How should I record drum kit with my setup?

B

bobbo

New member
I've never recorded drums before and I think our drummer may be coming over to my place in a few weeks to record some drum tracks. I live about 2 1/2 hours away, so we'll probably have to get these tracks done in a couple of days, I would suppose a dozen songs or so.
Here is what we have to work with:

2 large diaphram condensor mics (akg c3000 and some kind of samson condensor mic)
1 shure 57
1 cheaper shure beta green I think its called
behringer 2004 mixer (8 inputs with inserts in back, a couple stereo inputs, left and right aux and left and right main mix outputs)
behringer composer pro compressor (stereo or 2 separate mono ins/outs)
delta 1010 soundcard (8 ins and 8 outs)
ntracks software (recording 24 bit, 48000Hz)

I thinking that its probably best to have each of the 4 mics have its own track, would this be correct?
Would I be using the channel inserts in back to send the 4 tracks to the delta? I believe I'm supposed to insert the cord to the first click on the insert to send the signal to the delta, is this correct?

If I want to use the compressor/gate/limiter on snare and/or bass drum, where would I put that in the signal path, or would it be best if I use it after recording during the mixing process?

Would you suggest me using the 2 condensors for the two overheads, the 57 for the snare and the other shure for the bass drum? Or would you have any other ideas that might make for a better sound?
When using 4 mics for drums, is the mic for snare also being used as a mic for the hi-hat? If so, how do place the mic in that circumstance?

I think thats all the questions. Thanks for any help.
 
SM57: Snare
Beta Whatever: Kick (IF it's a 52, otherwise, just try it and see)
Overheads are tricky as you have two different condensor mics, not a pair. Do they sound the same? I doubt it. In that case you're going to have to do one of two things. Either: A - Have a single mono overhead (pick the mic you like best, see how it sounds on the drums and, if it's okay, use that) or B - trade one of them in as part exchange on a pair of cheap small diaphragm condensors (like the good old MXL603S, or that Behringer mic). If you go down the second route I'd suggest that the resale value of the C3000 would be a good deal higher than the Samson's. If you sold it on E-Bay, or whatever you might even have some cash left over after buying a pair of SDCs. How much I have no idea (shrug).

Giving each of the four mics it's own track is usually the best way to go if you have the "real estate" to begin with (ie: more than 4 tracks), since you can then individually eq and process the kick (one track) and the snare (another track).

As far as the compressor goes you plug it into the mixer's insert points. If your inserts are stereo jack sockets you'll need what's known as a Y cord. Quite simply this has a TRS (Tip, Ring, Sleeve) Stereo Jack Plug at one end and then bifurcates to two mono Jack Plugs. The Stereo end goes into the Insert Point on the Desk and the Mono plugs go into the Guzintas and Guzatas on the Composer.

Concerning the Hi-Hat, you'll usually find that the overheads have that covered. It's more common to want to keep the HH out of the Snare mic than in.

Did that help?

Regards

Mark.
 
So far as getting the signal from the mixer to the soundcard goes you could try using the stereo outputs for two of the tracks and the Aux sends for the other two. I don't have to deal with this kind of problem so I can't be of much help at this point.

Though, I can go to the Behringer Website and take a gander at the 2004As manual, which says you can use the Alt 3-4 outputs as extra stereo outs. If your version has them try sending the Kick and Snare to the main stereo Buss and the Overheads to this alternative stereo Buss (using the "Mute/Alt 3-4" button on the appropriate channels).

Clear as mud!?

Regards

Mark.
 
If you place your OHs (I assume the two mics might work...) take care that the whole set sounds really good over the OHs. If that seems to be impossible, try to use one OH that wil make your set sound nice. IMO the other mics should just support the (good) sound of your set. If it's properly tuned, it seems much nicer than the close-miking stuff. You'll end up using the two mics for getting that killing snare and bd sound, but if you roverheads don't sound good, no way...

aXel
 
ROVERHEADS!?!?

But, yep, I agree with all that. I'm just jealous you thought of it and not me.
 
Hey, thanks a lot for the suggestions all. Its making a little more sense to me.
One question about the overheads if we use two mics: If we have have individual tracks for those two mics, would I be panning one mic hard left and the other hard right on the mixer?
 
If you want an accurate stereo picture. Yes. And make sure the Kick and Snare image in the middle (you can do this with careful positioning of the overheads). Assuming that's where you want them, of course.
 
Concerning the Comp, since you only have two channels try using it on the overheads during initial tracking (to tame the HH and cymbals) and on the Kick and Snare when you mix down or bounce.
 
definitely separate tracks for each mic because then when levels change throught the song u can envelope the volume on each track
 
You must log in or register to reply here.
Back
Top