊
Student: “Do you measure the distance of the microphones?”
Glyn Johns: “No. It’s bullshit.”
Cymbals sound great in the balance. Do you always mute them with tape?
Only when it feels necessary
Well I don't have the green mic so low fi.with some heavy roll off and some filtering might get close smiling
I’m interested on the room sound treatment. Any input on where to get similar, or where these were bought from?
I don't use many mics on drums. You know, just 32 of them.
Can you do a video on mastering for vinyl?
Where would the mic placement be with 2 floor tom’s? I’m thinking between the tom’s to pick up both evenly
Hope your getting out to Pasatiempo! Any BURL plugins in the works?
🤙🤷♂️
Unlikely: BURL was started by two guys who left UA… friends of mine.
Would be great to know the size of the room Jacquire I’ve heard it said Glynn johns method is not suited to small rooms but I’m using in a 4m x 5m live room
For me this kind of approach works in all decent sounding spaces
@@jacquireking1154 thanks for the heads up that’s all the endorsement I need cheers 👍
I used Glynn Johns many times with my drums, I have pretty small room. It sounds way better then regular stereo spaced pair in most cases
@@kajetanpilarski3866 exactly my experience more body fuller sounding - just that a well known producer commented about GJ not working in small rooms when my mate assisted on tracking the Cures drummer 😂
I love my apollo 8p’s! I love being able to record through plugins and printing to “tape”! The UA stuff was a game changer for me!
🤘🏻
Great !! What polar patern on the overheads mics ?
Cardioid
@JAQCUIRE KING can you speak to phasing with 9 drum mics….@universal audio…AMAZING VIDEO thank you
The Glyn Johns technique with the mics measured our carefully gives you a very strong foundation. Then you flip the polarity of the other mics back and forth to make sure they’re all working together properly, experiment with placement if one doesn’t seem to be sitting well, and then balance the levels in the way that feels the best to you. You’ll hear phase relationships differently depending on which mics you have featured more, and… if something really doesn’t work, hit that mute button!
Thank you
> I like less mics
> kit mic, harmonica mic, sub behind, distant mono room
interesting setup anyway)
How would some WA 87 R2s do in this overhead setup?
Didn’t realize their guitarist owned a shirt.
I imagine that cutting heavily the high freq. from some mics and using two different room mics causes a lot of phase/allignment issues. How do you deal with that? You do time align? Also: when you say you use plugis on the way in, are you printing tracks passing through the API plugin as if it were a real preamp ?
Less phase issues by eliminating frequencies and never time aline drum tracks to each other.. sounds wrong to me. API desk emulation is on playback but yes committed the record path plugs on the way in
“I’m also not miking the hihat..”
Cut to the drummer sloshing the crap out of the hihat loud as possible
Is that a solomon for the subs?
I’m looking at the Sd-1 for just another dynamic microphone to have. Does it really sound as good as the original Sm7 shure microphone? Looking for a different flavor on the snare
We think it sounds better of course. 😃
Not a piece of actual analogue gear in sight. Rock on! 🤘🏻
Yes Fairchild is so dirty lol
Awesome
More like this please!
crank your headphones and go to 1:46
Are those 414’s in the standard cardioid setting, or a wider or narrower setting? My XLII’s have 6 different combinations from Omni on down….thanks!
Cardioid and narrower
@@jacquireking1154 Thanks for the quick response!
@@bcdrummer1962 👊
👌
Nice rosey cheek beard
Stereo mic is two mic in one. so it's ten mic overall ))
💪🏻
Mic on the kick?
D112 I think is what we used
9 mics for a 4 piece drum kit? Isn't that too much?
Just a few mics lol…..
Oh shit he we go again with that 8th grade riff.
Almost every successful rock song from the last 30 years
This sounded complicated and expensive, SEE YA
cymbals are taped sounds extreme dry
Man all that so that the snare could sound like it’s covered in towels.
I wish this mike setup was being demonstrated on a kit with a more open sound. Coated heads covered in tape with no resonance doesn’t really give the best impression of the OHs in particular. All sounds really choked. Shame!
I mean, this is the sound he was going for and he nailed it. But if he was going for what you had in mind, it'd be really cool, too.
@@BeauStephenson yup, nailed his sound. But doesn’t really demonstrate the benefits of that mic config. On a totally dead kit you can get away with a lot.
@@PickUpGoliath Sometimes the kit needs to be a bit dead so it can rock 🤘
@@ledhed927 I don’t disagree with that at all. What I’m saying is a dead kit doesn’t allow this mic configuration to shine.
Go listen to The Slider..T-Rex.
Maybe Tony Visconti got it wrong as well?
I checked your channel,you should stick to drum triggers
and basic fockery you excel at.
Wut?
“I like to use a simple set up”… uses 9 mics 😅
I don't like the sound. It's to diffuse for my taste. Especially sn sounds really weird kinda washy and phasey with too much ambience to it. I'm missing some punch because i think the drummer is really accurate and good hitting...
Pt 2, find a bass player.
Sorry thats to much HocusPocus….
I don't like how these drums sound. I feel like you don't know how to tune them. No hate, just my opinion. And I'm not questioning your sound engineering skills; it's just about the tuning.
Used to be a fan of this guy until he started posting conspiracy bullshit online.
Sort Of, Kind Of? the verbiage is not assuring
I hate today’s music. They dont even play drums.
Not a fan of his drum sound, or audience perspective. Sorry
The drums sound like shit. Take off all the gaffer tape, tune those drums bark and re record.
All I can say is that I can't wait for the trash crash/man bun phase to go away already. Every drum video I watch is a big fat twat knot playing $379 K's that sound like stock Pearl cymbals, thinking he's doing something "a little bit different".
So great 👏🏼 Thanks for the info. I want more haha