57 on the bottom side of the snare to really catch the snap factor.
Probably either reverse phase it, or bump the whole track a few ms later than it was recorded to line up with the overheads.
Overheads in the standard Recorderman positions.
Kick mic where it sounds best, probably inside the drum facing the side farthest from the snare, or out in front of the kick drum... just depends on the drum itself.
I use an AKG D112, SM57, and two Rode NT2-A on my drums. The snare and bass mics are obvious, the overheads....I have my right facing drummer overhead over the top rack tom facing towards the hi-hats and main crash. The other overhead I have in between my mid and floor tom facing the ride and other two crashes.
Definatly two overheads... In fact, if I had four mics, I would ALWAYS make room for overheads first! Much more natural sound. A pair of well placed overheads can almost get rid of close mics, aside from the kick that is
Definatly two overheads... In fact, if I had four mics, I would ALWAYS make room for overheads first! Much more natural sound. A pair of well placed overheads can almost get rid of close mics, aside from the kick that is
Absolutely. and also, you have to measure distances when it comes to placing overheads. It's not just a matter of sticking 2 mics "somewhere". I personally swear by the "Recorderman" method. But whatever method you use, learn about the details. Mic distances, etc....