This site pretty much rocks! I can't wait to try this recordman mic setup on my next CD project!!! My band is going into the studio next week and I was wondering if anyone could give us some pointers on overhead mic placements. Emphasis on the "PAIR" that doesnt mean same brand that means they are matched freq mics. Schoeps MK4, how much better than Rode NT5? my question with the recorderman setup, the the stereo spread of the cymbols. here's some of the things i might do to record drums: Since we're just kind of talking about results of drum mic'ing in general now, I got FANTASTIC results on a blues drummer the other day by putting two small condensors about 2' off the floor and 4' from the snare on both sides of the kit pointing in. Tell him the sound you are going for, then trust his judgement. The only eq was on the direct kik mic. but then again.. who on this sight isn't.. Place it right over the drummers head...maybe 12-16" above and aimed slightly foward into the toms. Could someone just describe how to set it up in a different way. When you buy products through links across our site, we may earn an affiliate commission. The mic of choice for most recording engineers when recording a kick drum is a … general consensus on the sneap forum is spaced pair, or recorderman style. Not my favorite image but it's a safe way if you don't have a lot of experience recording drums/or are not in the greatest room. I think what I need is to have it explained differently. This will result in an overly roomy sound. Not above, just right into the middle height of the kit. Let the engineer take care of it. In a live setting, the biggest challenge most engineers face is getting the most gain without feedback, and the noise onstage and from the venue’s mechanical systems typically masks finer details like the noise floor of the mics. Kick (bass) drum. … The noise-masking acoustic diffusion you get in the best live venues lets you get away with all kinds of tricks, from extreme EQing to dynamics processing that would sound awful on a studio album. If the mics are very high, the capsules will point straight over the sides of the of the kit, essentially putting the entire instrument off-axis. The other day I put Brauner Phantom Vs in omni on the toms (1 tom and a floor tom) M260s directly, over the ride the crash and the hat, an AT3000 on sn up and an e604 on the bottom and I had image out the ass, I put another Phantom V in a tunnel and a Stedman N90 on the beater. Mod… i love hearing a nice space between crashes and hi-hat. Already have an account? Like all drum miking, there are lots of options for microphone choice and placement for toms. It sounds soooo gooood. "best placement for drum overheads" For slow thrash metal till 320 BPM slightly below the central forward portion of the lower jaw. Toms. The Rode NT5 matched pair for acoustic recordings? Overhead Mic Placement: The Mic Angle and Your On-Axis Focal Point Adjusting the overhead mic angle is another tool to get your balance right. I would try x/y...it's hard to mess up. Thanks a ton! Do you pan the two mikes hard L/R after recording? Absolutely wonderful sound, picked the spot by moving around and listening and those two spots were just smokin'. Probably a spaced pair, making sure the overheads are spaced evenly with the snare. The overhead microphone, which is closest to the hihat is in this placement moved further away from the hihat, which can be a lifesaver if the hihat is a bit overbearing when played hard - since there is less of it in the overheads, it makes it easier for you to control with a close mic. Oh.. one more thing.. what is this placement called... i will forever know it as the recorderman placement.. but if someone else asks.. what do I call it? From 420 BPM on between the legs, and above 480 BPM you don't need a overhead at all. What you want to be "on-axis" is dependent on what you choose as the focal point for the overhead mics. I'm just not following the way he stated it and I would love to try the set up!! Overhead microphone height is an important consideration in this and every technique. Just a friendly reminder that political discussion, (including "offhand" and 'sideways' commenting) is. Create a username and password below and an account will be created and your post entered. A great way to start is the recorderman method or the Glyn Johns technique. But what’s even easier is to simply throw up one overhead mic to capture the entire kit, rather than two. The over head mics we will use will be a pair of Rode NT5s. There are no outboard effects and we only want to be using software effects for mixing and mastering to protect from overloading the processor and having a delayed signal. The imaging was great, if you don't mind things not being perfectly centered like kick and snare...the kick was a bit right and the snare was a bit left of course! You need an account to post a reply. Click here to login, The ability to reply to and create new discussions, Access to members-only giveaways & competitions, Interact with VIP industry experts in our guest Q&As, Access to members-only sub forum discussions, Get INSTANT ACCESS to the world's best private pro audio, Promote your eBay auctions and Reverb.com listings for free. Metal? Nobody loves a beautiful ORTF setup from behind the drummer? If using more than one overhead mic, check the polarity between the two (as well as between the overheads and kick and snare mics) and flip the phase accordingly Make sure to pan your mics according to where they are on the kit, far left and far right, etc. I am having a hard time getting the recorder man setup. Hey there! Focus on your job, which is performing and having fun. Recorderman if the drummer has good balance. http://sfrecording.com/videos/DrumRecording.mp4. Thanks guys. Of course this can be avoided with careful placement and measurement. This was a very "drum booth" sound , but a good one. You should keep the front of the mics on axis with the kit as you move them forward or backward.
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