The drummer we have in our band plays REALLY loud. So, I am trying to figure out the best way to mic his kit when we record in a few weeks? I was thinking maybe a couple of OHs and a kick mic a la John Bonham. Maybe have a distant LD condenser way out front. I am try to keep the cymbals from dominating the mix. Is lower to the gound placement going to help here? Thanks for any help you can provide. BTW we are recording our basic tracks with an old Tascam reel to reel 8 track deck in a large house with high ceilings and a large room. I am taking the bass direct via a SansAmp Bass Driver DI [with a slight possibility of combining the direct signal with a little bit of bass amp micing too].
Mic'ing a LOUD Drummer
- Thread starter PinkStrat
- Start date
If you have a good, loud drummer and a large room with high ceilings you've got the major part handled. 
You could try a 57 on the snare with it's ass-end pointed at the hats. That should get you the least amount of bleed. Don't be afraid to experiment.
What mics do you have available?
You could try a 57 on the snare with it's ass-end pointed at the hats. That should get you the least amount of bleed. Don't be afraid to experiment.
What mics do you have available?
Mics? A whole bunch.... Shure KMS44, AT4047SV, AT4050/CM5, CAD E-350, AKG C414 TL-II, C-391B, & C4000B
we also have some 57s, a Sennheiser 421 and what I believe were four Marshall MXL2001 large condensers. Does that sound like a Marshall number to you? I only saw them briefly...we have a lot of friends with good mics!
we also have some 57s, a Sennheiser 421 and what I believe were four Marshall MXL2001 large condensers. Does that sound like a Marshall number to you? I only saw them briefly...we have a lot of friends with good mics!
I was thinking maybe a couple of OHs and a kick mic a la John Bonham. Maybe have a distant LD condenser way out front.
Sounds good. If he plays as loud as you say, I might look at some mics with a -10 pad and be sure to switch that on.
I am try to keep the cymbals from dominating the mix. Is lower to the gound placement going to help here?
Yea. Try placing them a bit out of the direct path of the cymbals if you can. Best thing to do would be to tell him/her to try and back off on the cymbals a bit. Another trick I like to employ is to stick a small piece of electric tape underneath the cymbal. Works wonders.
BTW we are recording our basic tracks with an old Tascam reel to reel 8 track deck in a large house with high ceilings and a large room.
That should give you a very live sound. I hope that's what you're after.
I am taking the bass direct via a SansAmp Bass Driver DI [with a slight possibility of combining the direct signal with a little bit of bass amp micing too].
Good choice.
Sounds good. If he plays as loud as you say, I might look at some mics with a -10 pad and be sure to switch that on.
I am try to keep the cymbals from dominating the mix. Is lower to the gound placement going to help here?
Yea. Try placing them a bit out of the direct path of the cymbals if you can. Best thing to do would be to tell him/her to try and back off on the cymbals a bit. Another trick I like to employ is to stick a small piece of electric tape underneath the cymbal. Works wonders.
BTW we are recording our basic tracks with an old Tascam reel to reel 8 track deck in a large house with high ceilings and a large room.
That should give you a very live sound. I hope that's what you're after.
I am taking the bass direct via a SansAmp Bass Driver DI [with a slight possibility of combining the direct signal with a little bit of bass amp micing too].
Good choice.
Hi chessrock,
I'll try that electrical tape underneath the cymbal trick at rehearsal and see how it tones things down? Thanks for the tip! Yes, a very LIVE potent raw sound is exactly what we're shooting for here. This is very aggressive rock n roll in the vein of early Bowie, Iggy Pop/Stooges & Lou Reed in the old Velvet Underground days. The music is really drivng stuff!
I'll try that electrical tape underneath the cymbal trick at rehearsal and see how it tones things down? Thanks for the tip! Yes, a very LIVE potent raw sound is exactly what we're shooting for here. This is very aggressive rock n roll in the vein of early Bowie, Iggy Pop/Stooges & Lou Reed in the old Velvet Underground days. The music is really drivng stuff!
knownuttin
New member
Dayamn, PS! I want in! That sound's what I'm all about.
You might try the 421 on kick. For OH's I'd probably try a spaced pair, but even a single OH could be the ticket.
-kent
You might try the 421 on kick. For OH's I'd probably try a spaced pair, but even a single OH could be the ticket.
-kent
For overheads I would try an X/Y aka coincident pair if you have two of the same cardioid condensors and/or a pair of spaced omnis. I have also used a single omni directly above the drummer's head. The latter makes for no phase problems but also no stereo image. The spaced omnis can also be somewhat tricky to get things placed correctly in the stereo field due to bleed but minimal phase issues. Watch out for phase problems with the X/Y setup. Check your mix in mono with a single speaker to be sure nothing disappears or sounds phasey.
Hi knownuttin,
Yeah, I love that grinding, raw stuff too. We wanna get a bigger sound than on Iggy's remixed version of "Raw Power!" We have a pretty heavy band since the new configuration arrived. For the drums, I'm now thinking of possibly using a pair of these new Audio Technica Artist Elite AE3000/AE5100 condensers in X/Y for the overheads, then use the C414 TLII in omni for the distant front mic with a 57 on the snare and the C4000B and/or 421 on the kick. I'd almost rather use an RE20 if I can find one. I know the C4000B will sound good on the kick too. Guitars will be simple-- one or two dynamics on each with bass going direct/mic'ed and the main vocal will be the eighth track. Probably use the KMS44 for that?
Yeah, I love that grinding, raw stuff too. We wanna get a bigger sound than on Iggy's remixed version of "Raw Power!" We have a pretty heavy band since the new configuration arrived. For the drums, I'm now thinking of possibly using a pair of these new Audio Technica Artist Elite AE3000/AE5100 condensers in X/Y for the overheads, then use the C414 TLII in omni for the distant front mic with a 57 on the snare and the C4000B and/or 421 on the kick. I'd almost rather use an RE20 if I can find one. I know the C4000B will sound good on the kick too. Guitars will be simple-- one or two dynamics on each with bass going direct/mic'ed and the main vocal will be the eighth track. Probably use the KMS44 for that?