Drum Mic
Microphones and Your Drums
The process of connecting the drums to the number of microphones required in the recording studio is not a simple one. There are many aspects to consider such as the particular mics used as well as the right placement of them. This article will deal with some of these issues as well as other equipment for the job, such as the proper mic stands or clamps.
Of all the instruments that are being recorded, the drums typically require the most microphones. The simplest technique for miking the drum-kit is referred to as the 'triangle' and even a minimum of 3 mics is required. One of the microphones should be positioned within the kick drum and the remaining 2 should be placed farther back on each side of the drum set in order to make a stereo sound. ( Unless you're a mono diehard.)
If you wish to obtain the clearest, sharpest and most controllable sound possible out of a Drum Kit, it would be best for you to mic each individual drum separately. Small dynamic mics, which can easily withstand high pressure levels, are pointed towards a single drum head, such as the snare drum, the various toms and of course the kick drum. The right placement is important in avoiding "bleed" from one microphone to another. Cymbals usually need overhead mics of their own because you'll need to control that element at mix-down. (Miking the high-hat is optional in order to separate the sound of the snare drum, usually close by.) Another of the biggest challenges in miking the drums is ensuring that the sounds produced by the cymbals do not overpower the rest of the mix. The use of compression, either in tracking or mix-down is often used to mitigate such a problem.
If you wish to record the drums along with other instruments, you'll need to find some way of controlling the other sounds from mixing and blending together with the drum track. The way to accomplish this is to place a wall-structure (referred to as a Gobo) with one surface to absorb and the other to stop the sound. Putting the Gobo surrounding the drums will at least create a certain amount of sound isolation. Various kinds of noise dampening materials are readily available or, if you're handy with carpentry, you could make a Gobo yourself (refer to actual DIY designs by Googling it on the web).
Next is a discussion of the mics themselves. There are three basic kinds of microphones that are best used for miking a drum set. The 1st of these are dynamic microphones. These are widely known as the most durable and dynamic of the three styles and they typically operate by allowing sound waves within the air to move a tiny cone inside a tight coil of wiring that is, in turn, surrounded by its own magnetic field. Most often it requires signal of unusual intensity and amplitude to get the coil moving. The downside of these mics is that they are less sensitive than the other two types that will be talked about later.
Condenser microphones are those that will allow for sound waves to pass through a thin plastic diaphragm, thereby causing it to vibrate accordingly. These vibrations are then measured by their relative distances from an electrified back plate. Condenser mics are particularly useful for pro-recordings since the diaphragm is much more sensitive than the coil of a Dynamic Mic, making them an ideal choice for overheads and other acoustic instruments; As an example, the high-frequency sound of the cymbals.
If you're planning on recording the ambience of the space, along with the drums, you can use the condenser or the ribbon at various far distances from the kit. Ribbon microphones, although they may be of an older technology, are still capable of generating sounds with superb amounts of clarity as well as sensitivity. A thin metal ribbon hangs down between two magnets on either side of it, and small vibrations will generate fluctuations in its electromagnetic field creating a wide range of audio signals. Ribbon mics, in particular, are consummate in capturing the most delicate of sounds. The extremely sensitive ribbon typically picks up every imperfection very easily. These mics are also very frail and can be destroyed under power surges or course manipulation. (Do not use a ribbon along with "phantom power."
If the drummer plays well, a good drum sound is indeed an essential element that is able to move a recording to another level.
About the Author
Bruce is a renowned recordist, film composer and producer. Through his experience Bruce is and expert on
microphones
for home recording,
studio recording
and stage performance. Check out his site where you'll find information and great deals on microphones. You can also visit the site for his projects at Excello Recording in Williamsburg, Brooklyn
What's the best way to equalize drum mic's?
I work at a church as a volunteer audio board mixer and we set up some drum microphones exactly as three different diagrams showed it. However, the equalization of the mic's has me a little thrown off. Should the highhat be louder? Should there be more bass on the toms? Should I give more treble to the bass drum? Or more mediums? Etc. Here's what we have:
Tom1 tom2 tom3 highhat, bass drum, snare.
Simple odeny drumset.
Here's a list of 'magic frequencies' for the drums you have listed:
Toms: Fullness at 240 - 500Hz, attack at 5 - 7kHz
hi-hat/cymbals: Clang at 200Hz, sparkle from 8 - 10kHz
kick: bottom from 60 - 100Hz, hollowness at 400Hz, point from 3 - 5kHz
snare: fatness at 120 - 240Hz, point at 900Hz, crispness at 5kHz, snap at 10kHz
These are some good starting points for EQing drums.
Some more tips and tricks:
Narrow Q's are for cutting, wide Q's are for boosting
If you want something to stick out roll-off the bottom, if you want something to blend in roll-off the top.
Work on it for a while and it'll start to make sense. Well tuned drums and good miking technique will outdo EQ any day of the week though.
-KDecka
Drum Mic Comparison
 |
| Powered by phpBay Pro |
