Piece Drum Mic

14May/080

Piece Drum Mic

Sets registration and Sound

If you have already listened to the tape of great drummers like Buddy Rich or Gene Krupa its big drums and bold, but when you try to record your own drums, they seem to look like cardboard boxes are frustrated look technical good sound.

The room is the key, how the room sounds and how reflective the sound bounces around the room to give your drums big sound you want. If your limit and have your portable Recording Studio in your room is all carpeted get a couple of pieces plywood and lay the pieces couple leaning against the wall. This will sound e to reflect and bounce also take a piece of plywood on the ground just in front of the bass drum.

You can save your battery in the garage or another room in your house that is more open in sound, if you have a studio in a box, you can keep in a room that gives you the sound reflections.

Save your battery in a room that sounds good and then placing a microphone in front of the door to take additional sounds for ambient sound, when the mixture you can add tracks and give it depth and feeling.

When the sound of the bass drum (bass drum) the microphone of choice is a dynamic microphone diaphragm dynamic microphones some are specifically designed Bass recording drums or kicking.

If you want to reduce the resonance of the bass drum some people will place a pillow or blanket inside the ass of the drum to make the tone less cavernous, they will put a pillow touching the bottom of the drum head.

Sound near the insidehead; Now you can mic the drum by removing the skin of a drum or a hole in your head that you can place the microphone inside head and only 2-3 centimeters from the head itself and offset by 3 inches which gives the bass drum a strong attack.

Sound halfway inside the drum, by placing the microphone in the center of the drum that provides less than an attack in addition to his body.

Near the head off, if you have two heads on the drum, you can place the microphone a few inches from the head outside. If you want a more open, cavernous sound (and you have the drum set fairly high up), point the microphone directly in the center of the head. If you want less boom, offset a little microphone and point it about two-thirds of the way toward the center.

The bass drum responds quite well to a compressor when tracking. For Most of the time, you can get by with parameters that allow the initial attack to happen and that tame the explosion a bit. A control sample looks like this: Threshold:-6dB Ratio: Between 6:01 and 4:1 Attack: Between 40 and 50 ms Release: Between 200 ms and 300 ms Gain: Adjust so that the output level is the entry level. You do not need to earn a lot added.

Snare drum

Snare is probably the most important drum in popular music. The Bass Guitar can cover the bass drum rhythm, and the rest of the battery are not part of the main groove. A good net punchy drum can make a track, while a small, lean player who can eliminate the need music the most popular.

Because cash clearly lies close to the battery of others, especially the hi-hats, a cardioid microphone is a must. The microphone is most common for a snare is the faithful Shure SM57. The microphone is usually placed between the hi-hats and small tom-tom about 1 or 2 inches from the snare head (see Figure 2). Point the diaphragm directly to the head. You may need to make some minor adjustments to eliminate any bleed from the Hi-hats. This position gives you a nice sound punchy.

Adding compression to the snare drum is essential if you want a strong, incisive. There are many ways to go with the snare. The parameters The following are common and versatile: Threshold: -4 dB Ratio: 6:1 Attack Between 4:01 ET: Between 5 ms and 10 ms Release: between 125 ms and 175 ms Gain: Adjust so that the output level corresponds to the entry level. You do not need to earn a lot added.

Tam-tam

The sound of tom-toms best when you use a dynamic microphone. For the toms mounted (above the bass drum), you can use one or two microphones. If you use a microphone, place it between the two drums 4-6 inches of head (Figure 3 shows the investment option). If you use two mics, place one on top of each drum 1 to 3 inches above the head.

floor toms are miked the same way that the rise of tom-toms:

* Place a single microphone a few inches of the head near rim.

* If you have more than one floor tom, you can place a microphone between them or micro individually.

If you want to apply a compression tom-toms, you can start with the settings for the snare drum in the previous section.

Hi-hats

The hi-hats are usually within the main gorge, and as such you want to spend time getting a good sound. You'll probably have problems with a few other mics on the pace Battery hello pick up the hat, especially the snare drum microphone and microphone overhead. Some people do not bother miking Hi-hats for this reason.

Hi-hats too often its trash by the snare mic. If you hello MIC hat, make sure that the snare mic picks up little hello hat as possible by placing it properly and / or using a noise gate (use dynamic processor to filter out unwanted noise).

You can use either a dynamic microphone, or better yet, a small Diaphragm Condenser Microphone for hi-hats. The dynamic microphone gives you a trashier sound and microphone condenser quick diaphragm produces a bright sound. You can work with either by adjusting the EQ. Try adding a little (or almost 4 dB) of a shelf EQ set at 10 kHz to just add a little luster hi-hats.

Held 3-4 inches above the micro-Hi hats and down. The exact location of the microphone less than placement of another instrument microphones because of your hi-hats. Just make sure your microphone is not so close that you hit it.

Compression is generally not necessary when the monitoring of Hi-hats unless you have a drummer whose volume level is inconsistent. In this case, try using the same snare drum settings.

Cymbals

Want to know a secret to the bass drum drummer of Led Zeppelin, John Bonham? Finesse. He understood that the battery of her stronger and larger in a mixture if the cymbals are quieter in comparison. Thus, he played his cymbals softly and hit the drums difficult. This allowed the engineer to increase the levels of the battery without the cymbals drown the rest of. Absolutely brilliant.

Because the drums bleeding into the microphones above is inevitable and overhead microphones are responsible for providing much of the battery "presence in the mix, playing cymbals gently allows you to get longer battery life in these microphones. This helps the battery of his biggest.

Ask (no, demand) your drummer play the quieter cymbals. Use as small cymbals with a fast attack and short decay. Doing these things creates a better balance between the drums and cymbals and drums made out in the comparison.

Small diaphragm condenser microphones capture frequencies cymbals "high well. You can mic the cymbals by placing microphones about 6 inches above each cymbal or using microphones over the series 1-3 feet above the cymbals.

The complete kit

Most of the time you want to have at least one (but preferably two) room mics on drums if for no Another reason to pick up the cymbals. These (assuming you are using two microphones) are called overhead and microphones, as its name implies, they are placed above the drum beat. The most common types of microphones to use for overheads are large and small diaphragm condenser microphones because they take the high frequencies in the cymbals and drums set the pace of its luster Nice (brightness). You can also try a pair of microphones band to pick up a nice soft sound on the overheads.

For the micro with microphones Drumset general, you can use the technique coincide XY or spaced stereo pairs. Place them 1-2 feet above the cymbals, just before the mixer head. Place the microphones in XY center and implement stereo spaced pairs so that they follow the rule 3:1 (microphones should be set up 3-6 feet apart if they are 1 to 2 feet above cymbals). This counters any phase problems. Point the microphone at the bottom to the battery and you're ready to record. Figure 4 shows two of these settings.

About the Author

Marquis Van De Mark is a financial adviser that writes on topics of interest you can visit his website about Sunbeam Stand Mixer by visiting here http://www.sunbeamstandmixer.com or visit his site about Sunbeam Hand Mixer linking here: http://sunbeamstandmixer.com/Sunbeam-Hand-Mixer.html and also here: http://sunbeamstandmixer.com/Sunbeam-Mixer-Parts.html

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