Warm greetings all,
I read an article that the producer of the debut album of the Red Hot Chili Peppers used a 4 condenser mic' configuration. However, the article did not describe mic' placement.
Although not looking to mimic that drumming, I would appreciate any shared experiences with 4 condenser using to mic drums and the genre it was used, along with thoughts on the outcome.
I'll be using Rode NT1's. Genres: Blues, Folk, Hank Williams' styling country, Venturas vain of rock and roll, contemporary Pop.
As I am just beginning to explore drum mic'ing, I would think the following initial configuration would be practical to proceed in experimenting with practice recording. This setup would be 2 opposing R/L mics about 5' high (offset about a foot of the kit to avoid phase issue); an overhead from above the drummer (aimed at the center snare though the overhead condenser will be high enough to catch some of the outward snare or snares, caught more so by the 2 opposing mics); and a floor mic some distance from the kick to also catch as much of the toms as possible, too. Indirectly of the said goals, this floor mic placement is also sought to bring a greater sense of depth to the drum mix.
However, I am not sure on where to start with this floor mic--if anyone may be of comment, please. My concern is that if placed too far then low-end sound pressure is lost and becomes one dimensional in sound (perhaps bland toms and a distant sounding kick); too close, and the condenser loses strength toward the outer part of its diaphragm, with not room enough for the diaphragm to catch much of the toms and capture too much kick, or so I would imagine. Does somewhere of 2' to 3' or perhaps a even 4 feet or more suggest where I may find the best spot for stated goals: as another, even primary, source of toms, balanced kick, and added field of depth though this latter goal might not be obtainable along with the others that are essential?
Please, correct me on this if wrong, but it seems important to remember in mixing such a configuration that each mic is catching a bit of everything with emphasis more so on its area of placement, allowing for a mix to make use, too, of the secondary ranges picked up. In this sense, each percussion instrument's range within a drum kit would be formed from a composite from all mics, but with each mic emphasizing its targeted range of instrument(s).
Insights on what configuration was used on the Red Hot Chili Peppers' debut album would of interest as well.
Thank you, JeffF.
I read an article that the producer of the debut album of the Red Hot Chili Peppers used a 4 condenser mic' configuration. However, the article did not describe mic' placement.
Although not looking to mimic that drumming, I would appreciate any shared experiences with 4 condenser using to mic drums and the genre it was used, along with thoughts on the outcome.
I'll be using Rode NT1's. Genres: Blues, Folk, Hank Williams' styling country, Venturas vain of rock and roll, contemporary Pop.
As I am just beginning to explore drum mic'ing, I would think the following initial configuration would be practical to proceed in experimenting with practice recording. This setup would be 2 opposing R/L mics about 5' high (offset about a foot of the kit to avoid phase issue); an overhead from above the drummer (aimed at the center snare though the overhead condenser will be high enough to catch some of the outward snare or snares, caught more so by the 2 opposing mics); and a floor mic some distance from the kick to also catch as much of the toms as possible, too. Indirectly of the said goals, this floor mic placement is also sought to bring a greater sense of depth to the drum mix.
However, I am not sure on where to start with this floor mic--if anyone may be of comment, please. My concern is that if placed too far then low-end sound pressure is lost and becomes one dimensional in sound (perhaps bland toms and a distant sounding kick); too close, and the condenser loses strength toward the outer part of its diaphragm, with not room enough for the diaphragm to catch much of the toms and capture too much kick, or so I would imagine. Does somewhere of 2' to 3' or perhaps a even 4 feet or more suggest where I may find the best spot for stated goals: as another, even primary, source of toms, balanced kick, and added field of depth though this latter goal might not be obtainable along with the others that are essential?
Please, correct me on this if wrong, but it seems important to remember in mixing such a configuration that each mic is catching a bit of everything with emphasis more so on its area of placement, allowing for a mix to make use, too, of the secondary ranges picked up. In this sense, each percussion instrument's range within a drum kit would be formed from a composite from all mics, but with each mic emphasizing its targeted range of instrument(s).
Insights on what configuration was used on the Red Hot Chili Peppers' debut album would of interest as well.
Thank you, JeffF.
