What drum set up should I use?

G

guitarguy101

New member
I have 2 SM-57s, a Sterling pencil condenser, and a Sterling LDC. I was thinking of either doing the Glyn Johns set up or the one recommended by the Shure microphone guide (overhead, kick, snare, and high hat.) Which do you think would be a better sound, and what mics should I use where?
 
Well, what I'd probably do is since you got two 57's and they will sound similar, I'd use them as stereo overheads, put the LDC on the kick, and the pencil on the snare.
 
Greg_L said:
Well, what I'd probably do is since you got two 57's and they will sound similar, I'd use them as stereo overheads, put the LDC on the kick, and the pencil on the snare.
Click to expand...
That seems odd considering that LDCs are usually used as overheads, and SM 57s go on the snare and kick. What would the advantages of stereo overheads be?
 
guitarguy101 said:
That seems odd considering that LDCs are usually used as overheads, and SM 57s go on the snare and kick. What would the advantages of stereo overheads be?
Click to expand...

57's go great on the snare, but not so great on kicks. The reason I say to use the 57's as overheads is because they match. You have two of them. Your two condensers don't match. You could use the one LDC as an overhead, but properly placed stereo overheads will get the whole kit very well and give you a natural sounding tom and cymbal spread - and you won't have to mic the hats. 57's aren't ideal as overheads, but they'll work, and I think stereo overheads sound better than one overhead. The LDC would work well outside the kick because it will pick up a fuller, more rounded sound. Just don't put it in the kick hole if there is one. Pencil condensers are used on snares all the time. I don't know what yours is rated at, but it should be safe on a snare.
 
I don't think I'd use 57's as overheads. I know what you're driving at but 57's have that presence bump around 6k can make cymbals just ugly. On the other hand, a 57 wouldn't the first mic I'd go to for kick and the LDC probably out perform a 57 there. But with what you have, I'd try the Glyn Johns thing first. Hell, I'd try every combination.
 
That's a tough one. My first instinct would be LDC on the kick, 57 on the snare, and pencil as a single overhead and keep the drums mono.

My second instinct would be 57s OH, LDC on kick, pencil on snare.

My third would be try a few combinations and see what works. I've never used 57s as OH but who knows, they might be alright. Without a matching set for overheads other than the 57s, I think mono might be best.
 
You can always EQ the 6k bump out, You could do it Ted Templeman style, Mic the snare with the 57, use the pencil as an overhead and the LDC for the kick, Pan the snare to the right and the pencil to the left.
 
I think Greg's suggestion about the SM-57s as overheads sounds best, I can always eq them to take the 6k bump out, as leaningpine said.
How far apart should I pan the OHs? Should I still do the exact same as Glyn Johns and put one over the drummer's left shoulder and then one angled above the floor tom?
 
guitarguy101 said:
I think Greg's suggestion about the SM-57s as overheads sounds best, I can always eq them to take the 6k bump out, as leaningpine said.
How far apart should I pan the OHs? Should I still do the exact same as Glyn Johns and put one over the drummer's left shoulder and then one angled above the floor tom?
Click to expand...

You surely can try it. Spaced pair, recorderman, X-Y, there's tons of stereo techniques.
 
You must log in or register to reply here.
Back
Top